Quick Links:

Artist website

ONWARD, SOLDIERS

Monsters

Jan 30, 2012

Monsters is the second release from North Carolina quartet, Onward, Soldiers. Featuring catchy melodies and well-executed production, Monsters offers either rock or country, depending on which song you listen to. The album starts out strong with the catchy, “whoa-whoa’s” of “Telling Nobody”. “Nighttime Sky” is also a winner with its toms, trumpets, and strings. The liner notes suggest the upbeat, though unremarkable third track “Cinder Blocks” as a featured song. The rest of Monsters, with the exception of the great title track, takes a decidedly country turn with the inclusion of organ and pedal-steel. Rebecca Ruth

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RICH T. ANDERSON

NaCl

Jan 29, 2012

Rich T. Anderson is a local musician and NaCl is his first solo release. With some of the songs recorded as long ago as 2002, NaCl has been a long time coming. In fact the album as a whole seems unfocused and perhaps that’s due to the length of time it took to produce it. The first three tracks were pretty straight forward rock (albeit with some mildly interesting percussion on the second song). The rest of NaCl circumnavigates a prog-rock core, but between Mr. Anderson’s tenor vocals and the lyrics, there is also a Weird Al quality to it. Some of the lyrics are thoughtful/almost clever (“Defining Love”, “If I Kiss You”) while others are...well...just listen to “Pirate Booty”. In any case, I’ll give Rich T. Anderson credit for making something that’s occasionally quirky, a plus in my book. Rebecca Ruth

THE RUSTY WRIGHT BAND

Live Fire

Jan 27, 2012

Nick's Picks: 01 World Upside Down; 03 Groove Medley/Ain't From Mississippi; 06 Someday After Awhile; 07 Lost Souls

FCC ALERT: 02 "Alarm Clock Blues”

Review by Steven "Nick" Nickelson of The Rusty Wright Band Live Fire :

Contemporary blues is proving to be a whole different wild ride and this series of live performances leaves no doubt The Rusty Wright Band (or RWB as Rusty affectionately introduces himself and his band) has hung in there for their 8 seconds. Well done. Sticking to my avowed love of the blues, I would highly recommend this live cd. As opposed to most other genres (excepting Celtic, bluegrass/crabgrass and virtuoso artists) the blues are at their best when seen live. Recorded live blues are not the same, but they are (for the most part) an acceptable substitute, and this band comes as close as can be without the listener actually “being there”. The arrangements and musical writing are laudably matched (as well as the blues can be matched, anyway) with the lyrics – and some of the guitar solos are some of the best I have heard from a regional band, Oh, and did I mention that this is a Michigan-based band? Yep, right out of the Flint area. This band is so talented that they have no trouble playing through any blues tempo, from lonesome Mississippi Delta (“Messin' Round”, “Someday After Awhile”, “Lost Souls”) to 'so tight they squeak when they walk' Chicago Blues (“World Upside Down”, Pretty Little Lies”) to blues-influenced heavy duty Rock & Roll (“Day of the Eagle”) to a whimsical Jump Blues (“Whole Lot of Rosie”) all the way to Texas Blues (“Alarm Clock Blues”) one of the best songs of the whole collection; it's unfortunate that one little word prevents this hard-charging smokin' song from getting any airplay. And that's my two nickels' worth........................Nick

ARTIST BIO:

This is a Michigan-based band from the Flint area.

The Musicians:
・ Rusty Wright – songwriter, vocals, slide guitar
・ Laurie LaCross Wright – rhythm guitar, vocals, harmony vocals
・ David Brahce – keyboards, Hammond B3
・ Andrew Barancik – bass
・ Peter Haist – drums, harmony vocals
・ Eddie Lusker – saxophone

The Songs:

1. World Upside Down

2. Alarm Clock Blues

3. Groove Medley_Ain't From Mississippi

5. Man On Fire

6. Someday After Awhile

7. Lost Souls

8. Pretty Little Lies

9. Day Of The Eagle

10. Whole Lotta Rosie

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LOUISA BRANSCOMB

I'll Take Love from the pen of Louisa Branscomb

Jan 24, 2012

Nick's Picks: 02 I'll Take Love; 05 Your Amazing Grace; 09 Extra Blue; 12 That's What Texas Was For

FCC ALERT: "Clean as a Smokey Mountain Stream”l
Review by Steven "Nick" Nickelson of Louisa Branscomb I'll Take Love from the pen of Louisa Branscomb :
I am a sucker for well-played bluegrass music, and more the better if it is well written (“I'm Gonna Love You”, “Stormy Night”). I didn't recognize the lyrics, but the tunes seem as old as the mountains from which these songs drew inspiration. The arrangements and musical writing are poignantly matched with country bluegrass lyrics - some of which (IMHO) will earn her more accolades from the country and bluegrass world. Every song is an award winner waiting to recognized. The lap steel sets such a forlorn tone that this reviewer had to wipe a few dust specks from my eyes (“I'll Take Love”, “Closin' Nashville Down”, “Extra Blue”, “Silence Broke Beyond Repair"). Although this release is chock full of well-known bluegrass performers, I especially loved so many of the harmonies – particularly The Whites (“This Side of Heaven”, “That's What Texas Was For”). This is a fantastic collaboration of bluegrass and country artists performing at their best, and I recommend getting your hands on this release. Even more, I would just love to see a concert with all this talent performing these beautifully written tunes. Oh, what a night that would be! And that's my two nickels' worth........................Nick

The Musicians:
・ Louisa Branscomb – songwriter
・ Ethan Ballinger – guitar
・ Allison Brown – banjo
・ Mike Witcher – lapsteel, national resonator
・ Alan Bibey – mandolin
・ Jim Hurst – guitar, backup vocals (1, 5,9,10,11)
・ Missy Rains – producer, bass
・ Claire Lynch – lead vocals (1,5) backup vocals (5,7)
・ Stuart Duncan – fiddle
・ Alison Krauss – backup vocals (2)
・ Steve Gulley – lead vocals (3,7,11), backup vocals (2,13)
・ Buck, Cheryl, Sharon White – lead , backup vocals (8,12)
・ Dale Ann Bradley – lead vocals (2,7,11,13), backup vocals (3,13)

The Songs:
1. I/m Gonna Love You
2. I'll Take Love
3. Closin' Nashville Down
4. Wearin' The Blues
5. Your Amazing Grace
6. State Line
7. Surrender
8. This Side of Heaven
9. Extra Blue
10. Stormy Night
11. Silence Broke Beyond Repair
12. That's What Texas Was For
13. It's Just Lovin'

Quick Links:

Website of Compass Records
MySpage Page

VARIOUS ARTISTS

Chimes of Freedom: The Songs of Bob Dylan

Jan 23, 2012

Amnesty International scored a big fund-raising hit a number of years ago with "Instant Karma," a disc full of John Lennon songs (dollars going to Darfur). This time, the organization has upped the ante for its 50th birthday with a sprawling, four-disc collage of Dylan songs performed by everyone from Miley Cyrus to Pete Seeger and covering most of the WYCE genres of music. One will find folk, blues, jazz, rock and worldbeat among these 76 selections (you can skip the Miley Cyrus attempt, please). The ear-catching tunes tend to be couplings of talented soul or international singers choosing interesting Dylan covers; examples are Rafael Saadiq on "Leopard-Skin Pill-Box Hat"; Ziggy Marley's "Blowin' in the Wind"; "Lay Lady Lay" by Angelique Kidjo; K'Naan's "With God On Our Side"; "Political World" from the Carolina Chocolate Drops; and Michael Franti's version on "Subterranean Homesick Blues." But there are plenty of other intriguing takes as well. Generally speaking, I think the disasters (like young Miley) are very few so you can program with reckless abandon. Amnesty and Dylan began at about the same time in 1962, so it's a natural pairing. The only sad things here are that Amnesty still has so much work to do in this crazy world and the realization of how much we're gonna miss Bobby D. when he's gone. 01/12 Michael J.

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DENNIS ROLLINS VELOCITY TRIO

The 11th Gate

Jan 20, 2012

Dennis Rollins began playing trombone in Britain’s National Youth Jazz Orchestra. His early influences include Fred Wesley, Maceo Parker, J.J. Johnson, and Kai Winding. With Ross Stanley on organ and Pedro Segundo as percussionist, together they make the Velocity Trio. The 11th Gate is their debut collaboration. This album has a broader jazz appeal than the mostly funk jazz featured in his Badbone & Co. releases. Recommended tracks 4 “Ujamma,” 6 “The Other Side” and 11 “The 11th Gate” “Ujamma” is a bolder edition with brighter jazz elements than the version on Rollins’ earlier Badbone & Co release of the same tune. Track 5 is a 1.5 minute percussion demo that gets you to pay attention before the true gem of this album, track 6 “The Other Side” – a conventional jazz piece that showcases Stanley’s Hammond. This album rolls from fusion to free jazz and ends with the thought-provoking breath stopper “The 11th Gate.” There is no distraction from pure trombone on this title track. - Pam VandeKerkhoff

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Artist website

JOHN MCCUTCHEON

This Land: Woodie Guthrie's America

Jan 16, 2012

Nick's Picks: 04 Deportees; 07 This Morning I Was Born Again; 11 Old Cap Moore; 12 Ludlow Massacre

FCC ALERT: "Clean as a mountain stream"

Review by Steven "Nick" Nickelson of John McCutcheon This Land: Woody Guthrie's America :

Although this album is released by well-known singer/songwriter John McCutcheon as an homage to a much more talented songwriter (Woody Guthrie), I have to say that the arrangements are aptly matched with the tone of each song, and the musicians have made some very good music out of some lesser known works of Woodie Guthrie, as well as some better know ones (“Deportees”, “Mail Myself To You”). Additionally, one of Woodie's best known songs (“This Land Is Your Land”) is performed with vocal and musical contributions from some living legends (Willie Nelson, Tommy Emannuel), Kathy Mattea, Maria Muldaur, Tom Paxton, Tom Chapin). This six-time Grammy nominee has selected songs that are just as relevant today as they were in Woodie's day (1930s to 1950s). Although John McCutcheon declared that this was not a “tribute” album, I do believe that not only does it draw attention to Woodie Guthrie's 100th birthday in 2012, but is does actually pay tribute to a timeless American songwriter. And that's my two nickels' worth........................Nick

t

The Musicians:
・ John McCutcheon – vocals, all kinds of stringed instruments

・ Tommy Emmanuel – guitar

・ Tim O'Brien – mandolin

・ Various contributing artists – vocals, bass

The Songs:

1. Biggest Thing That Man Has Ever Done

2. Mail Myself to You

3. I Ain't Got No Home

4. Deportees

5. Harness Up the Day

6. Howjadoo

7. This Morning I Was Born Again

8. Pastures of Plenty

9. 1913 Massacre

10. Pretty Boy Floyd

11. Old Cap Moore

12. Ludlow Massacre

13. This Is Our Country Here

14. This Land Is Your Land

15. Hobo's Lullaby

Quick Links:

cdbaby link

Kelly Pardekooper Website

DREW LANDRY

Sharecropper's Whine

Jan 11, 2012

Sharecropper’s Whine is the culmination of 25 musicians (Bandry Land aka The Drew Landry Band) helping a broke songwriter--Drew Landry. He gained notoriety as a crawfisher from Louisiana who testified before the oil spill commission with the song “BP Blues.” He is passionate about the erosion of shore and livelihood and has strong words in his protest songs, especially in track 16 “Last Man Standin’.” #2 Title track “Sharecropper’s Whine” features a country beat with easy syncopation, upright bass, slide guitar, and fiddle… great tune. I liked “Out West” and “90 Proof” for the bluesy overtones and pedal effects. “Make It Rhyme” is a nod to the late Bobby Charles and his “Solution to Pollution” project. #17 “Gone Home” features soft guitar lines and background zydeco. - Pam VandeKerkhoff FCC Alert: tracks 3, 12, 16

Quick Links:

artist's website

TRIBECASTAN

New Deli

Jan 9, 2012

From New York, TriBeCaStan started as a duo consisting of multi-instrumentalists Jeff Greene and John Kruth (formerly a touring member of Meat Puppets and Violent Femmes). In the last several years, the band has grown and now involves more members and instruments than one can shake a stick at (even if it’s a really big stick!). Most of the songs on “New Deli” are instrumentals with middle eastern leanings; yet each song is distinctly different from its predecessor. At first listen, I thought of “New Deli” as “easy-listening world music” or even “world music for people who don’t like world music”, as it’s all pretty digestible. There are definitely some clunkers (tracks 4, 7, 10, 13), but the catchy melodies and feel-good grooviness here is hard to resist. Rebecca Ruth

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GORILLAZ

The Singles Collection 2001-2011

Jan 8, 2012

Nick's Picks: All except 11 Superfast Jellyfish

FCC ALERT: 02 “Clint Eastwood”; 04 “Rock The House”; 05 “Feel Good Inc”
Review by Steven "Nick" Nickelson of Gorillaz The Singles Collection 2001-2011 :

I've not been a big fan of rap, nor am I much for electronica; however, the “virtual” band Gorillaz blends the two genres to make a very listenable, foot-tapping collection {and with a bit of “e” (not that I recommend such action), a whole rave in a cd box}. This collection is so layered, textured, electronically ethereal, that it even blurs the collective genres of raptronica with alt rock and pop, as well. The crazy thing is, the method of delivery for the songs in this collection stem not only from a “virtual” band, but a quartet of “virtual” band members with personalities and attitudes. The whole band is really a creation of one individual (Damon Alban), abetted by various musicians and celebrities. Some songs were delivered in cartoon format, and some were featured on the virtual band's website. Even though this is actually more popular with the late teen set, I did find it to be very entertaining. Would I buy the cds (five total so far)? Probably not, but I do recommend it for those who like to dance the whole night away. And that's my two nickels' worth........................Nick

ARTIST BIO:

Gorillaz are an English musical and visual project created in 1998 by Damon Albarn and Jamie Hewlett. The project consists of Gorillaz music itself and an extensive fictional universe depicting a "virtual band" of cartoon characters. This band has four animated members: 2D(lead vocalist, keyboard, and melodica), Murdoc Niccals (bass guitar and drum machine), Noodle (guitar, keyboard, and occasional vocals) and Russel Hobbs (drums and percussion). Their fictional universe is explored through the band's website and music videos, as well as a number of other media, such as short cartoons. The music is a collaboration between various musicians, Albarn being the only permanent musical contributor. Their style is a composition of multiple musical genres, with a large number of influences including alternative rock, dub,hip hop, electronic, and pop music. The band's 2001 debut album Gorillaz sold over seven million copies and earned them an entry in the Guinness Book of World Records as the Most Successful Virtual Band. It was nominated for the Mercury Prize in 2001, but the nomination was later withdrawn at the band's request. Their second studio album, Demon Days, released in 2005, went five times platinum in the UK, double platinum in the United States, earned five Grammy Award nominations for 2006 and won one of them in the Best Pop Collaboration with Vocals category. Gorillaz have also released two B-sides compilations and a remix album. The combined sales of the Gorillaz and Demon Days albums had exceeded 15 million by 2007. The band's third studio album, Plastic Beach, was released in March 2010. Their latest album, The Fall, was released in December 2010 as a free download for fan club members, then in April 2011 as a physical release.

The Musicians:

・ Damon Albarn – songwriter, vocals r

・ Multiple collaborating musicians

The Songs:

1. Tomorrow Comes Today (Gorillaz)

2. Clint Eastwood (Gorillaz, Terens Jones)

3. 19-2000 (Gorillaz)

4. Rock The House (Gorillaz, J. Dankworth, D. Nakamura, Del The Funkee Homosapier)

5. Feel Good Inc (Gorillaz, D. Jolicoeur, B,J. Burton)

6. Dare (Gorillaz, B.J. Burton)

7. Dirty Harry (Gorillaz, B.J. Burton, R. Robinson)

8. Kids With Guns (Gorillaz, B.J. Burton)

9. El Manana (Gorillaz, B.J. Burton)

10. Stylo (Gorillaz, D.T. Smith)

11. Superfast Jellyfish (Gorillaz, De La Soul, G. Rhys)

12. On Melancholy Hill (Gorillaz)

13. Doncamatic (Gorillaz, Daley)

14. Clint Eastwood (Ed Case & Sweetie Pie Refix) (Gorillaz, E. Makromallis, I. Sweetie)

15. 19-2000 (Soulchild Remix) (Gorillaz)

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DICKY JAMES AND THE BLUE FLAMES

Hard Rain

Jan 6, 2012

Nick's Picks: 06 It's All True; 07 Low Down Dirty Dog Blues; 11 We Git To Play;

FCC ALERT: ("nothing here)"

Review by Steven "Nick" Nickelson of Dicky James and the Blue Flames Hard Rain :

The band opens with an original blues tune. It has a catchy beat, good lyrics, but the arranger should have left out the electric organ, as it adds nothing to the song. The selections get progressively better, though. Track two (“Hard Rain”) tones down the organ, amps up the rest of the instruments, and makes the song virtually jump. From there we slow down the pace for an delta blues style cover of a B.B. King song (“Rock Me”) including an excellent harmonica contribution by Bob “Icehouse” Freeze); however, we are again “treated” to some more 1-chord organ playing, which (IMHO) muffles the gritty playing and singing of an otherwise excellent song. “Bulldog Talkin'” sounds kinda like an old juke joint song – complete with what sounds like an old National Resonator for the guitar parts – and well-played, I might add. From there, the band slows back down to some more delta-influenced music (“It's All True”), as well as a couple of inspired solos (guitar, harm onical, organ). I have to admit that Dicky James surely represents the blues lifestyle in his songwriting and lyrics. So many excellent bands have covered “Born Under A Bad Sign” that it wouldn't be fair to compare this band's interpretation; however, they do a favorable job of covering it. Another turn at delta blues with the next song (“Low Down Dirty Dog Blues”) exemplifies this band's talents in this genre – and the organ actually makes an excellent accompaniment on this well-written song by Dicky James (Wagster). On this disk's only instrumental cut we are treated to an outstanding harmonica solo, as well as a very tightly controlled contribution by the rest of the band – definitely one for the record books! One of the very few jump (boogie) blues cuts, “Game On” highlghts the bands' versatility, as well as Dicky James' writing chops. The next cut (“Special To Me”) just threw me for a curve. At first I thought that perhaps someone accidentally patched in a rap/reggae song – nothing like the rest of the cd; however, when I checked the label I found it was definitely a part of the cd. It is just so differen from the rest of the cuts that my only comment is that the inclusion here is simply a mystery. The very last song on this cd – another jump blues song (“We Git To Play”) is one of the best representations of the jump (boogie) genre, and Mr. James & company really strut their stuff here. Although I don't know if I would go see this band live, I do strongly recommend purchasing this band's premier cd.. And that's my two nickels' worth.......................Nick

ARTIST BIO:

Richard “Dicky James” Wagster was born in 1956 in Gary, IN and raised in Calumet City, IL. As a boy Dicky watched his older brother, Bear, play guitar and immediately fell in love. At age 12 he got his first guitar, a Stella acoustic, and began learning by ear from whatever blues and Motown records he could pick up. He was finally on the way when his brother brought him his first electric from the px in Vietnam. Around age 18 he began performing in clubs from coast to coast and opening for numerous major recording artists. In 1994 he relocated to the Wabash Valley where, in 2008, he and rest of the boys formed Dicky James and the Blue Flames.

The Musicians:

・ Dicky James Wagster – songwriter, vocals, guitar

・ Bob “Icehouse” Freeze – electric harmonica, sax

・ John “Lightning Boy” Beeson – Hammond Organ, vocals

・ Mark “P Funk” Ford – bass, arranger

・ Will Cox – drums, percussion

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BIG PETE

Choice Cuts

Jan 3, 2012

Pieter [Big Pete] vanderPluijm plays harmonica infused with the echoes of a distinguished line of blues masters. Pete, from the Netherlands, enlisted help from a number of special artists on this debut album. The Blues Foundation has nominated Choice Cuts for Best New Artist Debut. He has gained fame throughout Europe as frontman in the Lester Butler Tribute Band. Top tracks include 2-6-9-12-13 but all are truly Choice Cuts. Authentic-sounding “Can’t You See What You’re Doin’ to Me” showcases Alex Schultz’ lead guitar and the background picking keeps pace just like Albert King’s original piece. In the Jimmy Rogers tune “Act Like You Love Me” Pete employs the same vibrato technique as its creator. Al Blake’s sweetly-paced harmonica shines through with Alex Schultz on lead in “I Got My Eyes on You.” Listen to “Hey Lawdy Mama” and you’ll agree why Jimi Bott has been nominated by The Blues Foundation as one of the best instrumentalists on drums. Big Pete has taken Howlin’ Wolf’s “Rockin’ Daddy” to a higher plane with rough-edged reverb and lots of guitar and piano support from Kid Ramos and Rob Rio. “Chromatic Crumbs” is a tribute to the late William Clarke and it resonates with identical soul. In “I’m a Business Man,” you can HEAR the Mississippi Delta in Pete’s harp along with Paul Oscher’s melodica. You can’t miss on this album. After years of honing his skill, Big Pete will be known for Big Pete, not for the footsteps he has followed and now stepped beyond. – Pam VandeKerkhoff

Quick Links:

Label

PAUL KELLY

Greatest Hits-Songs From the South Volumes 1 & 2

Jan 1, 2012

With seventeen albums and numerous film scores under his belt, Paul Kelly might be the most famous folk singer-songwriter I’ve never heard of. I guess it’s to be expected that his greatest hits release should be a double disc. (The first disc covers the years 1985-1997 and the second disc covers 1998-2008.) With a full band backing thoughtful vocals, think Billy Bragg, Robyn Hitchcock, or John Wesley Harding to peg this Australian. Rebecca Ruth

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CARSIE BLANTON

Idiot Heart

Jan 1, 2012

Philadelphia native, Carsie Blanton, has toured extensively in the last few years, opening for such artists as: Joan Osborne, The Weepies, and Paul Simon. If that doesn’t give this singer-songwriter credibility, the fact that her third release was produced by Oliver Wood (Wood Brothers) certainly does. Sticking strictly to the folk genre, with elements of pop and country scattered throughout, “Idiot Heart” features charming lyrics, sung sweetly, to the accompaniment of a full band. Rebecca Ruth

Quick Links:

Carsie Blanton Website

Artist website

THE DAVE BRUBECK QUARTET

THEIR LAST TIME OUT

Dec 13, 2011

The Dave Brubeck quartet has gone down in history as one of Jazz Music's most celebrated groups. The group led by Dave's fiery fingers on the keys & the cool sounds of the late Paul Desmond on alto sax, the Senator Eugene Wright on bass and drummer Joe Morello who passed earlier this year brought us many jazz classics including the Desmond/Brubeck classic Take Five. This is the groups final concert as a quartet and the master tapes have been preserved in Dave's personal library. The recording quality of this disc is pristine and clearly shows a group that departed at the very top of their game. Many of this groups classics were emitted from this recording such as Blue Rondo a La Turk and Unsquare Dance but listeners will not be disappointed by the 15 gems that made up one magical musical evening on December 26, 1967. Reviewed By: Gregg Saur

Quick Links:

Dave Brubeck Home Page

THE DIGGITY

Another Wondrous Conversation

Dec 4, 2011

“Another Wondrous Conversation” is the second release from Diggity, a rock band from Indiana. The album opener, “Muffin House” seemed encouraging; however, not all the songs here are instrumentals. The band flirts with different styles of rock, including the mild, salsa-flavored “Bulunda” and the bland funk of “Mass Reaction”. (Those are the throw-away songs.) There is also the loungey trip-hop of “Bathwater”, the Parliament-style vocals of “People On The Moon”, and the jammy “Muffin House Pt.2”. Some of the songs on this release are a bit synth-heavy (in an 80’s kind of way) and offer synth solos such as that found on “Puzzle”, which features vocals that are reminiscent of David Byrne..adding to that 80’s flavor. All in all “Another Wondrous Conversation” leaves me wondering what this band could become when it matures. Rebecca Ruth

Quick Links:

The Diggity Website

ZACH DEPUTY

Another Day

Dec 2, 2011

Nick's Picks: 02 By Your Side; 04 Sweet Rene; 06 Thoughts of Yesterday

FCC ALERT: "as pure as the Sea Island cotton of his native South Carolina

Review by Steven "Nick" Nickelson of Zach Deputy Another Day :

At first listen, I couldn't seem to pin down the genre of this particular singer/songwriter. Since I hadn't been to any of this true road warrior's concerts (250 plus concerts/year), I did not know much about him. I can, however, note some recent influences on his music. “Sleep”, for instance has a distinctive Gavin DeGraw sound (as does “Sweet Rene”), and there is more than a couple of island-based influences on this cd, as well (“Into The Morning” is the best example). It is mentioned in his bio that he was influenced by such R&B artists as James Brown (“Make It Right”) and Ray Charles; however, I can detect a “softer side” of R&B (and Pop). Some examples: Marvin Gaye (“By Your Side”, “Thoughts of Yesterday”), Michael Jackson (“Remember”) . Defi nitely, this release does share some original songs – at least I cannot detect an influence (“You Don't Even Love That Girl”, “Happy Graduation”, “Tagalong”, as well as the title cut), and even those don't seem to attach to any general genre – and when it comes to musical flexibility, that's a good thing.. And that's my two nickels' worth...........................................Nick

ARTIST BIO:

Recorded over 5 days in August 2010 at Mission Sound Recording in Brooklyn, NY, Another Day is the truest example of pure musicianship. As heard in this recording, Grammy winning producer Scott Jacoby and his team of musicians demonstrate that large budget recordings and “over-production” are simply not necessary. In contrast to the music and feel of Another Day, Zach Deputy has made his mark thus far as a touring powerhouse. As a boy, the music of his Puerto Rican, Cruzan and Irish heritage was cooked up in the South Carolina heat. The Calypso rhythms and folk songs of St. Croix competed with the R&B / soul of pioneers like James Brown and Ray Charles for space on the family stereo. As Deputy honed his craft, a unique hybrid of these influences emerged, ultimately creating the signature Zach Deputy sound. To bring this sound to the stage, the big, impossibly upbeat South Carolinian with the infectious smile puts on a solo show– enhanced by looping technology– that is essentially a one man dance party offering up what he calls “Island-infused, Drum ‘n’ Bass, Gospel-Ninja-Soul” to the enthusiastic crowds of dancers who flock to clubs from coast-to-coast. It is these late night dance parties— more than 250 per year– that have made Zach Deputy one of the hottest up-and-coming performers on the camping festival circuit and “jam band” scene. For Zach, most days begin in a hotel room and end a couple of hours after walking off stage. The constant touring and the compelling live show may be the key to Zach’s success on the road, but it is an unlikely inspiration for Another Day, as there is little similarity between what fans have come to expect from Zach and what is offered up in this new record. Thus, Another Day is an appropriately titled album, and it is truly an album in the classic sense— a collection of songs that come from the same time and place, inspired by the same muse. Reflective and introspective, it provides a glimpse at the soul of an artist and the depth of a songwriter. Full of hope and anticipation of the promise of another day, a new day, it is a pivotal point in the career of a touring musician. Whereas it is a departure for Zach Deputy, it is one that he feels confident his fans can relate to, but it isn’t the end in itself. Deputy’s multi-faceted diamond gets one side polished in this offering, and it is a side that will shine brightly for a new audience.

The Musicians:

・ Zach Deputy – songwriter, vocals, acoustic guitar

・ Graham Hawthorne (Aretha Franklin, Paul Simon, David Byrne) - Drums

・ Al Carty (Lou Reed, Alicia Keys, Gavin DeGraw) – bass guitar

・ Will Buthod (Jay-Z, Swizz Beatz, The Harlem Gospel Choir) keyboards

Quick Links:

HANS THEESSINK

Jederman Remixed - The Soundtrack

Nov 28, 2011

Nick's Picks: 02 When The Man Comes Around; 08 Ready For The Ride; 09 Mother's Advice; 13 Mother Earth; 17 Sympathy For The Devil

FCC ALERT: No Issues "

Review by Steven "Nick" Nickelson of Hans Theessink Jedermann Remixed – The Soundtrack: Although I had not previously heard of Hans Theessink, I have spent a number of hours listening to his talented guitar playing (on this soundtrack, as well as online - for reference). The reason for this release (my understanding) was to address a need for a soundtrack that expanded those snippets of songs heard in the Jederman (translation: Everyman) movie. Given the extensive listing on instruments and musicians on the jacket, I have to note here that the product certainly doesn't have that “big band” nor even an ensemble sound – each artist (quite talented, I might add) very simply provides the background sound apropos to the song being played. Some songs are covers of songs that were popular on American radio (“Way Down In The Hole” – Tom Waits, “The Man Comes Around” - Johnny Cash, “No Expectations” - Jagger/Richards, “I'm A Man” - Bo Diddley, “The Beast In Me – Nick Lowe, “I Got A Woman” - Ray Charles, “The Angel of Death” - Hank Williams, “Miother Earth” - Memphis Slim, “People Get Ready” - Curtis Mayfield, “Sympathy For The Devil” - Jagger/Richards, “Games People Play” - Joe South,); however, the sound mixing and arranging so perfectly make this cd sound as if the songs were actually written for this soundtrack. Other songs were actually written by Hans Theessink for the Jederman project, or were arrangements of traditional folk songs. After having listened to this for awhile I am impressed with the virtuosity of this guitarist. I don't recall hearing anyone “stretch” the strings as far as Hans Theessink. The best example of this string stretching is on the traditional “You Gonna Need Somebody On Your Bond”, as well as “Cukcoo”. I honestly don't know how he gets that much distortion out and still get through a single song without replacing a single one. And that's my two nickels' worth........................ ..................Nick

Quick Links:

STEPHANIESID

Starfruit

Nov 25, 2011

Stephanie Morgan is the creative force of “Stephanie’s Id” as lyricist, vocalist, guitarist and wife to Chuck Lichtenberg (keyboard). Starfruit is the band’s fourth release. Her voice is reminiscent of Bjork, but don’t let that stop you. Recommended tracks in order of preference: 3, 5, 6, 1. #1 Complex R&B “Closer” brings plenty of horns and percussion. #3 “Cadiz” salsa beat that builds to a nice crescendo. #5 “Cinematic” - hip hop tune with addictive drums. There’s a few quick measures of deep, deep base mid-song but it disappears, unfortunately! #6 “Doggy Song” – give it time; it’s a gem. Your dog knows no bounds when he’s sleeping! #7 You’ll remember “Life in a Northern Town” as this likeable “The Dream Academy” cover. #9 “Schlamiel” is Stephanie’s campy take on Laverne & Shirley theme song. #10 “I Like it Too” features soft harmony and vocal beatbox. It’s more acoustic and less slick than track 4 by the same name. Stephanie declares, “it is customary to eat fruit in the shape of stars.” Did I mention she has a master’s in mental health? Starfruit is quirky and diverse. – Pam VandeKerkhoff FCC alert: track #8

Quick Links:

Band website

ALON NECHUSHTAN

Words Beyond

Nov 25, 2011

Israeli-born Alon Nechushtan studied jazz and big band piano at the Boston New England Conservatory under Bob Brookmeyer and Fred Hersch. All tracks on Words Beyond were composed by Alon and recorded in one session with François Moutin on bass and Dan Weiss on drums, stellar musicians in their own right. According to Alon, instrumental music must convey the narrative it deserves. The genesis of this debut album was Mendelssohn’s Lieder ohne Worter—songs without words—and based on an old Chinese poem “The Traveler” where ‘entranced, sets off to a journey beyond words spinning the clouds, from dusk til dawn unravels the divine masterplan.’ Recommended tracks: #1 uptempo “Muppet Shock;” you’ll get lost in the rhythmic patterns in #2 “A Different Kind of Morning” (love this!) and #5 “Spring Soul Song” highlights Moutin’s virtuosity on upright bass. Words Beyond is a masterful accomplishment of jazz enlightenment. --Pam VandeKerkhoff

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GIRLS

Father, Son, Holy Ghost

Nov 21, 2011

Nick's Picks: 03 Die; 06 Vomit; 10 Love Like A River

FCC ALERT: Track 3 "Die" "

Review by Steven "Nick" Nickelson of Girls Father, Son, Holy Ghost:

After listening for a few hours, I notice that I can draw some similarities between Girls and Wilco. Perhaps it may be just the vocal range and inflection; however, I have to believe Christopher Owens somehow picked up on Wilco (“Magic”, “Forgiveness”, “Love Like A River”), as well as Death Cab For Cutie (“Alex”, “Just A Song”), with a hint of Pink Floyd (“My Ma”, “Vomit”). But right out of the gate, we get what some critics have noted – a Beach Boys' influenced intro (“Honey Bunny”). Cutting to the third song (“Die”), I can detect no influences; yet, this is the absolutely best played/arranged song on the entire cd. This cd could be oh so much greater if all songs were as carefully crafted and performed as this song. The very last cut on this release starts off so simply and develops into a beautiful love song (“Jamie Marie”), so it also diverges somewhat from this (mostly) derivative release. This band definitely has the talent to go places, and the music on this release most emphatically verifies that. Would I buy this cd? Most likely.

And that's my two nickels' worth..........................................Nick

ARTIST BIO:

Girls is an indie rock band from San Francisco, California. Made up of two key members, Christopher Owens who is the main writer and Chet "JR" White who plays bass and produces. The band's lead singer, Christopher Owens, is a former member of the Children of God cult. The New York Times compared the band's sound to Elvis Costello, Buddy Holly, and The Beach Boys.[1] Upon arriving in San Francisco (via Amarillo, Texas), Owens met White, a Bay Area native who was raised in Santa Cruz, California. White began recording bands in his parents' garage. Upon meeting, the two developed a strong bond and interest in similar music, as well as a shared background in Punk/Hardcore music. Shortly thereafter Owens and White started recording what was to later be their debut album, titled Album. A former member of the band Holy Shit with Ariel Pink and Matt Fishbeck,[2] in an interview with Exclaim! magazine, Owens related much of how being part of the Children of God cult informed his childhood and his music. While there, he was not allowed to listen to music from outside the group, but was allowed to watch movies from which he absorbed music like Queen and Guns N' Roses. Girls' Album is an "overflow of expression", as Owens could do whatever he liked on the album without worry for boundaries.[3] The band released their second full length album Father, Son, Holy Ghost on September 9, 2011 in UK/Europe and on September 13 in the USA. On July 20, 2011, they released "Vomit" from their upcoming album as a free download. This was followed by a video of the same song in August. "Honey Bunny" is the second cut off the record and will receive a proper single release in vinyl and other formats. Besides its two official members the band has recorded and/or toured with: Ryan William Lynch, Garett Godard, Matthew Kallman, Darren Weiss, Dan Eisenberg, John Anderson.

The Band:

・ Christopher Owens – songwriter, vocals, acoustic guitar

・ Chet JR White – producer, bass

Contributing Musicians: ・ Jimmy Bowland – saxophone

・ Samantha Hegberg – backisng vocals (track 5)

・ Dave Isaacs – electric and accoustic guitar, backing vocals

・ Ryan Joseph – fiddle

・ Fats Kaplin – pedal steel

・ Will Kimbrough – mandolin, electric guitar

・ Scott Miller – electric guitar

Quick Links:

ATLAS SOUND

Parallax

Nov 15, 2011

Atlas Sound is the solo project of Deerhunter’s Bradford Cox and “Parallax” is his third release. This is ambient indie rock that sometimes seems a bit of melancholy. I liked this when taken one song at a time; especially the third and sixth tracks, “Te Amo” and “Mona Lisa”. Listening to it in its entirety, however, gets a bit mundane. Rebecca Ruth

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COLDPLAY

Mylo Xyloto

Nov 15, 2011

Mylo Xyloto is the Coldplay’s fifth studio LP and presents as a palette of ballads, hip-hop, electronica with Asian influence, and even some Celtic beats–much like the multi-hued graffiti album art. Mylo Xyloto was produced by Markus Dravs, Daniel Green and Rik Simpson, with Brian Eno providing "enoxification" according to liner notes. There is much talk about the sequencing of the album and many lyrics are intertwined. Each track is great but standouts are: “Paradise,” “Charlie Brown,” and “Princess of China.” “Paradise” features multi-layered keyboards, synthesized strings, and a bass-heavy club beat. There has to be one tune everybody at the concert sings at the top of their lungs (“Vida la Vida,” “Clocks”) and “Paradise” is this album’s torch song. “Charlie Brown” – is it any wonder this is in Billboard’s top 100 in Japan? Martin’s distorted voice piques your ears. “Us Against the World” is a quiet ballad featuring Martin and his guitar. Pop treatment courtesy of Rihanna and layered tracks with an Asian (and Eno) influence makes this “Princess of China” hip-hop song soar but it has no semblance of Coldplay’s soul. “Up in Flames” evokes a feeling of vintage Coldplay…piano and Chris’ falsetto voice. Staying power describes Coldplay. Mylo Xyloto is sure to excite their fan base and might help Rihanna lovers broaden their tastes. A wonderful listen. - Pam VandeKerkhoff

Quick Links:

Band website

PIETA BROWN

Mercury

Nov 14, 2011

Nick's Picks: 03 Mercury; 05 I'm Gone; 09 Closing Time; 11 Glory To Glory

FCC ALERT: "Squeaky Clean"

Review by Steven "Nick" Nickelson of Pieta Brown Mercury :

Pieta Brownt is a talented and focused folk artist, whose songwriting talents have garnered her mention in no less than The Wall Street Journal, as well as opportunities to perform in festivals throughout the US and a tour with Mark Knopfler (formerly of Dire Straits). Her singing style is similar to Gillian Welch, and almost as sexy. Her songwriting does, however, reflect her youthful take on life (“Be With You”, “I Want It Back”). Her bandmates bring an abundance of professionalism and technically musical savvy to the table – particularly the haunting tremelo from Bo Ramsey and Richard Bennett (“Closing Time”, ”So Many Miles”, and “Night All Day” are excellent examples). With a more assertive singing voice, she could be favorably compared to the inimitable (irony intended) Emmylou Harris (“Butterfly Blues”, “I Don't Mind” are just a couple on this release). The musical arrangements on this, her fifth full release, are as impressive as the songwriting, singing, and playing. And her backing band doesn't hold anythingy back. It seems that each and every song in this release is sung in the same key; however, the change-ups in the pace of the songs prevent the listener from becoming bored. And that's my two nickels' worth........................Nick

ARTIST BIO:

Pieta Brown is an American musician and singer-songwriter who has released four critically acclaimed albums and three EPs in the last decade. She has performed with artists such as Mark Knopfler, John Prine, Amos Lee and Calexico. Brown was born in Iowa City, Iowa in 1973, the daughter of two preachers' kids.[1] Her early upbringing in Iowa was in a rural outpost with no furnace or running water. There, Brown was exposed to traditional and rural folk music through her father, singer songwriter Greg Brown. Brown spent her childhood living in 17 different residences between Iowa and Alabama. While living with her mother in Alabama, Brown began writing poetry and composing instrumental songs on piano.[2] Collaborator Bo Ramsey produced her 2002 debut record, Pieta Brown and co-produced her 2005 album In the Cool which was named one of the year's best by Amazon.[3] Her next album Remember The Sun was released in 2007 and was cited as one of the year's best in a The Wall Street Journal article.[4] After the release of her next album, One and All, Brown joined Mark Knopfler’s North American tour, had a string of performance dates with John Prine, participated in a full orchestral show with Brandi Carlile, and embarked on her own performance tour in Australia. Brown's 2009 EP, Shimmer was produced by Don Was after he heard Brown performing solo and live on his car radio.[5] In addition to Mark Knopfler, John Prine and Brandi Carlile, Brown has shared stages with JJ Cale, Emmylou Harris, Ani DiFranco, Calexico, Neko Case, Mason Jennings, Shawn Mullins, Carrie Rodriguez and Jim Lauderdale. She has performed at festivals throughout North America including Bonnaroo, Mountain Jam (festival), Edmonton Folk Music Festival and more. Her national radio credits include performances on eTown (radio program) and Mountain Stage. Albums Mercury - (Red House Records, 2011) One and All - (Red House Records, 2010) Remember the Sun – (One Little Indian, 2007) In the Cool – (Valley Entertainment, 2005)[6] Pieta Brown – (Trailer Records, 2002) [edit]EPs Shimmer EP - (Red House Records, 2009) Flight Time EP - (T Records, 2008) I Never Told EP – (T Records, 2003)

The Musicians:

・ Pieta Brown – songwriter, vocals, acoustic guitar

・ Bo Ramsey – electric guitar, electric 12-string guitar, backing vocals

・ Richard Bennett – lapsteel, electric guitar, national resonator, bouzouki

・ Glenn Worf – electric and acoustic bass

・ Chad Cromwell – drums, percussion

・ David Mansfield – strings

・ Mark Knopfler – electric guitar (track 12)

Quick Links:

ZOE BOEKBINDER

Darling Specimens

Nov 7, 2011

You may have heard of Zoe Boekbinder. She previously was one half of the duo, Vermillion Lies. For her second solo release, Ms. Boekbinder combines elements of folk, pop, and electronics, with such instruments as cello, singing saw, theramin, and trombone. She then adds her lovely voice (sometimes looped) singing interesting, sometimes macabre lyrics. It all adds up to quirky acoustic-electro-folk-pop. Oxymoron? Yes, but it works! Rebecca Ruth (Tune-Yards fans might like this one.)

Quick Links:

Zoe Boekbinder Website

MYRICK/PEACOCK

Myrick/Peacock

Nov 5, 2011

Americana songwriters Alice Peacock and Danny Myrick team up for a folk-country-rock set that sounds like early Steve Earle instrumentation (e.g. "Great Big Love" and "Isn't It Amazing") and Buddy and Julie Miller trading verses and harmonies (e.g. "Right On Time"). There's a fresh energy to the collaboration and the stories of love amid the ruins of our crazy world today are great for the car radio. The tunes are mostly rockers, with just a couple of soft-side pieces, including the gospel closer "In All Things." These two have a natural affinity for one another, lyrically and harmonically. I'm not sure if this is a new duo/group or simply a side project for them, but the results are pleasing. 11/11 Michael J. F-Rock (duo)

LYDIA LOVELESS

Indestructible Machine

Oct 31, 2011

Nick's Picks: EVERY SINGLE ONE

FCC ALERT: "01, 02, 03, 07, 08, 09"

Note that there is a "clean" version on a separate cd, enclosed.
Review by Steven "Nick" Nickelson of Lydia Loveless Indestructible Machine :

A dose of country, an equal part punk, and a lot of trailer park - oh, and a whole bunch of singing/songwriting talent. This is absolutely the hardest of the hard-charging releases I have heard since I began reviewing. I am simply floored! This twenty-one year-old singer/songwriter from the Midwest has created a genre all her own! We had Black Jake and the Carnies perverting Bluegrass into Crabgrass with their punk attitudes and instrumentation. The same can be said here for the daughter of a country bar owner with her punked-up music and attitudes. The thing is - just like Black Jake and company, this girl has the pipes and the talent to make the genre (Country Punk) her very own. What is amazing to me is the depth of feeling and life experiences coming from such a young girl. I have read some of the reviews comparing her to Loretta Lynn, but I have to strongly disagree. Her talent and old-soul songs are more akin to a Janis Joplin/Merle Haggard mashup. There are no punches pulled on this record - Lydia blasts through each track with enchanting, powerful vocals, and a versatile backing band that hits hard as hell one minute, and soothes just as softly the next. She has no fear when it comes to expressing her feelings in her generation's vernacular - even though the use of the expletives throughout this recording would shock an older generation, they seem to come so easily in her music as to make the usage an integral part of her generation's music scene. What I don't understand is why such a gifted artist would insist on using profanity for the sake of artistic poesy. Like Lenny Bruce, I think Ms. Loveless wants to be noted for her fearlessness; and unlike Lenny Bruce, she is easy on the eyes and completely focused on delivering her message in a powerful voice singing with full-speed-ahead, damn the torpedoes attitude. I think the Absolute Punk reviewer said it best, ",,,she stands to be the greatest thing for the genre since Uncle Tupelo . . . Make no mistake, Indestructible Machine is the sound of promise, the sound of hope and ultimately the sound of something truly special unfolding." I could just go on and on, but you need to hear it for yourself. And that's my two nickels' worth............................Nick

ARTIST BIO:

Blessed with a commanding, blast-it-to-the-back-of-theroom voice, the 21-year-old Lydia Loveless was raised on a family farm in Coshocton, Ohio—a small weird town with nothing to do but make music. With a dad who owned a country music bar, Loveless often woke up with a house full of touring musicians scattered on couches and floors. When she got older, in the time-honored traditions of teenage rebellion, she turned her back on these roots, moved to the city (Columbus, OH) and immersed herself in the punk scene, soaking up the musical and attitudinal influences of everyone from Charles Bukowski to Richard Hell to Hank III.

