JOSH GROBAN
"Bridges"
BOTTOM LINE: Trying to find where he fits in the music industry once again.
When Josh Groban unexpectedly debuted in 2001, the then-20-year-old, baby-faced, big-voiced opera singer had a musical lane all to himself.
The idea of positioning a young artist to attract older adults with ballads and standards was new. And Groban essentially cornered that market, with his chart-topping, multiplatinum albums "Josh Groban" and "Closer."
These days, though, the Adult Music Highway is mighty crowded with Adele and Sam Smith and all the artists who want to follow them. Groban, who exited for a bit to make his Tony-nominated Broadway debut in "Natasha Pierre & The Great Comet of 1812" and to make the impressive 2015 album of show tunes "Stages," has returned to find himself in the middle of an adult-pop traffic jam.
And his new album, "Bridges" (Reprise), sounds like he isn't quite sure how to get out.
Groban offers a little bit of everything here that made him a superstar. He is still hard to beat when he tackles an operatic piece in full voice, even on "We Will Meet Once Again," a duet with Andrea Bocelli. And his approach on the gorgeous "Musica Del Corazon" is fiery enough to keep up with classical guitar virtuoso Vicente Amigo.
However, he comes up a little short on the more straightforward pop songs. The piano ballad "River" aims for Adele cool, but is slightly off the mark, though he fares better on the Sam Smith-sy first single "Granted." His picks for covers seem a bit predictable, especially on "Bridge Over Troubled Water." (The deluxe edition of "Bridges" includes a version of Billy Joel's "She's Always a Woman.") Even Sarah McLachlan's appearance can't stop the bludgeoning of Snow Patrol's "Run."
It helps make "Bridges" sound like a wrong turn. The charming Groban, who will certainly make new fans with his Netflix series "The Good Cop," needs to loosen up and just head wherever he wants.
JOYCE MANOR
"Million Dollars to Kill Me"
BOTTOM LINE: The SoCal pop-punkers grow into catchy rock craftsmen.
Joyce Manor's new album "Million Dollars to Kill Me" (Epitaph) is a well-crafted collection of cool indie-rock styles from the past three decades held together by Barry Johnson's earnest vocals and Chase Knobbe's seemingly encyclopedic knowledge of guitar riffs.
The catchy first single "Think I'm Still in Love With You" has a Weezer vibe. The title track is reminiscent of The Replacements, with its chugging guitar lines and clever, wistful lyrics, while the spiky pop-punk of "Friends We Met Online," sounds more like the band's earlier work, though they do throw in a bit that sounds like The Housemartins.
There are little surprises like that throughout "Million Dollars to Kill Me," as Joyce Manor plays around with pop-punk structures and various influences.
"Fighting Kangaroo" calls to mind the heavy guitars of Jawbreaker. "Up the Punks" is stream-of-consciousness imagery welded to pointy guitarwork, while "Gone Tomorrow" feels like the return of Teenage Fanclub.
Nearly all the sound experiments work for Joyce Manor resulting in an enjoyable, unexpected thrill ride. And since none of the songs are longer than three minutes, they leave you wanting more.
