Ottawa Citizen

ALBUM REVIEWS

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THE CHARLATANS Different Days BMG

There are two parts to The Charlatans’ 13th album, Different Days — the first with sunny melodies and the other, which samples their roots in Manchester’s baggy dance scene.

Opener Hey Sunrise leads with acoustic guitars and has a melancholy air like The Church’s Under the Milky Way. A melody that practicall­y floats appears on Solutions, with Tim Burgess stretching the syllables.

More songs with a bit of bite like Plastic Machinery would have been welcome as Johnny Marr’s guitar and Verve drummer Pete Salisbury add some kick to the proceeding­s. New Order’s Stephen Morris also takes care of drums and programmin­g on seven of the 13 tracks.

Not Forgotten kicks off imaginary part 2, which sees the band setting their phasers to nostalgia and performing as if back in 1990 again, sharing a Madchester stage with The Stone Roses and Happy Mondays.

There Will Be Chances sounds like Stephen Duffy’s Tin Tin and The Same House, where they can all live and “wear matching shoes” reminds of 1991 sensations The Farm. Salisbury appears again on Let’s Go Together.

Paul Weller puts his stamp on Spinning Out, which ends the album with a return to a more organic feel.

THE STEEL WOODS

Straw in the Wind Woods Music/Thirty Tigers

Fame Studios producer Rick Hall maintains that southern rock was born the day Duane Allman goaded Wilson Pickett into covering the Beatles’ Hey Jude. Allman proceeded to tear down Hall’s Muscle Shoals, Alabama, studio with a series of guitar fills that spawned a half-century of imitators.

Over time, that sound made its way from the Allman Brothers Band to Nashville’s country scene, where its sway remains obvious today.

Into this landscape come The Steel Woods, a Nashville band that bills itself as a hybrid of styles, from Americana to bluegrass to rhythm and blues.

But they make no bones about being “steeped in the ethos of southern rock,” which is obvious from the first steely twang of their debut album, Straw in the Wind.

This is, above all, a southern rock album — and a good one.

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