The Musicians:

・ Lydia Lovelesws – songwriting, vocals, rhythm guitar

・ Todd May – lead guitar, backing vocals

・ Ben Lamb – bass

・ Parker Chandler – drums

・ Rob Woodruff – banjo

・ Adrian Jusdanis – violin

・ Barry Hensley – pedal steel

The Songs:

1. Bad Way To Go

2. Can't Change Me

3. More Like Them

4. How Many Women

5. Jesus Was a Wino

6. Steve Earle

7. Learn To Say No

8. Do Right

9. Crazy

Quick Links:

THE BEES

Every Step's A Yes

Oct 30, 2011

Previously known as Band of Bees, Uk band, The Bees, has made a lovely album with its fourth release, “Every Step’s A Yes”. Featuring such unusual instruments as sitar, mandolin, jaw harp, and celeste, The Bees have fashioned music that’s a mellow departure from their previous releases. The layered vocal harmonies and occasional string flourishes remind me of old Pink Floyd (think “Obscured By Clouds). This psych-folk disc seems to me to be the logical product of the band that once cited the mind-altering Peruvian plant, ayahuasca, as an influence. All in all, this is pretty, well-produced stuff. Rebecca Ruth

Quick Links:

MEGAFAUN

Megafaun

Oct 27, 2011

With their new logo and self-titled LP, Megafaun is looking for brand recognition. This is their third album. Megafaun is comprised of brothers Philip & Bradley Cook and Joe Westerlund. They used to play with Justin Vernon (Bon Iver) before parting paths. Megafaun is evolving from the folksy sound of earlier releases with less reliance on banjo and the addition of new bassist Nick Sanborn. Everything is alright with “Get Right” – a recurring drum theme winds through lead guitar reverb with minimal overdub sound effects…it’s the strongest performer on this CD and evidenced further as the band has hinted toward making a video for this song. With simple piano and snare, give the slow paced “Hope You Know” the attention it deserves—a four minute respite. It’s somewhat of a tribute to Vernon. Instrumental “Isadore” begins with strains of “Auld Lang Syne,” but is a treat with its many musical elements: strings, xylophone, horns, woodwinds. “Scorned” is a blues number featuring sweet harp distortion. #15 [untitled] If you wait until four minutes into this secret track, you’ll be treated to studio effects and “Rooster Egg”--a goofy song where reportedly the ‘sequencing is crucial and deliberate’ per Brad Cook. It’s supposed to be a wink and a nod to the future—where the band plans to further explore genres but not take itself too seriously. – Pam VandeKerkhoff

Quick Links:

Label website

FIONA BOYES

BLUES FOR A HARD WORLD

Oct 25, 2011

Fiona Boyes strips things bare for her third American release, which features 16 tracks of traditional Delta Blues, Country Blues and even her trademark Barrelhouse on tracks like "Guys Be Wise". This CD really showcases Fiona's skills on both the acoustic and resonator guitars where her finger picking skills are unmatched by most of today's blues performers. The songs on this disc are all stories which Fiona calls "classic themes of church house versus barrelhouse, drinking redemption, lust and fun." Fiona really explores the virtues of god and religion on tracks such as God and The Devil", "The Preacher" and "Jesus Took Possession". "Baptized in Muddy's Sweat" may be a musical religious moment about a friend pressed against the stage during a Muddy Waters concert and felling the legendary performers sweat. The tracks "Drink To Your Health" and "Guys Be Wise" are upbeat tracks and showcase some of the humor captured on her first Lucky 13 disc. Fiona's voice has never sounded better and this CD is a testament to a blues woman that is both on top of her game and the blues world. Reviewed By: Gregg Saur

Quick Links:

Fiona Boyes Home Page

LINDSEY BUCKINGHAM

Seeds We Sow

Oct 24, 2011

Nick's Picks: 01 Seeds We Sow; 03 Illumination; 05 Stars Are Crazy; 09 Gone Too Far

FCC ALERT: "As pure as the tonal quality of the guitar licks" "

Review by Steven "Nick" Nickelson of Lindsey Buckingham Seeds we Sow:

It's been awhile since I listened (I mean REALLY listened) to any music by members of Fleetwood Mac, so it was a pleasant surprise to REALLY listen to Lydsey Buckingham on this, his fifth solo release. Recently I started learning to play the guitar, so I am beginning to truly appreciate the genius in some of the guitar playing of late - a good example of this is Lindsey Buckingham's unique picking style (for rock guitatists), in which he uses no pick, but plucks with his fingers and fingernails. In the first cut of this release, we are treated to some truly gifted and mesmerizing finger picking ("Seeds We Sow"). The next cut is just as amazing, with (I'm guessing) an electronically enhanced picking; the best part being how much this song ("In Our Own Time") and the next one ("Illumination"), as well as the sixth cut ("When She Comes Down") sound so much like a standard Fleetwood Mac tune - but are not. The fourth cut on this cd ("That's The Way That Love Goes") starts off almost in a baroque mood, which was carrying me back to a time in Indianapolis at James Tavern (where that type of music played all through the most excellent brunch), until I was suddenly broken from my reverie by the crashing of drums and cymbals, and a pickup of the tempo. It all works, though. "Stars Are Crazy" is another beautifully finger-picked song that - even though not penned by Buckingham - comes off sounding exactly like it sprung from his flying fingers - just amazing. We are not to be lulled by the easy listening style of this cd - especially when we get to "One Take". Not only are we treated to some genuine rocking guitar virtuoso licks, but we get just a little taste of the old Fleetwood Mac's political perspective in this track and track ten ("End of Time"). All in all, I am definitely going to attend one of Lindsey Buckingham's solo concerts - if he comes around. And that's my two nickels' worth....................................................Nick

ARTIST BIO: Lindsey Adams Buckingham (born October 3, 1949) is an American guitarist, singer, composer and producer, most notable for being the guitarist and male lead singer of the musical group Fleetwood Mac. Aside from his tenure with Fleetwood Mac, Buckingham has also released five solo albums and a live album. As a member of Fleetwood Mac, he was inducted into the Rock and Roll Hall of Fame in 1998. Unlike most rock guitarists, Buckingham does not play with a pick; instead, he picks the strings with his fingers and fingernails. Initially after joining Fleetwood Mac, Buckingham used a Gibson Les Paul. Before the band, a Fender Telecaster was his main guitar, and was used on his first Fleetwood Mac album. In 1979, he worked with Rick Turner, owner of Renaissance Guitars to create the Model One. He has used it extensively since, both with Fleetwood Mac and for his solo efforts. He uses a Taylor Guitar 814ce for most of his acoustic performances and has also used an Ovation Celebrity in the past. His influences include The Beach Boys and The Kingston Trio. In an interview with Acoustic Guitar Magazine, Buckingham said: "I've always believed that you play to highlight the song, not to highlight the player. The song is all that matters. There are two ways you can choose to go. You can try to be someone like Eddie Van Halen, who is a great guitar player, a virtuoso. Yet he doesn't make good records because what he plays is totally lost in the context of this band's music. Then there are guitar players like Chet Atkins, who weren't out there trying to show themselves off as guitar players per se, but were using the guitar as a tool to make good records. I remember loving Chet's work when I was a kid, but it was only later, when I really listened to his guitar parts, that I realized how much they were a part of the song's fabric, and how much you'd be going 'Oh, that song just isn't working.' if they weren't there."

The Musicians:

・ Lindsey Buckingham - songwriter, singer, guitar; ・ Neale Heywood – keyboards; ・ Walfredo Reyes – drums; ・ Brett Tuggle – keyboard (track 4)

The Songs:

Seeds we Sow

In Our Own Time

Illumination

That's The Way That Love Goes

Stars Are Crazy

When She Comes Down

Rock Away Blind

One Take

Gone Too Far

End of Time

She Smiled Sweetly

Band's website

LERA LYNN

Have You Met Lera Lynn

Oct 19, 2011

FCC ALERT: “05, Good Hearted Man" "

Nick's Picks: 03 Gasoline; 05 Bobby, Baby; 06 Good Hearted Man;

Review by Steven "Nick" Nickelson of Lera Lynn Have You Met Lera Lynn:

If it weren't for this reviewing thing, I know I wouldn't have the opportunity to hear some great music from very talented musicians – not the least of which is the very young, very talented singer-songwriter Lera Lynn most recently of Athens, Georgia. She has had prior performing experience being part of Bird & Wire, but this is her first (and I hope not only) solo release. If what she said is true about her music coming from her experiences, then she has either had a very busy life, she is older than she says she is, or she is a very old soul. We start off this release with a she-done-me-wrong-so-I'm-drinkin'-myself-to-death-song with a blurry sense of humor (“Whiskey”). This is classic country, with the requisite melancholy carried by the steel guitar; although written by Lera Lynn, the song takes the male perspective – much like another well-written song (“Good Hearted Man”). “Good Hearted Man” seems to take from an old Waylon/Willie classic, except with the inclusion of a couple of key words that the FCC doesn't like; thus, even though an excellent performance by Lera Lynn and crew, it will never be broadcast over the public airwaves. “Happy Ever After” has a happy little a little stutter-step rhythm that is reminiscent of a song performed by Ricky Nelson. I'm not sure how Ms. Lynne selected the order of the song list, but she goes from that little ditty to a tongue-in-cheek “torch song” set to an alt-country-punk sound (“Gasoline”). From there, we segue into an actual torch song for which I can find no comparison (“Fire and Undertow”), and from there even deeper into the depths of human emotion with a Judy Collin's-like story song (“Bobby, Baby”) - sung in a tonally perfect voice by Ms. Lynn. Even though this is an up-and-coming singer/songwriter, I think the songs, “Paper Anchor” and the cover of the Leonard Cohen song, “I Tried To Leave You” were added as filler to get the cd out for release. That's not to say they were bad – no, they were as exquisitely performed as the rest of the cuts on this release; they were too short, compared to the length of the other songs. The last two songs (“For The Ride”, and “You And Me Alone”) are lyrically well crafted, and beautifully performed. I'm not sure of the genre, unless it could be called alt-country-blues. Labels really shouldn't matter, though when you're treated to such great music. And that's my two nickels' worth....................................Nick

ARTIST BIO: What’s in a name? It’s an age old question — and for Athens, Ga., based performing songwriter Lera Lynn on her new record, the answer is simple: a summation of all that has been, and a bold thesis of what is yet to come. The Houston-born Lynn, who in March will release her debut, Have You Met Lera Lynn?, is already well-known in Athens for her time spent as the sultry voice of mainstay folk-poppers Birds & Wire. However, the multidimensional record’s title is telling; in the days since that band's dissolution, Lynn’s taken an honest and painstaking inventory of her past experiences, and out o f that process a song cycle has emerged that serves as a true representation — and a reintroduction — of the artist. “Like many songwriters, most of my songs come from turbulence in my life, be it with a lover or with family or with myself as an artist, or my job,” laughs Lynn. “This record is about my rebelliousness in love, hard-headedness, distrust. It’s also about being confused about where I’m going and not always getting what I want out of my creative self.”

The Musicians:

・ Lera Lynn – songwriter, producer, vocals, acoustic & electric guitars, rhodes piano

・ Robby Handley – bass, acoustic guitar, drums, percussion, foot stomps

・ C.k. Koch – producer, drums, percussion, claps, snaps

・ Marlon Patton – drums (tracks 1 & 8)

・ Aj Adams – pedal steel, electric guitar

・ Thayer Sarrano – piano (track 7)

・ Karolyn Marie Troupe – viola

・ Daniel Clay, Alfredo Lapuz – electric guitar (track 2)

・ Eunice Kang – cello

The Songs:

1. Whiskey

2. Happy Ever After

3. Gasoline

4. Fire & Undertow

5. Bobby, Baby

6. Good Hearted Man

7. Paper Anchor

8. I Tried To Leave You (L. Cohen)

9. For The Ride

10. You & Me Alone

Quick Links:

THE BOTTOMS UP BLUES GANG

HANDLE IT

Oct 18, 2011

Raise a glass and toast the Bottoms Up Blues Gang's new release Handle It. This CD mixes St. Louis blues along with the sounds of the Crescent city to make for an acoustic stew of blues, folk and jazz. Lead Vocalists Keri Litson has a very distinct voice that at times shows shades of Michelle Shocked especially on the politically tinged track "New World Blues" and the duet "Lover Foe" with guitarist and band partner Jeremy-Segel Moss who makes up the nucleus of the BUBG.The track "If Only" is one of the slowest and most heartfelt tracks that features Kari's soft vocals Jeremy's acoustic guitar and harmonica from Adam Andrews , asking the long term relationship question If Only? The CD picks up steam again with the track "Show Your Love" That features a swinging piano from Matt Murdick and trumpet and fugal horn from Dawn Webber. "Quick Fix For Livin" is a straight ahead blues track that features an incredible down and dirty pairing of Jeremy's guitar matched again with some smoking harmonica from Adam Andrews. This CD concludes with its only cover track "Drown In My Own Tears" the classic Ray Charles track that includes guitars from the late St. Louis blues man Bennie Smith. This CD was recorded in both St. Louis and New Orleans, but should be enjoyed by lovers of great blues & jazz music anywhere. Reviewed By: Gregg Saur

Quick Links:

Bottoms Up Blues Gange Home Page

JOEY DEFRANCESCO

40

Oct 18, 2011

On April 10, 2011 Joey DeFrancesco turned 40 years young and celebrated by giving us this musical gift. Joey who many could argue is the greatest living Hammond B3 organ player is joined by guitarist Rick Zunigar who lists his inspirations as the greats Wes Montgomery and Joe Pass. It is easy to say after just one listen to this disc that his mentors would be really proud. This CD also includes drummer Ramon Banda who spent many years with Poncho Sanchez and now records with his brother Tony as part of the Banda Brothers. This CD infuses, straight jazz, funk, blues and ballads giving his listeners something for all tastes. Joey also adds a rare vocal track "Gloria" a soft ballad dedicated to the love of his life. Although most track are Joey originals he does play homage to James Ingram on 100 Ways and Ray Charles on the classic I've Got A Woman. This CD may have played a little soft on the ballad side for me, but there is no disputing that Joey DeFrancesco is a musical gift. Reviewed By: Gregg Saur

Quick Links:

Joey DeFrancesco Home Page

ICEBIRD

The Abandoned Lullaby

Oct 17, 2011

Philadelphia musicians RJD2 and Aaron Livingston have teamed up to become the duo Icebird. Sticking strictly to the method of collaborating as one producer (RJD2) and one singer (Aaron Livingston), they have made a slick neo-soul record. Occasional musical surprises occur here and there on “The Abandoned Lullaby” such as the kit drums on “I’m Green” and the xylophone on “King Tut”; but when they aren’t trying to rock out (like they do on “Gun For Hire”), they remind me just a little bit of Jamiroqui. Rebecca Ruth

BLIND WILLIES

Needle, Feather, and a Rope

Oct 14, 2011

Nick's Picks: 01 One Dime Down; 04 Needle, Feather, and a Rope; 08 Last Drop of Midnight; 12 Dear J.

FCC ALERT: 06 Reprobate Mind

Review by Steven "Nick" Nickelson of Blind Willies Needle, Feather, and a Rope :

After listening to this release from Alexei Wajchman and company (an extremely talented collection, IMHO), I think we have a winner in the alt-countrified gypsy-rock genre, folks. Right out of the gate we get Misha Khalikulov lulling us with a maudlin cello, before bursting in with accordion and horns; thus, giving a us a brassy, oompah carnivalesque concert (“One Dime Down”). From there, we are treated to an old-timey song reminiscent of a mashup of Randy Newman, Frank Zappa, and a young Tom Waits (“Lord Thought He'd Make A Man”). Singer-songwriter Wajchman (again, IMHO) is in a very select group of creative geniuses peopled by the likes of Zappa, Roger Waters/David Gilmour, Bob Marley, Lennon/McCartney, Dylan, L. Cohen, and a few others. His lyrics and music appear to magically conjure a sense of aurally “watching” a three ring circus at times, and a stage production at other times – all within the confines of the space between the ears, and sometimes even on the same track! One of the best cuts (“Needle, Feather, and Rope”) on this refreshingly well-arranged cd actually seems to draw (for me, at least) a favorable comparison to a couple of very popular bands of the late 60's – Chicago Transit Authority's eponymous first album, and Blood, Sweat, & Tears eponymous second album. Another equally reminiscent of BS&T is “Soon My Work Will Be Over”. “Jezebel” recalls a traditional celtic folk tune, a tale of some poor lady of the night who saved her pleasures for the Lord, drawing an influence from the likes of the Young Dubliners and/or The Pogues. To say that this collection of artists is talented is an understatement – each one contributes just the right amount required to make the song perfect. I note some indirect influence from Dylan by way of The Band (“I Made A Mistake”, “Absolutely Isabel”, “Sisters of Perpetual Curiosity”). Although every song on this release is remarkable, they each demonstrate the versatility of this talented group. Whether emulating Bruce Hornsby (“Notes For A Cowardly Lion”, “Don't Let The Devil Steal Your Joy”) or Zappa (“New Mule to Ride”), this cd is chock-full of deep and rich sounds. I recommend you run, don't walk to your nearest retail music store (or go online) and purchase this before it becomes a classic. And that's my two nickels' worth...........................Nick

ARTIST BIO:

Blind Willies actually had started as a duo. Blind Willies is Alexei Wajchman, guitarist/singer/songwriter; Adam Coopersmith, drums; Misha Khalikulov, cello; Max Miller-Loran, keyboard/trumpet; Daniel Riera, bass. Max Miller-Loran is a trumpeter, keyboardist, producer, and graduate of Berklee College of Music. He's performed extensively around Boston and the Bay Area with The Kev Choice Ensemble, The Contemporary Jazz Orchestra, The Dave Scott Nonet, The Getback, The Berklee Concert Jazz Orchestra and many others. Misha Khalikulov graduated from UCLA with a concentration in Classical Cello. He's toured the world this year with Rupa and the April Fishes. Daniel Riera is a multi-instrumentalist, producer, beatmaker, award-winning (ASCAP) composer, and arranger. He graduated from Berklee College of Music with a degree in Music Synthesis. Adam Coopersmith is a composer/songwriter/multi-instrumentalist/producer/beatmaker/teacher. He's co-founder of the Brooklyn-based afrobeat band, Zongo Junction. Alexei grew up in San Francisco's Mission District. After learning to play clarinet and sax, he taught himself to play guitar and began writing songs at 15. His early influences included Nirvana, Bob Dylan, Woody Guthrie, Velvet Underground, Robert Johnson, Leadbelly, Hank Williams, Jimi Hendrix, The Doors. His music is a soulful mix of folk, rock, jazz, and blues. Writing in the popular online zine Delusions of Adequacy, editor Jenn O'Donnell wrote "Blind Willies play incredibly wonderful music. Alexei is a remarkable songwriter." Following their sophomore release, and in search of a larger canvas, Alexei assembled a full band of experienced, young musicians, accomplished across diverse genres including rock, jazz, classical, world, and hip-hop. Now five musicians strong, the band recorded a new album, Needle, Feather, and a Rope, at Tiny Telephone, indie engineer/producer/performer John Vanderslice's all-analog studio in San Francisco's Mission District. Judging by the rich landscapes Alexei’s songs travel, the band has used the various gifts of its new members to forge a dynamic and unique sound that reflects the deeply resonant American musical traditions they each brought to the table. The music is sincere, raw, and poignant, and the band’s integrity is reflected in the 14 tracks of Needle, Feather, and a Rope as well as in the recording process. “We wanted to record in the manner of our favorite classic albums,” Alexei explains, “the band all together in the studio, live to 2” analog tape, with minimal overdubs. We felt this approach not only gives the album superior sonics, but is a more honest representation of our musicianship and soul. We punched it out in 4 days, 10 hours each day, and I think you can hear the pleasure of the experience and the fun we had.” Alexei recorded the first two Blind Willies CDs, The Unkindness of Ravens(2007) and Everybody's Looking for a Meal(2008), with fiddler Annie Staninec.

The Band:

・ Alexei Wajchman: vocal, guitar, harmonica

・ Adam Coopersmith: drums

・ Daniel Riera: bass

・ Max Miller-Loran: keys, trumpet

・ Misha Khalikulov: cello

The Session Musicians: ・ Randy Clark: lead guitar (3)

・ Isabel Douglass: accordion (1)

・ Adam Nash: guitar slide at end (13)

・ Ken Rosen: tenor sax (4)

・ Andrew Walker: bass trombone (1)

・ Rachel Woods-Robinson: trombone (4, 9, 14)

・ Capp Street Revisionist Choir: Rachel, Rebecca Pingree, Nicolette Yarbrough

The Songs:

1.One Dime Down 03:43

2.Lord Thought He'd Make a Man 03:11

3.Good and Faithful Servant 05:19

4.Needle, Feather, and a Rope 05:35

5.Jezebel 04:52

6.Reprobate Mind 03:53

7.I Made a Mistake 03:23

8.Last Drop of Midnight 05:09

9.Absolutely Isabel 03:32

10.Notes for a Cowardly Lion 04:38

11.Sisters of Perpetual Curiosity 03:56

12.Don't Let the Devil Steal Your Joy 03:17

13.New Mule to Ride 03:34

14.Soon My Work Will Be Over 04:38

Quick Links:

EG KIGHT

Lip Service

Oct 14, 2011

Nick's Picks: 03 That's How A Woman Loves, 04 Lip Service, 05 Savannah, 09 It's Gonna Rain All Night, 11 Married Man

FCC ALERT: "Squeaky Clean" "

Review by Steven "Nick" Nickelson of EG Kight Lip Service: EG Kight has been compared to the late, great Koko Taylor; however, after listening to her latest release, I am of the opinion that she has her own unique styling - kinda like Southern Fried Blues, with her own smokey voice, and her passion is her own. I'm inclined to include her in the same class as Big Mama Thornton, Betty Padgett, Etta James, and Mavis Staples. Granted, the field of women blues singers has historically been small (and even smaller for women blues songwriters), but her work is heartfelt, and shows great talent. Her tribute to Koko Taylor ("Koko's Song") is true to Koko's form - particularly on "Lip Service". EG (what exactly do those initials represent?) writes all her material - consequently, her songwriting seems to have no basis for comparison to other female songwriter/performers. (I can detect a whiff of Otis Redding and Ray Charles on "Somewhere Down Deep", James Brown on "I'm In It To Win It", Nat King Cole on "It's Gonna Rain All Night", and Percy Sledge on "That's How A Woman Loves"). Although she may not be as prolific as some of the other female blues songwriters, I think the quality and arrangements make a big difference. I look forward to hearing more from this gifted blues artist. And that's my two nickels' worth.........................Nick

ARTIST BIO: EG Kight’s career began in country music, and early on she was dubbed “The Georgia Songbird”. Over the years she has broadened her musical scope to include americana, southern rock, blues, pop, jazz, gospel and funk. Kight has shared the stage with a wide array of artists, including Koko Taylor, Hubert Sumlin, Foghat, Pinetop Perkins, Lee Roy Parnell, Phoebe Snow, Delbert McClinton, Gregg Allman, Robert Cray, Merle Haggard, Taj Mahal, Little Feat, the Bloomsburg Symphony Orchestra; and the world renowned Garrison Keillor, among others. Born and raised in a small town in rural Georgia, Kight still lives on the land that’s been in her family for four generations. Her roots go deep, and that comes through in her music. More than just a strikingly rich vocalist, from a family of gospel singers, Kight has also mastered the guitar, gaining the attention of Taylor Guitars, who supplies her with the tools of her trade Kight’s brand new release, LIP SERVICE, debuted at #23 on the Living Blues chart, is garnering great reviews, and is already getting airplay worldwide. Her 2008 release, "It's Hot In Here" climbed to #1 on the roots blues charts, and on Sirius XM Satellite Radio. Honored with six BMA nominations, twice for Song of the Year, her songs have a universal reach.

The Musicians:

・ EG Kight – songwriter, vocals, producer, rhythm guitar, acoustic guitar, piano

・ Tommy Talton – lead guitar, rhythm guitar

・ Randall Bramblett – B3 Hammond, piano, wurlitzer

・ Marshall Coats – bass

・ Bill Stewart – drums

・ Cliff Meyers – baritone sax

・ Kimberly Welch – background vocals

・ Ken Wynn – lead guitar

・ Johnny Fountain – bass

・ Gary Porter – drums, tambourine

・ Marcus Henderson – alto sax

・ Jerry Mullins – trumpet

・ Earl Ford– trombone

・ Paul Hornsby – producer, B3 Hammond, piano, bass

・ Gil Gillis – producer, guitar, piano, bass, percussion

・ Steve Brewster – drums

・ Adam Mewherter – trombone

・ Willie Morris –background vocals

・ John Nemeth – special guest

The Songs:

Sugar Daddies (EG Kight, Tom Horner)

I'm In It To Win It (EG Kight, Tom Horner)

That's How A Woman Loves (EG Kight)

Lip Service (EG Kight, Tom Horner)

Savannah (EG Kight, Gil Gillis)

Koko's Song (EG Kight, Tom Horner)

Somewhere Down Deep (EG Kight, Tom Horner, Bonnie Tallman)

I Can't Turn Him Off (EG Kight, Tom Horner)

It's Gonna Rain All Night (Paul Hornsby)

Goodbye (EG Kight)

Married Man (EG Kight)

I'm Happy With The One I Got Now (EG Kight, Joanna Cotten, Johnny Neel)

Quick Links:

JORGE CALDERON

Blue City & on Mardi Gras Day

Oct 14, 2011

Nick's Picks: Hmmm.....two cuts from which to choose, oh what to do?

FCC ALERT: "Squeaky Clean"

Review by Steven "Nick" Nickelson of Jorge Calderon Blue City & On Mardi Gras Day :

Very laid back, but easy on the ears. Infectious back beat, tasty guitar licks (Ry Cooder is on the slide guitar). Although there are only two cuts on this EP(?), they are both so well arranged and played, that I can close my eyes and get a feeling of lying on a beach in Mesoamerica, watching the deep blue surf, sipping my cervesa. And that's my two nickels' worth........................Nick

ARTIST BIO:

Jorge Calderón, originally from San Juan, Puerto Rico, is a multi-instrumentalist, songwriter, and record producer best known for his collaborations with Warren Zevon. He holds the unique distinction of having been credited on all of Zevon's post-1976 albums with the exception of My Ride's Here. Additionally, he produced Zevon's final album The Wind (for which he cowrote many of the tracks),[1] as well as the Zevon tribute album Enjoy Every Sandwich: Songs of Warren Zevon. On The Wind, he plays bass, acoustic guitar, various percussion, electric guitar, as well as background vocals. GRAMMY-winning musician, vocalist, songwriter and producer Jorge Calderón has been an integral part of the Southern California music scene since he first came to Los Angeles in 1969. He'd been playing around New York City with his band for a couple of years before that, and headed out west in search of something new. Early on in L.A., Calderón met producer Keith Olsen, who at the time was working out of Sound City with Curt Boettcher (The Association, The Beach Boys). "I told him I had some songs I'd like to demo, and he invited me to come to his house to play them," recalls Calderón. "When I arrived, there were two people there, Stevie Nicks and Lindsey Buckingham. They were doing the same thing, playing songs. That's how we met, I had my audition in front of them." Calderón ended up connecting the duo with the drummer that played on the Buckingham Nicks album (produced by Olsen, among his now hundreds of credits), and also did his own demos with Olsen, which led to his Warner Bros. deal for City Music (1976), produced by Russ Titelman. Around that time, Calderón also met Warren Zevon, and through him, Jackson Browne. He decided to play and tour with Zevon and others, rather than making another album and continuing on the singer-songwriter path. In the decades sinc (sic) a new chapter in his story as a key player in the L.A. music scene.

The Musicians:

・ Jorge Calderon – songwriting, vocals, guitar, bass, maracas

・ Ry Cooder – slide guitar

・ Luis Conte – cajon, congas, maracas

・ Don Heffington – drums

・ John Thomas – Hammond Organ

The Songs:

1. Blue City

2. On Mardi Gras Day

Quick Links:

Jorge's Home Page

Artist's webpage

BILL FRISELL

All We Are Saying...

Oct 2, 2011

All We Are Saying… is characterized as the unique interpretations of John Lennon’s most beloved tunes…And what is Frisell trying to say? That Lennon’s songs are ingrained in us all in a personalized way. Frisell drew inspiration from audience reaction in Paris while playing just a few Lennon songs and felt he was led to record 16 of Lennon’s (and McCartney’s) best. Frisell makes it sound so easy. On “Please, Please Me” he manages to incorporate his penchant for country twang…and Jenny Scheinman offers up a perfect violin accompaniment to “Nowhere Man” and on “In My Life” she holds quiet restraint. “Come Together” has that instantly recognizable bending of chords and reverb. “Beautiful Boy” is dreamy with steel and acoustic guitar duets. What’s not to love? All We Are Saying is an introspective, soft-listening album of play. Chalk up one more remarkable album to the illustrious career of Bill Frisell. – Pam VandeKerkhoff

band website

SENA EHRHARDT BAND

LEAVE THE LIGHT ON

Sep 15, 2011

With bands like the Butanes, The Lamont Cranston Blues Band and Davina and the Vagabonds making the twin cities a northern bright spot for the blues, soul and R &B, it should come as no surprise that Blind Pig Records found its attention focused on Minneapolis area vocalist Sena Ehrhardt who is working hard to make a splash on the national blues scene. On this, her debut recording, Ehrhardt makes a strong case that she deserves widespread attention. Joined by her father Ed Ehrhardt on guitar, Steve Hansen on bass and Tim Hasler on drums, Ehrhardt powers her way through ten original tunes that cover the gamut from the slow, moody, "Last Chance", to the funky mid-tempo rocker, "You’re the One", to the boogie infused, "Hear Me", to the upbeat West Coast blues of "On the Clock" and the aching longing of "Leave the Light On" as she leave a lover behind. With a voice that can be as powerful as rocker Pat Benatar or as playful as Candye Kane, Ehrhardt pulls you into the tales she weaves about no good men, failed relationships and lost chances. With father Ed laying down all manner of guitar histrionics, the overall feel of this disc is closer to blues rock than traditional blues but it will certainly find favor with the bulk of blues fans. Smitty

BODEANS

Indigo Dreams

Sep 15, 2011

Kurt Neumann and Sam Llanas formed the BoDeans in Waukesha, Wisconsin in 1983. Ever since, the way they harmonize over jangling guitars has been a source of joy for many fans of roots-rock music. They've never hit the big time, although after "Closer to Free" (from their CD "Go Slow Down") was chosen as the theme song for the TV show "Party of Five," thousands more learned of their music. "Indigo Dreams" is their 10th release and defies the odds and the years by giving us pretty much the same blend as their very first disc in 1983. Old dudes now, some of the themes are different now, but that harmony--yeah, it is 1983 again. In fact, on one of the songs ("Sad Eyes") the boys name drop a bunch of songs from the Top 40 era in a seamless narrative. In my opinion, this set starts running out of gas near the end of the record, but there are many highlights such as "Blowin' My Mind," "How Can We" and "Wrap Me." Word is that after all of these years, Sam has left the band. If true, there may be more BoDeans records ahead but without the singular way the voices of these two Wisconsin guys soared together. 09/11 Michael J. R-Contemporary

Quick Links:

JIMMIE VAUGHAN

PLAYS MORE BLUES, BALLADS & FAVORITES

Sep 15, 2011

The story is well known by now. Guitarist Jimmie Vaughan toiled in the blues trenches for years with the Fabulous Thunderbirds and finally got a taste of national fame in the MTV era with such rock oriented hits as "Tuff Enuff", "Wrap it Up" and "Look At That". He then saw younger brother Stevie Ray grab the fame comet that took him to the top of both the blues and rock worlds only to die tragically in 1990 after Jimmie had left the Thunderbirds and the two had collaborated on "Family Style". Stevie’s death put Jimmie into a several year commercial no-man’s land as the T-Birds were no longer home for him and his roots oriented guitar style didn’t have the wide spread commercial appeal of his brother’s much harder rocking chart toppers. He persevered though and continued to bear the torch of the raw, classic blues, country and R &B that had marked his earlier work with the T-Birds. The last few years have seen him paying homage to Jimmy Reed, "On the Jimmy Reed Highway", and to the tunes on which he cut his teeth, "Plays Blues, Ballad & Favorites". This disc finds him dipping into the same well. With cuts by Jimmy Liggins, "Teardrop Blues", Gene Autry, "I Hang My Head and Cry", Huey Meaux, "Breaking Up is Hard To Do" and "The Rains Came", Jimmy Reed, "I’m a Love You", and a host of others, this disc showcases Vaughan’s uncanny ability to take a large band (bass, drums, two guitars and a pair of horns) and distill the sound down to little more than grease and grit. A closer listen though reveals a lot going on as Vaughan exchanges instrumental jabs with the rest of the band. With spare leads and fills around the groove Vaughan, who never overplays, aims all of the cuts at that primal spot that has to move with the music. As a result, even though a number of the cuts tend to lope along without much urgency, they all satisfy. Even though Vaughan will never earn much of his supper as a singer, his vocals are serviceable and he gets a boost on three of the cuts from fellow Texan, Lou Ann Barton. Overall, no new frontiers discovered here. And that’s the point. SMITTY

THE FUZZRITES

Babycakes

Sep 14, 2011

Nick's Picks: 03 Easy; 06 Crappy; 10 Sha La La

FCC ALERT: "Squeaky Clean"

Review by Steven "Nick" Nickelson of The FuzzritesBabycakes

After listening to this cd for several hours, I can only make some comparisons to 50's and 60's music (with the occasional Go Go's and Ramones thrown in for good measure). My recollection of that era is a little fuzzy (pun intended), but this is the type of music I listened to when I was in my formative years. (That probably explains a lot). This cd represents the very definition of garage punk - raw, stripped down, unadulterated (well, excluding the fuzz, anyway) hard-core rock. The acoustics sound like it was actually recorded in a garage. And a plus - this is a local band. That's my two nickels' worth...............................Nick

ARTIST BIO: If you learned all about love at the movies, you're in for a rough ride. THE FUZZRITES explore love mostly in a state of chaos with an occasional glimmer of hope sneaking into the mix. Dick Chiclet's guitars fire torpedoes straight into the heart of love, exploding right in its face with fuzzed out, sonic barbs that hit the mark every time. The songs themselves wander the path between edgy pop rock arrangements and balls out garage rock. Dick's vocals have a sweet timbre but beware the teeth. Matt Mason, sharing vocals, injects urgency into the songs, clinging to and at the same time rejecting love or perhaps suspecting love of ulterior motives. THE FUZZRITES found love and chopped it to pieces. Here, take a bite. Oh yeah, play LOUD! – Bruce Madden, Entertainment Czar

The Fuzzrites

・ Dick Chiclet – guitars, bass, clavioline, and vox

・ Matt Mason – bass and vox

・ Jonny Jacobs – drums, farfisa, wurlitzer, and vox

・ Claude Nine – bass (tracks 6, 9)

・ The Veloras – shout vocals on Go

The Songs:

Little Rocker

Not Around

Easy (Likn Wray)

It's All Over

Crappy

Treat Your Love

Shine

I Do Adieu

Sha La La

Quick Links:

GRACE ASKEW

Grace Askew & The Black Market Goods

Sep 14, 2011

Nick's Picks: 01 Jupe, 03 Been Broken Too, 09 Howl

FCC ALERT: "Squeaky Clean"

Review by Steven "Nick" Nickelson of Grace Askew Grace Askew & The Black Market Goods

The sultry-voiced Grace Askew has one of the sexiest voices I have heard in a long time, and the songwriting is definitely of the award-winning ilk. This is how I opened my previous review of Grace Askews inaugural LP. I still stick with my assessment. At the time I felt her songwriting skills were a cut above most songwriters output; however, I feel that this sophmore release may have been a tad rushed. Most songs still showcase her songwriting acumen ("Tennessee Got The Best of Me", "Been Broken Too"), but a couple just didn't seem to be up to her usual standards ("Uh Huh Huh" sounds suspiciously like "Ode To Billie Joe", "Go My Way" just seems to be filler), Granted, there are still some moments of brilliance, as in the segue into a tejano-flavored, haunting melody ("Jupe" - complete with Spanish verbage), as well as some truly inspired playing by her band members("Before It Dies"). After listening a few hours to this most recent release by a very talented songwriter and an equally talented backup band, I still stick by my earlier assessment - get her more national exposure, and she should be able to take it from there. The only fly in the ointment is how to categorize her music. I mean, one track she is singing in a lazy, bluesytempo ("Midtown"), and the next she might take the role of a torch singer ("Bullseye Baby"), to a melodic, haunting red dirt girl singing a sad country song ("Howl"). Whatever genre she takes on, though, she seems to own it. And that's my two nickels' worth.............................Nick

ARTIST BIO: "Sultry, atmospheric singer-songwriter Grace Askew is a striking presence on the local scene as something of a bluesier answer to Cat Power, and a female version of Tom Waits, whom she counts as key influences." - Elizabeth Cawein, Memphis Music Foundation Based out of Memphis, Tennessee, Askew has substantially established herself throughout the Southeast, United States, and has organized and promoted her own small tours since her teens. She now continues to serve as her own agent on a grander scale, booking her shows and traveling vigorously throughout the U.S., spanning tours as far West as Santa Fe, New Mexico, as far North as Chicago, IL and as far East as Asheville, NC. Back home in Memphis, Grace plays a slew of steady gigs with her abundantly talented accompanying 5-piece group, The Black Market Goods, made up of all prominent musical figures in the local scene. National singer-songwriter festivals have also kept her prominently placed in a tight circle of renowned regional writers who have served not only as mentors, but also as staunch patrons of her talent; including Keith Sykes (co-writer of the popular "Volcano" with Jimmy Buffet and "I''m Not Strange, I'm Just Like You" recorded by Jerry Jeff Walker), Grammy Award winning writer Richard Leigh, and Austin, Texas' Larry Joe Taylor, host of the largest privately owned music festival in the South. Grace has released two EP’s (Wasted Lipstick, Hawthorne) under renowned produced (sic) Pete Matthews, both of which were recorded at Memphis’ famed Ardent Studios. Her third and newest release 'Until They Lay Me Down to Rest'' is the first full-length album to be solely produced and written by Askew. The bulk of the album was recorded by Memphis musical veteran Richard Ford, who is also featured on several tracks playing such various instruments as banjo, lap & pedal steel guitars, and a mandolin offshoot- the 'jangletron'. Whether stirred by the moaning of a distant freight train, the barking dog across the street, or the whoosh of a car passing by on a rainy Memphis night, the intimacy and rawness of the recordings takes you right into the room with Grace and gives you a pure, powerful reach into the heart & mind behind each and every composition. A select few tracks were also recorded in nearby Oxford, Mississippi at acclaimed Tweed Studios includes her entire ensemble of accompanists, in addition to the sound engineering of studio proprietor Andrew Ratcliffe. (Mastering done by Kevin Cubbins and Jeffrey Reed).

The Black Market Goods:

・ Grace Askew – lead and background vocals, rhythm guitar

・ Jesse Williams – drums, percussion

・ JD Westmoreland – bass guitar

・ Logan Hanna – lead guitar

・ Richard Ford – pedal steel/lap steel

The Songs:

Jupe

Tennessee Got The Best Of Me

Been Broken Too

Go My Way

Before It Dies

I Remember

Midtown

Bullseye Baby

Howl

The Road

Uh Huh Huh (f. David Coen)

Quick Links:

MARE WAKEFIELD

Meant To Be

Sep 14, 2011

Nick's Picks: 03 Small Town, Oklahoma; 04 Meant To Be; 07 If We Go, You Go; 12 Dear J.

FCC ALERT: "Squeaky Clean"

Review by Steven "Nick" Nickelson of Mare Wakefield Meant To Be :

A little bit country, a little bit folk, and a lot of talent. That's my take on Mare Wakefield's latest release. She is an instinctive songwriter with a direct lyrical and musical approach. Her view of abandonment (which would normally elicit feelings of sadness, distress, and childhood angst) comes out as an ironically delightful ditty ("Red Dress"). The musical arrangements are as impressive as the songwriting, singing, and playing. And her backing band doesn't hold anything back. Basically, Ms. Wakefield commands dramatic torch songs and breezy pop ditties with equal vigor, bringing a spectacular whimsy to everything she does, adding synthesizer or beautiful harmonies where needed. ("Small Town, Oklahoma", "Meant To Be"). The arrangements and musical writing are aptly matched with lyrics - some of which would earn her a vaunted space on the pillory or witch burning pyre ("When We Go, You Go"); whereas, her turn at the sociopolitic can be whimsical ("Folk Songs (The Recession Song)") or a morosely sad tune ("About The War"). All in all, Mare Wakefield is a talented singer/songwriter/musician with a well-tuned backing band. I have wracked my brain (which didn't take long) trying to find a comparison with her, and I can only thik of a couple - Joni Mitchell and Bob Dylan. And that's my two nickels' worth........................Nick

ARTIST BIO:

The girl from Southeast Texas went from playing Oregon coffee shops to headlining major Northwest festivals before a songwriting scholarship brought her to Boston’s Berklee College of Music which boasts alums such as Gillian Welch and Aimee Mann (two of many artists that Mare has been compared to). Mare Wakefield is yet another of those talented writers and performers whose albums tumble into Blabber HQ with increasing regularity. Whether its something in the water or just plain old talent a good percentage of them have a firm grasp on what makes a good album, a good song and the chops to deliver the goods. In the pantheon of female (and this goes for the guys also) performers in the Americana field there are the stars (you know who they are), the hardy perennials who will always get a mention and then the workers at the coalface. Time and again I’m astounded and impressed by the quality of the music produced by people I’ve never heard of, who plough their own field and come up with the goods. Wakefield is yet another one of these. Based in Nashville this is her fifth release. A vibrant and impassioned singer she can deliver straightforward confessional songs then delve into a big band arrangement with sassy horns and a great sense of swing. Wicked is one such song, deliciously salacious it conjures up rain swept neon lit passions while Red Dress has a New Orleans shuffle with stride piano. The central song on the album is About the War where Wakefield sings about her dreams of tending to wounded soldiers and of watching generals, safe behind the lines, drinking fine wines. In a brave move she allows a “long haired hippie from Galilee” to enter her dream to tell her to forgive them but the dream and the wars go on. Reading this one might think of the hippie tendency to regard Jesus as “one of them” but Wakefield avoids any such seventies mawkishness in what is really a very good song. The album ends with the eight minutes long “bonus” of Dear J where Wakefield ditches her fine back up musicians (who include Will Kimbrough and Fats Kaplin, two musicians who seem to be appearing with increasing regularity recently). An open letter in the style of L. Cohen’s Famous Blue Raincoat it’s a wordy recollection of times spent with an old flame, some regretted, an acknowledgement that time moves on and that what was meant to be doesn’t always happen. A great end to what is really quite a fine album. Bio credited to 'Blabber 'N' Smoke website

The Musicians:

・ Mare Wakefield – vocals, acoustic guitar

・ Nomad Ovunc – piano, synthesizers, drums, percussion, backing vocals

・ Jimmy Bowland – saxophone

・ Samantha Hegberg – backing vocals (track 5)

・ Dave Isaacs – electric and accoustic guitar, backing vocals

・ Ryan Joseph – fiddle

・ Fats Kaplin – pedal steel

・ Will Kimbrough – mandolin, electric guitar

・ Scott Miller – electric guitar

The Songs:

Always Valentine

Red Dress

Small Town, Oklahoma

Meant To Be

Folk Songs (The Recession Song)

About The War

If We Go, You Go

Wicked

Roots

Little Blue Flowers and Butterflies

Celestial Blue

Bonus Track (for fans of loooooong ballads) Dear J.

SHELBY LYNNE

ERIC LINDELL

WEST COAST DRIFTER

Aug 30, 2011

West Coast Drifter is a combination of two earlier self released titles "Between Motion and Rest" released in 2010 and "Cazadero" released earlier this year. It is our great fortune that MC Records discovered these soul drenched crescent city treasures and released them as this terrific 18 track double disc. Eric's voice is perfectly suited to cover the soul of New Orleans, mixed with some R&B that can shame most of today's popular artists. In addition to the soul pouring from his voice, Eric's guitar can also deliver some incredible heart felt and soulful licks. Eric brought some of his friends along for this disc including Delbert McClinton on the opening track Sentimental Lover and the great Ivan Neville on all tracks of Disc two. Eric has been a favorite of the New Orleans music scene for many years and with this release the blues man who can deliver a musical roots stew should find his way into your home as a musical guest you wont want to leave. Reviewed By: Gregg Saur

Quick Links:

Eric Lindell Home Page

GARY CLARK, JR.

The Bright Lights EP

Aug 29, 2011

This is the guy that many critics believe will be the next great blues guitarist. Clark burst on to the scene last year at Eric Clapton's "Crossroads" blues festival in Chicago, and since then all eyes have been on his live concerts--which are reportedly other-worldly. This early taste of his work underscores his talent, with two scorchers--"Bright Lights" and "Don't Owe"--and two remarkably exquisite acoustic numbers--"Things Are Changin'" and "When My Train Pulls In." He's credited with using diverse influences from blues, rock and folk that he melds into a unique sound. No question, the man has it. What he will do with it is the question. I'm looking forward to a full release from him. 08/11 Michael J. B-Various

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ANGELO MICHAJLOV (Performed by Petra Cernocka and The Karl Vlach Orchestra)

Saxana

Aug 29, 2011

This is the soundtrack to the 1972 Czech film “Divka Na Kosteti” (The Girl on a Broomstick). The movie itself was a surrealistic fantasy about an imprisoned teenage witch and it was marketed toward teens. With music written by Bulgarian, Angelo MIchaljlov, and with vocals performed by the star of the movie (Petra Cernocka), this mostly instrumental soundtrack is groovy psychedelic pop/jazz. Sometimes (and often too briefly) sounding like something that could be spun on today’s dance floors, this well-produced soundtrack is at times comically sinister and often includes wacky sound effects, which I found to be very distracting, even though, overall, I like the music presented here. Perhaps the neatest thing about this release is the very detailed historical liner notes. Rebecca Ruth

GEORGE HARMONICA SMITH

Teardrops Are Falling

Aug 22, 2011

Nick's Picks: 05 I'm A Man, 06 Crazy 'Bout You Baby, 07 Big Boss Man, 10 Harp Stomp

Review of George Harmonica Smith teardrops are falling

This previously unreleased "live" recording with Buddy Reed and the Rocket 88's is an attempt to introduce a much under-appreciated, but extremely talented harmonica player and compleat showman - George Harmonica Smith. I am familiar with Little Walter, but I had not heard much of this artist; however, when I checked the amount of published recordings on which he performed, this legendary West Coast Blues Harmonica had been one perpetual motion machine! He was the first harmonica player to amplify the harmonica, and he was the first harmonica player to play two notes at the same time an octave step between them ("Teardrops Are Falling", "Crazy 'Bout You Baby", "Goin' Down Slow") - a difficult maneuver often attempted, seldom accomplished by many except the extraordinary (Larry Adler, Rod Piazza, William Clarke). He held such a high regard for Little Walter that he recorded few solo albums; however, as mentioned previously, that didn't affect his collaborations with great blues legends - Muddy Waters and Big Mama Thornton come to mind. George Smith’s chromatic playing style has impacted the modern-day approach to blues chromatic playing more so than any other traditional blues harp artist’s style, even including Little Walter’s. His mother was his initial musical influence ("I'm A Man" seems ,almost prophetic), and the blues world is so much better for that. George Harmonica Smith was not one to hog the stage (humility is a mark of a true blues talent), and he would take great delight in "playing off" the other talents in whatever band he was in (Buddy Reed's guitar in "Big Boss Man" and "Woke Up This Morning"). This live recording took place shortly before his death, so I am fortunate to be able to review some of his last works. Lastly, I must confess I'm not much for instrumentals, but the last cut ("Harp Stomp") on this cd really got my foot tappin'. And that's my two nickels' worth.......................Nick.

FCC ALERT: "Clean"
ARTIST BIO:
Welcome to the official George "Harmonica" Smith tribute page. Allen George "Harmonica" Smith was born on April 22, 1924 in West Helena, Arkansas. His family moved to Cairo, IL soon afterward, where he was raised. Starting harp at a young age under the tutelage of his mother, George played at local parties, juke joints, and in the streets. By his teens, he moved away from home traveling through the south. 1949 saw George move to Chicago where he started working with a young Otis Rush, both playing in a style similar to the Muddy Waters band at the time. In late 1954, the blues harmonica world would never be the same after "Little" George Smith recorded his landmark records on the RPM label. Classics such as the chromatic masterpiece "Blues In The Dark", the slow third-position techniques of "Telephone Blues", "Oopin' Doopin' Doopin'" which featured some more swinging chromatic harp, and "Blues Stay Away". Third position on chromatic and diatonic harmonica has been done before, but nothing like this. Little Walter, the unofficial king of blues harmonica, had played third position on chromatic and diatonic harmonica, but his techniques were different. George made full use of the harmonica's tuning by his incorporation of the use of playing "octaves", especially on the chromatic. George took his blues influences and met them with his other harmonica influences (he often cited Larry Adler as his favorite) and ran with it until he developed his own approach to tone and phrasing. Besides his classic RPM sides "Blues In The Dark", "Oopin' Doopin' Doopin'" and "Down in New Orleans", other chromatic features of his include "Hawaiian Eye", "Blue Fog" and "Soul Feet". His mastery of the chromatic harmonica influenced every blues player that has picked up the instrument since, either directly or indirectly, arguably even more so than Little Walter's chromatic technique. The late 1960's saw George coming into the spotlight a bit more after a quiet period in the early/mid 60's. Contemporary players like Charlie Musselwhite and Rod Piazza would learn as much as they could from George, and Rod even would perform in the band Bacon Fat along with George. Several great albums came out of this period, including "Tribute To Little Walter", "...of the Blues", "Arkansas Trap" and "No Time For Jive". In the 1970's, another young harp player came into George's life that would go on be another of his greatest students - William Clarke. For the remainder of his life, George continued to perform with his band, as a sideman, or with one of his protégés, and made some great recordings even in the 70's and 80's. His influence can still be heard in the playing of the top harp players on the contemporary scene, such as Rod Piazza, Kim Wilson, Rick Estrin, Paul deLay and Mark Hummel.

The Band:

George Harmonica Smith: Vocals, Harmonica

Buddy Reed: Guitar, Vocals

Jerry Smith: Bass

FLORIZONA

Aug 17, 2011

The Silos led by Guitarist and vocalist Walter Salas-Humara have been putting out music since 1985 and on this their 10th studio release they continue to draw influences from many to make their own creative unique fresh sound. The CD begins with the story of taking adolescence to the beyond with the Haunting "Coming From The Grave". The vocals on this track take on a certain Bodeans feel. The second track "On Your Way Home" is dedicated to the Silos Bassist Drew Glackin and has a heart felt raspy vocal as if his spirit has come from the grave and is looking upon his fellow band members. "White Vinyl" is pure pop magic and could easily stand as a catchy single. The Track Teenage Prayer" reminds me of the band Cracker and tells the tales of growing and the wishes that deals with experiences of growing older and the wishes for a teenage prayer. "Getting Trashed" title explains itself and is a rebellious track in the vein of a young John Cougar before he discovered Mellencamp. The Silos have made many transitions though the years, but with the release of Florizona their future appears to be very sunny. Reviewed By: Gregg Saur

Quick Links:

The Silos Home Page

ERIC GALES

Transformation

Aug 16, 2011

Nick's Picks: 01 Railroaded, 08 Transformation, 10 Sea of Bad Blood

FCC ALERT: "Nothing Here"

Review by Steven "Nick" Nickelson of Eric Gales Transformation:
Eric Gales is someone I had not heard of, and as usual, I must have been living in a cave too long. Although this guy is technically a guitar phenomenon, I like his music a lot better than his lyrics ("Railroaded", "I Pity The Fool", "Time Waits For No One", "Too Late To Cry"). After having watched a few YouTube videos of previous performances, I have come to the conclusion that the only thing really off kilter here is the sound mixing (and perhaps the drummer, who seems to only know one way of playing). Having said all that, I suggest you listen to his remarkable playing - putting aside the below-average percussion and mixing. I especially liked that most of the cuts on this cd appear to have been expressly written just to showcase his mastery of the six string - which he does exceedingly well ("Double Dippin", "Tortured Mind","Altered Destiny", "Transformation", "I Wouldn't Treat A Dog That Way") . It helps, as well, to have a bass player who can keep in step with him. This cd suffers from a serious lack of depth - given more background instrumentation (excepting "Sea of Bad Blood", which introduces some kick-butt keyboard playing). I think this could have been Eric's signature masterpiece. Perhaps in the not too distant future Eric will come out with a mix of his music, covers of others, and a larger band. I think it would be a killer combination. That's my two nickels' worth.......................Nick

ARTIST BIO:

Eric Gales picked up the guitar at age four. His older siblings, Eugene and Manuel ("Little Jimmy King"), took to teaching him many songs and licks at a young age, in the style of Jimi Hendrix, Albert King, B. B. King and others. In 1985, the young Gales began to play at blues competitions with his brother Eugene backing him on bass. Although Gales plays a right-handed guitar "upside-down" (with the E-bass string on the bottom), he is not naturally left-handed; he was taught by his brother who is left-handed and never second-guessed the untraditional technique.[1] In late 1990, Eric and Eugene Gales signed with Elektra Records, and together with drummer Hubert Crawford released 1991's The Eric Gales Band and 1993's Picture of a Thousand Faces. Guitar World Magazine's Reader's Poll named Eric as "Best New Talent", in 1991. During this time he scored two rock radio hits, "Sign of the Storm" (#9 U.S. Mainstream Rock) and "Paralyzed" (#31 U.S. Mainstream Rock)[2] and had spots on television programs such as The Arsenio Hall Show. In 1994 Eric performed with Carlos Santana at the Woodstock 94' concert.[3] In 1995, Eric Gales teamed up with both of his brothers to record an album under the band name of The Gales Brothers. Left Hand Brand was released in 1996. 2001 saw Gales return with his album That's What I Am on MCA Records. Gales has more recently released the albums Crystal Vision, The Psychedelic Underground,The Story of my Life and Layin' Down the Blues on the Shrapnel Records label. His most recent album is 2010's Relentless, with a new album for 2011 entitled "Transformation" due in August. He maintains a strong friendship with record producer Mike Varney. Gales has one daughter, Jasmine (born 1992), and on August 31, 2001 he married Susan Gales. In 2008, he, along with many other guitar greats, participated in the touring tribute to Jimi Hendrix, Experience Hendrix. the touring group of musicians included Billy Cox (of Band of Gypsys fame), Eric Johnson, Chris Layton (Drummer for Stevie Ray Vaughan's rhythm section, Double Trouble), Doyle Bramhall II, Brad Whitford (of Aerosmith) and was the last tour that Mitch Mitchell ever played. In the winter of 2010 Eric Gales returned to the touring circuit in Europe with TM Stevens on bass guitar and Keith LeBlanc on drums. The tour was billed as VooDoo Chile and featured works of Jimi Hendrix as well as original material from both Gales and Stevens.

The performers: Eric Gales – lead vocals, guitar, and co-writer; Aaron Haggerty – drums; Steve Evans – bass guitar; B. Lucky - background vocals; Mike Varney - producer and co-writer; Jason D'Ottavia - sound mix and recording

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ELIANE ELIAS

LIGHT MY FIRE

Aug 15, 2011

Singer and pianist Eliane Elias returns to her Brazilian roots on what proves to be one of her most beautiful, sensually seductive recordings that will not only please jazz purists but fans of Bossa Nova and the cool sounds of today's Brazilian sounds. The opening track sung in her native Portuguese "Rosa Morena" has a modern day Bossa-Nova sound and asks the question "Where are you going and why don't you come and join us? For the listeners who take this musical journey they will be greatly rewarded. The title track is the Doors classic that Eliane strips to its barest essentials and is one of her most seductive vocal offerings. Eliane continues to show why she is regarded as a piano master and her skills shine throughout this entire disc and really standout on the track "Isto AquiO Que E{Silver Sandal} which begins slowly and builds into a full rich sound. After building on the full piano sounds Eliane once again seduces her listeners with the Stevie Wonder classic "My Cherie Amour. The Paul Desmond, Dave Brubeck classic "Take Five" Eliane adds her vocals to one of the finest and creative interpolations ever recorded. Eliane is joined by music greats Gilberto Gil, trumpeter Randy Brecker and bassist Marc Johnson as part of a twelve piece all-star band. Eliane wrote four of her own tracks, produced and did all of the arrangements on a CD she describes as cool, sexy and fun. I could not agree more. Reviewed By: Gregg Saur

Quick Links:

Eliane Elias Home Page

VARIOUS

David Lynch Foundation Music That Changes The World

Aug 12, 2011

Nick's Picks: 02 Milk Cow Blues, 03 Won't You Stay, 04 The Air I Breathe,

FCC ALERT: "Nothing Offensive Here" (note: 02 contains "unsavory" text but no banned words)

Review by Steven "Nick" Nickelson of David Lynch Foundation Music:
All the artists on this album have contributed previously unreleased , exclusive audio tracks for the foundations archives. The expressed purpose of the David Lynch Foundation is to promote individual change through education. Thematically, a few of the cuts on this collection seem to fit the bill, through repetitive chanting and/or backbeats ("Monster",Milk Cow Blues", "Curtains", "Man To Man", "Wise Man", "Nachoon Gi", "Animal"). Another thematic element aligned with the David Lynch Foundation's aim to bring peace to the world through meditation would be that of lush and rhythmic alternative or new-age music ("Bring The Mountain Down", "Doubled Up", "Ave Maria", "Wild Mountain Thyme"). Some of the musicians/bands can lend credence to this initiative simply be being represented in this collection (Donovan, Maroon 5, Mary Hopkin, Tom Waits). The inclusion of Au Revoir Simone's rendition of Don Henley's "Boys of Summer" seems (to me) to be the red herring in this otherwise well-organized and musically excellent collection. Maybe it is just the annoying backbeat on "Boys of Summer" that merits inclusion. Personally, I was not impressed with that last track. That's my two nickels' worth..................................Nick

ARTIST BIO:

DLF Music brings together the world’s top & emerging recording artists to support the good works of the David Lynch Foundation’s stress-reducing, meditation-based educational programs. Great Artists + Great Cause = Music That Changes the World. The David Lynch Foundation (DLF) is a non-profit educational organization which was established in July 2005 to ensure that anyone at-risk for traumatic stress can learn Transcendental Meditation. In the past five years, over 150,000 inner-city youth, veterans with post-traumatic stress disorder, homeless adults and children, Native Americans, and inmates and guards in maximum security prisons have learned to meditate. Research on meditating students has found that the technique increases grades and improves test scores, boosts graduation rates while reducing stress, depression, anxiety, dropouts, suspensions, and expulsions.

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DAVINA AND THE VAGABONDS

BLACK CLOUD

Aug 10, 2011

Like a splash of fresh water, this new disc by Twin-Cities based Davina Sowers and her hot ensemble, the Vagabonds, mixes New Orleans jazz rhythms with the blues, ragtime, soul and a touch of gospel. The five piece crew including Davina on piano plus an upright bass, drums, a trombone and a trumpet, throws out the sonic punch of a much larger ensemble as evidenced right off the bat on the instrumental "Vagabond Stomp" that opens and closes this disc. Like Hazmat Modine or Leon Redbone, this crew isn’t afraid to sound like they are visiting from the 20’s or 30’s. You can easily imagine them captivating the night club crowd in a black and white Woody Allen set piece or sharing the stage with the likes of Louis Prima and Keely Smith or Les Paul and Mary Ford. Even though the horns and Davina’s fleet fingered piano work keep cuts like "Disappears" and "Start Runnin’" toe-tappingly upbeat, they can also lay way back in the groove as evidenced by the soulful, heartfelt ballads, "River" and "Sugar Moon". While the band favors jazz accents for most of the material it goes to church on the hymn "Carry Him with You" and lays down some blues on "Lipstick and Chrome". Tying this wonderful musical collection together is Davina’s nimble, coquettish voice which can’t help but to produce a smile on your face as bright as the twinkle in her eye that comes through on every line. Smitty

LARRY GOLDINGS

In My Room

Aug 10, 2011

Jazz pianist Larry Goldings has put together a soothing set of solo pieces that surprise and get you listening thoughtfully--from the opener and title track from Brian Wilson, to the American classics "Beautiful Dreamer" and "Take Me Out to the Ball Game," to Joni Mitchell's "All I Want" and finally to Paul McCartney's "Here, There and Everywhere." In-between, Goldings has inserted his own compositions and the set holds together nicely. It seems rare to hear the piano unadorned these days. And, once in a while, when someone plays as well as Goldings, it is nice to hear the instrument without clutter. 08/11 Michael J.

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SLAID CLEAVES

SORROW & SMOKE LIVE AT THE HORSESHOE LOUNGE

Aug 9, 2011

SLAID CLEAVES SORROW & SMOKE LIVE AT THE HORSHOE LOUNGE What a better place to tell stories of drinking, bars, sucking the heads of lobsters and life lessons then in the smoky beer drenched confines of the Horseshoe Lounge in Austin Texas. This represents Slaids first live recording where he showcases some of his finest songs and stories form the past decade and even shares his fears of first entering the Horseshoe Lounge when he moved from Portland Maine to Austin in 1991. Slaid proves on this disc that he is truly one of the most gifted singer songwriters from Texas and his band effortlessly makes their way through the 21 tracks that will cover most of life's interesting journeys. If this great disc had only one flaw, is that the second disc has three tracks in a row {Horses, Texas Top Hand and Rolling Stone From Texas} that feature some major yodeling, but hell I think anything would go at the Horseshoe Lounge. This disc is Slaid at his very best and he writes and shares stories that anybody that has ever stepped foot in a smokey bar will easily relate too. Reviewed By: Gregg Saur

Quick Links:

Slaid Cleaves Home Page

GEORGE THOROGOOD & THE DESTROYERS

2120 South Michigan Avenue

Aug 1, 2011

Nick's Picks: 01 Going Back 02 High Heel Sneakers 03 Seventh Son 04 ..... shucks, you can't go wrong with any of them!

George Thorogood may not be the most popular musician around; however, his song and video of "Bad To The Bone" is one of the most-recognized and most borrowed song of any musician - bar none. Of course it helps to be well-versed in the blues, and this man (and his band The Destroyers) knows the blues. The basis for this cd, in fact, is the address of the old Chess Records label- a label which many of the great Chicago blues players owe their recording careers. George and his band pay tribute to this legendary recording studio, and are joined by a few "graduates" of same. A few of the songs on this record were written by the most prolific writer and (some say) the founder of the Chicago Blues - the great Willie Dixon ("Seventh Son", "Spoonful", "Help Me", "My Babe"). George and his band do Willie quite proud on these cuts - abetted on "My Babe" by the great Charlie Musselwhite on harmonica. Right out of the box we hear a most-definite Thorogood-penned tune that pays a rollicking tribute to the Chicago Blues - "Going Back" to 2120 South Michigan Avenue. And then we jump jive right into "High Heel Sneakers", with a righteous assist by none other than the current King of Chicago Blues - Mr. Buddy (so tight he squeaks when he walks) Guy. If you don't think it gets better than this - keep listening. Although George Thorogood has a very distinctive singing voice, his axe slinging is nothing short of awesome! ("That Spoon", "Let It Rock"). From there we hear one of the few slow songs on the record ("Two Trains Running"), but even on the slow ones (a Muddy Waters tune, no less) George and his axe still dominate. And the axeman cometh ("Talk To Your Daughter", "Help Me"). Lest we forget - it takes a whole band to make the lead guitar and singer shine, and The Destroyers have four of the best and tightest: Jeff Simon on drums, Billy Blough on bass, Jim Suhler on guitar, and Buddy Leach on piano & sax. And they get their opportunity to strut their stuff on the only instrumental cut of the album - accompanied, again, by the great Charlie Mussellwhite on harmonica ("2120 South Michigan Avenue"). Whew, I need a cigarette. And that's my two nickels' worth...........................Nick
FCC ALERT: "None here"
ARTIST BIO: George Thorogood (born February 24, 1950) is a blues rock vocalist /guitarist from Wilmington, Delaware known for his hit song "Bad to the Bone " as well as for covers of blues standards such as Hank Williams ' "Move It On Over " and John Lee Hooker 's "House Rent Boogie/One Bourbon, One Scotch, One Beer ". Another favorite is a cover of Bo Diddley 's "Who Do You Love? ". George Thorogood and the Delaware Destroyers have released 16 studio albums, including two that were certified Platinum and six that have been certified Gold . The band has sold 15 million albums worldwide. The band is credited with the early success of Rounder Records .[1]

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THE MIGHTY MOJO PROPHETS

Aug 1, 2011

On their first release, the Mighty Mojo Prophets serve up a platter of West Coast blues that a times swings and at others will take a slow lowdown beat that will touch your inner core. Led by vocalists Tom "Big Son" Eliff and guitarist Mitch Dow and harmonica great Alex "Lil A" Woodson the Mojo Prophets will draw comparisons to Rod Piazza and the Mighty Flyers as well as the late great William Clarke and James Harman. The Track "West Coast Blues" highlights the feeling of this disc and makes you believe that these prophets will really live this life until their dying day. "Da Switch" is swinging instrumental features some great guitar work from Mitch Dow. "My Baby" has a 1950's-60's laid back R&B sound to it and would make every good looking girl at the soda fountain melt. In addition to their West Coast blues sound you will also here echoes of Jump blues, western swing & the Chicago styling's of bands like Little Charlie and the Night Cats. My advice for you is to put some Boogie Woogie Rhythm in your traveling shoes and take in the Mojo that that these prophets are laying down as it will take you to places that can only be discovered on the thirteen tracks of this fine disc. Reviewed By: Gregg Saur

Quick Links:

Mighty Mojo Prophets My Space Page

LIZ LONGLEY

Hot Loose Wire

Jul 29, 2011

It takes a lot of guts to do covers of Van Morrison and Joni Mitchell on your record. There's the inevitable critique of your version of a classic and your original music is right next door for comparison. Well, it is a nice surprise that Liz Longley does Van and Joni well (faithful treatments, no wrong-headed detours) and her own tunes shine brightly. Liz constructs songs and sounds similar to Shawn Colvin (not a bad reference point at all). The opener, "When You've Got Trouble" starts things off sweetly and you think you're in for a set of valentines, but the very next song, "If You Want To," a hard tune about a troubled relationship, clues you in that there's going to be complexity here--kinda like real life. "Unraveling" is heart-breaking, about watching an older loved one fade into forgetfulness. The closer, "Dough 4 Dough" is a very funny song about a very aggressive Girl Scout cookie seller. Longley has an impressive musical resume as a graduate of the Berklee School of Music and a recipient of the BMI John Lennon songwriting award. All of this shows, and it's a pleasure to see another young singer-songwriter succeed with a solid set of music. 07/11 Michael J. F-Singer/Songwriter. [NOTE: "Bit--" on songs #2 and #11.]

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JONATHON EDWARDS

My Love Will Keep

Jul 28, 2011

Nick's Picks: 04 Crazy Texas Woman, 06 How Long, 07 This Island Earth, 08 Lightkeeper

ARTIST BIO:

“I started on a $29 guitar and immediately started putting a band together, writing songs and learning all the contemporary folk songs of the time,” he recalls. “I just loved it, loved everything about it, loved being in front of people playing music.” Regardless of music’s siren call, Jonathan made the expected move to college following his graduation from high school, studying painting and art in college in Ohio. But music, a force not to be denied, remained a constant companion. “I started getting electric about the time Dylan did, doing electric folk music. I joined bands by saying, ‘Can I be in your band?’ and they’d ask, ‘What do you play?’ and I’d say, ‘What do you need?’ I’m still that way. I still love to play different instruments. It helps me understand production techniques and performance capabilities.” These days Jonathan is likely to be found on the road with his longtime accompanist Stuart Schulman on bass, piano, fiddle, and vocals and Taylor Armerding, formerly of Northern Lights, on mandolin and high-tenor vocals. “I’ve been … doing what I do best, which is playing live in front of people. I’ve been concentrating on that and loving it,” he says. An artist who measures his success by his ability to attract and take good care of an audience for four decades, Jonathan maintains that it is the feedback he receives after his shows that keeps him going. “Sometimes, in our darker moments, we imagine our music not finding receptive ears, unable to reach open hearts. So it is really gratifying to hear [someone say], ‘Your stuff has meant a lot to me over the years.’” On the verge of his fifth decade in the music business, Jonathan Edwards shows no sign of turning into a “Sit Down Rock and Roll Man.” Upcoming plans include new markets, new audiences, new songs, and a new studio recording. As this barefoot troubadour prepares for the next stage of his journey, you are more than welcome to join him for an evening or two as he continues to make good on that promise he made all the way back in 1971: “Sunshine, come on back another day … I promise you I’ll still be singing.”

FCC ALERT: "This cd is as pure as a mountain stream"

Review of Jonathon Edwards My Love Will Keep:

I have often wondered what happened to the "Shanty Song" guy - and I find he's been playing all these years (four decades to be exact), and somewhere he took a right from his folk singing base to contemporary storytelling with strong country undertones. It seems he has captured the essence of Bluegrass, as well ("My Love Will Keep", "Johnny Blue Horizon", "How Long"). His current foray could best be described as a blending of Dylan-style vocals with structured rock chords and bittersweet subject matter - the melancholy of Townes Van Zandt, and the story-telling of Gordon Lightfoot ("This Island Earth", "Freewheeler", "Everybody Works In China", "Surrounded"). This diversity of genres makes it difficult for me to classify - moreover, I detected a subtle Tom Waits influence throughout this cd, but most notably on two cuts ("Lightkeeper", "Sailor's Prayer"). I am not certain where the hauntingly soulful paraphrasing of a Beatles' classic ("She Loves You") fits in, but the inclusion demonstrates the talent and versatility of this artist - as well as the talented musicians with which he surrounds himself. In fairness to his fans, I will classify this genre-crossing cd as folk. Although it has been awhile since I have heard from Jonathon Edwards, I can assure you I have some catching up to do. That's my two nickels' worth................Nick

Quick Links:

Jonathon Edwards Page

RICKY SKAGGS

Country Hits Bluegrass Style

Jul 24, 2011

Nick's Picks: 05 "Crying My Heart Out Over Your", 07 "Highway 40 Blues", 12 "I Wouldn't Change You If I Could", 14 "Somebody's Praying"

FCC ALERT: "This cd is as pure as a mountain stream"

ARTIST BIO: Ricky Skaggs was born in Cordell, Kentucky. He started playing music at age 5 after he was given a mandolin by his father, Hobert. At age 6, he played mandolin on stage with Bill Monroe. At age 7, he appeared on television's Martha White country music variety show, playing with Lester Flatt and Earl Scruggs. He also wanted to audition for the Grand Ole Opry at that time, but was told he was too young. In his mid-teens, Skaggs met a fellow teen prodigy, guitarist Keith Whitley, and the two started playing together with Whitley's banjoist brother Dwight on radio shows. By 1970, they had earned a spot opening for Ralph Stanley and Skaggs and Keith Whitley were thereafter invited to join Stanley's band, the Clinch Mountain Boys Skaggs later joined J. D. Crowe's New South. For a few years, Skaggs was a member of Emmylou Harris's Hot Band. He wrote the arrangements for Harris's 1980 bluegrass-roots album, Roses in the Snow. In addition to arranging for Harris, Skaggs sang harmony and played mandolin and fiddle in the Hot Band. Into the 1990s and 2000s, Skaggs has embraced his bluegrass roots, as well as experimenting with new sounds. With his band, Kentucky Thunder, he is a perennial winner of Grammy Awards and International Bluegrass Music Association for best bluegrass album. "I always want to try to promote the old music, as well as trying to grow, and be a pioneer too," Skaggs once said. (excerpted from Wikipedia).
Review of Ricky Skaggs Country Hits Bluegrass Style

I guess that by now it's no secret that I like Bluegrass - the bluer the better. And, there is no one in my generation that can make the crossover from Country to Bluegrass as seamless as Ricky Skaggs ("Lovin' Only Me", "I Don't Care" come immediately to mind). Of course it helps to have The Kentucky Thunder as your bandmates. According to the press releases for this cd, this is supposed to be a "bluegrass" rendition of Ricky's "country" hits. On most cuts, I see no difference; thus, therein lies the conundrum for me. Were his "country" hits actually "bluegrass?" In any event, this is a collection of his greatest hits - call them whatever genre you want. Although most bluegrass is uptempo, there comes the occasional slow tune, and when the tempo is slowed, then the artists can be separated from the artistes. These guys are artists - every one of them. A good example of well-coordinated music is "You've Got A Lover", as well as "Crying My Heart Out Over You". On the other side of the tempo, sometimes you just have to see them in person to believe the speed at which their fingers fly. And Ricky Skaggs is one of the best (particularly mandolin). His guitar playing is good, but his fingers are so fast on the mandolin, it makes your eyes water ("Highway 40 Blues"). (As a side note - I am proud to say that I spent my formative years around Highway 40.) And that's my two nickels' worth.....................Nick

Quick Links:

Ricky Skaggs' Home Page

Henry Wolfe's Page

Origin Records Website

White Denim's Page

LAURIE MORVAN BAND

BREATHE DEEP

Jul 5, 2011

Laurie Morvan continues to show that she is a force to be reckoned with in the Blues world. On her new disc "Breathe Deep" Laurie lights up her guitar and your imagination with eleven self written and produced tracks. The CD begins with the after work anthem "No Working During Drinking Hours". This is a rocking guitar track with lyrics that will make you want to grab your favorite adult beverage. On "Saved By The Blues" Laurie explains how she went looking for Jesus but found her own redemption after meeting Robert Johnson at the crossroads. "It Only Hurts When I Breathe" is a slow burning blues track which features Laurie's best guitar work on this disc and heart felt vocals and lyrics that can make you feel her pain and still enjoy every note. The only issues I have with this disc is after a couple listens many of the tracks begin to sound similar which makes me wonder if it is time for Laurie to work with a producer that can help vary her sound. I also missed some of the double entendres that were found on her excellent "Fire It Up Release". That being said I still recommend that you breathing in deep and enjoy the sweet sounds of the Laurie Morvan Band. Reviewed By: Gregg Saur

Quick Links:

Laurie Morvan Home Page

RAY MANZAREK AND ROY ROGERS

TRANSLUCENT BLUES

Jun 30, 2011

As a member of the Doors where his keyboards played a pivotal role in hit after hit, it is safe to say that Ray Manzarek has been heard by almost every person who has ever tuned in to rock radio. While not as regular a presence on the radio, slide guitarist Roy Rogers has also been heard by the masses not only backing the likes of John Lee Hooker, Santana, Bonnie Raitt and Steve Miller but as a band leader in his own right. This release pairs the two of them laying down deep grooves behind poets and lyricists such as Michael McClure, Jim Carroll, Michael Ford and Warren Zevon. Instead of trying to fit their diverse talents into a standard blues mold, the two grab liberally from classic rock, jazz and blues rock. Those yearning for a taste of the Doors without hearing "Light My Fire" for the millionth time should head straight to "Game of Skill", "New Dodge City Blues" and "Fives and Ones" which feature the icy cold organ charts that fueled so much of the Doors sound and Manzarek’s gruff vocals which have grown to uncannily resemble Jim Morrison. "As You Leave" is a mysterious sounding instrumental that could easily find its way onto a movie soundtrack with its powerful imagery of both regret and a new beginning. "Kick" is a semi spoken groover that sounds right out of the drug-addled 60’s with McClure’s wild flight of a story about “demons on the razor sucking on the blade” while he is high and trying to ditch the powder. "River of Madness" is a piano driven number that develops a vaguely eastern feel as the song goes on. "Tension" has a pretty standard swamp rock beat until the mid-song bridge when it switches gears for a brief acoustic interlude before jumping back into the swampy stew. "Blues In My Shoes" and "New Dodge City Blues" give Rogers the chance to shine brightest with his slide guitar slithering and snaking around Manzerek’s keyboard work while "Greenhouse Blues" gives him the chance to lead the vocal charge on a tale about life in the burbs where the excitement of uptown is traded for the greenhouse. "Those Hits Just Keep on Comin’" isn’t about tunes on the radio; instead, it’s about hits to the heart from an errant lover. The instrumental closing cut "An Organ, a Guitar and a Chicken Wing" treads the closest to traditional blues with its wailing sax solo and shuffle groove. It would be the perfect end to a hot club set and is the perfect end to this great disc. Smitty

THE BOXER REBELLION

The Cold Still

Jun 30, 2011

This London-based band’s third studio album will grow on you. Produced by Ethan Johns (Kings of Leon) at Peter Gabriel’s Real World Studios in England. From the beginning melodic, heavy beat (Piers Hewitt on drums) of No Harm, and esoteric, possessive Locked in the Basement…”lock you down” to the back-to-back favs Both Sides Are Even and The Runner, The Boxer Rebellion’s The Cold Still is moody, reflective, high and low. Todd Howe’s Telecaster is notable in Caught By The Light, which is his personal favorite on the album (although there are repetitions which will give you pause, thinking the album has skipped). Cause for Alarm is reminiscent of Coldplay and Step Out of the Car creates a sense of RadioHead. Nathan Nicholson, a Tennessee native, pens the lyrics once the vocal melody is created and his script for The Cold Still is replicated between the jacket covers. He’s got quite a range vocally. Bassist Adam Harrison’s Latin jazz influence adds his individuality to bass lines he writes. U2 was an early influence on the band members but they’ve developed their own sound and following, even without a record label. Previously The Boxer Rebellion also became the first unsigned band in history to enter the U.S. Billboard 100 Albums Chart on digital sales alone for their last album. And in 2009 a concert at the Troubadour in LA led to an on-screen appearance in the motion picture Going the Distance, a film starring Drew Barrymore. The band is a down-to-earth quartet with day jobs, just hoping for album awareness. Reviewed by: Pam VandeKerkhoff

DAVE ALVIN

ELEVEN ELEVEN

Jun 27, 2011

Dave Alvin’s incendiary guitar work has ignited the work of the Blasters, X and the Knitters as well as his own releases with the Guilty Men and, more recently, the Guilty Women. His fearless use of dynamics, taking songs from a whisper to a roar, and his deep knowledge of blues, country, soul, folk and rock places him in the top ranks or roots music guitarists of all time. And that’s just the start of why he’s so good. Even more compelling than his guitar work is his uncanny ability to craft tales of broken souls, lustful lovers, lost warriors, wistful dreamers, hard working common men and assorted dangerous characters that connect in a way that makes the songs linger long after the last notes fade away. While he sings with a big bold voice that matches his ringing guitar, he can also be quietly affectionate and tender when necessary in service of the tale. On his best songs you are there with him checking the perimeter for danger, examining why she left or reliving the sweet memory of a perfect night. This disc continues Alvin’s nearly flawless run of releases since leaving the Blasters. "Harlan County Line" finds Alvin wondering what happened to an old lover while the duet with Christy McWilson, "Manzanita" features the two of them tugged back into the spring of their long expired relationship and the hope the wild canyons once fostered for the two of them. "Dirty Nightgown" leaves sentiment aside with its scorching guitar and promise of a lust filled night. "Johnny Ace" is the real life tale of the R & B star that accidently killed himself fooling around with a gun during a break while on tour with Big Mama Thornton. While Ace’s death was tragic, far sadder is the lost soul on the tender "Black Rose of Texas" where the pills, booze and good times ultimately couldn’t keep the demons at bay. "Murrietta’s Head" is the tale of a good family man turned bounty hunter to support his family after losing a son for the lack of money to pay for a Doctor. The hilarious "What’s Up with Your Brother?" is the first recorded vocal duet by Alvin and his brother Phil, lead singer of the Blasters, who have great fun with their off again/on again relationship and the public’s constant inquiry about their status. The homage to his best friend and former Guilty Man, Chris Gaffney, "Run Conejo Run" is a John Lee Hooker style boogie that allows Alvin to finally give voice to his feelings of loss at the death of his friend who he knows is still by his side. Gaffney returns the favor with a duet recorded shortly before his death and helps Alvin close out this disc on a high note with a look at their good fortune in making a living as ramblers and musicians, "Two Lucky Bums". Tough, tender and absolutely rocking, this is a great disc. Smitty

PAT METHENY

WHAT'S IT ALL ABOUT

Jun 27, 2011

I have always considered Pat Metheny to be one of the worlds greatest and innovative guitar players. On his new disc "What's It All About" a solo guitar release of cover tunes Pat shows that he is still a skilled player, but innovation and excitement have been replaced with mundane and lifeless. Pat breeds no new life into songs that inspired him growing up such as Simon & Garfunkel's "The Sound Of Silence" , Jobims "Garota De Ipanema" or the Beatles "And I Love Her". The only real redeeming quality I could find is the sounds of Pat's guitar is still beautiful which may make this CD a Grammy winner for the worlds greatest Elevator Music Disc. If you have been a fan of Pat Metheny for the past 35 years as I have been you may ask yourself what is this all about ? Reviewed By: Gregg Saur

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Pat Metheny Home Page

HADDEN SAYERS

Hard Dollar

Jun 26, 2011

Review of Hadden Sayers Hard Dollar by Steven "Nick" Nickelson:

Did I ever mention I am a fan of the blues? I just like the sheer range of musical styles all speaking the same language - of lost love, hard drinkin', hard livin', and more troubles than even Jonah could bear. This cd is a culmination of all that pain, coupled with a certain joi de vivre. Hadden has always played the soulful side of the blues, and this album demonstrates his prodigious song-writng skills, as well as his command of the electric guitar ("Flat Black Automobile", "Crush On You"). Coming from Texas, he is capable of holding his own with most ax slingers. He is at home, as well, when it comes to hard-driving Texas-style Blues a la SRV on "Burnin' Up". I think this is one of his best licks on the album, and that is no mean feat. On this cd, he is accompanied by his fellow travelers, Steven Wills on Bass Guitar, “Niko” Leophonte on drums, and featuring Ruthie Foster ("Back To The Blues"). On the only instrumental on this go-round ("Money Shot"), Hadden and company get that Blues Train goin' , and I can't help tappin' my toes to it. It's quite catchy, as well as tightly played. I had never heard this artist before, and frankly, I am surprised - given all the talent in him and his bandmates.

That's my two nickels worth........................Nick

FCC Clean

FCC ALERT: "Nothing happening here, folks"

ARTIST BIO:

Hadden Sayers, Lead Guitar/Lead Vocals Hadden was born in Nacogdoches, Texas and has lived all of his life throughout the state. He graduated from Clements High School in Sugar Land, Texas, and attended Texas A&M on an Ag Scholarship where he graduated with a degree in Agricultural Journalism. He moved to Austin and joined “Silent Partners,” a blues band on the Antones record label featuring famous blues sidemen Russell Jackson and Tony Coleman, both of whom played for B.B. King for many years and now lead their own groups. In August of 1993 he started his own band and never looked back. Today, The Hadden Sayers band performs in Clubs and festivals all over the world including Canada, Denmark, Holland, Belgium, Germany, France, Spain and Russia. Hadden has performed, played or jammed with many others including: Kenny Neal, The Neville Brothers, Kenny Wayne Shepherd, Lynyrd Skynyrd, Susan Tedeschi, Double Trouble, Ian Moore, Marcia Ball, The Doobie Bros., Los Lobos, Bryan Adams and many, many others! The Hadden Sayers Band tours and records continuously. Watch for the release of our 5th CD entitled “12 Bars and the Naked Truth.” Steven Will, Bass Guitar Steven Will was born in Pasadena, Texas, and raised in the South Houston area. Hadden Sayers, Lead Guitar/Lead Vocals Hadden was born in Nacogdoches, Texas and has lived all of his life throughout the state. He graduated from Clements High School in Sugar Land, Texas, and attended Texas A&M on an Ag Scholarship where he graduated with a degree in Agricultural Journalism. Nicolas “Niko” Leophonte, Drums Niko Leophonte was born and raised in the South of France in the City of Toulouse. He became increasingly drawn to American blues and roots music until he decided to relocate to Austin, Texas, in 1996. His drumming skills quickly brought him to the attention of many of Austin’s top musicians including Derek O’Brien, Roscoe Beck and others. When he’s not touring with Hadden you just might find him down at Antone’s on a blue Monday jamming with Tommy Shannon or David Grissom. Or maybe you’ll see him cruising down South Lamar in his vintage 1964 Cadillac.He has played for many bands in the Houston and Austin area – most notably The Sheila Marshall Band, where he traveled extensively throughout the U.S. including Hawaii and also to Japan. He also played for Austin’s “Soapbox” and “Last American Virgin”. He was first associated with the Hadden Sayers Band in 1996 when he replaced founding member Charles Richard Knight on bass guitar. Steve went on to perform on the HSB album “Swingin’ from the Fabulous Satellite” before moving on to perform with other Texas notables. He has been back on the never-ending tour since January 2003.

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Biography PUTNAM SMITH "As quirky and genuine as the state from which he hails" - Dirty Linen Magazine www.putnamsmith.com www.youtube.com/putnamsmith www.myspace.com/putnamsmith Guest Musicians: Seth Yentes: cello Mariel Vandersteel: fiddle Putnam Smith, who hails from Portland, Maine, could be an old-world troubadour fresh from the 19th Century. After all, he lives in a log cabin, plays his Grandfather's banjo, and has printed up the jackets of his new CD on a 1901 Pearl Letterpress (hand set type, pedal powered!). Yet this rootsy multi-instrumentalist songwriter (he also writes and performs on guitar, mandolin, fretless banjo, and piano), steeped as he is in old-time Appalachian traditions, is very much a storyteller for the modern age. "We Could Be Beekeepers," Putnam's soon-to-be released third studio album (June, 2011), was recorded with Mark Thayer at the Signature Sounds Studio, and features Mariel Vandersteel (of Blue Moose and the Unbuttoned Zippers) on fiddle, and Seth Yentes (of Whiffletree) on cello. This new "Trio" sound explores new territory in 'modern roots' music: with original songs that sound straight out of the 19th Century, and traditional Appalachian tunes that sound surprisingly new and fresh. Nominated for "Best Folk Act" by the Portland Phoenix, and noted as "One To Watch" (Rob Reinhart of Acoustic Cafe), Putnam is a quickly rising star on the national folkscape. With his sophomore release, "Goldrush," reaching #5 on the national Folk DJ Charts (and making it on 6 "Favorite Albums of 2009" Lists) Putnam has met with critical acclaim -- both for his songwriting and his dynamic and engaging performances. A nationally touring artist, Putnam has shared the stage with such folk notables as: Amy Speace, Mark Erelli, Madison Violet, Garnett Rogers, Richard Julian, and Bruce Molsky. Some favorite venues that Putnam has played, include: Club Passim (Boston), Johnny D's (Boston), Rockwood Music Hall (NYC(, Me and Thee Coffeehouse (Marblehead, MA), One Longfellow Square (Portland), The Strutt (Kalamazoo, MI), MAMA's coffeehouse (Bloomfield Hills, MI), Ebenezer's (D.C.), Ginkgo's (St. Paul, MN), Flipnotics (Austin, TX), Chickie Wah Wah's (New Orleans), Studio Live (Sedona, AZ). Putnam's songs sound like they've come from a back porch in the Blue Ridge Mountains, or some cabin on the coast of Maine. From whiskey-slinging good-time banjo numbers, to intimate heartbreakers on the guitar, to lighthearted tunes about 'lawnmower repair' on the mandolin, Putnam's able to connect with each member of his audience as if each one were an old friend with whom he were spending a precious evening. He lives in a log cabin just north of Portland, and loves compost. Instrumentation Putnam Smith: banjo, acoustic guitar, mandolin, piano, voice Guest Musician: Seth Yentes -- Cello

Review of Putnam Smith We Could Be Beekeepers by Steven “Nick” Nickelson: So many reviews I have read recently all say basically the same thing. Putnam Smithe is the real deal, the genuine article. He clearly likes the simplicity of earlier times and the instruments played in those times. He eschews the fancy doo-dads and gizmos used by today's electronic musicians in favor of human-powered musical instruments – much to the delight of his audiences. To me, he just seems like he would be more at home in then hills of Kentucky and surrounding states playing good ole bluegrass. At least he might appear more sociable. Bluegrass musicians just play (and sound) better when surrounded by like-minded players and pickers. Having said that – his writing talents are well-suited to his unique style of perf orming; yet, I sense the potential for transforming said songs to the bluegrass format. I think he could collect a ton of goodwill and fans if he did so. That's my two nickels worth. --------------Nick

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SMALL TOWN SON

Burning Good Rubber

Jun 23, 2011

Small Town Son, a local 5 piece country band, is tight. With very strong songwriting and deep roots in modern country rock, their new album "Burning Good Rubber" is cast in superb musicianship and a broad range of influences. These champions of the Colgate Country Showdown bristle with the tribulations and the honesty of Midwestern backroads. They bow to everyone from Coe and Brooks to Chesney and Bentley on their debut disc. From a good time party song like "Shut Us Down" to "Honky Tonk Hymns," a roadhouse country anthem, they blend Top 40 Country sounds with the flavors of classic country and blues. "Dodge Man" is a bluesy car song. Solid country sounds can be found on "I Can't Remember When," with its Chesney-esque pining for a love left behind, and on "Missing You" a sweet song that travels somewhere between Vince Gill and Garth Brooks. The album ends with a perfect fiddle waltz that sounds as if it was grabbed off a rehearsal tape. You'll be glad they kept it. Reviewed By: Todd Townsend.

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Small Town Son Online:

Black Jake and the Carnies

Sundry Mayhems

Jun 23, 2011

If Alice Cooper and the Flaming Lips decided to join the Pogues and Gorgol Bordello in a tribute to Bill Monroe, it would be Black Jake and the Carnies. This side show band hailing from Ypsilanti is a mix of bluegrass, klezmer, ragtime, punk and street theatre. They bring banjo driven frenetic madness to live shows with a chicken head strobe light, a banjo lit like the marquee on an Elephant Ear Vendor's trailer and balloons, beach balls and tombstones. With one foot firmly planted in 19th Century instrumentation and the other stomping the 21st Century into the mud, the Carnies are a sight to behold; even in audio. Their CD "Sundry Mayhems" is explosive, ancient and up to date. From the klezmer inspired title track through a psychedelic hobo song, snake oil, rat problems, cheery murder ballads, first person mental anguish and a zombie chicken, this new disc is wicked fun. "Old E Cross" and "Ypsitucky Rustbelt Revival" are Michigan songs. "My Angel Marie" and "My Evil Friend" just might creep you out. The last three tracks almost whiff of social commentary, but its buried under the all the scratch and twang. Black humor and post-apocalyptic madness abound. Reviewed By:

Black Jake and the Carnies Site:

TOKYO ROSENTHAL

WHO WAS THAT MAN ?

Jun 21, 2011

When I first heard Tokyo Rosenthal on his 2010 release "Ghosts" I was taken by his voice and how a man named Tokyo exemplified the sounds of Americana. On his new release "Who Was That Man" Tokyo continues to expand the landscape. The opening title track and "The Librarian" have a Texas, Spanish folk sound that would exemplify the sounds of Raul Malo and the Mavericks. Tokyo voice can also change with each track as "Your 3RD Score" has a distinctive Gordon Lightfoot feel to it. "Maybe I've Been Where I'm Goin'" and "San Antone" are the purest of Tokyo's new country sound. The other standout I found on this disc was the fiery fiddle of Bobby Britt throughout this disc. I could only assume he needed new strings at the end of this recording. Tokyo Rosenthal's name may not be as recognizable as many of today's popular musicians, but after one listen to this disc you will be asking Who Was That Man? Reviewed By: Gregg Saur

Quick Links:

Tokyo Rosenthal Home Page

FOSTER THE PEOPLE

Torches

Jun 17, 2011

Mark Foster teamed up with two buddies in L.A. to form this electronic-driven rock band and the catchy hooks and intriguing lyric-phrases in their songs make for a unique combination. FTP sounds a little global in orientation, a bit reminiscent of Vampire Weekend, but concentrating more on a relentless (and addictive) beat rather than clever lyrical content. From "Pumped Up Kicks," about a latchkey kid wielding a gun, to "Houdini," a sort of pull-yourself-up-by-your-bootstraps anthem--whatever these guys are singing about, your entire body is moving because of the pounding rhythm. "Helena Beat" is also a can't-get-it-out-of-your-head tune with that ever-present FTP synthesizer mesmerizing your mind. This is hip summer music, kids! Break out the Oberon and dance. 06/11 MJVD R-Alternative/Indie

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JANITA

Haunted

Jun 15, 2011

(Pronounced Ya-nee-tuh)

No FCC Issues

Label: Engine Company Records
Released: 27 July 2010

Originally from Helsinki, Finland Janita now resides in Brooklyn, NY where she has put out (now) 4 internationally acclaimed albums. With a powerful voice, she rides the synth and acoustic waves of R&B and adult contemporary rock. Focusing mostly on soulful, slow bleeds but not afraid to completely rock out, “Haunted” plays around with the ideas of love and loss with inventive metaphors and striking symbolism.

Janita is best when she is being playful and unorthodox, which she manages to do on a quite a few tracks. Album closer “Heal” is probably the most surprising, incorporating both hand drums and a sitar-sounding instrument, creating an overall Indian feel to a song that would sound banal without it.

Recommended Tracks: Martian (3, up-tempo), Travels of Your Mind (5, laid back)

Reviewed by Devon Cunningham

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Label Site

KARSH KALE

Cinema

Jun 15, 2011

(pronounced Kursh Kah-lay)

No FCC issues

Label: Six Degrees
Released: 26 April 2011

London born but raised in New York, Karsh Kale uses his international influences and Indian heritage to create electronic music that is truly his own. Well known for years as the master of the Asian Massive musical movement which combines a variety of western musical traditions (folk, rock, electronica) with South Asian sounds to create one big multicultural soup of sounds.

Using the electronic music backgrounds of house, jungle, dubstep and even industrial spliced with beautiful classical Indian music and singing, big string ensembles and stark piano pieces, this album is the definition of world fusion.

Recommended Tracks:

Ma (track 9) – Dubstep with a child’s voice interspersed

Cinema (track 3) – Title track, big orchestration, pretty heavy, big build ups

Joy (track 7) – A simple glitch track with a lot of emotion, think Notwist with Indian vocals

Reviewed by Devon Cunningham

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THE WOODSHEDDERS

O Dig

Jun 15, 2011

No FCC Warning

Label – Shepherds Ford
Released – April 2011

Who are The Woodshedders? An easy answer would be a ramshackle group of folk and country musicians producing music that they have coined as “Indie Roots Americana” but based on the variety of styles that they have employed on their newest record, the actual style would certainly transcend anything that you try to put into words.

Playing everything from gypsy music to folk-reggae to a waltz lament to a jam band style rap, this album is all over the place but all firmly rooted in the folk and bluegrass sound that made their first record “Catch the Yardbird” so endearing. Featuring an upright bass, mandolin, fiddle, guitarist and drummer, this is one of the most unique records you will hear this year.

Recommended Tracks: Badger Blood (1), Swallows Wings (8)

Reviewed by Devon Cunningham

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The Woodshedders

CULTS

Cults

Jun 15, 2011

FCC Warning: Track 6 (f*ck)

Label: Columbia
Released: 7 June 2011

The people of the internet are fickle. Just as easy as they can build you up, they can tear you right down again. So when it was announced that internet buzz-duo, Cults had signed to a major even before they had produced a proper LP it was almost shocking how quickly they were accepted and just left to record the follow-up of their highly acclaimed 3 song 7-inch. It seemed that the days of calling people sell outs were gone, for better or worse.

In this case, I would say for the better. If the people of the internet weren’t shocked into disbelief that one of theirs had gotten ahead, the collective, preemptive animosity would have gotten so loud, it might have drowned out the devastating tunes on this record. Every track is a winner.

Sundrenched songs filled with reverb next to ones that could have come straight out of a 50s sock hop. Aped girl group vocals with synths and xylophones, all with the running theme of cults as vocal snippets, even including the man behind Jonestown, Jim Jones was sampled. It goes to show you that not everything produced and endorsed by the internet has to be Biebers and Soulja Boys.

Recommended Tracks: Abducted (1), Go Outside (2), Most Wanted (4), Bumper (10)

Reviewed by Devon Cunningham

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GAUCHO

Pearl

Jun 14, 2011

“Pearl” is the fourth release from San Francisco sextet, Gaucho. You wouldn’t know listening to this that Gaucho is a contemporary band, performing original works. (Except for two covers... “Avalon” by Al Jolson and “Lover Come Back To Me” by Hammerstein/Romberg.) Heavily influenced by Django Reinhart, Gaucho makes gypsy jazz that sounds as if it came right out of a 1930’s Parisian club. More than half the songs on “Pearl” are instrumentals and normally that would suit me just fine; but the vocals are what sets this band apart. Guest vocalist, Tamar Korn, has a voice that’s made for this music. When she’s not singing lyrics, she often mimics the muted trumpet (“Little Sweetie” “Sing On”). Her voice is so unusual that it’s sometimes difficult to distinguish between voice and instrument. (Check out her theramin-like vocals on “Avalon”.) Aside from the vocals, the rest of the band is tight, but relaxed, giving “Pearl” an overall atmosphere of good times. Rebecca Ruth

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BRUCE HORNSBY AND THE NOISEMAKERS

Bride of the Noisemakers

Jun 13, 2011

Nick's Picks: all but 7 "Intro - Bobby Reed - Variations"

FCC ALERT: Nothing here folks
ARTIST BIO

Bruce Randall Hornsby (born November 23, 1954) is an American singer, pianist, accordion player, and songwriter. Known for the spontaneity and creativity of his live performances, Hornsby draws frequently from classical, jazz, bluegrass, folk, Motown, rock, blues, and jam band musical traditions with his songwriting and the seamless improvisations contained within. Hornsby's recordings have been recognised on a number of occasions with industry awards, including the Best New Artist Grammy in 1987 with Bruce Hornsby and the Range, the Best Bluegrass Recording Grammy in 1989, and the Best Pop Instrumental Grammy in 1993. Hornsby has also achieved recognition for his solo albums and performances, his current live act Bruce Hornsby & the Noise Makers, his bluegrass project with Ricky Skaggs, his jazz act The Bruce Hornsby Trio, and his appearances as a session- and guest-musician. He also collaborated with the Grateful Dead and was a part time member of the band from September 1990 to April 1992. (Excerpted from Widipedia)

Bruce Hornsby -- piano, keyboards, accordion, vocals

John "J. T." Thomas -- keyboards, organ

Bobby Read -- saxophones, woodwinds, flute

J. V. Collier -- bass

Doug Derryberry -- guitar, mandolin

Sonny Emory -- drums

Occasionally:

Live At Benaroya Hall With The Seattle Symphony

Jun 10, 2011

Nick's Picks: 07 Dreams, 08 Turpentine (even with the kitschy audience participation segment)

FCC ALERT: Not on this cd

Review of Brandi Carlile Live At Benaroya Hall With The Seattle Symphony

Although her singing voice isn't as distinctive as, say, Emmylou Harris, she can certainly craft some listenable tunes. (In many respects her anthemic strains remind me of a cross between Ani DiFranco and Bonnie Raitt. And, much like her contemporary, Sarah McLachlan, she can make even the faintest sound come out clear as a bell. Most of the songs on this cd are penned by Ms. Carlile, and they are very melodic. The Seattle Symphony and the music hall make great backdrops to the band's music, and add a layer of depth that would not be found easily in the studio. Case in point: track 2 ("Sixty Years On"), makes much use of the entire orchestra, and it adds a melancholy turn to the song. Although track 3 ("Looking Out") leads in without the symphonic background, the strings play an instrumental part (pun intended) in the eerie beauty of this anthemic folk song. The next cut on this cd (4 "Before It Breaks") is an excellent listen, and a lot of the credit for that should go to the music arranger (for the symphony). The same holds true for the next song ("I Will"), as well as the 10th and 11th cuts ("The Story", "Pride & Joy"). We are treated to an uncredited song at the end of the lyrical rendition of Leonard Cohen's classic "Hallelujah". The song is "Forever Young", originally written and recorded by Alphaville in 1984. All in all, this album is very listenable and I enjoyed it immensely. If you get the chance, go see her live - you won't regret it.

And that's my two nickels worth................Nick

ARTIST BIO: Before signing to a major record label, Carlile performed in local Seattle establishments like The Crocodile, Tractor Tavern, and Paragon with twin brothers Tim and Phil Hanseroth.[5] Carlile sold her self-released recordings during local performances. Carlile began to attract the attention of the music industry after Dave Matthews heard her band perform at the 2003 Sasquatch! Music Festival. Brandi Carlile performing in Birmingham, Alabama in 2006. Columbia Records signed Carlile in late 2004 on the strength of her home recordings. Her 2005 major label debut, Brandi Carlile included some of those songs as well as newly recorded tracks. After the release of Brandi Carlile, she went on tour with the Hanseroth brothers for almost two years, where they worked on songs that became part of her album The Story.[6] In 2005, she was featured on Rolling Stone's "10 Artists to Watch in 2005" list.[7] By the end of 2006, Carlile had toured as a headliner and supported other artists including Ray LaMontagne, Jonny Lang, Hanson, Indigo Girls, The Fray, Chris Isaak, Tori Amos, and Shawn Colvin.[8] Her second Columbia album, The Story, was released in April 2007. It was produced by T Bone Burnett and includes a collaboration with the Indigo Girls on "Cannonball". The album was recorded in an 11-day long session with Carlile, the Hanseroth twins, cellist Josh Neumann and drummer Matt Chamberlain to capture the sound of her live performances. The crack in Carlile's vocals during the title track, "The Story", came out by accident and was a direct result of the way the album was recorded. Carlile describes the vocals as "technically wrong but emotionally right".[9] She would also contribute vocals to "Last Tears" from Indigo Girls' Despite Our Differences. ABC's Grey's Anatomy featured three of her songs: "Tragedy", "What Can I Say", and "Throw it All Away". In April 2007, Grey's Anatomy debuted a version of the video for the single "The Story" interspersed with footage from the show. On 3 May 2007, a special two-hour episode of the show featured Carlile's song "Turpentine" during footage of the Grey's Anatomy spin-off, Private Practice. Carlile's song "The Story" has been featured in a General Motors commercial aired during the Beijing Olympic Games, as well as in a Super Bock commercial. In March 2011, "The Story" was sung as the finale in the Grey's Anatomy musical episode by Tony Award winning actress Sara Ramirez who plays Callie. In November 2007, Carlile visited England for her first UK gig at the Borderline in London. In February 2008, Carlile performed as special guest to Newton Faulkner on five of his UK tour dates. During March and April 2008 Carlile toured through Australia with Maroon 5 and OneRepublic.[10] In April 2008 she played four dates in the UK and was a guest performer on the BBC2 show, Later... with Jools Holland. Carlile's album The Story was released in the UK on April 21, with lead single "Turpentine" released on April 14. Her third studio album Give Up the Ghost was released on October 6, 2009. The album debuted at #26 on theBillboard 200[11][12][13] The album was produced by Grammy Award winner Rick Rubin and contains a collaboration with Elton John titled "Caroline".[12] English singer Adele covered The Story's hidden track "Hiding My Heart" on a bonus edition of her 2011 album 21.

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Steve Cropper

Dedicated

Jun 9, 2011

The 5 Royales started as a gospel group in Winston-Salem, North Carolina. After switching to secular music, guitarist Pete Lowman Pauling penned several frequently covered. giant hits as varied as "This Is Dedicated to the One I Love" and "Monkey Hips and Rice." The band recorded for Apollo and then King Records. When Duck Dunn, little brother of a King Record employee turned his high school friend, Steve Cropper, on to the Royales, the Mar-Keys were born. Cropper and Dunn became legendary in the Stax Records House Band: Booker T and the M.G.'s. Steve Winwood, Bettye La Vette, Willie Jones, B.B. King, Shamekia Copeland, John Popper, Delbert McClinton, Sharon Jones, Buddy Miller, Dylan Leblanc, Brian May and Lucinda Williams join Steve Cropper in this celebration of the 5 Royales' legacy. Those that weren't familiar with the band were simply pulled along by Cropper's enthusiasm. A fitting tribute to R&B ancestors infused with the inimitable Steve Cropper and his Memphis roots. Lucinda on "Dedicated to the One I Love" is transcendent. Bettye La Vette is simply plaintive on "Say It." Check Winwood, King & Copeland, McClinton, or Jones. Not a bad track in the bunch. Reviewed By: Todd Townsend.

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Steve Cropper's Website:

TAB BENOIT

MEDICINE

Jun 7, 2011

Joined by such first call New Orleans based musicians as Anders Osborne on guitar, Ivan Neville on Hammond B3 and Michael Doucet on Fiddle, Louisiana guitarist Tab Benoit checks in here with 11 original tunes that showcase not only his prowess on guitar but his sharp eye for detail. On "Long Lonely Bayou" he laments his inability to catch a break in matters of both love and luck over a musical backdrop that has a traditional Cajun feel compliments of Doucet’s fiddle work. "In It to Win It" has a slow, stewing groove that propels Benoit’s tale of wanderlust and redemption as the prodigal son returns. "Mudboat Melissa" is an upbeat rocker that is more fun than the fate that awaits the unlucky soul that gets caught by troublesome Melissa. The title track features a guitar duel by Benoit and Osborne over a thumping bass and drum groove that adds an evil edge to the tale about seeking help through a fix that will either kill or cure you. Benoit’s activism in support of saving Louisiana’s embattled bayous and coastline is front and center in "A Whole Lotta Soul" where he suggests that those who don’t think the loss of the bayous is a big deal will change their tune when he demolishes their property in the same way the bayous have been destroyed in the name of progress. While many of the tracks simmer rather than burn, "Come and Get It" is a positively buoyant party track about ripping loose and letting the consequences catch up tomorrow. The Augie Myer’s penned "Can’t You See" hits a similar fun groove with Doucet’s fiddle work luring you to the dance floor. The presence of Anders Osborne is felt all over this disc with his guitar work continually pushing Benoit to stretch himself and his co-writing credits adding a bit more darkness to the mix than found on prior releases. Smitty

ROD PIAZZA AND THE ALL MIGHTY FLYERS

ALMIGHTY DOLLAR

Jun 7, 2011

Ditching the Mighty Flyers Blues Quartet label used for the last two releases, Rod Piazza and crew emerge on this disc as the All Mighty Flyers. The change is more than cosmetic as the band is accompanied here by a whole cast of guests including Johnny Dyer on vocals, Rusty Zinn on guitars, Jonny Viau on tenor sax and Norm Gonzalez and Hank Van Sickle on bass. This expanded crew fits seamlessly with the core band (Rod Piazza on harmonica and vocals, Miss Honey Piazza on keys, Henry Carvajal on guitars and Dave Kida on drums) and pushes it in directions that it doesn’t often explore on its own. For example, the classic "Ain’t Nobody’s Business" gets a slow, moody, Kansas City piano twist from Miss Honey instead of the upbeat West Coast swing style normally employed by the band. The Muddy Waters classic, "Loving Man", features Dyer’s delta fueled vocals over a soundtrack that sounds straight from Rosa’s Lounge on the South Side of Chicago. "We Belong Together" and "What Makes You so Tough" have a 50’s doo-wop and early rock vibe while "Wine, Wine, Wine" prominently features Viau’s Saxophone on the track ending solo after Rod’s “Mississippi Saxophone” has set the tone, an honor not lightly given by most harp men. That’s not to say that Rod keeps his harp in his pocket. The Little Walter gems, "That’s It and Confessin’" The Blues as well as his own "Con-Vo-Looted" feature massive doses of his drop dead great harmonica work. "Baby Don’t Go" has some great fireworks between Carvajal and Zinn before Piazza takes the band home with another great solo. As always, Piazza’s assured vocals add sly charm to the proceedings. The title track features Piazza’s tale of how hard it is for a musician to make a buck while Jimmy Liggins’ "Move Out Baby" features everything fans have come to love about the instrumental fireworks that fly between Rod and Miss Honey as they take solo turns. Speaking of fireworks, while there are few of the show stopping solos featured in the band’s live sets Miss Honey plays a more prominent role on this disc than on the last couple of efforts as the addition of the bass players frees her from holding down the groove as she’s been forced to do since the departure of long time bassist Bill Stuve a few years back. Her work on "Blue Shadows", adds immeasurably to what otherwise could be just another blues guitar showcase. Overall, this is one of the better discs in the band’s long discography. Smitty

TRACY NELSON

VICITIM OF THE BLUES

Jun 7, 2011

On her 26th disc since her 1964 debut, Deep Are the Roots, singer Tracy Nelson returns to her blues roots. Skipping the fake enthusiasm often displayed by those reuniting with the past (think 15 year high school reunion), Nelson by-passes the air kisses and exaggerated back stories and instead greets the blues with the warm embrace of someone falling into the natural rhythm of an old friendship. With tunes that have kicked around so long that they are part of her natural vocabulary, Nelson has no trouble making you believe they are her own. Nelson’s voice remains a wondrous instrument capable of morphing from a Koko Taylor like growl to a purring soul sister with stops at every shade of blue in between. Kicking things off is a rollicking rendition of the Howlin’ Wolf classic, "You’ll Be Mine", which is propelled as much by Jimmy Pugh’s piano work and Mike Henderson’s slicing guitar as by Nelson’s rich, deep vocals. Another Wolf great, "Howlin’ for My Baby", finds Nelson accompanied by Angela Strehli on vocals for a party ready rave up. Percy Mayfield’s "Stranger In My Own Home Town" is a classic slice of soul blues with plenty of B3 grease to keep things moving. The Ma Rainey penned title cut has a jug band feel that adds a nice counterpoint to the Jimmy Reed shuffles, "Shoot My Baby" (featuring piano and vocals from pal Marcia Ball) and "I Know It’s a Sin". Earl Thomas’ "Lead A Horse to Water" has a great swampy feel, rousing gospel overtones and the great line “you can lead a man to knowledge/but you can’t make him think” The Muddy Waters penned "One More Mile" cut by Otis Spann in the 60’s has haunted Nelson since she first heard it. Her version here showcases her rich voice, revealing nuance and complexity that can get lost in the faster paced tunes. This is a terrific release that is a welcome reunion between Tracy Nelson and the blues. Smitty

AL BASILE

THE GOODS

Jun 7, 2011

While the Cornet has a well established place in Jazz and occasionally finds its way into the blues as part of a horn section, it seldom gets featured as the main counter-point to the guitar as the lead instrument. East Coast horn man Al Basile has worked tirelessly to change that. On this, his eighth solo disc since leaving the original line up of Roomful of Blues in the mid-70’s, Basile continues to make the case for the Cornet as a peer of every other instrument that finds its way to the blues bandstand. Jumping in where a sax or harp would normally appear, Basile uses his Cornet to add a brassy texture to the 13 originals featured here. As well as that works, it isn’t really the whole story here. In fact, as with his past discs, it is Basile’s strong skills as a writer that carries the day. Flexing his master’s degree in creative writing and his long tenure as a poet and teacher, Basile, has crafted compelling tales of love stopping the clock of time, "Time Can Wait", the scourge of the telephone, "Mr. Graham Bell", a bank robbery gone way bad, "1.843 Million", a lust that can’t be cured, "The Itch", and a one way woman, "She’s A Taker". Despite his high brow credentials, Basile has no trouble taking a trip down the traditional blues path with some witty double entendre songs including "Don’t Sleep on Santa" and "I Want to Put it There". Nasty! Most of material here would fit nicely on a Tower of Power disc with hot- wired horn charts and soul blues grooves compliments of the Duke Robillard Band. "Lie Down in Darkness (Raise Up In Light)" follows a different path with The Blind Boys of Alabama adding their gospel touch to the proceedings. If you haven’t taken the plunge, it’s time to take a break from the Little Walter and Eddie Shaw wannabes and add some brass to your life. With great charts, strong songwriting and expert delivery, there probably isn’t a better place to start than with this disc. Smitty

ZIGGY MARLEY

WILD AND FREE

Jun 5, 2011

This is Ziggy's fourth solo studio release since leaving his brother and sisters in the Melody Makers. Since that time he has rocked with Dragonfly, did the family thing with Family Time but has failed to release a solid classic reggae disc until now. This CD begins with a track that promotes Ziggy's new super hero Marijuana Man and promotes his cause for the freedom of the herb, where Ziggy is joined by Cheers star and fellow activist Woody Harrelson. This CD may be closest to a one of his fathers disc than ever recorded dealing with personal revolutions as in the track of the same name, Marijuana in the title track and spirituality and religion in MMMM MMMM. Ziggy also sings about fatherhood and the issues associated with in "Welcome To The World". This CD was produced by Ziggy and the legendary Don Was and is a disc that will make his mother, father and brothers and sisters very proud while providing us with his finest solo release to date. Reviewed By: Gregg Saur

Quick Links:

Ziggy Marley Home Sight

TRAMPLED UNDER FOOT

Wrong Side of the Blues

Jun 3, 2011

What kind of blues can three white-bread siblings from Kansas City possibly produce? Well, one listen to this new disc by Trampled Under Foot answers the question--rockin' blues with soulful vocals and signature electric guitar punctuation. Nick, Danielle and Kris Schnebelen were raised by blues-loving and blues-playing parents in K.C. and the gene pool produced another generation of bluesologists who upped the ante on mom and dad. This is rockin' set of tunes, with Danielle's smoky vocal chords a clear highlight. Etta James's B-3 guy, Mike Finnegan, adds some nice keyboard action and Fabulous Thunderbirds frontman Kim Wilson blows the harp on "She's Long, Tall and Gone." But the sibs themselves are the show here, with brother Nick showing his guitar prowess in a number of places throughout the set; in 2008, Nick won the Albert King guitar award and the International Blues Challenge in Memphis. Danielle's voice scorches "It Would Be Nice" (written by her dad, by the way). Good job, kids--and they even let mom (Lisa) sing background vocals on "Get it Straight" and the title track. 06/11 MJVD B-Rock

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TARA NEVINS

Wood and Stone

May 31, 2011

In her first solo release in 12 years, Donna the Buffalo singer/violinist Tara Nevins shows her country-side more prominently than one hears in her "Donna songs." The record doesn't start out that way: the opening title track could comfortably find a home on a Donna CD, with its driving, Cajun-style structure. The same holds true for the next two cuts, "All I Ever Need" and "You've Got It All." The cowboy boots show up on the fourth track, "You're Still Driving That Truck," which begins with an electric guitar intro and then dips into Nashville territory, as does the rest of the set--until the arresting "Tennessee River," which uses a growling electric guitar to underscore the angst of the song. She ends things up with a gorgeous reflective number, "The Beauty of the Days Gone By." Country or not, Nevins has talent and she's delivered a solid collection of songs that allows her to exercise her twang between Donna releases. 05/11 MJVD F-Americana

BRAD VICKERS & HIS VESTAPOLITANS

Traveling Fool

May 26, 2011

FCC ALERT: "nothing here, folks"

ARTIST BIO: "Of particular note, I should add, is the equal importance of his Vesapolitans line-up: Bill Rankin on percussion; Margey Peters, who adds her rich and sonorous playing on bass and fiddle; the great Jim Davis on clarinet and tenor saxophone; Matt Cowan on baritone saxophone; and one of my favorite guitar (and piano!) pickers, Arne Englund. The estimable V.D. King also makes an appearance with this fine ensemble.

I can't say enough about Dave Gross's production on this CD. As a guest myself on this session, I had the opportunity to observe him in the production/engineer capacities. All I can say is this: I had one of the best times in years being involved with the making of this recording. A great captain at the helm always gets the best out of musicians. I'd put him up with my favorites, Hammond Scott (Black Top), Peter K. Siegal, and Chris Matheos. All of this said, if you're in the mood to spend some time listening and dancing-don't forget, Mister Vickers is a rocker to the core!-to some downright incredibly hip music, then slap this in your favorite player and tear it up!" -Bobby Radcliff

[5:43] 1. Traveling Fool [3:34] 2. Because I Love You That Way [4:37] 3. Diggin' My Potatoes [4:07] 4. Don't Take My Cadillac [2:43] 5. Uh Oh! [2:54] 6. No Baby, No [5:39] 7. Leave Me Be [3:58] 8. Low Down Dirty Shame [2:43] 9. Glad Rags [3:42] 10. In My Dream [4:05] 11. Fourteen Women [3:26] 12. Skeeter Song [3:35] 13. Without Moolah [5:58] 14. How Long Blues [3:33] 15. Rockabilly Rumble

Nick's Picks: 01, 03, 10

Review of Brad Vickers & His Vestapolitans by Steven "Nick" Nickelson:

The very first jump jive song out of the box ("Traveling Fool") elicits that primal urge to toe-tap or more. Really tight group, and the sax just smokes. Arne Englund' piano playing is spot on, and his smokin' hot arpeggios keeps the audience in awe. The unique thing about Brad Vickers is that hs musical stylings are a throwback to earlier days when there were no mixing boards or synthesizers. It makes for some "authentic" sounds. Much of this cd reminds me of the time we spent in "Nawlins" in the French Quarter. We stayed on Bourbon Street and our room was on the second floor overlooking Preservation Hall. I can still hear that music coming out the doorway and wafting its way across the street. The Preservation Hall Jazz Band was cranked up until the wee hours! Listening to Brad Vickers and His Vestapolitans took me right btack in time to that Mardi Gras of twenty years ago. "Diggin' My Potatoes" is an old blues standard, but Brad and company surround it and make it their own. Most of the cuts on this third release by Brad Vickers are, in fact, penned by Brad; however, I just have to say that the arrangements and instrumentation sound SO classically delta-style blues. A lot of the work that went into making this realistically raw and tight sound accrues to producer Dave Gross (who produced a recent release by another talented artist - Gina Sicilia). I can confidently state that if Dave Gross is your producer, then you already have a leg up on all the other talent out there. I digress, though - this is about Brad Vickers and His Vestapolitans. On one of this cd's instrumentals, we are treated to a really fast-paced sax duet between Jim Davis on tenor, and Matt Cowan on baritone - followed briefly by a lead guitar, bass guitar duet. Although it was a short little tune, it was a toe-tapper ("Uh, Oh!"). From there, we segue into a blues cut as slow as Mississippi mud, but thick with masterly tunes from all band members. This is one band that should be a must-see-live band. That's my two nickels worth..............Nick

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FAIRPORT CONVENTION WITH SANDY DENNY

EBBITS FIELD 1974

May 25, 2011

Fairport Convention remains one of the pivotal English Folk-Rock bands of the late 1960's & 70's even though several members will reform until today. This CD captures the band in Colorado's Ebbets Field in 1974 after Sandy Denny had rejoined the band for a series of concerts. The CD begins with a Sandy Denny original from one of her finest solo releases "Like An Old Fashioned Waltz" Sandy's voice is a little raspy as she opens the show, but by the time she sings her signature "Who Knows Where The Time Goes" the rasp has disappeared and all her beauty shines through as she captivates the audience. The other remarkable part of this disc is the improvisation and instrumental interplay between some of England's finest players. This is especially found in the track "Sloth" that begins as a slower ballad and builds steam through it's entire thirteen minutes. The track "Matty Groves" originally found on the classic Liege & Leif release shows how much fun a song dealing with murder can really be and features some amazing violin from Dave Swarbrick. The CD concludes with Sandy doing a very interesting version of Bob Dylan's "Crash on the Levee Down In The Flood" The world lost Sandy four years after this release, but thanks to somebody keeping this excellent live recording in a vault for 37 years we are once again blessed by one of England's finest bands and voices. Reviewed By: Gregg Saur

Quick Links:

Fairport Convention Home Sight

Blackie and the Rodeo Kings Online:

SCATTERED TREES

Sympathy

May 24, 2011

Growing up together in Chicago, the members of Scattered Trees have been in and out of various bands at various times. At one point, with all the members being drawn to different projects, it looked like they would go their separate ways. But tragedy struck with the death of lead singer, Nate Eiesland’s father. Inspired to write, and with his friends to help self-produce the album, Sympathy came to be. Sympathy is an album of quiet, multi-voice harmonies backed by well-produced, even lush instrumentation. The songs are full of melancholy and often end with a big crescendo of instruments and voice. All in all this is crushing stuff. Rebecca Ruth

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MOBY

Destroyed

May 24, 2011

FCC ALERT: "nothing here, folks"

Bio:

Richard Melville Hall (born 11 September 1965),[2] better known by his stage name Moby, is an American DJ, singer-songwriter, and musician. Moby sings and plays keyboard, guitar, bass guitar and drums. He became a successful artist on the ambient electronica scene, and achieved eight top 40 singles in the UK during the 1990s. In 1999 he released the album Play, a mix of melancholic chill-out, ambient music, and upbeat electronica, that was critically acclaimed and produced an impressive eight hit singles (including his most popular songs "South Side", "Porcelain", "Natural Blues" and "Why Does My Heart Feel So Bad?"). Play became a commercial success, selling over 10 million copies worldwide[3] (the best-selling electronica album ever and with its eighteen songs receiving an unprecedented licensing in films, television and commercial advertisements. (excerpted from Wikipedia)

Review of Moby Destroyed by Steven "Nick" Nickelson:

I don't really know much about the artist Moby; however, I do recognize his signature electronic (I would almost call it industrial) musical stylings. There is an underlying pulsating, throbbing rhythm that drives many cuts on this cd ("The Broken Places", "Be The One") While his songs aren't packed wall-to-wall with genre chage-ups, there's more harmonic movement than is usual for work in his style. I have listened and listened, but I fail to pick up much difference between the songs on this cd. Although Moby can be a one-man wrecking crew, playing proficient and reliably tasteful parts, they all seem to end up utilizing the same driving back-beat. Those songs with lyrics don't seem to be rooted in anything in this world; however, I believe they make sense in Moby's world. All in all, this has some very danceable hooks and driving rhythms, and I am sure it will be another big seller for this synth and mixmaster wizard. That's my two nickels worth..............Nick

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THURSTON MOORE

Demolished Thoughts

May 24, 2011

All Songs FCC Okay

Label: Matador Records
Released: 24 May, 2011

The fourth solo release from Sonic Youth frontman and guitarist, Thurston Moore, Demolished Thoughts also gains from the production talent of Beck for an overall laid back record. Just over 50 years old, this indie rock mainstay is still writing fantastic songs but instead of angular guitar rock he has transitioned to dreamy, folk-rock written mostly on 6 and 12 string guitar.

But the strings, the beautiful strings! Whether its harp, violin or cello they all help to add to the almost late period Velvet Underground sound. Not that there isn’t some more Sonic Youth oriented songs thrown in there like Circulation (3) but overall what drives this CD is the psyche-pop/chamber-folk of the rest of the album.

Recommended tracks: Benediction (1), Circulation (3), A Paper Key (6)

Reviewed by Devon Cunningham

Artist's Homepage

BLACK JAKE AND THE CARNIES

Where The Heather Don't Grow

May 15, 2011

Nick's Picks: Every One

FCC ALERT: Not on this cd

Review of Black Jake & The Carnies Where The Heather Don't Grow

The banner says it all, "The Original Kings of Crabgrass"! Now, I'm a sucker for good bluegrass, and this is good! The sound comes off like a Bluegrass version of music along the lines of Celtic bands such as Dropkick Murphy, or Flogging Molly; with Bluegrass, egos get checked at the door, and the singing is not nearly of the quality of the music being played. Most times a story is woven throughout the song being played, and this is definitely the case with this talented band. Black Jake is clearly the designated "singer", but he and his band-mates are musically talented, and really know how to “get-down” with a Pixies-like bluegrass style (“Paper Outlaw", Crazy MacCready's"), and from there directly on to a "Faith and Begorrah" long-winded mountain music-like folk song (“Where The Heather Don't Grow”) – complete with the lonesome wail of the fiddle and strumming of mandolin and banjo. I have to admit that I just don't get some songs, and Black Jake and The Carnies have their share. I'll just note them and move on: "No Diamond Ring" (catchy mountain music); "Styxferry County" might be a nod to Charlie Daniels Band, but it lacks the catchy hooks; "Bone Man" seems to be derivative, but it definitely tells a good story; "Happy Easter To Ya" has the same beat as "Bone Man", but (once again) it tells an interesting story. Although the band holds true to the bluegrass tempo and instrumentation, they do manage to churn out some tasty originals ("Jasper Watkins", "Hunter's Moon"), as well as at least one (slightly skewed) cover - "Swing Low". If I were to sum up this band in one word, I would have to use the word "hoedown". This is one of those bands with so much energy, you just have to see them live.

And that's my two nickels worth................Nick

ARTIST BIO: Black Jake & the Carnies was stillborn on October 31, 2002. The band played a single show, recorded some songs, and promptly died. All this meant was Black Jake finally had something to dissect. Over the next couple years, Jake stitched his baby back together with parts unearthed from the graveyards of american music. By 2006, the infant was looking more and more like its daddy and, once again, showing signs of life. After a couple solo shows, it became apparent, all the little monster needed now was a bit more blood. Blood, it turns out, ain’t that hard to find. Gus, the only original Carnie still fiddlin’ lived just up the block from Black Jake. It was rumored that Zachariah, who lived direct across the street from Gus, played mandolin. Joe Cooter, whose property line ends near Zach’s backyard, plucked bass. Up the road a bit Cooter heard the thumpin' of Kingpin Lalonde's big bass drum and scratchin' on his washboard vest. By then, there were enough Carnies to take pretty much whatever they wanted by brute force, and J.C. was quickly corralled. Black Jake had his Carnies and the monster had its blood.

Black Jake and the Carnies is:

Black Jake: singing, songwriting, banjo

Gus Wallace: fiddle

Zach Pollock: mandolin

Last

May 11, 2011

The Unthanks is a family affair featuring Rachel and Becky Unthank (their real last name) on vocals and Rachel’s husband Adrian McNally on vocals, piano and drums. Chris Price and Niopha Keegan fill out the rest of this Northumberland, UK band.

The Unthanks broke out to critical claim with their album The Bairns in 2007, earning them a Mercury prize nomination.

Comprised mostly of cover songs and reinterpretations of old British folk tunes, the songs carry with them the weight of history and their influences including a great cover of a Tom Waits song off of Alice called “No One Knows I’m gone” (track 6).

Recommended tracks: Queen of Hearts (3), Last (4), Starless (9)

Reviewed by Devon Cunningham

Quick Links:

Artists's Homepage

GINA SICILIA

Can't Control Myself

May 10, 2011

Nick's Picks: 01 Addicted , 03 Members Only

FCC ALERT: Not on this cd

Review of Gina Sicilia can't control myself

This is the third release for this 25-year-old singer/songwriter offering excellent music and listenable lyrics. After listening for awhile, I am really impressed with the level of sophistication (musically speaking) from this talented chanteuse. Right from the start we are treated to a a he-done-me-wrong-so-I'm-drinkin'-myself-to-death-song with a wry sense of humor, sung in a smokey, deep-throated, "so hot, I'm on fire" voice ("Addicted"). If I didn't know better, I would swear that Gina sounds exactly like Grace Potter (and that is a compliment) on the third cut ("Members Only") - I almost get the impression that she is making love to the mic - so into the music and lyrics does she go. "Before The Night Is Through" sounds an awful lot like a reggae derivation of a song performed by The Drifters ("Under The Boardwalk"), but I like her music better. I also like her twist on a classic Stevie Wonder song ("A Place In The Sun"), with the full instrumental vibrato. Gina is really developing some awesome songwriting skills, and this album is full of some of the best writing I have heard in awhile. "Can't Control Myself" is a very good example of her ability to not only write great music, but to perform it equally well. And now that she has mastered the blues, she has dipped her toes in the country waters ("As Long As You're Here"). After listening to this cd, I have not been able to pigeon-hole her singing style, either. One time she sounds remarkably like Amy Winehouse ("Wish The Clock Would Stop"), a deep breath, and she comes on like a suburban Crystal Gayle ("Once In A While"). With the exception of the subject matter ("Crazy 'Bout You, Baby"), Gina Sicilia sounds like a female version of CCR's John Fogerty. I can only say that I fully expect to hear much more from this talented young lady.

That's my two nickel's worth...................................Nick

ARTIST BIO: Gina Sicilia: Vocals Dave Gross: Background vocals, acoustic & electric guitar, slide guitar, electric & upright bass, drums, piano, wurlitzer, B3, accordion, toy piano; Matt Cowan Bariton & tenor saxophones Jon-Erik Kellso: Trumpet; Sean Daly: lap steel; To be sure, Philadelphia-based vocalist and songwriter Gina Sicilia has come a long way in a relatively short time in the blues world. This is not to say that she's some new up-and-comer, either, as this woman in her mid-twenties has been actively singing the blues and writing her own songs since she was an adolescent. Exposed to blues and roots music by her parents, Sicilia began writing her own songs as a 12-year-old. By the time she was 16, she would have some of the songs that would be included on her debut album. She graduated in 2007 from Temple University in Philadelphia with a degree in journalism. It was during her sophomore year in college that she began attending the weekly blues jams at Warmdaddy's in Philadelphia. She cut her teeth there and began to learn and develop as she associated with blues veterans, some of whom would help her record her first few demo discs. When her debut album, Allow Me to Confess , was released in 2007, the critical reaction was positive. She was talked about as an important new voice in the blues with a maturity far beyond her years, evident in her choice of covers, where she interpreted oft-overlooked rhythm & blues classics. In the spring of 2008, her album was nominated for "Best New Artist Debut" at the W.C. Handy/Blues Music Awards in Memphis. Her second release, Hey Sugar , let fans know that while she was only in her early twenties, she could also tackle alternative country and Americana tunes with virtuosity and aplomb. Her third release is the powerful Can't Control Myself , released on March 1, 2011, just days before her 26th birthday. Sicilia widens her stylistic palette even more with this disc, fusing classic blues, classic R&B, soul, and Americana tunes into a cohesive whole. She includes three covers made famous by Bobby "Blue" Bland , Stevie Wonder , and Ike & Tina Turner . Her third album was recorded and engineered by her VizzTone labelmate, multi-instrumentalist and singer/songwriterDave Gross , at his home studios in northern New Jersey. Blues Revue magazine said of Sicilia 's 2007 debut, "Not since Susan Tedeschi has a young female blues singer made such a strong impression….a remarkable voice." Coupled with good management and a good booking agency, Sicilia should be touring the U.S., Canada, and Europe for years to come. And given the current paucity of truly good female blues singers, this would not be a bad thing.

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MAGGIE BJORKLUND

Coming Home

May 9, 2011

Between the moody instrumentals, the vocal harmonies, and the occasionally surprising instrumentation, “Coming Home” evokes a western noir feel. This may be the debut album from Denmark’s Maggie Bjorklund, but the girl has been around. Most recently, Maggie recorded and toured with Exene Cervenka. For this release, she enlisted the help of the members of Calexico for instrumental backing, featuring herself on pedal steel. Even though her voice is sweet, she is often sharing the vocal spotlight or simply not singing at all. “Coming Home” features guest vocalists such as Mark Lanegan(Screaming Trees) and Jon Auer(Posies). The production by Johnny Sangster is well-done without being fussy. All in all a nice package. Rebecca Ruth

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THE WATSON TWINS

Night Covers

May 7, 2011

FCC ALERT: Sorry, but nothing offensive.

ARTIST BIO

Following on the critical success of Rabbit Fur Coat, their 2006 collaboration with Jenny Lewis, Southern Manners (2006 self-released EP) and Fire Songs, their 2008 Vanguard Records full-length debut, The Watson Twins return with Talking To You, Talking To Me (February 9th/Vanguard) their most groove-heavy and ambitious album to date. The 12 songs on TTY, TTM, produced by Russell Pollard and J. Soda of Everest, display a new sonic direction previously only hinted at in past efforts. Yes, the folk, country and Americana roots of Leigh and Chandra Watson remain, but the duo also explores and reveals their long-held love of R&B, Bossa Nova, indie pop and most prominently, classic soul. "We wanted your body to move with every song," says Leigh. Where the gorgeous Fire Songs was slower and more meditative, TTY, TTM showcases the twins' admiration of classic soul vocalists, torch singers and chanteuses such as Etta James and Aretha Franklin. "I think elements of that existed on Fire Songs, but they were buried and just hinted at that," says Chandra. "When you're insecure about something, you don't necessarily have the confidence to invoke those styles." Those insecurities can be laid to rest with TTY, TTM. The soulfulness of "Midnight" sounds like a heartbroken lover crying the blues at a late night bar. "Harpeth River" updates the vibe of classic Portishead. The Hammond B3 and defiant vocals of "Devil in You" could be a lost b-side to Dusty in Memphis, while "Savin' You" and "Snow Canyons" hearken back to the pair's more traditional Americana-based tracks. In June 2009, having already written the lyrics for the album separately, the twins, Pollard and Soda decamped to a remote cabin in the High Sierras near Yosemite National Park with no phones, television or music. In four days, armed with only guitars, a drum kit, and computer to record the results, the foursome finished the sketches for TTY, TTM. (The album would later be recorded at Fairfax Recordings on the same mixing console as Pink Floyd's The Wall. It features prominent contributions by members of Everest and My Morning Jacket's Bo Koster.) A retreat in the woods wasn't the only switch the duo made for this album. "In the past, we tended to sing a lot together doing these intricate harmonies," says Chandra. "On this one, the two of us sang back-up for whichever one of us was lead singer. We basically sang back-up for ourselves." Adds Leigh: "I feel we've honed how to work together and I think our singing style on this album strengthened the idea of the two of us being one voice. What people expect from us is very different from what this record is." On their debut album, Leigh and Chandra Watson established themselves as leaders of a movement that embraced traditional American sounds while still breaking new ground. With Talking to You, Talking to Me, the next chapter of a bourgeoning career is ready to be heard.

Review of Night Covers by The Watson Twins: I tried to get into this particular group, but I just cannot seem to pick up any originality. It is just a pleasant sounding bunch of covers of other artists. Almost any band worth it's salt could have made this ep; thus, I cannot say much about their work. That's my two nickels worth....................................Nick

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THE RICK HOLLAND-EVAN DOBBINS LITTLE BIG BAND

Trilby

May 4, 2011

With Rick Holland and Evan Dobbins leading the way on trumpet and trombone, the Little Big Band makes contemporary big band jazz. Currently out of New York, Rick Holland received his doctorate from Michigan State University, so there’s your local spin. “Trilby” is perfectly executed and considering Mr. Holland received his doctorate in classical performance, that’s to be expected. While every note is placed exactly where it should be, there’s no fire here. There’s something to be said for perfection, but I like my jazz a little rough around the edges. Rebecca Ruth

Shaun Murphy Home Page

ELBOW

build a rocket boys!

Apr 26, 2011

Nick's Picks: , 02 “Lippy Kids”, 06 “The Night Will Always Win”

FCC ALERT: Not on this cd

Review of elbow build a rocket boys!

Elbow (IMHO) is a very quirky band, led by frontman and songwriter Guy Garvey. The band has been together for 20 years, so they aren't exactly an instant phenomenon; however, there is no dispute that they are, indeed, a phenomenon. Prior to this review I didn't know anything about this group, but I have been watching YouTube recordings, and to that end, I am very impressed with the band's devotion to musical detail. They are considered to be one of the premier musical exports, and I have to say that the music I have heard thus far is lush, and full of depth – particularly the eight minute long first cut (“The Birds”). I really like the shorter,but infinitely richer in detail, second cut (“Lippy Kids”) - the refrain for this song lends the title for this, the band's, fifth studio recording. I'm not sure how to classify this type of music, but I think I will like the category – once I discover it. The third cut on this cd seems to have a World Music mien to it (“With Love”), and it compares favorably to a song popularized by Sting (of The Police) – the name of which fails me at the moment. I can pick up some musical comparisons to Radiohead, as well. Listening for awhile, I am more inclined to call this studio release from this 20-year-old band to be some of the finest writing and performing of original music in quite awhile. If you are looking for a band with a lot of energy and flash – this is not your band. On the other hand, if you are looking for a band that stays true to their music, and make music seem as easy as breathing – who paint with a delicate brush such a broad spectrum of musical tones that they seem to all be endowed with at least eight limbs each. It has finally dawned on me where I have heard this type of music before – and why I like it – it sounds evocatively like The Moody Blues (especially “High Ideals” and “The River”). The major difference is the lack of a story thread from chief singer/songwriter Guy Garvey. The choral outpourings from “Open Arms” makes the hairs stand on my arms! I cannot for the life of me understand why this very gifted includes a (distorted”) reprise of the first cut (“The Birds”), but then the moment is lost and we are treated to the last cut (“Dear Friends”).

All in all, I have to say I am glad to finally be introduced to this supremely talented band. That's my two nickels..............................Nick

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TUNE-YARDS

WhoKill

Apr 25, 2011

For Tune-Yards’ second release, Merrill Garbus has gone a bit Lo-Fi. Not that WhoKill doesn’t have its share of samples, effects, and tribal beats. There are also plenty of straight up vocals, displaying Ms. Garbus’ awesome range. She can go from guttural rapping (“Gangsta”), to pop chanteuse (“Wooly Wolly Gong”), to something akin to Bjork (“You Yes You”)...sometimes all in one song (“Powa”). All this is backed by interesting, often home-made instrumentation. Songs often seem patched together, but it doesn’t seem to be detrimental...indeed it works to advantage. While WhoKill is intriguing and somewhat eccentric, it doesn’t quite measure up to Tune-yards’ esoteric first release, Birdbrains, an album that I liked immensely. Rebecca Ruth

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UCF JAZZ ENSEMBLE

Jazz Town

Apr 24, 2011

The UCF Jazz Ensemble is composed mainly of freshmen and sophomores in the jazz studies program at University of Central Florida. This is big band jazz with absorbing arrangements of classics such as Billy Strayhorn’s “Lush Life”. Interesting choices in covers include James Brown’s “It’s a Man’s World” and the 70’s hit “Me and Mrs. Jones”, each arrangement is complete with vocals and leans toward R&B. Both “Bad Moon” and the title track are the album highlights. These two original songs are upbeat and engaging. Rebecca Ruth

Quick Links:

Flying Horse Records

THE BLACK LILLIES

100 Miles Of Wreckage

Apr 24, 2011

Nick's Picks: 04 Three In The Mornin', 09 Tall Trees

FCC ALERT: Not on this cd

Review of The Black Lillies 100 Miles of Wreckage

The Black Lillies on first blush apppear to be a well-coordinated country/bluegrass band, performing excellent music and listenable lyrics. After listening for awhile, I am more inclined to call this sophomore release from Cruz Contreras to be some of the finest writing and performing of original music in quite awhile. He really seems to be able to cross genres at a moment's notice, while holding on to a “country twang”. His band-mates are equally talented, and really know how to “get-down” bluegrass style (“Two Hearts Down”), and from there directly on to “cryin' in your beer” country (“The Arrow”) – complete with the lonesome wail of the steel guitar. The next cut segues into what I would call a Country ballad (“Same Mistakes”). What amazes me is the band's ability to jump from the easy pace of “Same Mistake” right into what seems to be a bluegrass standard (“Three In The Mornin'”). I say “seems to be” because I believe that if this group gets national recognition, this will be the song to propel them on the bluegrass charts. Oh, and did I mention that all thie songs on this cd were recorded live? Things move right along when we get hit between the eyes with a quasi-honkey-tonk number (“Nobody's Business”). Although this puts a strain on the listener's patience due to the repetition, it does demonstrate the versatility of the songwriter, as well as the prowess of the band members. To continue their trip across the breadth of the Country genre, we are treated to Cruz' take on a good man falsely charged (“Shepherd's Song”), spending a long time in prison only to get near the end - well, I won't spoil the storyline. Brings to mind Johnny Cash singing “The Long Black Veil”. We will skip past the next cut – another honky-tonk tune, to become acquainted with a different genre – folk (“Soul Of Man”). My favorite song on this cd, though, has to be “Tall Trees” not only for the top-notch songwriting, but the all too brief string solo – outstanding! Another honky-tonk song (“Ain't My Fault”) falls into the she-done-me-wrong-so-I'm-drinkin'-myself-to-death-song with a cheeky sense of humor. To close out the set, we are treated to the feeling that the songwriter and band might have traveled from a simpler time when life really was just broken hearts and an old dusty trail (“Go To Sleep”). All around excellent listening!!

My two nickels................Nick

ARTIST BIO: Cruz Contreras: Vocals, Acoustic Guitar, Mandolin, Piano, Rhodes Piano; Trisha Gene Brady: Vocals, Percussion; Jill Andrews: Vocals; Tom Pryor: Vocals, Acoustic Guitar, Pedal Steel Guitar, Electric Guitar; Billy Contreras: Fiddle, Piano, Strings; Kyle Campbell: Banjo, Pink Uke, Ukelele; Taylor Coker: Electric Bass, Upright Bass; Jamie Cook: Electric Guitar, Drums, Percussion; Ian Thomas: Harmonica Whiskey Angel was born from the ashes of one career, and shortly after its release, the East Tennessee music scene learned quickly that Cruz was as much of a bandleader as his ex-wife was when he stood in her shadow. In fact, Whiskey Angel made you forget there was ever anything for Cruz Contreras before The Black Lillies – the band that he brought together to record an entire album over the course of a weekend in his living room. The Black Lillies take their name from a song on that first record. After filtering through several lineup changes, Cruz assembled a crackerjack team of pickers, players and singers who have what it takes to put meat on those songs. Tom Pryor made a name for himself playing pedal steel for damn near any band that could talk him into it; drummer Jamie Cook anchored the rhythm section for Americana darlings the everybodyfields; harmony vocalist Trisha Gene Brady can wail like a hellcat or purr like a wildcat, and everybody who’s heard her sing agrees it only makes sense that someone with her pipes can provide the perfect counter-balance to Cruz. Bassist Robert Richards is the latest addition to the band, and under his steely-eyed gaze, no bass, stand-up or electric, stands a chance. And then there’s the bandleader himself. Standing in front of the pack, he guides his team with the dignified aplomb of those greats of old – Buck Owens with the Buckaroos, or Bob Wills commanding his Texas Playboys. He knows how to work the crowd, at ease behind the mic, in front of a piano or caressing the necks of a mandolin or guitar. In fact, it’s rare for Cruz to be presented with an instrument he doesn’t play, and everything he does finds its way gently worked into The Black Lillies’ aesthetic with all the swirls and flourishes of brush strokes on canvas laid down by a master painter. With Whiskey Angel, The Black Lillies established themselves, and it didn’t take long for them to make their mark on the national scene. They kicked off their first national tour at the Ryman Auditorium, the hallowed mother church of country music, and have since labored through three cross-country treks, with a fourth planned for the summer of 2011. They’ve performed on National Public Radio’s Mountain Stage and on two episodes of PBS’s Jammin’ at Hippie Jack’s, and they’ve conquered numerous festivals – Pickathon, the Americana Music Association Festival, Four Corners Folk Festival, Bristol Rhythm and Roots, even Bonnaroo. Along the way, the scribes who keep tabs on what’s worth listening to in this day and age have taken quite a shine to Whiskey Angel. It topped 2009 best-of lists across the country and is currently nominated for Best Americana Album by the Independent Music Awards. It isn’t uncommon for listeners to say that the music has taken hold of their soul. It’s earthy and gritty and melancholy in a way old mountain music was a century ago, speaking of pain and love and revenge and revelry with such spirit, such genuine celebration and sorrow, that it seems to be an album carved out of the planks of a backwoods cabin abandoned during the Great Depression more than a thing recorded in a living room studio by one man. And as good as it is … as great as it is … it’s a drop in the bucket, because 100 Miles of Wreckage is here. The sophomore record takes what Cruz built in Whiskey Angel and fortifies it, a rustic sound without name and place, unbeholden to geographic region or easy classification. It’s an album crafted with precision and care by musicians who are masters of their trade, who believe in The Black Lillies’ vision and who hold fast to the notion that good music – music with heart and purpose and purity of spirit — is still a valued commodity. Excerpted from an article By Steve Wildsmith, The Daily Times

AMANDA SHIRES

Carrying Lightning

Apr 19, 2011

Fresh off of her contribution to Jason Isbell's latest, "Here We Rest," and of playing Gwyneth Paltrow's fiddle player in the movie "Country Strong," Amanda Shires has been busy making her own music. With a Texas pedigree that includes the Old Country remnants of Bob Will's Playboys and the Alt.Country street cred of the Thrift Store Cowboys, Shires claims Leonard Cohen and Richard Buckner as influences. You can hear all them and even whisps of Seattle and Cleveland in the rich textures of "Carrying Lightning." Her Nashville Cute Girl Looks bely her sophisticated chops as a player and songwriter, and the fashionable whimsy of her baby doll skirts and bright cowboy boots stand in stark contrast to the hard scrabble poetry she writes. "Carrying Lightning" is a rich, sophisticated record, where Shires' mix runs from sugary-sweet ("Ghost Bird" and "She Let Go of the Kite") to 30 grit grind of ("When You Need a Train..." and "Swimmer"). "Shake the Walls" and "Sloe Gin" will grab you in places you nearly forgot. "Carrying Lightning" is a glimpse inside the heart of the sweet girl next door, but discovering more raw emotion and sophisticated confidence than you imagined. All the songs are hers with the exception of "Detroit or Buffalo," written by Barbara Keith in the '70s. Amanda has it all including an ear for neglected gems. With echoes of Emmylou, Dolly, and Loretta (even a little Dusty), Shires' voice, in equal measures, soars like an angel and catches you short, hair standing, like a soft kiss behind your ear. She can sing as powerfully as a spotlight on a deer, and as delicately as a paper lantern hanging on a lone pine. Is the world ready for another sweet-as-pecan-pie fiddle playing chanteuse? Amanda Shires is Tom Waits and Loretta Lynn to Allison Krauss' Billy Joel and Olivia Newton-John. Reviewed by Todd Townsend.

Quick Links:

Amanda Shires Official Website

.FEN

Trails Out Of Gloom

Apr 18, 2011

Nick's Picks: 06 “A Clearing”,

Review of Trails Out Of Gloom by Fen: Progressive! Original! I think not. Most of what I hear on this cd is musically derivative and lyrically weird. I have tried to listen in different venues and for more than six hours. I can find little that is new, and that doesn't rely heavily on fuzz bass for “refrain” emphasis. I guess my first clue to their creative talents would be in proofing their promo inserts. The musicians are as follows: Doug Harrison – vocals, guitar; Mike Southwortie – drums, percission (sic), piano (track 1 - “Trail Out Of Gloom”, track 3 - “The World Is Young”); Mike Young – bass; Jim Kwan piano, (track 4 - “Miracle”) . The first line of their online bio says it all, “An expression of loss and melancholic yearning, the primary goal with Fen is to draw the listener into a windswept and desolate landscape, bereft of hope.” And, believe me – they have achieved that lofty goal. I have to give this group some credit, though. They do a fine job from a technical perspective, and their arrangements are well-suited to their technical proficiency.

1 Trails Out Of Gloom Harrison 4:46 2 Through the Night Harrison 4:34 3 The World is Young Harrison 7:02 4 Miracle Harrison 4:06 5 Find that One Harrison 4:54 6 A Clearing Harrison 1:38 7 Queen of the Mountain Harrison 4:30 8 End of the Dream Harrison 8:15 9 In Your Arms Harrison 6:33

Just my two nickels ----------------- Nick

ARTIST BIO: In January of 1998, in the mountain shadows of Nelson, British Columbia, a creatorship was formed between two recluses. One had long hair, strange tattoos, and rode a motorbike and played guitar. The other was a tall, pale, librarian-type figure, with a voice that as easily terrified as soothed. In the summer of that same year, the pair displaced to Vancouver and found a rhythm section. Now, for more than a decade the band has been at work, assembling songs of a dark nature, giving refuge to the melancholy, the wanting, and at times, the disturbed. The debut recording, Surgical Transfusion of Molting Sensory Reflections, identified Fen as the only band of its kind on the coast (The Nerve Magazine), perhaps due to its nauseating rhythms and cranial song forms. A concept album followed, set in an isolated estuary. Entitled Heron Leg, this album left listeners both wondering and unnerved, and has been called one of those great CDs the listener can get into more and more deeply (Discorder Magazine). The latest from Fen, Congenital Fixation, is a Freudian-esque phantasmagoric acid crash into the subconscious. Drawing comparisons from Opeth to Faith No More, it features drum guru Randall Stoll (KD Lang, Tom Cochrane), and on bass, Mike Young of The Devin Townsend Band. This summer, Fen released their long-awaited fourth recording, a collection of lullabies and ballads called Trails out of Gloom. This is the band's first album under the California-based indie label Ripple Music.

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JOHNNY AND THE MoTONES

NOTHIN' TO LOSE

Apr 12, 2011

Next to milk and cheese, Johnny And The MoTones may be favorite export from Wisconsin. Keyboardist Johnny Altenburgh has assembled a twelve piece band that includes hot horns, great guitar and a rhythm section that explores the essence of jump blues, contemporary blues and a large dose of R&B. The CD begins with the swinging sounds of the title track "Nothin' To Lose" and "Baby Don't Jump" both these tracks would fill any dance floor. After working up a sweat on the dance floor, the band slows things down with the contemporary blues sounds of "That's Why I sing The Blues" The Johnny Altenburgh original "Wish You Were Young Again" showcases his writing talents and can touch every nerve of your fiber. "The White Cliffs of Dover" is a classic that is set to a jump blues sound and features some amazing vocals from Kevin Moore. The band then sets into three tracks that show their talents at modern day R&B before ending with the classic Hendrix track "Hey Joe". You have Nothin' To Lose by experiencing this great disc, but everything to loose if you don't. Reviewed By: Gregg Saur

Quick Links:

Johnny And The MoTones Home Page

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NEIL DIAMOND

The Bang Years 1966-1968

Apr 1, 2011

Nick's Picks: 01 Solitary Man, 03 Girl, You'll Be A Woman Soon, 04 Kentucky Woman, 08 Red, Red Wine, 23 Shilo

Review of The Bang Years 1966-1968 by Neil Diamond: What can I say about Neil Diamond? Like Bob Seger, he has been true to his genre. And like Bob Seger, he has written almost all of the songs he plays/records. And this cd is no different. As a matter of fact, I don't even know why the five songs he didn't write appear on this cd. They certainly weren't needed, and I don't think their inclusion will help sales of the cd – on the contrary, I think they will impair sales. The songs to which I am referring are:

11 New Orleans (Frank Guida & Joseph Roster) 12 Monday, Monday (John Phillips) 13 Red Rubber Ball (Paul Simon) 15 La Bamba (Richie Valens) 21 Hanky Panky (Jeff Barry & Ellie Greenwich)

The songs themselves have proven to be durable standards – they just don't seem to fit in with the very unique style of Neil Diamond. Like Judy Collins, Neil Diamond is good enough to keep cranking out hits year after year, and these songs represent examples of his earliest work. They are re-mastered in the original mono (or in my generations vernacular, “hifi”) so they sound just like you are sitting in front of the band. Gimme some of that 3.2 beer, and I'll be up and dancing my fool head off. That's the way Neil Diamond's songs (albeit short in length) came off. A generation later, John Cougar Mellencamp had the same affect on that generations youth. Like Bob Dylan, Neil Diamond has been an enduring songwriter; however, Neil's singing style has always been clear and consistent. The songs themselves (like Dylan's) transcend generations. Just my two nickels ----------------- Nick

ARTIST BIO: Neil Leslie Diamond (born January 24, 1941) is an American singer-songwriter. As a successful pop music performer, Diamond scored a number of hits worldwide in the 1960s, 1970s, and 1980s. According to David Wild, common themes in Diamond's songs are "a deep sense of isolation and an equal desire for conne ection. A yearning for home – and at the same time, the allure of greater freedom. The good, the bad and the ugly about a crazy little thing called love." As of 2001 Diamond has 115 million records sold worldwide,[1] including 48 million records in the U.S.[2] In terms of Billboard chart success, he is the third most successful Adult Contemporary artist ever, ranking behind only Barbra Streisand and Elton John [1] Though his record sales declined somewhat after the 1980s, Diamond continues to tour successfully, and maintains a very loyal following. Diamond's songs have been recorded by a vast array of performers from many different musical genres. Diamond was inducted into the Songwriters Hall of Fame in 1984, and in 2000 he received the Sammy Cahn Lifetime Achievement Award. On Monday, March 14, 2011, Neil Diamond was inducted into the Rock and Roll Hall of Fame.

Quick Links:

Neil Diamond Web Site

CAITLIN ROSE

Own Side Now

Mar 27, 2011

FCC ALERT: 05 New York

Nick's Picks: 04 Shanghai Cigarettes, 03 For The Rabbits, 10 Coming Up

Review of Own Side Now by Caitlin Rose: Caitlin Rose has decided to take a page from The Kings Of Leon's road to fame and fortune – start in the European market and wow 'em there. Then come back home to Nashville the conquering hero. And I think it has worked. The arrangements on this singer/songwriter's first full-length cd are almost too good to be believed – especially for a beginner's first foray. The first song (“Learning To Ride”) has a very lush background, with acoustic, soft brushes on the drum, steel guitar, and mandolin. Of course, it helps to have grown up in the genre (her mother is songwriter Liz Rose, and her father is Johnny B. Rose). For a 23-year old, Caitlin's treatment of Stevie Nicks' “That's Alright” is pure country, and her singing comes off as smooth as Tennessee sippin' whiskey. The production of this entire cd belies the youthfulness of the co-producers, it is so full of rich tones and powerful strings. On other songs (“Sinful Wishing Well”, “For The Rabbits”) her singing comes off as innocent and crystal clear as a mountain spring, and just as fresh. Steeped in the country tradition, Caitlin’s music is not constrained by that “he-done-me-wrong-so-I'm-drinkin'-myself-to-death-song” heritage (“Spare Me”, “Things Change”). Her “aw shucks” style and wry observations are more modern than her inspirational predecessors (Bonnie Raitt, Gram Parsons, Linda Ronstadt), yet her heart-rending honesty, easy delivery, and (almost) symphonic backup instrumental arrangements set her apart from her contemporaries – both “traditional”, as well as country pop. Two songs (“Coming Up”, “Shanghai Cigarettes”) are just delighful songs that weave in an out of different styles, with change-ups punctuated by a blowsy fuzz bass, a Nawlins bluesy harmonica, a sleepy slide guitar). The lyrics are so full of the heartache of broken loves in one song, and the empty pack of cigarettes as metaphor for a hurtful breakup in the other. Yet the musical change-ups and building crescendo offer up some hope for some kind of love. (But I have to close my observation that this very talented singer/songwriter has developed a jaded view of love in her short life; I hope I am wrong). Just my two nickels ----------------- Nick

ARTIST BIO Caitlin Rose's inspirations, from Gram Parsons to Bonnie Raitt to Linda Ronstadt, belied her late-‘80s birth. The offbeat Nashville, TN-based singer/songwriter and guitarist debuted in February 2008 on the Theory 8 label with the Dead Flowers EP, its title track a Rolling Stones cover with a pleading touch, laced with pedal steel guitar. Five months later, the limited Gorilla Man, pressed on 300 copies of 7” vinyl, featured re-recordings. Her debut album, Own Side Now , followed in August 2010. It was issued on Names, the label that had issued Dead Flowers in the U.K. Caitlin Rose – acoustic & electric guitar, vocals, co-producer; Ben Martin – drums, percussion; Jordan Caress – electgric & bass guitar, background vocals; Skylar Wilson – keys, peano, drums, co-producer; Jeremy Fetzer – guitar; Luke Schneider – guitar, pedal steel guitar; Chris Scruggs – steel guitar; Tristen Gaspadarek – background vocals; Rayland Baxter – background vocals; Johnny Rose – mandolin; Jim Fitting – harmonica; Ryan Latham – saxophones; Katie Studley – violin; Larissa Maestro – cello; Jordan Lehning – string arrangements; Mark Nevers – engineer, sound mixer, co-producer; All songs written/co-written by Caitlin Rose, except “That's Alright” (Stevie Nicks).

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STUDEBAKER JOHN'S MAXWELL STREET KINGS

THAT'S THE WAY YOU DO

Mar 25, 2011

This 15 cut disc of original tunes by Studebaker John Grimaldi finds him leaving his long time band the Hawks on the sidelines in favor of the lean line up of Rick Kreher on guitar and Steve Cushing on drums. Notice I said original tunes, not original music. And that’s a good thing. The music here is straight out of the glory days of Chicago’s open air Maxwell Street market where countless blues musicians such as Robert Nighthawk and Carey Bell paid the rent by throwing open their guitar case or laying down a hat for whatever cash their efforts merited from the shoppers on the prowl for the day’s deals. While the line up here is spare, the sound is full. Cushing lays down a rock solid foundation while John and Kreher trade stinging guitar riffs. Add John’s well-honed harmonica and nimble vocals (that uncannily mimic those of rocker John Hiatt) and you’ve got a serious jam going on. The disc starts on a strong note with John’s harmonica leading the charge through "That’s the Way You Do" where John’s woman is getting shown the door after drinking and carousing with everyone in town but him. The sinister slide guitar that propels "Side by Side" proves the perfect accomplice to someone already so far into the blues that he has nothing left to trade to the devil at the crossroads. As befitting its inspiration, "Headin’ Down to Maxwell Street" is a blues shuffle of the first order but the band shines even brighter on the instrumentals "B-Line" and "Taylor Street Boogie" and the scorching rocker, "So In Love With You", which could wind up on a George Thorogood disc with its over the top slide histrionics. Other highlights include the shuffle "Fine Cadillac" which combines some great slide with sly lyrics about a hot woman, the double entendre gem, "When Your Mule Won’t Ride" and the slow grinders "If You Would Love Me" and "Son of the Seventh Son" that showcase the ability of the crew to ride deep in the pocket using the minimum number of notes to make the maximum impact. For those that like their blues straight, no chaser, That’s the Way You Do hits all the right spots. SMITTY

MARCIA BALL

ROADSIDE ATTRACTIONS

Mar 25, 2011

After 15 discs including her solo work and her wildly successful trio recordings with Angela Strehli and Lou Ann Barton (Dreams Come True) and Tracy Nelson and Irma Thomas (Sing It) Marcia Ball has reached the point in her career where she could make a decent living by just hitting the festival circuit with her greatest hits in tow. Instead, she’s writing and recording some of the best material in her career. This disc features 12 cuts that are all self-penned with the exception of a quartet of tunes she co-wrote with the legendary Dan Penn and producer Gary Nicholson including the soulful duo of "Look before You Leap" and "Believing in Love" and the house party anthem "The Party’s Still Going On". While there are ample doses of Ball’s signature piano driven dance floor numbers, "We Fell Hard" and "Sugar Boogie" she also turns reflective on "This Used to Be Paradise" where she recounts her grandfather’s sad review of “progress” brought to the bayou country by the oilmen and weighs in on the universal quest for love, "Everybody’s Looking For the Same Thing". Speaking of love, things go really badly first for Ball, then for her lover, when she listens through a cheap hotel wall and catches him apologizing to his wife for his affair, "I Heard it All". Things are much better for all concerned at her beloved home on "Between Here and Kingdom Come" and on the title cut where she admits that all the kitschy cement dinosaurs, balls of twine and other highlights of the world pale in comparison to getting home to her man. Changing things up a bit, "Mule Headed Man" is a slow blues about a man who’d rather listen to the siren song of the bottle than to reason while "That’s How It Goes" is served up with a gospel fervor and a reminder to treasure each day as it comes. Ball has been so consistently good over her career that it is easy to take her for granted at the end of the year when ranking the best releases. This one deserves being remembered all year long. Smitty

ONE FOR ALL

Invades Vancouver

Mar 20, 2011

One For All’s twelfth release was recorded live during a four night gig at Corey Weeds’ The Cellar nightclub in Vancouver. These guys know their stuff, as well they should. Individually, the sextet has worked for the likes of Jackie McLean, Brad Mehldau, Joe Lovano, Horace Silver, Art Blakey, Chick Corea, Chet Baker and Freddie Hubbard. They have bop chops! Often sounding like something Blue Note would have released in its heyday, “Invades Vancouver” offers upbeat straight-up jazz. It’s obvious who these musicians emulate in choosing to include only one cover song, Coltrane’s “Moments Notice”. Indeed, Eric Alexander’s sax solo on “Open and Shut” reminded me of Coltrane the moment I heard it. While plenty of solos exist on this album, no one musician hogs the spotlight. “Invades Vancouver” is all for one and One For All. Rebecca Ruth

Quick Links:

Cellar Live Records

THE DODOS

No Color

Mar 19, 2011

Multi-instrumentalists Meric Long and Logan Kroeber have produced quite possibly their finest music yet as The Dodos. Their fourth release, “No Color”, is fine indie rock that occasionally runs along the pop vein. Both band members are drummers and this sometimes shows with drumming that is at times inventive without being distracting. Best examples of this are the two best songs on the album, “Good” and “Sleep”. Both songs display engaging rim drumming and with Neko Case on backing vocals you can’t go wrong. Rebecca Ruth

Quick Links:

French Kiss Records

ANDREW ANDERSON

As Long As This Thing's Flyin'

Mar 19, 2011

FCC Alert: 10 “Hell On Earth”

Nick's Picks: 03 Necessary Casualties, 06 The Hawk, 14 As Long As This Thing's Flyin'

Andrew Anderson is a 23 year old Idaho-native who is new to the Austin music scene. On this first album, As Long As This Thing’s Flyin’, he demonstrates his grasp of nature, big business, big government, and on a personal level, he wrestles with his own juxtaposition - perpetually foiled in love and righteousness, and trapped in a corrupt world. Much of this first cd is a well-crafted tip of the hat to his bluegrass fans. “Send The Bastard Running” attempts to follow the same genre, but with a slight veer toward current country-rock. I am not sure the meaning of the words, but I get a feeling that western justice seems to be the focal point of this song. In “Necessary Casualties” Andrew tells of loss and poverty, a protest song that skewers the dark heart of self-serving capitalism while celebrating those who fight for change with a song and a smile. He rebukes the country’s leaders, “I don’t see your sons heading off to war. All I see are the sons of the laid off, the jobless, the poor,” and he sings with such earnestness that no one could mistake his righteous attitude as an act. It is not mentioned anywhere in his biography, but I can detect a smidgeon of Old Crow Medicine Show influence, as well as a smattering of Neil Young-type lyrics (“Once Met A Girl”, “Fists Up, Chin Down”). Having said that, though, lyrically, Anderson is very much at home when he's drawing from personal experience (“A Year Tomorrow”, "Old Dusty Trail", “Oh, That Lonesome Sound”), than when he's trying to draw from someone else's experience (“Filling In The Gaps”). Altogether, though, his songwriting is apropos to the music, Anderson and his extremely talented bandmates, drummer Luke Meade and and multi-instrumentalist Jeremy Harris, have gone out of their way to create a record that's full of personal expression and individualist treatments. Harris is a one-man wrecking crew, skilfully playing solid licks on electric guitar, banjo, and dobro. He's clearly a string master, but what really sets him apart is his ability to stay in the background to allow Anderson's vocals their proper space in the mix. "Wait Darlin'" has a solitary guitar lead-in riff that gives way to a related but gentler banjo lick, and when the vocals come in, the song takes off. The title cut (“As Long As This Thing's Flyin'”) , also begins with a tender acoustic intro, and builds to a foot-tapping mournful tune (credit the dobro). The trio work together beautifully. Meade is equally willing to lay back and provide just a shaker or a lone kick drum if that's what best suits the song. This trio has a knack for filling the room full of sound even without having a bass player – I think that is attributable to the musicality of the gifted musicians (“The Hawk”, “Dammit Man” are good examples). This cd is intriguing on two fronts: the tightly knit music, and the philosophical bent of the lyrics. There are a total of 14 tracks on this, Andrew's first full-length cd, but I predict that this won't be his last - especially with the awesome talent of his bandmates/co-producers. Just my two nickels -------------------- Nick

ARTIST BIO: One thing is certain, he dominates the mandolin. Andrew began playing mandolin at age 15, inspired by Thile's music, and entirely self taught. His record for writing and playing his own music goes back much farther thanks to a musical family and access to his mother's piano and his father's guitar. He attended Berklee College of Music in Boston, MA for mandolin performance. His guitar playing is good, but his fingers are so fast on the mandolin, it makes your eyes water. The nomadic life of a songwriter has traced his road from Idaho to Seattle to Boston and back again. Boston didn’t poison his imagery with ivy halls, or city lights. His songs paint lonesome highways that stretch into nowhere, a neighbor with a gun, and a dame he can’t win. The world through Andrew’s eyes is one where all lessons are learned from mistakes, the ghosts of which still haunt him. Andrew would like to be the next Hank Williams, but, he says, “I don’t want to die in the back of a car.” Andrew’s music ranges from full band, pulsing blues-rock, to the lightest country croon. om the basis of Harris's cello arrangements, I'd love to hear what he could create with a full-blown string quartet. "Once Met a Girl," ) than when he's trying to sing in someone else's shoes (the slightly awkward "Send the Bastard Running"). What's important is that he's writing songs about different subjects and from different perspectives, something that will keep his material consistently improving. With Meade and Harris in the fold, he's got to keep his game up to meet the challenge of providing songs worthy enough for players this good and this smart. It's this blending of Dylan-style vocals with structured rock chords and bittersweet subject matter that creates a wholesome album, As Long As This Thing's Flyin', their fourth full-length endeavor. The fast-paced number "The Hawk," in particular, makes this reviewer want to dance with a pretty lady. The band has a variety of influences. On their MySpace profile, they quote Ernest Hemingway, Jack London and J.K. Rowling, and those inspirations are expressed via guitars, banjos, mandolins, drums, pianos and harps.

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CAHALEN MORRISON & ELI WEST

THE HOLY COMING OF THE STORM

Mar 15, 2011

Seattle based multi-instrumentalists Chalen Morrison and Eli West perform old time Americana bluegrass music as it was done many decades before, but keep the sound fresh for fans of this genre both old and new. Their sound can be compared to the fantastic soundtrack found within " O Brother Where Art Thou" and it will be easy to compare the vocals on this disc to Dan Tyminski one of the original Soggy Bottom Boys and long time member of Union Station with Allison Krauss. The only problem I found with this disc was I kept looking for "The Holy Coming Of The Storm" the energy never developed past a gentle wind to blow the dust from the mountain. That being said if you are sitting by the fire enjoying a beautiful evening this may be the perfect listen. Reviewed By: Gregg Saur

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Chalen Morrison Web Site

THE HEAD AND THE HEART

The Head and the Heart

Mar 14, 2011

Having met at an open mic night in Seattle in 2009, the members of The Head and The Heart discovered a shared love of vocal harmonies and rootsy instrumentation. They immediately began making music together and released their debut soon thereafter. They’ve since been signed to the Subpop Records label and that debut has been re-released. What we have here is quiet, thoughtful lyrics backed by spot-on harmonies and commendable production which adds up to a pleasing, piano-driven folk-pop sound. Rebecca Ruth

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Subpop Records Website

SMITH WESTERNS

Dye It Blonde

Mar 14, 2011

Smith Westerns made their first album on the computer at home, in Chicago. By all accounts, the result was decidedly garage-y. For Smith Westerns’ second album, “Dye It Blonde”, they were backed by Fat Possum Records, they used a professional studio, and they had a professional producer in Chris Coady (Yeah, Yeah, Yeahs and TV on the Radio). All this boils down to a more slickly layered production. The thing I saw repeated over and over in my research on this band was a comparison to TRex. I don’t see it. What I hear on this Chicago band’s release is a 60’s influence with maybe a teensy bit of 70’s ELO thrown in (especially on "Imagine Pt. 3”). “Dye It Blonde” got kind of mundane about half-way through, but it’s good for a song or two with its radio-friendly melodies. Rebecca Ruth

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JAMBALAYA BRASS BAND

IT'S A JUNGLE OUT THERE

Mar 14, 2011

The Jambalaya Brass Band may be from New York City, but their sound is pure party music from the Crescent City. I have often said when you go to New Orleans to set your tone for the visit one of the first things you need to do is see a big brass band. The trumpet, trombone, saxophone and of course tuba mixed with the hot rhythm section found on this disc cooks a gumbo of hot sounds that incorporate Funk, Rock R &B, Jazz and Zydeco. Most tracks on this disc are Jambalaya originals and were wrote by band leader Ric Frank who has spent time with the Duke Ellington Orchestra. The Corey Henry track "Jambalaya Got Fire" is a hot track with vocals and lots of hot sauce. The other standout is the Professor Longhair classic "Mardi Gras In New Orleans;" This track is covered by hundreds of New Orleans musicians, but Jambalaya adds enough spice to make the professor proud. This is fun party music and it is easy to tell that the Jambalaya Brass Band are having lots of fun. Reviewed By: Gregg Saur

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Jambalaya Brass Band Home Page

RON SEXSMITH

Long Player Late Bloomer

Mar 9, 2011

A naturally sensitive and finely nuanced voice that is remotely reminiscent of James Taylor/Boz Scaggs (particularly “No Help At All”), an astute songwriting talent that includes (in different songs) echoes of Costello (“Love Shines”, “Nowadays”), The Beatles (“Every Time I Follow”), and Billy Joel (“Eye Candy”), Ron Sexsmith manages to conjure up his own distinct sound with a cd of memorable ditties, and often poignant lyrics. Produced by fellow Canadian Bob Rock (who produced for the likes of Metallica, Motley Crue, The Cult), this is his eleventh foray into the cd release arena. Rock's production, as usual, is edgy and very voluminous (think of an understated Phil Spector) - an example would be the intro to “Believe It When I See It”. Another cut, “The Reason Why” seems to closely emulate Bruce Hornsby's style, but with a better guitar riff. If you don't own any of his cds, this just might be the one to buy. (By the way,if you are mildly indifferent on first listen, listen to it again and by the third listen it will start to grow on you). I woke up this morning, and I just couldn't get “Get In Line” out of my head. His music has been covered by many artists – Sheryl Crow, Rod Stewart, Nick Lowe, and most recently Michael Buble. I would like to suggest to Michael Buble that “Miracle” might just be a perfect song to cover – given his singing style. Reviewers use words like sublime for albums like this. I'm not certain what that means exactly; but if it means it gets under your skin and sticks in your brain, then that's close enough. Some songs, though, I cannot seem to get my head around - they just seem to be out of place in his repertoire (“Michael And His Dad” comes to mind). , and “Late Bloomer” seems to wander aimlessly, and doesn't seem to fit in with the rest of the songs on this cd (except as the title song).. Just my two nickels. --------Nick

Mar 6, 2011

"Down in the Bottom" was recorded in Vancouver at Corey Weeds' club, The Cellar. Styling themselves after other Hammond B3-based bands of the 50s and 60s such as Jimmy Smith and Hank Marr, The Nightcrawlers have created accessible blues-based jazz. Some of the songs are performed by the quintet alone, but others include additional musicians for a big band sound, such as album opener "Apercu" and "Love Bowl". The best tracks, though, are "Going Down" and the title track. Both of these songs bring to mind hipsters in go-go boots, grooving in a smokey jazz club circa 1964. This is easily digestible stuff that might get your booty shaking. Rebecca Ruth

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DJ AFRO

Free

Mar 6, 2011

DJ Afro, aka Jose Luis Pardo has made plenty of music in the past as the guitarist and main songwriter for his band Los Amigos Invisibles. For "Free", his firs solo release, DJ Afro has put his guitar down, picked up his turntables and turned to dj-ing. "Free" is a mish-mash of samples, electronica, and guest vocalists. This disc occasionally sounds like it came from the 1980s (track 5 "Quedate a Dormir"). The third track, "Recuerdos" begins with and 80s sound, but its Spanglish rapping caught and held my interest. Another cool track is "Rata", which could only be described as cumbia-tronica. All in all DJ Afro has made a respectable first album. Rebecca Ruth

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JOE BONAMASSA

Dust Bowl

Mar 3, 2011

Nick's Picks: 04 “Meaning of the Blues”, 02 “Dust Bowl”, 07 “The Last Matador of Bayonne” Review by Nick Nickelson of Dust Bowl by Joe Bonamassa Joe who? “Qne of the greatest living blues guitarists you've never heard of” will be playing DeVos Performance Hall the day before this album is released to the public. Billboard Magazine ranked him as #1 Blues Artist of 2010 (listen to “The Last Matador of Bayonne” for a sample), William Morris Agency represents him, and he is the Music News Correspondent for Channel One (the largest in-school TV News Network). I think all that super-talented obscurity has turned the corner. Having heard this album for about six hours, now, I am eager to catch the live show. For those of you who don't go to his concert on March 21st, you will be missing some of the hottest blues licks this side of Stevie Ray Vaughan, whose influence can be noted on “You Better Watch Yourself” (also on a cover of John Hiatt's “Tennessee Plates”). The influence of Eric Clapton is all over this album, too, but most notably a cover of Paul Rodgers' “Heartbreaker”, and also “Sweet Rowena”; however, you can't help but notice the velvety voice of the author, Vince Gill, on this cut (as well as his unique guitar stylings). Over half these songs on this cd were written by Joe Bonamassa, so the guy is not only a great axeman, he is a great songwriter. He has stated that the blues he writes about are not your typical topics (no baby leavin', etc.), but they are about experiences in his life. I'm not sure where he encountered the “Dust Bowl” but it must have been a mind-blowing experience – at least his playing and the arrangement are. Another original song is “Slow Train”, which emulates the movement of a train. It starts off slow, then builds in speed and volume to some truly inspired and unbelievably faster than a speeding train guitar playing. Again, the arrangement of this song is just amazing. “Black Lung Heartache” is another great (IMHO) song, that demonstrates the versatility of this amazing singer/songwriter. The transition from bluegrass to hard rock and back to bluegrass is just incredible! If you don't own any of his cds, this is the one to buy! And don't miss the concert!! Just my two nickels,. --------Nick

ARTIST BIO Early life Bonamassa was born and raised in Utica, New York to parents that owned and ran a guitar shop. As a fourth-generation musician, he recalls knowing he wanted to be a musician as early as age four. With a great-grandfather and grandfather who both played trumpet, and a father who plays guitar, Bonamassa credits his parents in fostering an appreciation of music in his life as early as he can remember. When he was a young child, he would listen to his parents' large record collection. He recalls at age 7, sitting with his parents on Saturdays and listening to Guitar Slim, Bonnie Raitt, Crosby, Stills, Nash, and Young, Eric Clapton, and Jethro Tull. Thus, he sees his music as an amalgam of all the various rock and blues he heard as a child. He received his first guitar from his father at the age of 4, and by age 7 he was playing Stevie Ray Vaughan and Jimi Hendrix tunes note for note. At the age of 11, during a short period of being mentored by Danny Gatton, he learned such styles as country and jazz as well as heavy rock. During this time with Gatton, Bonamassa sat in with Gatton's band whenever they played in New York. He first opened for B. B. King at 12 years of age. After first hearing him play, King said, “This kid's potential is unbelievable. He hasn't even begun to scratch the surface. He's one of a kind.” At 14, he was invited to attend a Fender guitar event; during that trip to the West Coas he met Berry Oakley, Jr. Bonamassa and Berry founded the group Bloodline with Miles Davis' son Erin and Robby Krieger's son Waylon. They released one album which produced two chart singles — "Stone Cold Hearted", and "Dixie Peach." He has since played with other music greats including Buddy Guy, Foreigner, Robert Cray, Stephen Stills, Joe Cocker, Gregg Allman Steve Winwood, Paul Jones, Ted Nugent, Warren Haynes, Eric Clapton, and Derek Trucks.

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ADELE

21

Mar 1, 2011

Adele Atkins has grown two years since her Grammy award winning debut 19, but the power of her vocals and life stories covered in this disc show an artist who has matured well above the age of 21 when she wrote these songs. Adele's Amy Winehouse or Dusty Springfield sound has taken on a more toughened stance as she sings about relationships that have taken wrong turns and loves that have gone wrong. That being said, the power found within the vocals on the eleven tracks on this disc are totally captivating and will draw you into her world right from the opening track "Rolling In The Deep" Adele worked with four different producers including the great Rick Rubin for this release but the songs flow flawlessly as if each understood the true magic found within this artist and let her pour her heart and soul into each one. The only track not wrote or co-wrote by Adele was an inserting take on the Cure's classic "Lovesong" which is which is done to a laidback Brazilian Bosa Nova beat. Adele finishes this CD with a beautiful rendition of "Someone Like You" where she wishes a past friend only the best, showing through all her toughness that this beautiful artist truly has a soft and sensitive side. Reviewed By: Gregg Saur

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Adele Home Page

BRUCE COCKBURN

Small Source of Comfort

Feb 28, 2011

Over 30 albums into his career, Bruce Cockburn continues to deliver fresh and provocative perspectives on the world and the human heart, spiced with excellent guitar playing and a splash of exotic sounds from instruments such as bells or gongs. This time, Bruce goes mainly acoustic, choosing not to dress up the numbers very much and the result is a slower, more languid record. That's not all bad, and on songs like "Call Me Rose" (about Richard Nixon being reincarnated as a single young woman with kids in the projects), the life-reflective piece "Iris of the World" and "Five Fifty-One" (driving at the break of dawn) are great additions to the Cockburn legacy and the instrumentals ring. I wouldn't rank this as one of Bruce's best, but this guy sets such a high bar that his "average" outings outshine most of his peers. 02/11 MJVD F-Contemporary

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JERRY LEAKE AND RANDY ROOS

Cubist Live

Feb 27, 2011

Cubist Live is essentially Cubist, the 2009 release, performed live and recorded during three concerts held during the course of the year 2010. Percussionist, Jerry Leake, is well-versed in percussion. Having studied all over the world, he currently is on the faculty at New England Conservatory of Music. This is where he gathered his band to make this album. All the performers on this release are New Englanders and they are all experienced in their own right. I didn’t think I would like this after listening to the first track, which is pretty smooth. It continues in its smooth direction on the second and third tracks, both being heavy on flute and keys and sounding very 70’s-80’s cool jazz. Then track 4 began and I my interest was piqued. “Plan 9” starts out quietly with Noam Sender on the Turkish zurna. It gradually builds with kit drums and tabla and Noam’s own vocals, giving it a decidedly middle eastern feel. “In From the Cold” retains an eastern feel with its tabla, but it also involves tenor sax, electric guitar and kit drums, making it a bit more post-rock. These songs toward the end of Cubist Live definitely left me liking this release a bit more than I thought I would, although the last track takes it right back to its smooth beginnings. Rebecca Ruth

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BIBI TANGA AND THE SELENITES

Dunya

Feb 27, 2011

Having a diplomat for a father makes for an educational upbringing, at least in Bienvenu (Bibi) Tanga’s case. The singer/bassist incorporates the languages and sounds of his youth into his full length international debut, “Dunya”. Singing in English, French and his native Sango (Central African Republic), Bibi brings elements of American, French, and African cultures to his music. “Dunya” starts quietly with track opener, “The Moon” and as it progresses, it weaves through various aspects of R&B music, including hip hop (Swing Swing), soul (Gospel Singers), and disco funk (It’s the Earth That Moves). Some songs sound more African, such as the title track and “Pasi”. All the while, The Selenites keep it tight and interesting adding surprising elements such as the strings on “Red Wine” and the samples on “Bonjour Mon Ami Jean”. The tight band, the fine production by le Professeur Inlassable, and the nice composing/arranging make “Dunya” an engaging release. Rebecca Ruth

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THE LOW ANTHEM

Smart Flesh

Feb 26, 2011

Review by Nick Nickelson of Smart Flesh by The Low Anthem: The Low Anthem manages to conjure up it's own distinct sound with a cd of incredibly melancholy melodies (“I'll Take Out Your Ashes”) and often strange (“Smart Flesh”, “Matter of Time”) lyrics. Some selections bring to mind Leonard Cohen (“Apothecary Love”, “Burn”), at times Tim Buckley (“Ghost Woman Blues”), but most seem almost Dylanesque (“Boeing 737”, “Hey All You Hippies”) in their influence. Members of the band include: Ben Knox Miller, Jeff Prystowski, Jocie Adams, Mat Davidson. Each band member seems to be quite proficient on a number of arcane instruments, and that (IMHO) seems to be the drawing card for their well-attended performances. As a recording, some of the songs seem to drift almost to the edge of mainstream music – almost conjuring up a vision of a group sittin' around the campfire pickin' and singin' (with the occasional wind instrument thrown in). Contributing artists: Ben Pilgrim, Anton Patzner, Louis Patzner, Robert Houllahan. This band definitely has a cult-like following, and the use of such a broad variety of instruments (cotales, musical saw, portable pump organ, clarinet, upright bass, etc.) is one of the draws for the concert-goer; however, the harmonies that appear throughout this album (“Golden Cattle”, “Love And Altar”) are artfully crafted and beautifully (albeit sorrowfully) performed. -----Nick

Artist Bio: Ben Knox Miller and Jeffrey Prystowsky met while DJing an overnight jazz show on a Brown University radio station, WBRU. They became friends and teammates for a local wood-bat baseball team called the Providence Grays. Miller and Prystowsky played in various ensembles together ranging from classical and jazz to electronica and The Low Anthem was formed in 2006. In the fall of 2006, Dan Lefkowitz, a bluesman from Strasburg, Virginia joined the band and contributed to their evolving brand of songwriting with his song “This God Damn House." Early in 2007, Lefkowitz left the band to pursue simple living in a yurt in Arkansas. The band became a trio again in late 2007 with the addition of classical composer and clarinetist Jocie Adams. Adams, a fellow student and former NASA employee, joined the band after a late-night recording session for the band's album, What The Crow Brings. She appears on vocals and clarinet on the album's closing track, "Coal Mountain Lullaby". Smart Flesh From December 2009 until February 2010, the band recorded their third album, Smart Flesh, in the abandoned Porino’s pasta sauce factory in Central Falls, RI. The album was engineered by Jesse Lauter and mixed by Mike Mogis (Bright Eyes). The new album will be released February 22, 2011. The band released "Ghost Woman Blues", the first song on the record as a free download in December on their website. The band appeared again on The Late Show with David Letterman on January 12, 2011, performing "Ghost Woman Blues". Live performances When The Low Anthem perform live, each member performs on a number of instruments, ranging from crotales to singing saw. A staple of their live performance is This God Damn House, written in 2007 by former band member Dan Lefkowitz. Recently, The Low Anthem have been performing new material, Apothecary, Maybe So, and Ghost Woman Blues, rumored to appear on an upcoming release. Line-up Current Ben Knox Miller (2006-present) Jeff Prystowsky (2006-present) Jocie Adams (2007-present) Mat Davidson (2009-present) From Wikipedia

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LUCINDA WILLIAMS

BLESSED

Feb 25, 2011

Ever since her 1998 classic Car Wheels on a Gravel Road Lucinda Williams has used her expertly wrought sense of melancholy to weave tales of lust, heartbreak, desperation and redemption. This disc continues down that same path with Williams spitting in anger at the friend who gave up on living, "Seeing Black", giving the good bye look to someone who uses and abuses her but can’t understand why he’s getting the walking papers, "Buttercup", and being baffled by the mate who doesn’t understand the scope of her undying devotion which almost took her underground with him, "I Don’t Know How You’re Livin’". Death makes another appearance on "Copenhagen" where she finds herself floored by the news of someone’s passing and on "Soldier’s Song" where she adopts the viewpoint of a soldier who deals with the mayhem and death by focusing on the ordinary moments that mark the passage of time back home. While Williams is drawn to the dark spaces in life, "Ugly Truth", she doesn’t ignore the power of love, "Sweet Love" and "Kiss Like Your Kiss", or ignore the special spot occupied by those who get relationships right, "Blessed". Even when she’s down, she wants to be lured to a happier place, "Convince Me". While a number of the cuts are as musically dark as the stark lyrics, she imbues several tracks with a sense of hope that comes through with rocking riffs, such as on "Awakening" or cool organ grooves such as on the title cut. Unlike recent efforts where she seemed almost daunted by the prospects of singing her harsh words, Williams delivers the lyrics here with clear throated power. Song for song, this is her strongest work in years. Smitty

JOHN-ALEX MASON

JOOK JOINT THUNDERCLAP

Feb 25, 2011

While he’s joined here on a number of tracks by the likes of Cody and Cedric Burnside, Gerry Hundt and Lightnin’ Malcom, John-Alex Mason often plays as a one man band laying down percussion, rhythm and lead guitar to back up his roots stained vocals. His last effort, "Town and Country" split its time between hot-wired electric numbers (town) and spare acoustic tracks (country). This release trends towards the relentless groove associated with the Jook Joint of its title. "Rolled and Tumbled" is a slinky number with the mid-song breakdown on the Stone’s "Midnight Rambler" coming to mind. "Gone So Long" features some testifying by Cody Burnside while "Diamond Rain" gets a bit of an Appalachian twist by virtue of Lionel Young’s fiddle work. Oscar Brown’s "Signifying Monkey" is pulled from is soul roots and is rendered dark and almost ominous here. "Free" is a rocking number featuring Mason in his one man band format laying down a groove so Fat that lots of three piece outfits would have trouble duplicating it. That said, Fred McDowell’s "Write Me a Few of your lines" benefits from interplay between Mason, Lightnin’ Malcolm and Gerry Hundt’s fleet fingered blues mandolin. The major change up here is the spare, acoustic "Whisper" where Mason leaves the Jook Joint behind in favor of a sincere ode to his lover. Unlike Town and Country which was made more to listen to than to heat up the dance floor, this set has the goods necessary to make the party happen. Smitty

DIANE BIRCH

The Velveteen Age

Feb 21, 2011

In the follow-up to her break-through debut "Bible Belt," Diane Birch teams up with the neo-soul ensemble The Phenomenal Handclap Band to do a set of covers from late '80s/early '90s rock groups such as The Cure, Siouxsie and the Banshees and Joy Division. Why? If you missed the narrative of Birch's younger years last time around, she was raised by strict Seventh Day Adventist parents (dad was a pastor) and never heard rock 'n roll until later in her teens. Once she caught the Goth rock muse, it was breakaway time (the subject of most of "Bible Belt") and these were the songs that liberated her spirit. Birch has a great voice and she's in fine form. Her version of Echo and the Bunnyman's "Bring on the Dancing Horses" is particularly excellent, but the entire collection rings. These covers are not rote versions of the originals, which may or may not cause programmer angst. I like her chutzpah. 2/10 MJVD R-Contemporary (Brit)

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BRIGHT EYES

The People's Key

Feb 21, 2011

Bright Eyes is the brainchild of Conor Oberst, who along with Mike Mogis and Nathaniel Walcott, are the central members of the band. It's the seventh go-round for this ensemble, despite Oberst's regular threats to "kill off" this band. "The People's Key" is a quasi-concept album, with Oberst seeking ultimate meaning in the outer reaches of the universe, Rastafarianism, various philosophies and a smattering of other questings. While that all might sound off-putting, anyone who knows a Bright Eyes record will tell you that somehow, he makes this all listenable and (mostly) interesting -- both as a whole and within the individual songs. The opener, "Firewall," begins with the rambling musings of an extra-terrestrial believer for the first two minutes and then segues into the song itself. "Jejune Stars," "Haile Selaisse," "Triple Spiral" and "Beginner's Mind" are the most up-tempo of the bunch, but every song delves into the Big Questions and the closer, "One for You, One for Me" is a fitting musical ending (and the very end brings back the guy in the opening number to chat away to the fade). It's all worth the trip. 02/11 MJVD R-Indie [FCC note on cut #2 -- "piss and vinegar"]

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ALEXANDER

Alexander

Feb 20, 2011

It’s hard not to compare this to Edward Sharpe and the Magnetic Zeroes. Alexander Ebert, lead singer for the band, wrote and recorded this album during breaks in the Zeroes’ “Up From Below” tour. Using the same subdued, yet intriguing percussion, such as hand claps, alarm bells, breathing, (yes, I wrote breathing), and toe tapping, Alexander emulates the Magnetic Zeroes’ sound. On this self-titled release, however, Alexander did everything himself, even playing all the instruments, and recorded it in his bedroom. Besides the interesting percussion, he played clarinet, Lowery organ, and even taught himself to play violin! I’m a little biased toward this release, since , for me the Magnetic Zeroes’ 2009 release was the best of the year. I had great anticipation to review this release and while I’d say it’s maybe a bit milder than “Up From Below”, I’m not disappointed. Rebecca Ruth

VARIOUS

The Acidsoxx Family Sampler

Feb 20, 2011

This is a various artists release from (real name?) Dick Acidsoxx and Eric Bonner’s Acidsoxx Musicks record label. The Acidsoxx Family Sampler consists of experimental music that at times is quiet such as Pan Parag’s “Mapping Antarctica”, Erikka Sylphh’s “Die Trip Summertime Die”, or Hello Daylight’s “Marijuana”. There is also electro-Brit hip hop from El Waxo on three tracks. There are a few instrumentals, the best one being Klimperei’s “La Musique Pratique”. Another cool instrumental is the klezmer-ish “The Case of the Unspiralled Staircase”. Weird vocal effects and electronics abound on the very cool “Number One Comrade” from Perfect Vacuum. Another good one, “Fangio Angel” features spanish vocals backed by guitar and upbeat electronics. If you’re willing to give this one a try, you might find yourself rewarded. This is provocatively weird stuff. Rebecca Ruth

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Acidsoxx Website

ALBERT KING WITH STEVIE RAY VAUGHAN

In Session

Feb 15, 2011

Review by Steven “Nick” Nickelson of In Session...By Albert King and Stevie Ray Vaughan. This weighty duo explodes with sounds right from the “git-go” that seem to span thirty years and make it seem like it was recorded yesterday – this music and these masters are simply timeless. Recorded on December 6th in 1983 at the Hamilton, Ontario (Canada) independent radio station CHCH, the student (Stevie Ray Vaughan) and mentor (Albert King) and his solid backing band of Tony Llorens on keyboards, Bub Thornton on bass and Michael LLorens on drums, deliver a tight set of songs that rock the house right from the get go with the opening scorcher “Call It Stormy Monday.” Classic hits like “Don't Lie To Me” and Vaughan's signature song, “Pride and Joy,” are opened up for extended jamming between the musicians. The latter clocks in at over eight minutes as King/Vaughan decide to riff off each other on what blues rock guitar sounds like. While the album may appear to look short with just 7 songs on it, in actuality, none of them clock in at under five minutes. I'd have to say one of my favorite cuts on this remastered cd (and the longest, clocking at over 15 minutes) is “Blues At Sunrise”; but I get so absorbed into the music that I completely lose track of the time. What you get on In Session... is a real concert experience (albeit in the CHCH studio). You may not be able to see each pained expression King gives when making his upside down Gibson Flying V sing, but you can feel the passion from his playing on every track. Even though it is half as long, the jump jive “Overall Junction” is so hot that I don't even need earmuffs when I'm out in the cold walking. This is one tight set! Another bonus: between scorching tracks there is some back and forth banter between the student (now deceased guitar god from Texas), and the mentor (now deceased member of the blues King triumvirate {Albert, B.B., Freddie} from the cotton fields of Indianola, Mississippi). Although Albert was never recognized as the King of the Blues (that title belonged to B.B.), his string bending and blues stylings have influenced the next generation of rock and blues axemen. --------------- Nick

Artist Bio: Albert King signed with Stax Records in 1966. Albert's records for Stax would bring him stardom, both within blues and rock circles. All of his '60s Stax sides were recorded with the label's house band, Booker T. & the MG's, which gave his blues a sleek, soulful sound. That soul underpinning gave King crossover appeal, as evidenced by his R&B chart hits -- "Laundromat Blues" (1966) and "Cross Cut Saw" (1967) both went Top 40, while "Born Under a Bad Sign" (1e967) charted in the Top 50. Furthermore, King's style was appropriated by several rock & roll players, most notably Jimi Hendrix and Eric Clapton, who copied Albert's "Personal Manager" guitar solo on the Cream song, "Strange Brew." Albert King's first album for Stax, 1967's Born Under a Bad Sign, was a collection of his singles for the label and became one of the most popular and influential blues albums of the late '60s. Beginning in 1968, Albert King was playing not only to blues audiences, but also to crowds of young rock & rollers. He frequently played at the Fillmore West in San Francisco and he even recorded an album, Live Wire/Blues Power, at the hall in the summer of 1968. King was a left-handed "upside-down/backwards" guitarist. He was left-handed, but usually played right-handed guitars flipped over upside-down so the low E string was on the bottom. In later years he played a custom-made guitar that was basically left-handed, but had the strings reversed (as he was used to playing). He also used very unorthodox tunings (i.e., tuning as low as C to allow him to make sweeping string bends). Some believe that he was using open E minor tuning (C-B-E-G-B-E) or open F tuning (C-F-C-F-A-D). A "less is more" type blues player, he was known for his expressive "bending" of notes, a technique characteristic of blues guitarists. Stevie Ray Vaughan was born on October 3 1954 ,in the Oak Cliff Section of Dallas Texas. He was the younger brother of Jimmie Vaughan (born March 20, 1951) and the son of Jim and Martha Vaughan. In 1963 at the age of 8, Stevie began playing the guitar (under brother Jimmie's influence ), and was playing in local teen combos a few years later. Stevie didn't do well in high school, as He would sit at the back of the classroom and doze off due to his playing music all night. As a result, his grades suffered. In 1972, Stevie dropped out of high school and moved to Austin Texas to play music full-time. Doyle Bramhall, a songwriting partner of Stevie's and longtime friend, was the first one to tell Stevie that he had potential as a guitar player. On December 20 1979, Stevie married Lenora (Lenny) Baily in between sets of a gig at the Rome Inn in Austin Texas. Sometime later Stevie wrote an awesome instrumental song and titled it "Lenny". 1982 proved to be Stevie's most eventful year. David Bowie saw him at the Montreaux Festival and asked him to play on Bowie's LET'S DANCE album. Also, Jackson Browne gave him studio time at his Studio in Los Angeles. In addition,John Hammond from Epic Records signed Stevie Ray Vaughan & Double Trouble to their label. This was the beginning of Stevie's worldwide touring and international stardom. In 1986, LIVE ALIVE was released. Later that year, Stevie entered rehabilitation to rid himself of his drug problems. He stayed away from people who could supply him with drugs, and rebuilt his relationship with his mother Martha. Stevie remained sober and drug free for the rest of his life. In 1987, Stevie appeared in a movie called Back to the Beach as himself. In the movie, he played a duet with Dick Dale and they performed the song "Pipeline". Also in 1987, Stevie filed for a divorce from Lenny. In 1989, IN STEP was released. Stevie also toured with Jeff Beck, and recorded his 2nd Austin City Limits performance. Both Austin City Limits performances were released some time later on a single video called LIVE FROM AUSTIN TEXAS. In 1990, Stevie toured with Joe Cocker, and recorded FAMILY STYLE with his brother Jimmie. On August 27 1990 Stevie Ray Vaughan died in a helicopter crash right after leaving a concert he performed with Robert Cray, Eric Clapton, Buddy Guy and his brother Jimmy held at Alpine Valley, Wisconsin. His music and spirit will live on FOREVER.

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SHAWN LEE'S PING PONG ORCHESTRA

World of Funk

Feb 13, 2011

Given Shawn Lee’s use of such instruments as tabla and sitar (India), bouzouki and hurdy-gurdy (Europe), balaphone (Africa), churango (Bolivia), and gu-zheng (China), “World of Funk” has a world feel to it. That’s not so unusual for this multi-instrumentalist. What makes this seventh Ping Pong Orchestra album unusual, is the use of vocalists. Cambodian,Chhom Nimol of Dengue Fever guests on “Ghost In the Rain”, Natacha Atlas, of Egyptian decent, is featured on “Cairo, Cairo” and “The Mighty Atlas”. Bardo Martinez of Chicano Batman lends his vocals to “La Eterna Felicidad”; and Curumin sings on “Nao Vacila” adding a funky Brazilian element to the mix. Mr. Lee even has his mother-in-law (“Nanny Jee”) on here as a guest! “World of Funk” is simply more great stuff from Shawn Lee. Rebecca Ruth

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ROBBIE ROBERTSON

HOW TO BECOME CLAIRVOYANT

Feb 9, 2011

On his first disc since 1998’s Contact From the Underworld of RedBoy, the Band’s chief songwriter and guitarist Robbie Robertson mixes it up with the likes of Eric Clapton, Steve Winwood, Robert Randolph, Tom Morello and even Trent Reznor. With all but one of the tracks exceeding 4 minutes Robertson has plenty of time to weave his spellbinding tales of rock and roll as the devil’s music, "Straight Down the Line", longing for times gone by when he felt he could make a difference, "When the Night Was Young", regret for mistakes made, "This is Where I Get Off", (which features poignant lines about the end of the Band) and lost love, "She’s Not Mine". While the bulk of the songs feature a gauzy, atmospheric, mid-tempo groove that makes the disc drag a bit when heard from start to finish, "He Don’t Live Here No More", and "She’s Not Mine" rock a little harder, "Straight Down the Line" features some great guitar interplay between Robertson and Randolph and "Axman" gives Morello the spotlight for a funky guitar workout. Even with the strong cast of guests, long term pal Eric Clapton stands out with writing contributions on three cuts, lead vocals on one, "Fear of Falling", and tasty guitar licks throughout. The Clapton penned "Madame X" is a lush instrumental that recalls some of Mark Knopfler’s soundtrack work with unspecified “textures” added by Reznor. Never the strongest singer in the traditional sense, Robertson’s raspy, almost spoken vocals get plenty of help from a cast of back up vocalists including, most notably, Angela McClusky, who evokes the hipster cool of Rickie Lee Jones. With his seminal work with The Band forming a long strand in the DNA of almost all rock and roots music that followed it’s hard to avoid the inevitable comparisons between new and old. Ultimately, that is a fool’s errand with decades of exposure and thousands of listens to the classics and only a few passes through this disc. That said, these songs hit all the right sweet spots and are likely to age just as well as all those tunes from so long ago. After a couple of discs where he seemingly tried to distance himself from the Band’s legacy, it’s good to have Robbie back in the rock and roots pulpit. Smitty

THE APPLES IN STEREO

Travelers in Space and Time

Feb 6, 2011

Do you remember the 1980 (Olivia Newton John/ ELO) soundtrack to the film “Xanadu”? I don’t blame you, if you don’t; it was forgettable. Well, in “Travelers in Space and Time”, The Apples abandon the indie pop sound of 2007’s “New Magnetic Wonder” and replace it with a retro “Xanadu” sound. In spite of the futuristic spaceman references (“Strange Solar System”) and computer-centric lyrics (“C.P.U.”), “Travelers in Space and Time” has a retro sound that I’m not keen on revisiting. Rebecca Ruth 2/5 Stars

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LYNWOOD SLIM & THE IGOR PRAD0 BAND

BRAZILIAN KICKS

Feb 4, 2011

West Coast based vocalist and harp man Lynwood Slim is paired on this disc with the youthful (they are all younger than 24) Igor Prado Band from Sao Paulo, Brazil. While they don’t have geography in common, Slim and the band share the same musical DNA. This is a rollicking, swinging effort that will have you moving from the first note to the last. Surprises abound on this release. First, there’s a hard swing to Slim’s vocals that he’s kept mostly under wraps on his prior solo efforts. Then there’s the music: simply put, these cats have chops. "Blue Bop" is an exhilarating instrumental ride taken at a break-neck pace that would be the perfect way to climax any barroom set. Another instrumental, "Bill’s Change" also gives the band a chance to flex its musical muscles with Prado and saxophonist Donny Nichilo trading leads in an old-fashioned cutting contest. The Wynonie Harris jump/swing classic "Bloodshot Eyes" gets a wailing sax solo that could come off one of the great Honkers and Bar Walkers compilations. "Little Girl" and "Show Me the Way" find Slim and crew taking a visit to the south side of Chicago for some low down blues compliments of Slim’s rich harmonica and Prado’s understated, but just right, guitar. Buddy Guy’s playful, yet ominous, "Shake it Baby", gets a unique twist by virtue of the unexpected flute outro while Dave Bartholmew’s "Is It True" benefits from its authentic New Orleans groove. The band also reveals it knows how to turn off the amps and lay down low key supper-club jazz on the simmering "Maybe Someday" where the music lays the perfect framework for Slim’s pleading vocals. "The Comeback" finds the band shifting time throughout with complicated jazz phrasing keeping things interesting. While tradition has the grizzled delta blues picker showing a new generation the blues ropes this set reveals that a middle-aged white guy from the West Coast can do a fine job as well. A terrific release. Smitty

WANDA JACKSON

THE PARTY AIN'T OVER

Feb 4, 2011

For those not hip to the tip, Wanda Jackson is literally the Queen of Rockabilly, turning the Country world on its head along with Elvis, Carl Perkins and Johnny Cash in the mid-1950’s with her wild stage antics and such classic hits as "Mean Mean Man", "Hard Headed Woman", "Fujiyama Mama", "Rockabilly Fever" and "Let’s Have a Party". With her induction into the Rock and Roll Hall of Fame’s 2009 class, a whole new generation discovered the sheer joy and abandon that marked her approach to a style of music that she was making up as she went along. This disc pairs her with Jack White, a few of his bandmates from Dead Weather and the Raconteurs and a wailing horn section. The result, while not putting Jackson on the cutting edge she occupied when she was the female counter-part to Elvis, is a whale of a good time. With edgy covers of classics like Johnny Kidd and the Pirates’ rocking "Shakin’ All Over", Elvis’ "Rip It up", Ray Charles’ "Busted", the mambo fueled "Rum and Coca- Cola" and the Eddie Cochran staple "Nervous Breakdown" as well as more contemporary material such as Bob Dylan’s "Thunder on the Mountain" and the Amy Winehouse soul classic, "You Know I’m No Good", Jackson brings spunky energy to every minute of this disc. While most of the material is upbeat, 50’s era rock and roll and rockabilly, Jackson also gives props to her long stint in the Country and Gospel worlds with "Duet on the Bible" and "Touch Me Tonight". While she’s pushing 74, Jackson’s voice and delivery betrays little of her age. For their part, White and crew don’t insult Jackson by playing nice: they push her hard with the horns adding lots of Memphis style spice to White’s barbed wire guitar riffs. At a time when her contemporaries are either pushing up daisies or worried about breaking a hip, Wanda Jackson isn’t heading to the pasture any time soon. Smitty

BIG JOE & THE DYNAFLOWS

YOU CAN'T KEEP A BIG MAN DOWN

Feb 4, 2011

Big Joe Maher is a mainstay on the East Coast Blues scene having spent time in the Uptown Rhythm Kings and the Tom Principato Band before fronting the Dynaflows for the past couple of decades and releasing several discs. As both the drummer and singer of the band, Maher is a natural focal point and always stirs up a big batch of fun. On this release the Dynaflows are mostly borrowed from Delbert McClinton’s band and include Kevin McKendree on keys (who also produced this set), Rob McNelley on guitar and the late saxophonist Dennis Taylor. The twelve cuts included here cover a lot of blues ground with everything from the upbeat boogie groove of Delbert McClinton’s "What the Hell Were You Thinkin’?", to the piano driven Kansas City blues of Jay McShann’s "Confessin’ the Blues", to the lowdown dirty blues of the original "Nothin’ But Trouble", which features some tasty guitar licks, to the horn accented rework of B.B. King’s "Bad Case of Love", to the funky tale of neighborhood woe, "Property Line", the swinging "Whatcha Gonna Do?" and the party ready title cut. Throughout, Maher sings like a sly hipster who is having a load of fun. While his vocals are as much spoken as sung they serve the songs well and meld this diverse collection into a solid disc. Smitty

VARIOUS

LOUISIANA SWAMP STOMP

Feb 4, 2011

While New Orleans is the hard partying John Belushi of the Louisiana music scene, the bayous and swamps are the frat house where the real serious stuff goes down. This disc, recorded to support the Northern Louisiana Brain and Spinal Cord Injury Foundation, shines a light into rooms that would send the Bourbon street crawlers screaming for their mamas. Deep, dark and often sinister, the blues that lurk around every corner on this disc conjure up visions of voodoo goddesses, howling hounds and shotgun welcomes. While there are nods to zydeco, "Traveling Man", (Dwayne Dopsie) dance hall rock, "Swamp Stomp", (Sonny Landreth) and soul, "Send Me Someone to Love", (Charlene Howard), and "First You Cry", (Percy Sledge- yes, the "When a Man Loves a Woman" guy) the bulk of this release focuses on raw blues delivered with a swampy flourish. Omar Coleman slinks his way through Slim Harpo’s "Scratch My Back" and Lightning Hopkin’s "Mojo Hand" while Larry Garner lays down a deep groove on "It’s Killing Me" and "Ms. Boss" that gets a little grease from Buckwheat Zydeco on organ. Little Freddie King’s guitar lines add loads of spice to the straight shuffle groove of "Can’t Do Nothing Babe" which seems positively modern compared to the timeless piano blues laid down by Henry Gray on "Times Are Getting Hard" and "How Could You do It". Guitarist Buddy Flett who’s medical plight inspired this set, lays it all out on the solo track "Livin’ Ain’t Easy" with lyrics that show his strong spirit in the face of adversity- he lost his ability to walk, talk and play guitar when stricken with encephalitis but worked his way back to not only play on this disc but to lead the charge. And what would the blues be without the lure of sex to lift the spirits? Not much, a point that Carol Fran makes that real clear on "I Need To Be Be’d With". Take a trip into this swamp. You might emerge a bit bloody and battered but you’ll have a smile on your face. SMITTY

FEIST

THE FAINTING GENERALS

Employee Of The Month For Life

Jan 25, 2011

Review by Nick of Employee Of The Month For Life by The Fainting Generals Juliet Bennet Rylah has such a strong, yet completely tonal voice. She belts out vintage-tinged rock songs and breezy pop ditties with equal vigor, bringing a darkly joyful whimsy to everything she does. The well constructed lyrics are complimented by Juliet Bennet Rylah’s smooth-as-silk voice , which fluctuates between being sassy and seductive in quality (“These Things”). She sounds a lot like a combination of Annie Lennox, Ani DiFranco, and Martha Davis (lead sinnger/guitarist for The Motels). She is the flavor of the month and her group (The Fainting Generals) is a big part of her success. And you cannot discount the quality recording by Matt Ten Clay of Grand Rapids. This is one of those bands I hope to get out and see live. The use of the fiddle on “Guest Check” lends a Prog Rock (think Rush, Kansas) feel to this catchy tune. The same holds for “State Line Rule” and “No Dove, No Covenant”, but with a Zappaesque (and the Mothers of Invention) twist to the music. Still, I love the music, and the lyrics are kick-ass. Very recently I reviewed a group (Dark Dark Dark) that does not rock like this group, but they share some haunting similarities – most specifically on “Hope To Attract”. Well-known local musician Chris Lawrence contributes trumpet to add an off-kilter jazz influence to the “vintage” classic (and I fully expect this to become a classic) rock title song (“Employee Of The Month For Life”) Good God, I can just picture Charlie Chaplin careening across the back of my mind. Another impassioned trumpet contribution on “Not Your Birthday” lends an almost grandiose hispanic flair. If this band sounds so good digitally, I cannot wait to see them live! “Frei Aber Einsam” holds a special place for me, as I recently lost my only son, who did, in fact, die alone – the irony being that he had so many friends, but no one at his last moments. It is a very touching song from an extremely talented singer/songwriter.

ARTIST BIO The Fainting Generals are a six-piece rock 'n roll band, drawing from jazz, rock, circus, surf and glam. Led by pianist/guitarist/flautist Rylah, The Fainting Generals sing about American history, love, outlaws and pop culture. The Fainting Generals are very excited to have received a Jammie for Best New Act of 2009 from WYCE. Their album, "Everybody Drinks Kombucha in Hell" can be purchased online via CDBaby.com. They're currently working on a second album, in addition to Rylah's solo project due Spring 2011. Employee of the Month for Life is the new cd release from The Fainting Generals.

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DON STIERNBERG

SWING 220

Jan 24, 2011

Chicago jazz mandolinist Don Stiernberg tackles some of the greatest jazz standards ever written on his new release Swing 220. Dons mandolin is joined by Jeff Jenkins on acoustic guitar and Rusty Holloway on standup bass. This CD flows like a smooth lazy river with some fun turns along the way. The three musicians on this disc are able to blend their instruments and crafts into a disc that is smooth but never boring. This CD will bring a smile to fans of musicians such as the late great Stephane' Grappelli or the inventive styling's of Dave Grisman. Swing 220 may be the perfect CD to lay back, pour the wine and let the talents of Don Stiernberg take your mind through a musical journey of some of the greatest songs ever written. Reviewed By: Gregg Saur

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FUJIYA & MIYAGI

Ventriloquizzing

Jan 22, 2011

You may think that Fujiya & Miyagi is a Japanese electronic duo. Well, you’re partially right. This is electronic rock, but the band is actually a quartet from Brighton, UK. The name is supposedly either derived from a character in the “Karate Kid” film, or a record player brand name. In either case, Ventriloquizzing is quiet, monotone vocals backed by synth and guitar and put to danceable beats. The simplistically humorous lyrics are sung in a sinister whisper. Take the 6th track, “Pills”, for example. I don’t know whether to laugh or to be creeped out. It’s not so difficult with 8th track, “Minestrone”. Although the song is about a devil-worshiping ritual, it’s pretty funny stuff. Rebecca Ruth

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ABIGAIL WASHBURN

City of Refuge

Jan 20, 2011

After two records that sought to combine her deep love of Chinese culture and Appalachian folk music, Abigail Washburn keeps mostly on the mountain side of the equation on this set, assisted once again by an all-star list of contributors (from The Decemberists, My Morning Jacket, Old Crow Medicine Show, bass genius Viktor Krauss and jazz great Bill Frisell). After a brief prelude of Chinese children playing, it's on to traditional American tunes, led by her claw-hammer banjo style -- and she opens with a bang on the outstanding title track. The only faint hint of her Chinese influence comes from the sounds of bandmate Wu Fei playing the guzheng (Chinese zither). Washburn has a very original angle on the traditional, both lyrically and musically, although she ends with two very gospel-in-the-hills numbers, "Divine Bell" and "Bright Morning Stars." A unique artist. Gossip question: Is she or is she not married to Bela Fleck? MJVD 1/11 F-Neo-Traditional

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THE GO! TEAM

Rolling Blackouts

Jan 16, 2011

"Rolling Blackouts", the third album from Brighton band, The Go! Team, starts out strong with "T.O.R.N.A.D.O.", featuring punchy horns and keys. Not all the songs here have as much muscle, though. "Buy Nothing Day" which has Best Coast's Bethany Consentino on vocals, is plain old (albeit catchy) pop. "Ready To Go Steady" sounds as if Peter, Bjorn, and John covered a Shangri-La's song and it doesn't quite seem to fit. The Go! Team seems to be best when it sticks to its tried and true recipe of playground chants, multiple vocalists, seamless samples, and tight production, such as the tracks "Apollo Throwdown" and "Running Range". By combining that recipe with its usual uplifting, even joyous attitude, The Go! Team still distinguishes itself from other bands. Rebecca Ruth

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IVAN & ALYOSHA

Fathers Be Kind EP

Jan 15, 2011

This Seattle band takes its name from characters in Dostoyevsky's "The Brothers Karamazov" and its gorgeous harmonies and ringing guitars can sometimes mask the depth of the lyrical territory, which covers some of the same themes as the famous Russian novel -- life, death, family, faith, doubt, reason. It isn't often you get such sweet, well-crafted musical lines and deeply thoughtful lyrics in the same package. This group's got both. I&A started as a duo, Tim Wilson and Ryan Carbary, but they've since added a few more musicians and say publicly that I&A is a band, not a duo. All five songs on this EP are excellent, with "Fathers Be Kind" and "Glorify" getting the most attention -- but I'm drawn to "I Was Born to Love Her" and "Living for Someone." 1/11 MJVD

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CATHY LEMONS & JOHNNY ACE

Lemonace

Jan 13, 2011

Review of Lemonace by Steven “Nick” Nickelson: Back in the 90's, blues was kind of poo pooed, and it was tough going for most blues artists – but that's what the blues is all about, right? Several artists carried the torch until the rest of the music world woke up from their hairspray-induced coma and rediscovered the blues. Then the world “discovered” blues artists like Cathy Lemons (“the finest female vocalist with straight hair”), who joined up with bassist Johnny Ace to form LemonAce, picking up lead guitartist Pierre Le Corre, and Artid “Stix” Chavez on drums to round out the sound. This is the first cd that was co-written mostly by Cathy & Johnny (mostly Cathy), and there are some moments of real brilliance (“Used To These Blues”, “Shoot To Kill”, “I'm Not The Woman I Used To Be”); however, there are more not so brilliant cuts (“Sink Or Swim”, “Brand New Day” seem to be the most in need of work). Cathy really knocks it out of the park on “When Bad Luck Looks Good”, and her most capable bandmates jump right in and make their presence known. If you look up the bio on this couple (Cathy Lemons and Johnny Ace), you can see that their history goes back to the 1980's, so they have certainly been steeped in the blues. I have to wonder, though, why it has taken so long to release a record – particularly when you hear the mournful piano playing by pianist David Maxwell, who so ably carries the day on “Gimme A Penny”. I might add that this cd is blessed by having not only David Maxwell, but also, Tommy Castro and Ron Thompson, who contribute fabulous guitar licks (Ron is particularly resonant with his slide). It seems that most albums (with very few exceptions) lately have a few great of possibly great cuts, a few mediocre cuts, and a couple forgettable – this cd is no different. “I Got It” falls into the mediocre category, as does “Stay”, “Get This Thing Offa My Back”, and “Move On”. Having watched a few videos, I have to categorically state that this band is much more of a live show band than a studio band,. If they are in the area, you owe it to yourself to go see them. Just my two nickels. ----Nick

ARTIST BIO Cathy Lemons was born August 13, 1958 in Eau Claire, Wisconsin. She would move 15 times before the age of 13 before settling in Dallas, TX. "You have to be tough just to survive the Texas heat--110 degrees 6 to 7 months out of the year." Commenting on what the blues scene was like in Texas when she was growing up, she says, "It was a great place for blues . I had a chance to see many fine talents in their early stages of development like Anson Funderburg, Stevie Ray Vaughan and Lou Anne Barton. . In Dallas and the surrounding towns, there were not many clubs to play, and many of us were just struggling so hard to make a dime. So, Texas musicians tended to really stick together back then. There weren't too many freelance type players. You made a band--and you worked with only that band. I liked it that way. California players fail to see their greatest weakness, which is in my opinion, not enough knowledge of the roots of blues, and not enough respect for what a band is--when you work together as a whole for the greater good of that whole. If you let ego get in the way, the music somehow dies. Music is about giving." Since 1995 Cathy Lemons with her fabulous bass playing partner Johnny Ace, have worked with some of the finest musicians on the scene: Ron Thompson, Paris Slim, Steve Freund, Rusty Zinn, David Maxwell, Paul Oscher, Danny Carron (guitarist for Charles Brown), Anthony Paule, and Johnny Talbot (guitarist for Bobbie "Blue" Bland). Cathy Lemons and Johnny Ace recorded their first CD "Dark Road" on The Saloon Recordings label in late 1999 and received fabulous reviews from all the major blues magazines. Then they re-formed their band in 2006 to include Pierre Le Corre on guitar and Artie "Stix" Chavez on drums and began to write songs on a serious level.

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CHEYENNE MARIE MIZE

Before Lately

Jan 10, 2011

Review by Steven “Nick” Nickelson of Before Lately by Cheyenne Marie Mize: Shades of Nona Marie Invie (Dark Dark Dark)! I could swear this was the same woman, they sound so much alike! Even the repetitive phrasing is (almost) identical on at least one song (“Best”, “Doctor”); however, the musical phrasing is deeper and much richer from this expat-Canadian (most recently, Kentuckian), Cheyenne Marie Mize.. I can also detect subtle influences by Laura Nyro (“ Before Lately”, “Not”). Ms. Mize commands melancholy torch songs and breezy pop ditties with equal vigor, bringing a particularly unique aloofness to everything she does - adding banjo or a capella harmonies where you’d least expect them. My favorite song on this cd is a sweetly, breathlessly sung “Waiting”, and the thing that appeals to me is the contrasting jangle of the background music, juxtaposed with light xylophone taps and violin/banjo plucks. This cd provides an opportunity for Cheyenne Marie Mize to test the waters in the country arena, with a slow and sugary-sweet “Rest”. “Kind” is a repetetive, but sweetly played song, and the same holds true for “Friend” - another beautifully contrasting song. Some songs I cannot seem to get my head around - they just seem to be out of place in her repertoire (“Path”, a song more likely to be performed by Tori Amos or Enya) comes to mind). “With(Out)” seems to be just a filler song – or another attempt at reaching a different audience (albeit perhaps on another planet? “Lull” seems to fit that pattern. Just my two cents. --------Nick

ARTIST BIO There’s so much space between notes on Cheyenne Marie Mize’s debut album, “Before Lately” (sonaBLAST!), but hardly any air. Last year, on “Among the Gold,” an EP of 19th-century traditionals recorded with Will Oldham, she was a steady beacon for the purposefully erratic Mr. Oldham. On this sometimes startling collection of tough, dreamy, cloudy-sky country and chamber pop, Ms. Mize deploys her tools sparingly but effectively. Ms. Mize, from Louisville, Ky., has a rare voice, sweet without being cloying, and weary without hopelessness. On “Not” and “Waiting” she’s deliberate and undistractable, suggesting a more centered Fiona Apple. At the beginning of “Lull” just a handful of piano notes add up to something oceanic, filling a full minute before she enters with a soft whisper. “Rest” uses just a few tools — a drowsy guitar, a brushed snare — to create a heavy air of expectation. “I just want a piece of your mind,” Ms. Mize sings, drawing the sentence out over several measures, “But your mind is on the rest of the world/And how can I compare to that?” ---- New York Times review

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JOHN McCUTCHEON

Passage

Jan 7, 2011

You know you've been at it a long time when your own website is www.folkmusic.com -- yes, that's the web home of John McCutcheon, folk troubadour since the early '70s and the country's master of the hammered dulcimer. He sings and constructs songs as Woody and Pete and Bob did back in the day, heavy on the storyline and light on the frills. This is his 34th recording and it could have been put together in the '70s, except that he's very much on top of today's headlines. "One More Day" is about the tragic Massey coal mine disaster in West Virgina in April, 2010 and "End of the World" is a touching tale of a Vietnamese shrimper battling the oil spills off the Louisiana coast. The novelty number is the spoken-word "Ode to a Kripsy Kreme," read by a true doughnut addict. There's a fine cast of musicians here, including Kathy Mattea, Tim O'Brien, Stuart Duncan and Suzy Boggus. 1/11 MJVD F-Traditional

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HUGH BLUMENFELD

DAD

Jan 6, 2011

ARTIST BIO Brooklyn-born but now residing in Connecticut, Hugh Blumenfeld was a mainstay in the late '80s Greenwich Village scene, an associate editor and contributor of songs to the Fast Folk Musical Magazine, winner of the Kerrville New Folk Competition, featured performer on Christine Lavin's On a Winter's Night compilation and was the first artist signed to the new 1 800 Prime CD label. He has a PhD in poetry but doesn't let that get in the way of honest songwriting on records like 1987's Strong in Spirit, 1989's Barehanded and 1996's Mozart's Money. Rocket Science followed in 1998.

Review of (Dr.) Hugh Blumenfeld's Dad: After reading the bio on this singer/songwriter, I have developed a greater appreciation for his interest in weaving all the songs on this cd around a theme of parenthood. Now knowing that he worked with volunteer groups in grief and music therapy to help new parents recover from the loss of a newborn, as well as his dedication and work with “preemies” in NICU while going to med school in CT. His graduation from med school, and his work in family medicine make a perfect background for the development of this cd. The very first song he wrote (“Sleep Sarah Sleep”) is on this cd, and you can just feel the “Dad” in him throughout the entire disk - from the birth (“Welcome to the World”, “Cradle Song”), through the early years (“Daddy I'm Awake”, “Cry Little Guy”, “Wonder Wonder Why”). There are the little joys (“Rock You”, “I Knew A Boy”, “Til The Morning”), and the heartaches (“Daddy's Got You Now”, “Visitation”). There are also songs of inspiration (“Sail On Little Sailor”, “My Little Boy's Moon”). And then there are the playful ditties that just are (“NICU at Nite”, “You Gotta Have Coffee”, “Till The Morning”). All in all, this is a delightful listen, although I have no idea who are his accompanists. -----NICK

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After secluding himself in a house by the sea on the Irish coast for five months, James Vincent McMorrow emerged with an engaging debut album. "Early in the Morning" was entirely self-written, self-played, and self-produced and it's pretty impressive stuff for a first timer. Featuring dark lyrical imagery and rich instrumentation, "Early in the Morning" often evokes images of isolation and solitude. Rebecca Ruth

Quick Links:

James Vincent McMorrow Website

GRACE ASKEW

Until They Lay Me Down to Rest

Dec 20, 2010

Review by Nick: The sultry-voiced Grace Askew has one of the sexiest voices I have heard in a long time, and the songwriting is definitely of the award-winning ilk. “Song for Tom” makes terrific use of the slide guitar prowess of legendary Memphis sideman Richard Ford, who also offers up delicious slices of other stringed instruments (from banjo, lap- and pedal-steel guitars, and a mandolin offshoot – the jangletron). Even though her earlier two EP releases were produced by the renowned Pete Matthews at Memphis' famed Ardent Studios, Grace Askew took the production reins on this LP. Her blues-based influences can be tracked on a number of tunes (“Beautiful Mess”, “But Gone”), and her stutter-step rhythm on “Toasting for Two” seems to be just perfect for the lyrics. Then the subtle segue into country and back to blues in the same song just blows my mind! The haunting instrumental strains of “Until They Lay Me Down to Rest once again perfectly match the lyrics note for note. I have this much to say about Grace Askew: if she ever lost her ability to perform (God forbid), she would have a natural outlet in songwriting and musical arrangements – this woman has talent! Just my two nickels -----Nick. ARTIST BIO Based out of Memphis, TN, Askew has substantially established herself throughout the Southeastern U.S., and has organized and promoted her own small tours since her teens. She now continues to serve as her own agent on a grander scale, booking her shows and traveling vigorously throughout the U.S., spanning tours as far West as Santa Fe, NM, as far North as Chicago, IL, and as far East as Asheville, NC. Back home in Memphis, Grace plays a slew of steady gigs with her abundantly talented accompanying 5-piece group, The Black Market Goods.

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ZACH PETERSON

Alter Ego

Dec 16, 2010

Warning: Track 01 has FCC banned word Track 08 has phrases that are marginally suggestive Track 09 has FCC banned word Review by Nick of Alter Ego by Zach Peterson: Zach Peterson is an excellent songwriter, taking cues from Bob Dylan, Warren Zevon, Leonard Cohen (like Cohen, some of his songs are very egocentric). He could most probably make a very good living just writing music for other artists; which he should consider, because (IMHO) his singing is very raw and not quite on a par with Bob Dylan. The major difference between Peterson and Dylan is that Dylan happened to be in the right place at the right time, and he was accompanied by a very talented (The) Band. Zach does have his shining moments, though (“Some Bar In Montreal”, “Drift Away”, “Die In Your Arms”). Most have good lyrics (“Streets of Utrecht”, “Made You Something” “Old Camaros”). The rest of the songs on this inaugural cd just do not do anything for me - musically. -------Nick ARTIST BIO Grand Rapids native singer-songwriter Zach Peterson's debut record, ALTER EGO, reflects over a decade of writing, performing and playing for audiences ranging from blue collar auto workers and motorcycle gangs to white collar lawyers and K Street lobbyists. Peterson played the Grand Rapids Festival of the Arts from 1997-2005 and other haunts around Michigan and Ontario before moving to Washington, DC where (he) is now a regular on the club circuit.

Quick Links:

Zach Peterson's Facebook Page

Band Camp Website

BOB DYLAN

The Best of the Original Mono Recordings

Dec 7, 2010

Review by Steven “Nick” Nickelson of The Best of the Original Mono Recordings by Bob Dylan: Recommended: All (this is, after all, a “best of”) It is said that everything old is new again and Bob Dylan is bringing back the monoraul Folk sounds of the 60’s and 70’s with a vengeance. Most of the tracks on this disc were originally recorded 40-50 years ago, but the man who was originally born Robert Zimmerman brings them back to life through the magic of remastering, and makes them sound as fresh as the day they were recoded. Many artists of the day opted for mono over the new-fangled stereo because it seemed truer to the actual music being played – and in fact it was for folk singers whose audiences were (generally) in smaller venues like coffee houses. Is mono better? No, it is just different - the way the music was originally supposed to be heard. The way Dylan wanted it heard. For someone wanting to hear what all the hoopla is about concerning Dylan's albums in mono, this will give you a tasty sampler of the wonderful sounding albums in the box set. The tracks are judiciously chosen, but by virtue of being a sampler "best of", many, many songs aren't here. If this grouping whets your appetite for the whole collection of (arguably) Dylan's best work, you'll need to hear all the albums in glorious monophonic sound. I particularly like the full-bodied sound of “Subterranean Homesick Blues”. Once again, I have to emphatically state that these songs take me back to the wonder years of my youth – of protests, psychedelics, free love, and the promise of eternal hope for mankind! Oops, I better get off the memory train before I fall off and hurt myself. ----Nick

Quick Links:

Bob Dylan's Website

MICROSCOPIC SEPTET

Friday the 13th The Micros Play Monk

Dec 6, 2010

The Micros have been around for twenty-plus years and have arranged and recorded plenty of Monk's tunes in that time. "Friday the 13th" includes six previously recorded arrangements and six pieces newly arranged just for this album. The Microscopic Septet does Thelonious justice by applying their trademark progressive big band style to these classic compositions. Surprisingly, "Round Midnight" is not included in this and that's just as well, because there are plenty of other awesome Monk tunes to be had on this one. Rebecca Ruth

Quick Links:

Cuneiform Records Website

KEN CLARK ORGAN TRIO

Mutual Respect

Dec 6, 2010

The Ken Clark Organ Trio was originally formed in 1992 and all of the members share a musical history at Berklee College of Music. Featuring organ, drums, and guitar, this trio makes gentle jazz on this second release. Some tracks are somewhat upbeat, such as the mildly funky opener, "K Mart Special" and the closer, "Influence". Other tracks might be appropriate for those special moments with your significant other, such as "Nocturne" or "Kato". There is even a re-make of the 1978 Teddy Pendergrass hit, "Close the Door", complete with vocals...perfect for a shag! Rebecca Ruth

Quick Links:

Severn Records Website

THE SPARES

Everything Is Easy

Dec 3, 2010

Jodee Lewis (channeling her best Alison Krauss) and Steve Hendershot are the Chicago duo known as The Spares. On their third record, they get a little darker, leading off with "I Don't Miss," a rocking little wordplay about an angry woman with a gun, and continues through "Earthquake," "Like We Were" and "Has He Told You" (which warns about a two-timin' guy). Somebody's had some heartache here! But the music is great and the harmonies fine. "Center of the World" is another upbeat folk-rock message tune, "Revolution" is a wry commentary on the roller-coaster nature of politics and "Wanted Man" is a bluesy tale. The Spares make intelligent, well-crafted music. Probably the only thing that keeps them from making the big time is a limited touring schedule: Lewis is a mom of two (about to be three) and was a chemical engineer before music and motherhood changed her direction. Let's support the family. 12/10 MJVD F-Alt Country

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OVER THE RHINE

The Long Surrender

Dec 3, 2010

When they were here in Grand Rapids recently, the husband-and-wife duo of Karin Bergquist and Linford Detweiler said that they have been taking longer and longer to finish their recordings -- bad for us eager for more OTR music in one respect, but wonderful in the end product they deliver, this time with respected writer and producer Joe Henry at the helm. The record's an instant classic and highlights the exquisite voice of Bergquist; there's simply no vocalist outside of jazz that can out-sing, out-sultry and out-emote her. Detweiler's penetrating -- and sometimes wry -- lyrics are thought-provoking, but in an unforced manner, never over-bearing. "All my favorite people are broken," sings Bergquist, "believe me, my heart should know" on the record's climactic number and we do believe her and take this beautiful song to heart. "Only God Can Save Us Now" is a funny and poignant story of the residents of a nursing home (and the place where Bergquist's mom is now living). "Infamous Love Song" is a long ode to marriage despite the faults and the frailties of the participants. "The King Knows How" is the latest Bergquist torcher that appears on every OTR release. Lucinda Williams provides a perfect musical counterpoint on "Undamned." OTR has no peer when it comes to delivering such musical depth of heart and soul. May the infamous love song they are playing continue. 12/10 MJVD R-Contemporary

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MYSTIC ROOTS BAND

CALI-HI

Nov 29, 2010

California Reggae band Mystic Roots combines traditional Reggae with Dub and a whole lot of Hip-Hop to make a dancehall release that is designed to make the dance floors wet with sweat. Band leader Cootdog has recruited American Idol contestant Katherine Ramirez { She Placed in 51'st place in season 7} as one of the lead vocalists for this release, her beautiful voice sets this release apart from a genre traditionally ruled by men. The other addition to this band is Zion Thompson from the Hawaiian reggae band The Green giving what they call their style of Reggae as Cali-Hi. This CD reminds me of listening to bands like Big Mountain or Inner Circle with a large twist of Hip-Hop added into the mix. The tracks "Work To Do" and "Work 2 Dub" incorporate parts of Martin Luther Kings 1963 "I Have A Dream" speech. The rest of this CD covers the topics of Love, equality, Ja and many references to the magic herb ganja. Reviewed By: Gregg Saur

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THE HOMEMADE JAMZ BLUES BAND

THE GAME

Nov 29, 2010

When you think of great Mississippi blues artist you probably think of BB King, Muddy Waters, Howlin Wolf, Willie Dixon, Otis Spann or Charlie Musselwhite. On their third release "The Game" you can add The Homemade Jamz Blues Band to this list. This is quite an accomplishment since guitarist and vocalist Ryan Perry is only eighteen, his brother and bassist Kyle Perry is sixteen and drummer Taya Perry who doesn't miss a beat is only twelve. All ten tracks for this disc were composed by their father Renauld Perry which keeps these songs of loss betrayal and hard times authentic and true. This CD easily gets my vote for the best traditional sounding Delta Blues CD for 2010 and that's quite an accomplishment when the oldest member is still only eighteen. Reviewed By: Gregg Saur

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NATASHA BORZILOVA

Balancing Act

Nov 28, 2010

Nick's Picks: 03, 04, 09

Folk music is one of those rare genres of music whereby the emphasis and interest is based more on the message than on the messenger. Natasha Borzilova is one of those talented individuals that represents both the message and the messenger. With one exception (“Retchka”, a traditional Russian folk song), all the songs on this cd were crafted by the very talented Natasha Borzilova. The music revolves around intricate riffs on the acoustic guitar, with an echoing back bass (Byron House), supplemented by a talented duo of Billy Pardo on electric guitar/mandolin, and Alexander Arzamastsev on cajon and percussion. Although I have been listening to this cd for several hours, I just cannot seem to get past the gifted instrumental musicality to be able to get a handle on the singing and the words. Indeed, the singing is first-rate, as is the songwriting. I can only hope that we will be treated to more from this talented artist. Just my two nickels ------Nick

ARTIST BIO Born in Obninsk, Russia, Natasha Borzilova moved to Nashville as the lead singer and acoustic guitarist of the band Bering Strait, which was put together as a group of classically trained child prodigies in the late 1980’s. Since then Bering Strait had two CD releases on Universal South Records, receiving critical acclaim and a Grammy nomination for country instrumental of the year in 2002. The Grammy nod got the attention of 60 Minutes whose feature piece on the band aired three times. The public also became familiar with Natasha and her fellow band members through the documentary Te Ballad of Bering Strait, directed by Emmy Award winner Nina Seavey which chronicled the journey of the band members after they arrived in the United States. In 2006 the band decided to go their separate ways realizing they had each evol ved in different musical directions. For Borzilova, suddenly being a solo artist meant an opportunity to re-visit songs she had been writing for the past several years and she released her first solo project of original material in 2008 titled Cheap Escape, a stylistic hybrid of folk & rock yet offering glimpses of her classical and jazz training. With a natural gravitation toward nuance in her lyrics, one would be hard pressed to believe that English is not her first language. A seasoned entertainer, she is exciting with a full band behind her yet completely captivating and intriguing with just her voice and guitar; a feat few singers can pull off. For her second solo project, Borzilova originally had the idea to do an acoustic CD of Russian folks songs at the suggestion of fans but after starting her research, she realized many of the songs she had wanted to include were not traditional folks songs and had authors. Then her label suggested she look at some of the tunes she had written that came off so well in the acoustic treatment given on the original demos and consider them for an acoustic project. With Borzilova playing nearly all of the record’s acoustic guitar parts, she brought in Billy Panda with his arsenal of stringed instruments to play mandocello, high string, National guitar, electric guitar, mandolin, bottleneck, baritone acoustic and gut string. She was fortunate to have Byron House play upright and Arco bass between him finishing up the new Robert Plant project and heading out on tour with Plant. Finally she reunited with former bandmate Alexander Arzamastsev on cajon and percussion. In Borzilova’s own words about the song choices for her second solo venture, “Choosing the songs for the album, I realized how many of them were dealing with finding balance, fitting in and trying to figure out the best way to integrate contrasting sides of my character. Balancing; literally and figuratively, has been a theme of my life for a long time. Moving to the States in my late teens provided me with endless opportunities of putting my foot in my mouth and falling on my face because of the vast difference between the customs of fast-paced, super-direct urban Russia and ths soft spoken American south. I had to learn to apply diplomacy without losing my ability to speak the truth. Then life complicated itself when I (in rapid succession) became a new mother, lost my job of eighteen years with the disbandment of Bering Strait, found a new passion and career of teaching yoga (balancing, anyone?) and began to find my voice as a solo artist. I'm still dedicating most of my energy to perfecting the art of being all these contrasting, yet somehow complimentary things, so calling this album Balancing Act felt natural. Plus, it gave me an opportunity to take some pictures standing on my head!”

Quick Links:

Website of Natasha Borzilova

EDEN BRENT

AIN'T GOT NO TROUBLES

Nov 23, 2010

Pianist Eden Brent ventured to New Orleans and recruited numerous “A” list musicians to add some Big Easy spice to this release including Colin Linden on guitars, George Porter, Jr. on bass, Jon Cleary on Hammond B3 and a swinging horn section. The willingness of such first call musicians to lend their talent to a relative newcomer like Brent reflects the stature that she has gained since making a huge splash with her 2006 International Blues Challenge win and her 2008 release, Mississippi No. 1. Tutored by Abie “Boogaloo” Ames, Brent has wide range of piano skills that make her as comfortable with the Kansas City Swing of Jay McShann as with harder pounding boogie woogie that gained her the nickname “Little Boogaloo.” While this disc features plenty of her piano chops it never serves as a mere vehicle for her to show her prowess on the keys. Instead, her strong songwriting and compelling vocals are what will keep you coming back for more. With a delivery that recalls Bessie Smith or Maria Muldaur in her jug band days, Brent pulls you into her tales of men who need to make up their mind, "Someone to Love", life without a purpose, "Ain’t Got No Troubles" and gold-digging ladies with their eye on her man, "In Love With Your Wallet". Standout tracks include the rollicking "Let’s Boogie Woogie", the swinging "Later Than You Think" and the road house blues of Delbert McClinton’s "Right To Be Wrong". Smitty

THUNDERBALL

12 Mile High

Nov 22, 2010

Just telling you that Thunderball's fourth release is on Thievery Corporation's ESL Music Label might give you some idea as to what "12 Mile High" sounds like. Certainly, album opener, "Enter the Brahmin" with its sitar, tabla, and dance beats, could be something from the Thieves themselves. D.C. natives, Thunderball, have more to offer than that, though, on this release. There is the R&B of "Make Your Move", dub on "Dub Science", and the instrumental groove of "Low Down Weather". The best songs here, though, are "I C Colors", which is reminiscent of Curtis Mayfield's "Pusherman", and the cinematic instrumental, "To Catch A Vixen". All in all, I rather like this album of smashing beats and cinematic grooves. Rebecca Ruth

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THE GREEN

The Green

Nov 22, 2010

This quartet from Oahu, Hawaii makes pop-reggae that is radio-friendly. This is The Green's debut release of medium-tempo grooves. Rebecca Ruth

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The Green Myspace

NU-BLU

Nights

Nov 22, 2010

Recommend: 01, 02, 06 Review by Steven “Nick” Nickelson of Nu-Blue Nights: If you've ever seen the movie O Brother Where Art Thou, then you get the gist of bluegrass. Unlike most other genres of music, bluegrass aficionados are a passionate bunch, and will go most anywhere to listen to a bluegrass group. Furthermore, most bluegrass players and singers will jam at the drop of a hat, and most instruments are played “unplugged”. Having said that, I will admit that my tastes lean toward this particular genre. Much like another genre (blues), most artists check their egos at the door. (A case in point – Levi Austin is an award-winning banjo picker, yet he fits like a glove with this group). Check out the pickin' on “My Sweet Carolyn”, which he co-wrote with Daniel Routh, Carolyn's husband and band member. One of the best examples of this is the enormous contribution to the Nights cd by fiddler extraordinaire Greg Luck (“Lonesome Whistles”, “How Do I Move On”, among others). This is the sophomore release from this group, and I think the greater contribution by Greg Luck in this subsequent progression from 2005's first release has added a greater depth to this release. And yet the music sounds edgy but thoughtful, sparse but deep (“River of Love”), rich but mournful (“Old Black Suit”), uptempo Bluegrass at it's finest (“I Won't Be Around”), and sometimes a beautiful re-working of a song from a different genre (Nanci Griffith's “Spin On A Red Brick Floor”). And unlike most other genres, even the instrumentals (“Red Haired Boy”) are enthusiastically welcomed by the listeners, because they appreciate the amount of work that has gone into playing in such a tight-knit ensemble (such as Nu-Blu). On several cuts of this cd I can pick out an almost perfect imitation of Alison Krauss (“Try And Catch The Wind”, “Lonesome Mountain”). I don't think it is intentional, but it just sounds so eerily like her. If you have never heard bluegrass, this is one to cut your eyeteeth on! ------Nick

ARTIST BIO Daniel and Carolyn Routh, along with Kendall Gales and Levi Austin make up Nu-Blu - a band that projects a dynamic edge while still staying grounded in the traditions and fundamentals of bluegrass music. They have worked hard to develop a sound that gives the listener a diverse experience, while remaining within the realms of bluegrass. By mixing original and traditional material along with incorporating songs from other genres, Nu-Blu has created a unique and driving blend of music that keeps audiences coming back for more. They are a dedicated team that work together to reach their common goal of presenting great music every show. Carolyn and Daniel Routh, the founding members of Nu-Blu, make up half of this “hard-driving” band. Carolyn began taking the stage at the age of 7. Even though she attended many bluegrass events, the “bug” never really bit her. In high school she was introduced to Broadway style musicals where she gained much knowledge and experience under the direction of Dr. Joanne Bowman. In the years that followed, Gospel, Country, Blues and Rock and Roll all shaped and expanded her vocal style and achievements. It was while fronting one of her bands, Faithful Journey, that she met Daniel Routh. Daniel began playing guitar at the age of 15. Banjo soon followed, which he played in the bands Different Directions and The Donna Hughes Band. It was while playing in Donna’s band that he and Carolyn met. After a chance meeting in Wal-Mart, Daniel learned that Carolyn was in need of a bass player, so he agreed to learn bass to fill the spot. After Faithful Journey disbanded, and a short time playing together in a classic rock band, they attended a festival that Carolyn’s long time friend John Wade was performing at. It only took till the second song by Lonesome River Band to bring Carolyn back to her roots. “I have told Sammy Shelor many times that he is directly responsible for my bluegrass addiction,” Carolyn says. Together they started Nu-Blu in the fall of 2003. Through the music, the pair had become best friends. During Thanksgiving weekend in 2003, Carolyn suffered two strokes and nearly lost her life. She lost her speech and the use of her right side. Daniel was her constant companion through it all and never left her side in the months of rehab that followed. On June 16, 2006, Daniel and Carolyn married and Carolyn often states, “There is nothing sweeter than taking the stage with your best friend and love standing right beside you. I’m having the time of my life.” Daniel now back to playing guitar, focuses on different styles of guitar and incorporates them together in his playing. Not only does he add his guitar talents to Nu-Blu, but he also contributes lead and harmony vocals. With Carolyn playing bass, handling lead vocals, and most of the tenor, her vocal range and clarity are what put the “NU” in Nu-Blu., she gives the band flexibility and a driving edge that sets them apart from the rest.

Quick Links:

Nu-Blu Website

DR. TEQUILA

Nov 16, 2010

Take a shaker and mix in one part Jimmy Buffett, one part Santana, a Jigger of Dr. Loco's Rockin Jalapeño band and a splash of the blues and you have a good description of Dr. Tequila. Dr. Tequila other wise known as Richie Barron resides from the San Francisco California area and has put together a rocking band that he calls the Mission "D" Project as this recording was made in the mission district of San Francisco. The title track has a Latin beat that could jump start any party. "See You Next Summer" sounds like it could have been recorded as a Jimmy Buffett theme song. "Dream World" is the most traditional blues track on this disc and "No Trouble Tonight" is a rocking tune that may just funk you up. The only let down track I felt on this disc was the "Who Dat? Bayou Medley" where Dr. Tequila mixes Credence Clearwater's "Born On The Bayou" with Steppenwolf's "Born To Be Wild" , in simplistic terms Dr. Tequila is not a John Kay. This CD may not win a lot of awards, but it sure is fun. Reviewed By: Gregg Saur

Quick Links:

Dr. Tequila Home Page

HANA MALHAS

Shapeshift

Nov 15, 2010

Ann Arbor singer/songwriter, Hana Malhas, has put together a slew of musicians from around the world to contribute to her release, "Shapeshift". Her deep, sometimes almost spiritual lyrics were probably fostered by her upbringing in her native Jordan, where some of this was recorded. Besides guitar, drums, and piano; banjo, trumpet and loads of strings are also featured on this well-produced, quiet album. Rebecca Ruth

Quick Links:

Hana Malhas' Website

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DARK DARK DARK

Wild Go

Nov 7, 2010

When I first listened to this cd, I didn't have a clue as to what genre this group belonged in. After listening to this group for several hours, I am still uncertain - mesmerized, but confused. In order to get a feel for their music I went onto Youtube to watch some recorded performances, and I have to say that the recordings on this cd, although quite hauntingly melodic and musical, do not do justice to the live performance of this group; however, you can feel the passion from the sextet's playing on every track. Having said that, you need to listen for yourself before committing to going to one of their concerts. This is a concert-intensive band – they give over 200 concerts per year, so there is a good chance they will be within driving distance. I intend to go, because I find it fascinating to me the way the musical instrumentation seems to be in contrast with the musical theme, which may also be contrasted to the lyrics – yet it all comes off well. Although this I the group's sophomore cd release, I fully expect them to develop a wider fan base, and more music. --- Nick

ARTIST BIO Dark Dark Dark Wild Go (Supply and Demand) Minneapolis based chamber-folk sextet Dark Dark Dark revel in the wonder that is around us always. Their dramatic sound sets Nona Marie Invie’s soaring, haunting voice against age-old instrumentation that evokes the soundtrack to a beautiful film. The songwriting is shared by Invie and LaCount, while the band then crafts their parts and the arrangements. They credit a few years and constant touring with helping them to mature and collaborate to shape the music and its impressions on listeners. They've achieved a real kinship and communication that is evident in the way it pulls us in to their experiences. Wild Go’s first single, “Daydreaming,” is a response to Elephant Micah's homesick dirge “Wild Goose Chase,” which in turn was a response to Hazel Dickens’ bluegrass classic “Ramblin’ Woman.” “’Wild Goose Chase’ really touched me,” Invie says. “I wanted to reciprocate in a way that captured a moment in my own life. I’ve been traveling and touring for so long now – and it’s been great – but I have this internal conflict between having a nomadic lifestyle and needing a home.” The song is thematically linked to the album’s opener, “In Your Dreams.” “Both are about finding a place where you can be free,” reveals Invie. “That’s what I’m always looking for.” Invie considers Wild Go the band’s most emotionally open statement to date and points to the wistful, piano-driven lullaby “Robert” as her most honest and personal moment. “It’s about a loved one growing older, and closer to death,” she reveals.

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THE STEVE WIGGINS BAND

Precious Cargo

Nov 3, 2010

Review by Steven “Nick” Nickelson of Precious Cargo by The Steve Wiggins Band (Recommended: 01, 02, 10) ARTIST BIO Steve's own musical career began by teaching himself to play the piano and joining the school band playing the trumpet. At the age of sixteen, Steve joined the touring band "Foolstar" and he began living out his musical ambition. After the band dissolved, Steve moved back to Panama City and played with several local bands and performed in many successful solo engagements. Steve released his first solo CD, "Serenity by the Sea," in 2003, followed by "Spirit of the Momsen" in August 2004. His newest cd "Mesa Verde Moments" was released in December 2007. In the winter of 2005 Steve formed the Steve Wiggins Blues Band. During the summer of 2007 Steve played several gigs with blues artist Zac Harmon. Steve has played onstage with blues artists such as Curtis Salgado, Kirk Fletcher, Fionna Boyes and Tab Benoit among others. His supporting cast in this live recording are his regular drummer and lead singer, Lenwood Cherry, Jr., bassist Bruce Hebert, and saxophonist Wally Tirado. Steve is a veteran of the Legendary Rhythm and Blues Cruise, 7 cruises in the last 5 years, he has played with some of the worlds best blues musicians!! Steve has recorded his live debut BLUES CD Aug. 2009. "Precious Cargo" was released Nov.2009 It has entered the Blues Charts July 2010. Review of The Steve Wiggins Band Precious Cargo by Steven “Nick” Nickelson: Right out of the box, the audience (and listener) is treated to a smokin' hot keyboard shredding cut, penned by the leader of the band (01 Steve's Boogie). It is not so much boogie as Jump Jive; however, it is really one that I could envision the audience out on the dance floor. This number elicits that primal urge to toe-tap or more. Really tight group, and the sax just smokes. Steve's piano playing is spot on, and his trips up and down the keyboard keeps the audience in awe. Even though the next cut, (02 Cold Shot) is dedicated to the legendary guitar maker and player, Les Paul, the slowed down tempo still doesn't hide the Stevie Ray Vaughan influence in the song. From there we are treated to a slowed-down James Taylor cover (03 Steam Roller) wherein Steve gets down on the arpeggios. Lenwood does his thing on the live next cut (04 Doin My Thing), as well as the studio recap (11 Doin My Thing). Then we jump back into Lenwood's territory with a song he wrote (05 Black Cat Woman), and for which everyone gets to demonstrate their prodigious talents. The only instrumental on this record (06 Roosterfish), seems to be more jazz-oriented than boogie; however, it demonstrates the musical versatility of the band. But then, lest we forget, we get a smokin' hot demonstration of boogie by the gang (07 Dimples). One of my favorite songs on this cd is an old Bill Withers' classic (10 Ain't No Sunshine). Wally Tirado really digs way down into his basket of mournful tunes to bring this one home, and Steve's heartstring-pulling organ playing seals the deal; this is underscored by the audience's appreciative applause. There is one track on this cd that, although it has a blues beat, I just cannot seem to get my head around it (08 My Last Tear). To me, it sounds as if they were still working out the kinks in it. has a raw sound; however, that may be the intent of the songwriter (Steve Wiggins). Like the previous cut, the next cut (09 Watermelon Man), seems out of place on this album. It is a jazz tune, (written by Herbie Hancock). The band does an admirable job on the cut, and since this is not a mainstream blues album, then (perhaps) the choice of this song is apropos of the band's talents. Having used up all my big words for the day, I will now sit back and spin that cd one more time. --- Nick

Quick Links:

Steve Wiggins Band Site

DUKE ROBILLARD

PASSPORT TO THE BLUES

Oct 28, 2010

Guitarist Duke Robillard has been a lifetime traveler through the world of the blues. Not content to follow a single path, Robillard has followed the blues into side trips including swing, jazz, pop, big band, rock and even tiki lounge exotica. While at first blush, these various styles won’t strike many blues fans as having much in common with their beloved shuffles and boogies, one need only to give Robillard’s side trips a listen to find the blues at the core of virtually everything he does. A bent note here, a quick reference to T-Bone Walker in a solo there, and even the supper club stuff finds itself in the world of blues. For those without the wanderlust to follow Robillard down the many paths he is willing to follow to find the blues, this new disc will require no work at all. The 13 cuts included here feature whopping doses of electric blues guitar and straight blues lyrics about working for the taxman, "Workin’ Hard For My Uncle", pleasing the ladies, "Rhode Island Red Rooster", still having plenty of mojo even as age creeps in, "When You’re Old You’re Cold", finding new ways to hook up, "Text Me", and wanting to keep a safe distance from trouble on two legs, "Fatal Heart Attack". In addition to those blues gems, those that have only heard Robillard’s recent jazz and lounge oriented discs will be surprised to hear him getting way down and dirty on slow burners like "Grey Sky Blues", taking on a straight boogie on "Bradford Boogie" or ripping off taut solos worthy of Albert Collins on "Blues Train". While he sticks to the blues on this effort, that’s not to say that the road is completely straight. On "Duke’s Evening Blues", Robillard takes a curve and semi-talks his way through a late night vibe that gets a bit of jazz spice compliments of Doug James on sax, who also lights up the raucous "Girl Let Me Tell Ya". As this disc makes clear, while Robillard cleans up well and could easily fit in with tuxedoed jazz cats, he can just as easily get into the trenches and go head to head with anyone that dares call himself a blues guitarist. With Robillard as your guide your blues passport will show you to be well travelled. Great stuff! Smitty

YVETTE LANDRY

Should Have Known

Oct 23, 2010

ARTIST BIO: Since her appearance on the local music scene a few short years ago, Yvette has had such an enchanted musical career that the announcement of her debut CD comprised of sixteen original songs is not surprising. From touring the world as a multi-instrumentalist, to performing with the likes of Balfa Toujours, Redstick Ramblers, Pine Leaf Boys, Walter Mouton, Steve Riley, Dirk Powell, Donna the Buffalo, Bill Kirchen, Carol McComb, John Lilly, Geraldine Gay and Darrell Scott, and being a founding member of the all-woman super-group Bonsoir Catin, Yvette has made a name for herself as a powerful accompanist. Now taking center stage, backed by members of The Redstick Ramblers, River Road, The Wilders, and more, be prepared to be blown away yet again by this beautiful songsmith. Her brand new CD, Should Have Known, is comprised of homemade honky-tonk that’ll knock you off your boots

Review: Spoiler alert!! Country-music-haters may lose their religion if they listen to this cd!! Being of that ilk, I found this singer/songwriter to be fetching of ear, and tantalizing of sound. The writing and singing show a depth and confidence that belies the fact that this is her very first solo effort. And considering her short musical career, she has really come a long way, baby. Sixteen songs, all written by her, run the gamut from heart-string jerking ballads (including “Where Memories Are Gold” and “Fishing’s Better Anyway”).to in-your-face, kick-ass romps (such as “Blue Moon Girl”, and “Jack”). This collection is rooted in country music (“Growing Old”), and, drawing from her upbringing, leans heavily on cajun, as well as some blues influences (“Down Home Blues”), and one cut I cannot seem to classify (“Talk”).. Best known in music circles for playing bass with bands including as founding member of all-female supergroup, Bonsoir Catin, Yvette Landry comes from a long line of musicians. For her debut solo album, she picks up her acoustic guitar and her songwriter’s pencil and turns not to traditional Acadian music but to traditional country (“Friday Night Special”, “One More Broken Heart”) and honky-tonk (“120 Proof”), with a hint of Southwestern Louisiana spice (“Dead And Gone”). Backed by an all-star supporting cast including Red Stick Ramblers, Wilders and co-producer Joel Savoy, Yvette Landry delivers the goods: uptempo selections, the Title cut (“Should Have Known”), the blues-tinged “Too Tired”, as well as heartfelt deep-country ballads (“Can't See Me Without You”, “Another Lesson Learned”). There is something for everyone in this, Ms. Landry's inaugural album – even for the hard-core Patsy Cline crowd (“Better Days”). I truly expect (and hope) to hear much more from this talented singer-songwriter!. ---Nick

Quick Links:

Yvette Landry's Site

THE BOOKS

The Way Out

Oct 14, 2010

Nick Zummuto and Paul de Jong are The Books, two brainiacs who meet up in Massachusetts to make records made up of "found music and sounds." You'll hear electronics and all kinds of snatches of voices and noises. What does it all mean? If you figure it out, let me know. For this disc, Zammuto said they "took samples from self-help and hypnotherapy cassettes." The opening and the closing tracks underscore the hypnotherapy idea, as the narrator tries to talk you into a calm state. The most traditionally melodic cuts on the disc are "Beautiful People"(#5) -- "sampled brass and lyrics about the twelfth root of two (Zammuto's favorite irrational number), trigonometry and tangrams" -- and "Free Translator" (#13). Like the record title, it's way out. 10/10 Michael J. R-Esoteric (Electronic) NOTE: Track #4 -- after 10 p.m. cut.

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IVOR THOMAS

Nowhere Else To Go

Oct 13, 2010

Review by Steven “Nick” Nickelson of Nowhere Else To Go by Ivor Thomas ARTIST BIO Ivor Thomas currently resides in Rockford, MI. That is all the biographical information I was able to glean in a short period of time. Review: This is his first cd release as a Christian artist, and I think he may find a home in the Christian music arena as a songwriter/lyricist; however, his singing should best be left to the professionals. Also, he should consult a good record producer so that his music might come off more polished, rather than earnest (some representative samples: “I Just Can't Tell”, “How Can You”). I do want to mentionTwo notable exceptions: “The Show Has Begun”, “Nowhere Else To Go” are well-written and well-performed pieces). The CD cover and insert give no information regarding contributing artists – the only info gleaned is that all songs were written by Mr. Thomas. I would like to say that whoever is playing is good at their craft (“Don't Bother Me”, “Everything (For A While)”– unfortunately, I have no way of acknowledging them. The rest of the songs on this first cd are not very remarkable, musically, but may have theological relevance. Overall, this artist shows some moments of creative and musical brilliance, but you have to be really patient to sift through this inaugural release to find them. And, as always, taste is relative. I do firmly believe that Ivor Thomas has the writing chops to make a living in the Christian Music genre, but I would would draw the line at the singing. ---Nick

Quick Links:

Artist Website

Band's Facebook Site

JASON ROSEBOOM

Kalamazoo

Oct 7, 2010

Review by Nick of Kalamazoo by Jason Roseboom Backstory – Jason Roseboom After years of playing in this band and that Jason Roseboom has focused (for now) his talents in political folk music. Learning from Woody Guthrie, Bob Dylan and Bruce Springsteen, he has now taken on the task of letting his generation be heard. This is contemporary folk music that tackles tough social issues in a modern format. Armed with a guitar, harmonica, his unique voice and thought provoking lyrics Roseboom does not shy away from the message he's toting. That message......there is always hope. "In short, I think it is about time that I heard a solid folk singer such as this. It has been a genre that has been applauded for past accomplishments, but has not been recognized too much presently. Jason is a great example of the genre, and I think can really lead the genre to come. Some of his influences are, Woody Guthrie, Pete Seeger, and Bob Dylan. He does not fail them, as he takes on big ideas and the stories of people that speak volumes." The Independent Music Scene . Review: Jason commands dramatic political hot potatoes and contemporary topics with equal ease. His songwriting skills and song arrangement skills are raw, but show great promise; however, his playing and singing seem to lack direction – at one time emulating the great and prolific singer/songwriter Bob Dylan (at least a younger, earnest, pre-Band Dylan), at other times an attempt at performing a la Woody Guthrie, or a toned-down Boss. Dylanesque cuts (with a nod to Woody and Arlo Guthrie) would be “Lincon's Bible” , “I Am Your Son”, “Doris Day”. Some examples of Springsteen's influence are the growling “Jesus Loved Judas” and “These Hands (Song For Detroit)”. This song, more than any other song on here, has a depth of feel that seems missing in most of the other cuts – exception being (what should become a classic) folk dirge “The Death Of Matthew Shepard”. Jason puts as much heart in the singing as there seems to be in the creation of same. This and a couple of other songs on here (“Flout”, “In The Corner”) just beg me to say, “ hey! Get some backup musicians and vocalists and make a BIG statement!” (but I am only a lowly reviewer). And in that vein I can only say that this guy is young, but he has a talent that shouldn't be relegated to coffee houses and street corners. --- Nick

Quick Links:

Jason's MySpace Page

CHRIS HARPER

Four Aces And A Harp

Oct 5, 2010

Review by Nick of Chris Harper Four Aces and a Harp I have been to the dimly lit Chicage Blues clubs in my youth, as well as having heard some of the best the genre has produced, so when I say that Chicago Blues is one of the “tightest” of the Blues genres – I mean it's SO-O-O tight that it squeaks when it walks. Parts of this cd do just that. Coming right out of the box, we get treated to one of the best and tightest cuts of the electric side of the offering - “Hand Me Down My Cane”. From there we segue into an acoustic cover of Willie Dixon's “Down In The Bottom”, then onto another acoustic cover of Lucille Bogan's “Sloppy Drunk”. “I Smell Trouble” is an electric and gritty collaboration sung so masterfully by Jimmy Burns in such a way that makes the listener feel that they are in the same room, just feeling the misery and trouble pouring out. “Blues Is My Life” is written and performed by Swississippi Chris Harper (who actually blows harp on all the cuts on this cd). Ironically, the style of the song itself is more speakeasy jazz than blues. Same goes for the cover of the old Ellington number, “Don't Get Around Much Anymore”. Speaking of harp – it gets played over the top on “Next Time You See Me”; otherwise this electric version would have sounded as well in acoustic mode. Same goes for an electric cover of Lightnin Hopkin's “Mojo Hand” - way over the top on harp. Another Chris Harper tune, “You Make Me Fly” plays off the mouth harp versus the piano, and I have to say it was really good. “Fattening Frogs For Snakes (Took Me A Long Time)” is a foot-tapping and tight number, with some tasty (albeit brief) solos on guitar, harmonica, and duet by the same. “What's Wrong” makes me want to stand up and shout out the nswer – practice!. This sounds like it was recorded on the first take, and would have been much tighter after a few more tries. “Born In Arkansas” highlights Willie “Big Eyes” Smith, where the songwriter sings, plays drums (he is revered as one of the greatest shuffle drummers of all time), and duels his countrified harp against Chris' urban mouth harp. “Evil Going On” brings out the growling Tail Dragger in a tasty rendition of an old Willie Dixon classic. Another great acoustic cut is the classic “Forty And Forty Nights”, as is the cover of Sonny Boy Williamson's “Eyesight To The Blind”. “Long Distance Call” is a misnomer, for if you close your eyes and just listen, you'll hear almost surely what sounds like Muddy Waters playing slide right in front of you (it isn't, of course, but an outstanding reproduction by Little Frank Krakowski). “Worried Life Blues” is an excellent showcase for Little Frank Krakowski as well as Swississippi Chris Harper, with an ear to the backup musicians on drums and fender bass, as well as piano – all well-played. I take off my hat here. – Steven “Nick” Nickelson

Quick Links:

Swississippi Records Facebook Page

KT TUNSTALL

TIGER SUIT

Oct 5, 2010

In 1991 U2 went into Berlin's Hansa Studios to record Achtung Baby a disc that mixed up their traditional sounds with a more alternative mix that incorporated the sounds of electronic dance music. Tiger Suit also recorded at Berlin's Hansa Studios is at no way to be compared to this disc, but KT Tunstall sheds her folk- rock sounds for a more alternative edge that also incorporates the sounds of electronic dance music. This CD is will certainly alienate some fans who are looking for her traditional camp fire songs that she captures so well in her live performances, but for those willing to explore the new sounds captured on this Disc they will be rewarded with some terrific tracks. The CD begins with the dance beats of the catchy "Uummannag Song". "Glamour Puss" is a rocking track that I consider one of KT's few misses. "Difficulty" and "Lost" are both songs that have single potential and hooks that will drag you both onto the dance floor and into the world of this talented artist. On "Golden Frames" the most acoustic track on this disc KT steals sounds from the Chris Isaak. classic "Baby Did A Bad Bad Thing". "Still A Weirdo" is an acoustic track that KT could still add to her around the campfire collection. The Album ends with "The Entertainer" and if it at the campfire or on the dance floor it is hard to argue that KT is a true entertainer. Reviewed By: Gregg Saur

Quick Links:

KT Tunstall Home Page

NEIL YOUNG

LE NOISE

Oct 5, 2010

Neil Young has long been called the God Father of the grunge movement and on Le Noise Neil Plugs in and shows why he is one of the best. Le Noise is one man and his guitar with very little overdubs. It is raw with plenty of great guitar, feedback, and a sure energy that has been missing from many of Neil's recent efforts. Grammy Award winning producer Daniel Lanois who has worked with U2, Peter Gabriel, Bob Dylan and Emmylou Harris invited Neil to his home to record a record that lacked studio polish and showcases the pure raw talents possessed within this musical great. The CD begins with the electric "Walk With Me" and "Sign Of Love" and instantaneity the sounds of Crazy horse come crashing through. The acoustic "Love and War" is a masterpiece with extremely thought provoking lyrics . The track "Hitchhiker" is an autographical piece that explores many of Neil's Drug filled years. "Peaceful Valley Boulevard" is the quietest track on this disc and ranks as one of Neil's acoustic best. This CD is meant to be played loud and proves that at 64 Neil is still one of Music's most creative figures. Reviewed By: Gregg Saur

Quick Links:

Neil Young Home Page

PALEFACE

One Big Party

Oct 4, 2010

Recently relocated to North Carolina (at the urging of the Avett Brothers), this is Paleface's second release for Ramseur Records. Bringing his New York attitude with him, this is a folk record with punk character. Being similar to the first Ramseur Records release, this seems to be "The Show is on the Road" part two: although drummer, Mo, contributed more to this release than the last, taking on lead vocal duties for the title track and doing the album layout; while PF did the artwork for the cover. This is another step forward in the evolution of the Paleface package. Rebecca Ruth

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AMERICAN GRAVEYARD

Hallelujahland

Oct 4, 2010

Recorded in Austin, this is American Graveyard's second release. Featuring not only guitar, bass, and drum; but also dobro, mandolin and banjo, American Graveyard crafts bluegrass-tinged country-rock. Many of the songs are slower and feature earnest lyrics such as the album's opener, "Common Ones", and the title track. Others are country stompers, like "Pinebox" and "Shake with Me". Some of the songs offer sing-along choruses that beg for and arena and a lighter ("A Good Thing"). These are a bit melodramatic for my taste, but I can't resist the stompers or the dark final track. Rebecca Ruth

Quick Links:

American Graveyard Myspace

HEIDI TALBOT

The Last Star

Oct 2, 2010

Review by Nick of Heidi Talbot The Last Star Bio: Born in the rural village of Kill, County Kildare, Ireland, Talbot began singing in the church choir run by her mother. At sixteen, she enrolled at Dublin’s Bel Canto singing school, studying for the next year and a half under its founder and director Frank Merriman. When she was 18, Heidi moved to New York, where she spent two years working in bars and clubs before being invited to join Cherish the Ladies in 2002. In between the band’s touring schedule, Talbot continued to develop her solo work, releasing Distant Future on Nashville roots label Compass Records. Produced by John Doyle, the record featured such guests as multi-instrumentalist Dirk Powell, concertinist John Williams and fiddler Rayna Gellert. Three years later, the recording of In Love and Light coincided with her decision to leave Cherish the Ladies at the end of 2007. After the launch of In Love and Light at Glasgow’s Celtic Connections festival in January 2008, Talbot featured as a guest on forthcoming albums by Radiohead drummer Philip Selway, and the new trio collaboration of John McCusker, Kris Drever and Roddy Woomble. She has also sung on records by Eddi Reader, Boo Hewerdine, and Idlewild. She tours as a trio with John McCusker and Boo Hewerdine and finished a six week tour opening for and singing with Eddi Reader.

Drawing on the full, diverse spectrum of influences that inform her singing,The Last Star complements Talbot’s exquisitely expressive, honeyed yet ardent voice with guest contributions from Eddi Reader, ex-Solas guitarist John Doyle, fiddler John McCusker and flute/whistle ace Mike McGoldrick. If the voice sounds eerily familiar, know that Heidi was for five years one of the sweet voices in the Irish-American supergroup Cherish The Ladies. Other voices on this beautifully arranged and produced cd may be recognizable by fans of celtic music, as well. There are a few threads that weave through Heidi Talbot’s recording The Last Star. Her gift as a musical storyteller brings together songs from the past (her Irish heritage and her own personal) typical Gaelic tales of humor and sorrow, and characters foolish and wise. The main theme of this cd is that of love. It might be of the rambling and funny sort (“Beecker Street”), or a traditional tale that starts out one way and ends in quite another (“Willie Taylor”). She could be singing of a tale of love, loss, family, and change (“Cherokee Rose”, “Bantry Girls”), or a quiet bit of reflection (“The Last Star”, “Start It All Over Again”). The guitar playing on “The Shepherd Lad” is just beautiful, and is complemented by the flute and concertina. “Sally Brown” fits into that quirky, lighthearted tone, as well. “Tell Me Truly” is a light-hearted song utilizing the harmonies of the flute and concertina, as well as the vocals of her talented contributors. Those contributors include Kris Drever, John McCusker (who produced the album and contributed his songwriting talents, as well), Eddi Reader, Michael McGoldrick, and Karine Polwart. The bittersweet title track (“The Last Star”) was co-written by Talbot and McCusker, and is sure to be a classic, as is the cover “At The End Of The Day”. The musical arrangements on this cd are excellent, and showcase the vocal lead of Heidi Talbot, as well as the backup and duet vocals. As pretty as is the harmonies and instrumentation, I just don't get the track “Hang Me”. But hang me if I don't declare this should be a part of every traditional celtic music fan's cd collection. – Steven “Nick” Nickelson

Quick Links:

Home Page for Heidi Talbot

ENOCH KENT

Take A Trip With Me

Oct 2, 2010

Review by Nick of Enoch Kent Take A Trip With Me Bio: Scotland born and now Canada-based, this legendary interpreter and songsmith's love of traditional music was first inspired by his family. His father played the concertina, and popular songs, Scottish songs and old-time favorites were often sung at home. After graduating from the Glasgow School of Art in sculpture and ceramics, Enoch formed the traditional Scottish group,The Reivers,. The group researched the history, lyrics and music of Scottish folk songs which were published by The Scotsman. Scottish Television then signed the band to perform these old songs every week to a new and ever-widening audience. The band's live shows and steadfast interest in promoting traditional music formed the foundation of the Scottish folk music revival that took place in the 1950s and 1960s. Later, when Enoch moved to London, he kept this music alive and well with his folk band"The Exiles". Since emigrating to Canada in the 60s, Enoch performed in many folk clubs and festivals across the country to wide acclaim. During that time, he focused on live performance and decided to put recording aside for awhile. However, after a 36-year recording hiatus, at the age of 70, Enoch well made up for lost time with his return to the studio and the release of four outstanding CDs on the Canadian indie label SecondAvenue Records: "I'm A Workin' Chap" (2002), "Love, Lust & Loathing" (2003), "For The Women" (2005), and "I'm A Rover" (2006). Enoch's music is treasured by traditional music enthusiasts with a passion for story-songs, love & betrayal ballads, and gritty politics. While his songs are deeply rooted in the traditional Scottish style, much of his subject matter is Canadian, giving his music a unique cultural blend. Enoch was recently nominated for the Canadian Folk Music Awards category of Best Singer-Traditional. The songs he writes, the songs he interprets and the stories he sings are rooted in (tradition). "I have always sung for us." He continues in his husky, Scottish brogue. "I've written a few personal songs, but they got something to do with fellow working men--like a love song from a coal miner, deeply in love, but with nothing to give the woman. The same thing is true in the farm community. If there is a hint of unrest, he's one of us, he's not one of them." Enoch grew up singing the songs that everyone else was singing. Sentimental Scottish songs, music hall and popular songs of the day were all a part of his raising. His mother dragged him to a local ceilidh at the Highlander's Institute and everything changed. He discovered story songs. In fact, he was so inspired by these songs he set off for the library where there was a music room specializing in Scottish music. He set out to learn a song a day. "At this time I was invited to sing at ceilidhs as a ballad singer because I liked the stories--the big ballads with the stories in them as opposed to just songs." He remembers. "So I was off and running. I went to a ceilidh in Edinburgh. They asked me to sing, so I sang. They asked me again, and I sang. But I only knew six songs. At the end of it, I got an encore. I sang one of them again and I still got a cheer because they liked the way I sang. He emigrated to Canada in the 1960s with his wife to look for work. They ended up in Toronto, where Enoch happily worked in the advertising business for 32 years. He was a regular at the Mariposa Folk Festival and at the famed Fiddler's Green coffeehouse in Toronto, but music was not the main focus in Enoch's life. This changed rather quickly after reaching retirement. He released the CD I'm a Workin Chap in 2002, Love, Lust, and Loathing in 2003, and For the Women in 2005. "I was busting to get them out. I had a story to tell." Enoch mused. "I couldn't keep them to myself because I was asked. 'You have to record these things. People aren't going to grasp them if you don't do them.' Inside all of these songs you will find traditional songs. I will never leave it alone." His philosophy and guiding principles are still very much alive in his writing, performing and song choices. "I don't carry Celtic gloom with me everywhere I go. You're supposed to be entertaining people. Not lecturing them." Garnet Rogers adds, "I admire him tremendously as both a friend and an artist. He has influenced me a lot, both in terms of what I look for in a song or in music, but also his attitude towards what's important. It's just good to see someone out there doing it for the love of it, and just rejoicing in it. That is really inspiring." At 73 Enoch Kent is still very excited about sharing these songs and stories with an audience. When we spoke, he was preparing his workshops for an upcoming weekend folk music camp. He broke into a verse of "The Three Gypsies" while explaining the concept of Muckle songs. "These are songs that are so dramatic and so big that the late John Huston or Steven Spielberg could walk in and make an entire movie out of them," he related with enthusiasm. Scots are infamous for their thriftiness (translate miserly). An example: two Scotsmen were playing a round of golf. On the fourth fairway, one of the gents had a stroke. His opponent made him count it. (I'm here all week, folks). Traditional Scottish songs are generally very sparse musically, but are rich in prose – this album is a classic example. For over 60 years, Scottish-born Canadian Enoch Kent has been singing and entertaining crowds big and small with his traditional and powerful song-stories. Enoch Kent is a true workingman, and weaves stories for the crowd, delving deeply into his own rich workingman's experience. So many of these songs relate to his ties to the people and histories of the lands in which he grew up (Canada: “The Murder of Ginger Goodwin”, “Store Owners Christmas”, “1913 Massacre”, “The Pawnshop Window”; Scotland: “Bonnie Susie Cleland”, “Off To Sea Once More”, “Travelling Down The Castlereagh”, “A'e Fond Kiss”; London: “Mothers, Daughters, Wives”), and several others seem to come off the cuff as we sit around with a wee draught o' Bellhaven Wee Heavy Ale – husky a Capella songs such as: “The Bonnie Wee Lassie That Never Said No”, “The Gallowa' Hills”, “Peas Brose”, “Rigs O' Rye”. There are some songs that just seem to flow from the lips of Enoch after all these years: “The Old Time Songs” comes to mind. Although my musical tastes go all over the map, I generally do not get excited about story songs. This is no different. Enoch Kent is a very good storyteller and has a voice much like Burl Ives on two packs a day. His strength lies in the skillfully woven imagery he produces in his story songs. As music, I would have to take a bye on this; however, as storytelling, I would definitely put him at the top of the list. Review by Nick Nickelson

Quick Links:

Home Page for Enoch Kent

J.P., CHRISSIE & THE FAIRGROUND BOYS

FIDELITY!

Oct 1, 2010

The back story on this disc is that it chronicles the relationship that Chrissie Hynde of Pretenders fame and Welsh Singer/songwriter JP Jones started only to realize that it was not meant to be because of their nearly 30 year age difference. "Australia" kicks off the relationship with a chance meeting in a bar. From there, the couple falls in deep, "Your Fairground", "Misty Valleys", "Fidelity" and "If You Let Me" before reality sets in, "Perfect Lover", then rail at the unfairness of the timing of their meeting, "Leave Me If You Must", and ultimately struggle with the anguish of having to let go, "Meanwhile" and "Never Drink Again". Yet, despite having completed the emotional cycle they find a way to move forward together, "Courage". Unlike other breakup discs, such as Fleetwood Mac’s Rumors, the couple’s anger is not directed towards each other but at the circumstances that keep them continually drawn towards a relationship they know they cannot fulfill. Since most rock discs typically look at life through the “hope I die before I get old” lens, it is almost unnerving to hear 59 year old Hynde expressing such anguish over the loss at another shot at love. Unlike her work with the Pretenders, Hynde keeps her trademark snarl in check and delivers nuanced vocals that are amongst some of the best of her long and storied career. And, wouldn’t you know it, they meld perfectly with Jones’ raspy growl! Musically, Hynde, Jones and the Fairground Boys add urgency to the raw emotions with mid-tempo rockers that are well crafted enough that they make a decent listen even if you aren’t drawn into the storyline. Smitty

NELLIE MC kAY

Home Sweet Mobile Home

Sep 26, 2010

Only five records into her career, Nellie McKay's music is truly unpredictable and unclassifiable. She's done rock, pop, jazz, cabaret, movie soundtracks and (lately) a tribute CD of all Doris Day tunes. This set, her first collection of originals since 2007, careens all over the musical map, from the straight rock of the opening track to ukulele-driven croons, reggae, jazz send-ups and luxurious ballads. One thing you know you'll get with a McKay record, however, is wry and whimsical songwriting. For the witty jazz stuff, check out "Dispossessed," "Bodega" and "Bluebird"; for the reggae, listen to "Caribbean Time" and "Unknown Reggae"; and for the "down home" note the languid "Coosada Blues" which mentions that sweet Mobile home. Truly an original voice in American music, McKay is always interesting and provides an amazing variety of musical styles to spice up a WYCE set. 09/10 MJVD

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NORTEC COLLECTIVE PRESENTS: BOSTICH + FUSSIBLE

Bulevar 2000

Sep 26, 2010

Nortec Collective is a Latin electronica ensemble of four musicians that at times records together, at times as individuals, at times as duos. Bostich and Fussible are the two members responsible for this set, and they deliver a kind of "El Mundo Musicale" supercharged with technology. These are primarily instrumentals with a phrase or line repeated occasionally throughout the number, with the exceptions being the two English-lyric songs "I Count the Ways,""Bulevar 2000" and "Centinela" (the latter a story about doomed lovers). The style has been accurately called a "collision between the style and culture of electronica and traditional Mexican music." It is an interesting and entertaining blend. 09/10 MJVD W-Latin (Electronic)

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jason spooner

seamonster

Sep 24, 2010

Seamonster is the latest collection of 12 tracks by Jason Spooner. The band taps into their inner Nashville with seriously twangy guitars and harmonica at several points in the album, but switches gears into Peter Gabrial territory with ease. Using their firm grasp of spatial relations within the music, the band executes a respectable version of Wishing Well by Terence Trent D’arby before rounding the album out with a little coffeehouse blues sprinkled in for good measure. Best Tracks: #4 Wishing Well (Terence Trent D’arby) FCC Naughty List: NONE Who would like this cd: fans of Jack Johnson, Peter Gabrial

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Railroad Earth

Sep 24, 2010

The new self-titled album (on One Haven Music) by Railroad Earth, will be released on October 12th. Featuring 9 tracks blending elements of country rock with bluegrass, the album occupies the territory somewhere between Nickel Creek and Steve Earl. Railroad Earth’s press kit for the album mentions the movie “The Last Waltz” by The Band as a huge source of inspiration for their collective song writing strategy. Best Tracks: #2 Jupiter & the 119 FCC Naughty List: NONE Other points of interest: Railroad Earth website has an environmentalist blog http://railroadearth.com/category/the-forecast/ Who would like this cd: fans of John Mellencamp, Steve Earl, Nickel Creek

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Thievery Corporation

It Takes a Thief

Sep 24, 2010

The 16 tracks on “It Takes a Thief” (on ESL Music) are a retrospective album of the last decade of music by Thievery Corporation. A rotating cast of musicians and singers enrich the collection. iTunes calls it “electronica” but the songs are your basic formula of verse-chorus-verse, giving them an elemental familiarity that is comforting and accessible to the listener. Much of the album is made by clever use of electronics, synths, keyboards, and samplers, but the human elements pierce thru with unmistakeable soul. Best Tracks: #1 Amerimacka, #2 Lebanese Blond FCC Naughty List: NONE Other points of interest: “Lebanese Blonde,” was used on the Grammy award-winning Garden State Soundtrack, notable guest musicians include Sleepy Wonder, Femi Kuti, and Pam Bricker. Features an exclusive, never before released track “The Passing Stars” featuring Pam Bricker. Who would like this cd: fans of Death In Vegas, fans of Portishead,

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AMY CORREIA

YOU GO YOUR WAY

Sep 21, 2010

Amy Correia first came to my attention several years ago with her sly, sexy mash up of Rod Stewart’s "Gasoline Alley" and the Rolling Stone’s Bobby Womack penned classic "It’s All over Now" on the I-10 Chronicles compilation. Her version combined the swagger of the originals with a tinge of vulnerability that made it more than just another cover. While the song raised my expectations that she’d soon join the likes of Lucinda Williams or Kasey Chambers as the hot new alt-folk rocker, the twists and turns of the industry left her on the side of the road. That all should change with this release. With a voice that combines the rock and pop power of Sheryl Crow with the quirky, jazzy squeaks of Rickie Lee Jones and the earnest protest era folk of Michelle Shocked, she stands out from the typical singer songwriter and over the last several years has developed a devoted fan base that helped finance the release of this, her third disc. Melodic, witty and insightful it is clear the fan’s money was well spent. With 11 top notch cuts touching everything from shiny pop about being a woman on the prowl, "Powder Blue Trans Am", to jazzy, horn fueled angst about trying to recapture love too casually thrown away, "Carolina Rail", to bluesy gospel, "O Lord", to anti-war protest folk, "Took Him Away", to a sharply drawn portrait of darkness behind a bright facade, "City Girl", and a cool rocker about a relationship that must end but won’t, "You Go Your Way", which features the great line “You Go Your Way and I’ll go mine/Let’s never talk about this one more time” this disc is a joy from beginning to end. Smitty

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AMY CORREIA

RONNIE EARL AND THE BROADCASTERS

SPREAD THE LOVE

Sep 21, 2010

The problem with reviewing a Ronnie Earl and the Broadcasters disc is that you run out of accolades before you run out of disc. Stunning Guitar work! Great use of dynamics! Unmatched tone! Telepathic interplay with the band! Virtuosity in both jazz and blues! Mesmerizing tunes! Hot, Hot, Hot! This one is no different. Featuring Ronnie Earl on Guitar, Dave Limina on Piano and b3, Jim Moradian on bass and Lorne Entress on drums, the disc kicks off with the Albert Collins scorcher "Backstroke" which is delivered complete with Collins’ brittle guitar sound and a set- opening urgency. Just when you get ready to rock, Earl and crew pull way back on the reins for the moody, introspective "Blues for Dr. Donna", which takes advantage of the old Buddy Guy trick of taking the sound down to a whisper to force you to listen. And, as usual, the effort is worth it, especially as it takes you to "Chitlins Con Carne" which features lots of smoky b3 grooves. "Cristo Redentor" will strike a chord with Pat Metheny fans with its heady jazz runs. "Happy" has a bouncy wide open feel befitting its title while both "Patience" and "Miracle" feel almost reverent with churchy organ and an unhurried pace. "Spann’s Groove" strikes out in an entirely different direction with its Otis Spann inspired barrel house piano boogie and Earl’s firery fretwork. Hard hitting blues get a nod on "Blues for Slim" and "Tommy’s Midnight Blues" which are just as raucous as other tracks are tasteful and restrained. The contrast is as stark as the bumpkin Gomer Pyle suddenly becoming the sophisticated Jim Nabors! With 11 out of the 14 cuts exceeding 5 minutes Earl has plenty of time to make sure his vision of each song is fully realized. Since the quieter, jazzy side of the street gets more play here than houserockin’ party tunes this is the perfect backdrop to your more sophisticated gatherings. Instead of putting on some schmaltzy lounge music, grab this disc and treat yourself to some real music. Mark Smith www.ronnieearl.com www.stonyplainrecords.com

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THE POSIES

Blood/Candy

Sep 20, 2010

During the grunge years of the 90's, this Seattle band put out album after album of pop-infused rock, going completely against the grain of what was going on musically at the time. They then split up. Blood/Candy is The Posies' second album since reuniting and the sixth release overall. Bringing along guest vocalists such as Lisa Lobsinger of Broken Social Scene and Hugh Cornwell of The Stranglers, The Posies continue to command respect from fellow musicians. Blood/Candy shows The Posies' persistance in combining melodic harmonies with fine production. Rebecca Ruth

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LIGHTS AT SEA

Palace Walls

Sep 20, 2010

Palace Walls is the second release from Grand Rapids band, Lights At Sea. With nothing more than guitar, bass, and drums, Lights At Sea crafts moods with its heavy instrumental rock. Often, the songs start out slow, then crescendo into weighty guitar and drums, retaining the melodic quality throughout. With the second album, Lights At Sea hasn't delved far from the territory that the first album explored and I'm fine with that. I want to go where Lights At Sea wants to take me. Rebecca Ruth

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Lights At Sea Myspace

KIM RICHEY

Wreck Your Wheels

Sep 19, 2010

Kim Richey has been pegged as a country artist in most music compendiums because so many of her songs have been picked up by country artists (Trisha Yearwood, Mindy McCready, Brooks & Dunn, others), but she really isn't. She's more "singer/songwriter" along the lines of Shawn Colvin and Dar Williams. Her last solo release prior to this outing, "Chinese Boxes," got that point across a little more pointedly than previous releases and she continues in the same vein with this set. The title track and "Leaving 49" are the most immediately catchy of the songs, although my favorite is a beautiful duet with Mark Olson, "In the Years to Come" (which she co-write with Olson). Writing experts Strunk & White, in their famous book "The Elements of Style," give this great piece of advice to would-be wordsmiths: "Omit needless words." Kim Richey's songs are what they had in mind -- simple, yet powerful. 09/10 MJVD F-Singer/Songwriter (Americana)

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KELLI SCARR

Piece

Sep 17, 2010

Bio: Kelli Scarr was born in Monterey, CA, and at the age of twelve, Kelli moved with her mom and brother to the small mining town of Folsom, California, made popular by its’ local prison and a very special concert held there in 1968. Her interest in music and recording grew early, starting at the age of three with her nana using a handheld cassette recorder to record her singing. Growing up amongst the soundtrack of her parent’s records and singing in the Lutheran church of her hometown, music quickly became an important part of Kelli Scarr’s life. After high school she moved to Boston, Massachusetts to study voice at Berklee, and she soon joined the band Moonraker. Following college, Kelli, along with Moonraker, moved to Brooklyn, NY where they were thrown head first into the ever-expanding indie scene, opening for bands like the Arcade Fire and Broken Social Scene. During an almost accidental bill sharing, Kelli was noticed by local NYC musician, Moby. After striking up a friendship, Kelli and Moby were soon working on music together with Kelli singing the title track of Moby’s haunting and introspective 2009 release, “Wait For Me” (Mute). Kelli also quickly joined Moby’s touring band for a world tour to support the critically acclaimed album. On top of singing and playing keyboards within Moby’s band, Kelli was also asked to open the shows, playing her own music in supporting slots for Moby and winning over crowds all over the world. Amidst all of the transitions and touring, Kelli had begun recording songs on her own. She began simply by recording quiet piano songs at home in between working her hospital day job and in brief moments to herself during her three year old son’s naps. After a long and exhausting two and a half year process Kelli had a record of mainly home recordings, which she named, “Piece”; a name she adopted early on with the advice of friend and filmmaker Matthew Nours, to help her visualize the album as a “snapshot in time” within an otherwise hectic time. In the end “Piece” reflected a large portion of Kelli’s life and those around her. From the sounds of her creaky upright piano and midnight acoustic recordings to the whimpers of her son waking up from a nap in the next room, “Piece” captured an extremely personal journey, providing a photo album's worth of lush images. Review: If you are partial to Sinead O'Conner, then you might take a listen to Kelli Scarr's inaugural release, Piece. Kelli is/has been the female singer for well-know musician, Moby; thus, the eery comparisons to Sinead (“Driftwood”, “Pure Gold” , and “Anything” all resonate with the same haunting tunes). The songs themselves are really quite good, if you don't spend too much time analyzing the lyrics. On the other hand, if you lean toward the sounds of Bjork (or even Enya) you might enjoy “Salt To The Sea” , as well as “Baby Boom” and “The Wonder”. “Brother” seems to be the bridge between the two influences. A glockenspiel? Who uses a glockenspiel? Actually, in some places the use seemed appropriate – even charming; however, at other times, the sound came off as “bright” or “jangly”. My favorite song of the whole lot, though, is the lush, guitar-driven, latin-infused “So Long”. Even though the lyrics seem to be a tad repetitive, the almost-classical guitar playing more than compensates. (If I didn't know better, I would swear that Carlos Santana was playing lead on this song). Speaking of repetitive, “Break Up” takes the prize for lyrics as well as music. I get the impression that this is directed at someone, and I hope he/she got the message. Country music fans will recognize the steel guitar on “Come Back To Me”, but the twangy singing and guitar seem contrived. Overall, this freshman album shows promise with respect the Kelli Scarr's songwriting skills, as well as her piano playing, guitar playing and singing. Reviewed by Steven “Nick” Nickelson

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Kelli's MySpace

CURTIS STIGERS

Lost in Dreams

Sep 17, 2010

Curtis Stigers has labored in obscurity for most of his career, lauded by a core group of vocal jazz lovers drawn to his kinda-Tom-Waits style. Recently, he burst onto the radar screen with and Emmy nomination for his theme song for the FX television series "Sons of Anarchy." Farewell, obscurity. This set has Stigers, a fine saxophonist as well as vocalist, moving back and forth between standards such as "My Funny Valentine" and "Bye Bye Blackbird" and new arrangements of songs by Annie Lennox, Roger Waters, John Lennon, Ron Sexsmith and Buddy and Julie Miller. In fact, those reconfigured tunes are the highlights of the bunch, particularly "Dirty Water" by the Millers. 09/10 MJVD J-Contemporary (vocal)

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DARDEN SMITH

Marathon

Sep 17, 2010

I think I've found the godfather of local artist Drew Nelson. Veteran singer-songwriter sings thoughtful, contemplative numbers that hang together thematically - and while Drew helps us understand our own backyards here in Michigan, Smith describes the broad and sometimes desolate expanse of West Texas ("75 Miles of Nothing" is an apt thesis statement). He's performed this entire set on stage with a band and an orchestra, as if it were a long symphony movement. "Sierra Diablo,""Bull by the Horns,""Don't It Go to Show" and "Over My Beating Heart" are the most immediately approachable songs, the easiest to pull out of the intended start-to-finish opus. 09/10 MJVD F-Americana (Texas)

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THE BMF BAND

Blurring The Line

Sep 16, 2010

Review by Nick of Blurring the Line by The BMF Band “For over 20 years, Bryan Michael Fischer has been singing and entertaining crowds big and small with his larger-than-life personality, winning charm, and powerful vocals. Bryan is a true showman, and creates an event for the crowd, not just another band experience.” After you give the cd a listen, you can begin to believe the promo material. This is one tight band, and the guitarists (lead - Bryan Blowers of K'zoo, bassist – Bill LaValley) certainly are up to the task of keeping up with the lead vocals. Drummer Allen “Spider” Hill keeps the rhythm tight. The group takes off right from the get-go with “I Don't Need No Doctor” - a perfect homage to Texas Blues great Stevie Ray Vaughan. (“Bryan started out his career as a hard rock singer, and after discovering Stevie Ray Vaughan, changed his focus to the blues. Like SRV, Bryan brings the rock n roll attitude and excitement to the soul of the blues to create a high-energy, powerhouse sound and style.”) “Treat Me Like The Dog I Am” is a great example. Another SRV-influenced song “Cold Sweat” really highlights the powerful vocal styling of Bryan Michael Fischer, and the rapid-fire guitar riffs of Bryan Blowers. Bill LaValley and Spyder Hill hold the rhythm tight and fast on this, as well as “Shaky Ground”. “Every Day I Get The Blues” follows the same rapid-fire SRV stylings, and Bryan Fischer throws his heart into this one (as well he should if he wants to keep pace with the terrific guitar playing). Bryan Michael Fischer pulls out all the stops on “Poor Man's Dream”, a song he is credited with penning. This song gives all band members an opportunity to showcase their particular talents. The same goes for BMF's interpretation of Robert Cray's “Back Door Slam”. This is truly a top-notch cut, and I definitely hope to hear some more from this band with the talented songwriter and arranger. And now for the bad news – I cannot for the life of me figure out why “Willy The Wimp” is lumped in with the other great covers on this cd. (Unless, like “Gravity”, and “Slippin' In”, it is used to demonstrate the versatility of the band). The pace also slows down for a really beautiful rendition of John Waits' “Feels Like Rain.” Based on the music on the cd, I would have to say that this is one blues band you don't want to miss live. Lucky for us this is a local band. Catch them soon, before they go international! – Steven “Nick” Nickelson

CONRAD HERWIG

THE LATIN SIDE OF HERBIE HANCOCK

Sep 14, 2010

During his more then five decades in the recording business Herbie Hancock has covered almost every genre in the Jazz category including several Latin sounds. On this release trombonist Conrad Herwig assembled an all star cast of musicians including band leader and pianist Eddie Palmieri on piano and trumpeter Randy Brecker together for two magical evenings at the Blue Note theater in New York. The result is a magical reinterpretation of some of Herbie Hancock's finest works including Watermelon Man from Herbies 1962 debut Takin' Off. Also featured are the 1965 album title track Maiden Voyage and the classic Cantaloupe Island. These reinterpretations not only remind us of the genius of the original recordings, but breathe new life into them. Reviewed By: Gregg Saur

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Conrad Herwig Home Page

CHOCOLATE GENIUS

Swansongs

Sep 13, 2010

Marc Anthony Thompson used to perform in California under his given name, but since moving to New York, he uses the moniker Chocolate Genius. Included under this moniker is a loose conglomerate of supporting artists. This musical collective has at times included John Medeski, Chris Whitley, Meshell Ndgeocello, and Chris Wood among others. This fourth album in the Black Music/Godmusic/Black Yankee Rock series is pretty stuff. Well-written and nicely produced, this is low-key music for quiet moments. Rebecca Ruth

CHRIS JAMES/PATRICK RYNN

Gonna Boogie Anyway

Sep 8, 2010

This duo has been around forever, but they never seem to drift far from their blues roots – be it hard-driving electric Chicago blues (“Little Girl”), Delta blues (“Headed Out West”, “You Can't Trust Nobody”), get-down Texas blues (“H.M. Stomp”), or swinging jump blues (“Life Couldn't Be Sweeter”, “Can't Stand to See You Go”, and the title cut, “Gonna Boogie Anyway”). This cd of (mostly) original music and a few covers is another example of their tight music (“Dearest Darling”) and hot licks , at times reminiscent of Buddy Guy, other times a rough-edged Stevie Ray Vaughan. There are a few cuts that grind a little more slowly (“Black Spider Blues”, “The Tables Have Turned”), but guitarist Chris James still manages to make them his own. His partner, bassist Patrick Rynn seems to be connected to him at the hip – the way they play so well together. They should, though, because they were both members of the Blue Four band, and have played backup for fellow blues musicians for the past quarter century. This is their sophomore effort as a duo, and they kick it off in high gear right out of the box with with a smokin' hot “Money Don't Like Me” (also, part 2). With backing pianists Henry Gray and David Maxwell, harp masters Rob Stone and Bob Corritore, as well as a pair of saxophonists in Johnny Viau and Allen Ortiz, and drummers Eddie Kobeck and Sam Lay sharing beats, this group cannot miss, and I know they will be around for some time to come. Steven “Nick” Nickelson

HAYLEY TAYLOR

One Foot In Front of the Other

Sep 8, 2010

Even though this is her first CD release I don't expect this to be her last. Hayley Taylor seems to have all the right connections to keep moving up in the music scene. Her music runs the gamut from perky pop to lushly layered love songs to maudlin demi-blues. An example of the former would be “Felt Like Love”. “How Good We Had It” has an infectious harp-like rhythm and smooth harmonies, as does “Orange Tree”, and the introduction of sweetly flowing/ebbing violins in the mix make for a beautiful song in “Plans”. The girl blues are ably represented by “Waking”, “No More Wishing”, “What's Going On?”. “Pretty In The Dark” has some very catchy rhythms, and it's a shame that she has to resort to a banned word for the sake of poetic rhyming. This and a few other cuts, though, do bring to mind a toned-down Liz Phair-ish music. “Bulletproof” has that edgy love-hate angst you hear from Liz Phair, as does “Don't Look Down”. Overall, this CD grows on you, and starts to feel like a favorite piece of clothing that you just cannot part with. My two nickels worth Steven “Nick” Nickelson

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MATORRALMAN

Guateque Estelar

Sep 1, 2010

Inspired by European teen sexploitation films of the 60's and 70's, Mexico City band Matorralman makes surf music with an electronic edge. Front man, Miguel Rizo, describes his music as "...a party without end-complete with music to lose your manners to...". Appropriately titled, "Gauteque Estelar", which translates to "stellar party", this is fun stuff. Now, everybody dance! Rebecca Ruth

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AUTOLUX

Transit Transit

Sep 1, 2010

Los Angeles trio, Autolux, takes your basic guitar, bass and drum rock formula, adds occasional piano and overdubs and ends up with ambient rock. Sometimes heavy, other times delicate and introspective, Transit Transit maintains its melodic quality throughout. This sounds alright, not dissimilar to Radiohead, but I found myself losing interest after a song or two. Autolux isn't breaking any new ground with this release. Rebecca Ruth

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BIG HEAD TODD AND THE MONSTERS

ROCKSTEADY

Aug 30, 2010

On their eighth CD this Colorado band pull out all the stops combining elements of pop, blues, reggae, and soul to provide a very enjoyable listen. The CD opens with the title track which is a very catchy and well crafted pop track with a small element of SKA. The track "Beautiful" is exactly that combing elements of R&B with a pinch of reggae. The track "Muhammad Ali" as you can imagine floats like a butterfly but stings like a bee. On the Howlin Wolf classic "Smokestack Lightnin" Big Head Todd dives deep into the blues and then follows it up with some 1970's sounding R&B on "I Hate It When Your Gone". The Rolling Stones cover "Beast Of Burden" would make both Jagger and Richards proud. This CD may not produce the hit single like their classic "Bittersweet" but is enjoyable from beginning to end. Reviewed By: Gregg Saur

Quick Links:

Big Head Todd Home Page

Severed Records Website

THE MALIBOOZ

Queen's English

Aug 18, 2010

JENNIFER KNAPP

Letting Go

Aug 8, 2010

Jennifer Knapp was a Dove-winning and Grammy-nominated gospel singer until she walked away from recording seven years ago and moved to Australia. Nothing was heard from her until late in 2009, as she released this record and joined the Lillith Fair tour this summer. This is "not a Christian record," she tells the media, and won't be promoted that way (although she says she retains her faith). She's also gone public about being a lesbian, so the songs are being scrutinized for more details about her personal life. All this drama aside, Knapp could write and sing a good song before she went to Australia and she still can today. The opener, "Dive In," is the single her promotion team is leading with; it is a good pop song, as is "Want for Nothing"; the songs "Mr. Gray" and "Stone to the River" are fine ballads. During her hiatus from performing, Knapp's had a lot of time to ponder music, faith and our judgments of one another. In an op-ed piece for CNN this year, she wrote: "Where music had led me to very strange lands, full of people with differing faith practices, cultural expectations, gender roles and more ... it had taught me to listen. Through the torrent of life’s confusion and seeming incongruities, there is a spirit, a song, that if we strain hard enough, we can hear. What we can hear, when we listen, is how we are much the same." 08/10 Michael J.

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SILVERSMITH

Stories and Nightscapes

Aug 4, 2010

Originating as the Backstrokes in 2007 with current members Rob Antecki and Ryan Engemann, the band changed their name to Silversmith after adding vocalist Jess Luiz in January. Since then, the now six-member band has created the four-song debut that we have here. While heavily influenced by classic rock, the band also counts indie music as a form of inspiration. “Give A Little Soul” is the opener, featuring some heavy-duty vocals and plenty of ‘soul’ from Luiz. Kicking things up a notch is the blues rock driven “Tell Him.” Again, Luiz seems to be the centerpoint as she belts “Tell him, tell him that I said goodbye. You’ve got cheatin’ in mind, so I’ve got leavin’ on mine.” The final song of this EP is titled “Intimations of Immortality (E-Funk).” Here, things begin slow but pick up the pace as the song progresses. In the end, the listener even gets a taste of some funk with the bass guitar taking center stage. On the whole, the best track here is probably the second, “Night of the Four Moons.” The overall sound and great melody makes for a song that works well from start to finish. In the end, this is good stuff. With only four-songs, and only a taste of what’s yet to come, there’s potential here and no doubt, much to look forward to. ~Reviewed by Jeff Bouma

SHERYL CROW

100 MILES FROM MEMPHIS

Aug 2, 2010

Sheryl Crow was born in Kenett Missouri which is about 100 miles from Memphis. It was the influence of the Stax recordings and the Memphis soul that influenced her early childhood and provided the inspiration for this recording. In simple terms Sheryl has provided us with a CD that mixes her smart rock and pop sounds with a traditional Memphis soul sounds to create a infectious soul-pop recording. In addition to recording with a brand new band, Sheryl has brought along some special guests including Keith Richards on the Reggae tinged "Eye To Eye" and American pop star Justin Timberlake who provides background vocals on "Sign Your Name". Sheryl ends this CD with a tribute to the man who provided her with her first break in the music industry Michael Jackson who she sang background vocals for with the classic "I Want You Back". Sheryl may never go down as one of the worlds best soul singers, but 100 Miles From Memphis is a recording that just makes you feel good. Reviewed By: Gregg Saur

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Sheryl Crow Home Page

MITCH WOODS

GUMBO BLUES

Aug 2, 2010

Mitch Woods has always been on of my favorite boogie piano players and New Orleans remains one of Americas greatest city's, so combining the two on this disc provides a Gumbo that is so good you will be asking for more. This CD is a tribute to Smiley Lewis a jump blues master who's songs have been recorded from the likes of Elvis Presley, Dave Edmunds, Room Full Of Blues and Aerosmith. Mitch who has adopted New Orleans as one of his home city's incorporates members of Allen Toussaint's band as well as members form the Dr. John Band, Bonearama and Cornell Williams the bassist for John Cleary to give this disc an authentic crescent city feel. These songs may be familiar, but Mitch has added enough spice in his Gumbo to keep your feet tapping and the dance floor hot. Reviewed By: Gregg Saur

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Mitch Woods Home Page

PETER CASE

WIG!

Jul 21, 2010

Singer/Songwriter Peter Case has had a long career since fronting the LA based Plimsouls in the late 70’s and early 80’s. This new disc is a wild, wooly affair recorded in three days with DJ Bonebrake (X and the Knitters) on drums and Ron Franklin (Gasoline Silver) on lead guitar following Case’s release from the hospital following open heart surgery. With a buoyant looseness that recalls the band Leon Russell assembled for Joe Cocker’s Mad Dogs and Englishmen tour, Case and crew have crafted a disc that is pleasing from beginning to end. Stand out moments include the late 60’s feel of "Ain’t Got No Dough", the greasy blues shuffle of "Banks of the River", a reprise of his 1986 single, "Old Blue Car" which gets life here as "New Old Blue Car", the supremely funky, Creedence Clearwater style swamp rocker, "Somebody Told the Truth", the chiming Byrd’s style rocker, "The Words in Red" and cool grooves of "Colors of the Night". Smitty

BRANDI CARLILE

Give up the Ghost

Jul 15, 2010

Brandi Carlile’s cd ”Give up the Ghost” is damn good. According to Carlile her start in music was in Ravensdale, a small-town in Washington state. ““My family was really immersed in Grand Ole Opry stuff”, she says. “My grandfather and his brother were great yodelers. We had family jam nights.” That grounded quality is utilized with great skill here. Most of these songs are folk or folkrock territory but she’s in alt-country vibe on “Caroline”, “I will” and “Touching the Ground”. This is the “band's” 3rd full-length record although there are EPs and demos floating around. I use the word “band” because even though these 4 folks travel under Carlile's name alone, they aren’t an assortment of backup players, Tim and Phil Hanseroth, guitar and bass, respectively, and cellist Josh Neuman contribute songwriting, harmonies and their music really take the songs in a lovely direction. Carlile is a gifted songwriter showcased on “That Year” with beautiful lyrical phrasing matching the music utterly. She has achieved quiet beauty on “If there was no You” with a nice touch of whistling, plus on “Oh Dear “they used a uke, an instrument enjoying resurging popularity right now. This is quality stuff - use it well. – Anne Lamont

Quick Links:

Carlile's website

STRYKERT AND SLAGLET

KEEPER

Jul 15, 2010

Dave Strykert and Saxophonist Steve Slaglet are on their fifth album together. ”Keeper” are on their fifth album together. ”Keeper” is the third with Jay Anderson on bass and Victor Lewis on drums. These artists compliment each other in terms of method and talent. I hear a blend of straight ahead jazz with more progressive sound baked into a fine mix. There is passion and you ride from bebop like on “ Sister” and “Convergence” to the mellow and smooth like “Bryce’s Peace” and “Ruby my Dear”, which is a Thelonious Monk tune and the only one they didn’t compose. In jazz, guitar and saxophone often vie with each other to be the main voice. Strykert and Slaglet find balance and more than that, a wonderful easy kind of intersection that makes this cd fun to hear. A bonus is the tracks are a very playable length. To me the excitement of seeing jazz performed can make a 10 minute song feel like a brief interlude but it not on recordings. This cd has a much more realistic time scale, one that works better for radio and (probably just me) attention span when you don’t have the artist right there with you. – Anne Lamont

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ERIC LINDELL

BETWEEN MOTION AND REST

Jul 5, 2010

It has always been said that is best to keep your audience wanting more and on this new release from Eric Lindell he certainly achieves that goal. This CD is a short 28 minutes of soul drenched blues and R&B from one of the finest voices of the crescent city. After three CD's with Alligator records, Eric has branched out on his own label and brought along with him some great musicians including Mr. Ivan Neville on organ and electric piano. Eric's vocals bring at times a slow sensuous sound throughout many of the tracks on this disk but still knows how to heat things up as on the track Matrimony. If you think about it if you can keep an upbeat sensuous feel even through matrimony you know you have a winning combination. If you are looking to find some of the finest New Orleans soul of 2010 look no further then Between Motion and Rest. Reviewed By: Gregg Saur

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Eric Lindell Home Page

THE DEREK TRUCKS BAND

ROADSONGS

Jul 5, 2010

I had the great opportunity of seeing the Derek Trucks Band live on this tour and this CD captures all the magic of that evening. This very talented guitarist has gotten better with each release and hearing him stretch out on this release is no exception to the rule. This CD captures the driving improvisation of his guitar on the Dylan Cover "Down in The Flood". The track "Key to The Highway" has a bluesy jamming Allman Brothers sound and on "Sailing On" Derek shows slowhand that he has learned from the masters. The two biggest highlights for me on this disc were the cover of John Coltrane's "Afro Blue" this is a jazz track which features Derek's guitar as well as some terrific flute from Kofi Burbridge and saxophone from Mike Mattison. The "Rastaman Chant" as expected has a given reggae feel to it and proves you don't need dreads to feel the spirit. This CD is certainly one of the finest live recordings capturing a band at the peak of their creativity. Reviewed By: Gregg Saur

Quick Links:

Derek Trucks Home Page

OTIS REDDING

LIVE ON THE SUNSET STRIP

Jun 29, 2010

Most people these days know Otis Redding by his pop hit, "Sittin’ on the Dock of the Bay". This disc is a reminder of Redding’s solid Soul credentials which had crowds sweating from coast to coast rather than simply whistling along with that great cut. Recorded in 1966 just a year before his unfortunate death this disc captures Redding in his prime in an intimate live venue, The Whiskey A Go Go. Featuring three complete sets recorded during the last two nights of a four night appearance Redding lights up the crowd with a number of his own hits as well as wild-eyed covers of the Rolling Stones, "Satisfaction", the Beatles, "A Hard Day’s Night" and James Brown, "Papa’s Got a Brand New Bag". With a ten piece band laying down the smoking grooves Redding took his audience to both church and the bedroom. Hearing his original version of "Respect" before it was co-opted by Aretha and his vocals pushing the hot horn charts of "I Can’t Turn You Loose" makes you realize just what a powerful performer he was. While the inclusion of three separate sets results in repeated performances of many of the tunes it is interesting to hear his consistent enthusiasm regardless of whether he was in first set or last set mode. The multi-set format of this release also gives you the chance to hear him mix up the pace and song selection from set to set to capture the maximum amount of audience enthusiasm. Thankfully, this release gives us a chance to share in the fun. Smitty

DR. LONNIE SMITH

SPIRAL

Jun 29, 2010

Joined by Jonathan Kreisberg on guitar and Jamire Williams on drums, B3 maestro Dr. Lonnie Smith lays down eight tracks that explore the rich variety of sounds that can be pulled from his chosen instrument. There’s everything here from quiet, introspective numbers where Smith adds color to Kreisberg’s jazzy guitar, "Frame for the Blues", to ecstatic sound blasts, "I’ve Never Been In Love Before", to percussive funk work outs, "I Didn’t Know What Time It Was", to the icy grooves of "Sweet & Lovely" and the silky smooth title cut. Smith’s cover of Harold Mabern’s "Beehive" will have you looking for the sting ointment with its hard hitting attack and frantic pace while his cover of the 1963 classic "Sukiyaki" plays the other end of the spectrum with its easy pace and mellow vibe. While Smith is clearly the focus of the disc, Kreisberg and Williams acquit themselves well throughout with Kreisberg’s guitar work often evoking comparisons to Pat Metheny with his rich, fluid lines and William’s drumming keeping the proceedings in solid order. Smitty

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DR. JOHN AND THE LOWER 911

TRIBAL

Jun 29, 2010

Dr. John has always exemplified the rich musical stew that finds its origin in New Orleans with an eclectic combination of blues, jazz, funk, country, voodoo mysticism and rock. Coming on the heels of his Grammy© award winning "City that Care Forgot", a mostly political rant about the injustices foisted upon his beloved Crescent City, the good Dr. seems to have exorcised some demons and checks in here with one of his most exuberant discs in years. Joined by the Lower 911 and a host of guest horn players and background vocalists he sounds likes he’s having a whale of a time even though he continues to keep his keen eye on social issues. His enthusiasm is contagious with "Feel Good Music" setting the right tone by virtue of its nimble piano work and lyrics about how his music can heal your problems. The title cut incorporates Indian chanting into his muse about how like minded people need to band together and make their own progress. "Big Gap" looks at the distance between the rich and poor with the horns adding life to a cut that would be a dry civics lesson in lesser hands while "Lissen At Our Prayer" calls on the spirits to save us from those that profit by negativity and panic. "Change of Heart" and "Only In America" are surprisingly buoyant given their dead relationship and screwed up state of the state subject matter while "Music Came" celebrates the importance of music with a hot jazz chart and Philly Soul background vocals. "Jinky Jinx" and "Them" are funky work outs with "Them" exploring that mindset that attributes all of our problems to “them” rather than ourselves. "What’s Wit Dat" continues a line of questioning from his 1998 release Anutha Zone’s "Why Come" regarding why we do things such as eating white bread, chips and greasy fries and then wondering why the scales are screaming at us. "When I’m Right (I’m Wrong)" reprises the sentiment of his classic hit, "Right Place, Wrong Time" and is simply a fun listen. After a number of world weary discs where the twinkle in his eye seemed diminished, it’s great to hear the Dr. having a good time without losing his political edge. Smitty

TAD ROBINSON

BACK IN STYLE

Jun 29, 2010

Singer/harmonica player Tad Robinson has always played the soulful side of the blues. On this new disc he dives head first into the Soul music waters and executes a flawless entry into the deep end. With a big horn section including Wayne Jackson of the Memphis Horns and an all star crew of back up musicians (including Robb Stupka on drums, Steve Gomes on bass, Kevin Anker on B3 and other keys, Alex Schultz on guitar and a host of others) Robinson has all the groove he needs to propel his rich vocals to dizzying heights on track after track. Sounding like Al Green, Sam Cooke or even Otis Redding with a silky smooth voice that emotes both power and vulnerability, Robinson plays the boastful lover one moment, "I’m in Good", a thankful but still errant boyfriend the next, "Sunday Morning Woman", a man on the outs, "Rained All Night", and, finally, a man on the chase again on the slow, funky "Half Smile". While a number of the cuts burn with a slow passion, "Full Attention Blues" and "Just Out of My Reach", label mate Darrell Nulisch’s "Turn to the Music" as well as "I’m In Good" and "On and On" burn a bit brighter with the horns and Schultz’s stinging guitar adding vibrant color to the mix. Smoldering hot, this is music for both lovers and those with nothing more between them than lust. Even though I’m not sure Soul has ever really gone out of style, this release certainly makes a strong case for it being a vital part of our musical fabric. SMITTY

DEER TICK

The Black Dirt Sessions

Jun 26, 2010

Out of Providence, RI is Deer Tick with their third full-length release. Led by guitarist John McCauley and his distinctly grungy voice, the sound of Deer Tick is a mixture of folk, blues, country, and even some grunge as well. Showing this diversity, McCauley claims the wide range of influence of artists from the likes of Tom Petty to Sammy Davis, Jr. On this release, slow-tempo ballads are aplenty. For instance, on the opener, "Choir of Angels," the listener hears a mellow, interesting and introspective tune wrapped all in one. Another ballad worth checking out is the song "The Sad Sun." Here, McCauley shares the vocals with a female voice that adds an element to the song that works quite well. Things pick up a bit on the first single off the album - "Twenty Miles" - a song that sounds a little like early R.E.M. Here McCauley sings: "If you're running away, I'm looking for you. And if you've lost your way, I'm seeing you through." Things continue to heat up on the less likable but heavy and grunge tinged "Mange." While much of the album meanders along, the album ends on a high note with yet another ballad, the simple and yet sound, "Christ Jesus." Unlike a tick that proves hard to remove, many listeners of The Black Dirt Sessions will have no trouble removing this one from their CD players. While some songs are worthy of time and attention, sadly much here is mediocre at best and may prove too tough for many to plow through. ~Reviewed by Jeff Bouma

BROKEN SOCIAL SCENE

Forgiveness Rock Record

Jun 26, 2010

Broken Social Scene ~ Forgiveness Rock Record Broken Social Scene, the Canadian Indie Rock Band known to have as few as six and as many as nineteen members, return with their fourth release of new material - Forgiveness Rock Record. Led by founding member Kevin Drew, most of the members play some role in other groups and solo projects, including Emily Haines (Metric) and Amy Millan (Stars) and Feist as Feist. As one writer suggests, their music is characterized by "several sounds; grand orchestrations of guitars, horns, woodwinds and violins; crazy song structures and chaotic production." While that may be a bit dramatic, it's not too far off base. The opening track and the first single from the album, "World Sick," may be the best example of this. Here, percussion abound with interesting twists and turns melodically along the way. One of the more likable songs here is "Chase Scene," which features Drew, Feist and Millan in unison as the drum machine beats away and the violin adds an element that completes the "chase" feel. While filled with toe-tapers, lighter fare is here as well. For instance, "Sentimental X's" has a simple beginning that builds into a full-fledged sound as it incorporates the sweet sounds of Millan, Haines and Feist on vocals. Following this, on the equally compelling song titled "Sweetest Kill," Kevin Drew and Feist pair up for a ballad of sorts. Overall, this was a pleasure to listen to. Aside from a couple of missteps and no plays along the way, Broken Social Scene provide their fans a sound that should warrant repeated listens. Forgiveness granted! ~Reviewed by Jeff Bouma

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PAUL THORN

PIMPS AND PREACHERS

Jun 25, 2010

To say that Paul Thorn is unique is like calling the Beatles a pretty good band. Hilarious one moment and deadly serious the next, he has a way of connecting the dots of relationships, politics and religion so that his songs about oddball characters and sticky situations ring true and often hit hard. One constant message is the power of hope and the need to take control of your own destiny. The autobiographical title cut finds him admiring both his preacher father and his pimp uncle for instilling a strong work ethic and the need to get into the game, whatever it may be. "On Better Days Ahead" he gives a nod to the misery suffered by the residents of New Orleans but notes it’s a waste of time crying about the past when there’s opportunity in the future. A similar sentiment emerges in "You’re Not the Only One" where misery loves company but he would rather focus on the blessing of being alive. On the relationship front, he rails against the troublesome "Weeds in My Roses", finds a liquid solution to crushed love, "Tequila Is Good For the Heart", examines the toxic mix of alcohol and tattoos, "Love Scar", takes a sympathetic look at a wasted relationship, "Walk A Mile in Rayann’s Shoes", takes a lusty look at a Dairy Queen girl, "Nona Lisa" and deals with changes that hurt but are just part of the deal, "That’s Life". Some of his best wit this time around comes from the all too true "I Don’t Like Half the Folks I Love" which will remind you of every family reunion you’ve suffered through. As usual Thorn also casts a few stones at religion by challenging those that are deadly sure that theirs is the only way to salvation, "You Might Be Wrong" and by wondering if all his good deeds will be enough in the final score book, "I Hope I’m Doing This Right". Like the best preachers and pimps, Thorn can talk you into his point of view. With a rocking band adding just the right sonic support these are songs that will stick with you. A great listen. Smitty

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Paul Thorn

COWBOY JUNKIES

RENMIN PARK

Jun 25, 2010

Guitarist Michael Timmins spent three months in China where, among other things, he spent countless hours recording the day to day sounds of the intensely packed public spaces and listening to all manner of local musicians. By incorporating some of the sounds into these tracks and by covering two of the musicians, Zuoxial Zuzhou (ZXZZ) and Xu Wei on "I Cannot Sit Sadly by Your Side" and "My Fall" respectively, Timmons has crafted his own memento of the trip. While the disc preserves the dense, almost narcotic, haze that finds its way into most of the band’s work, the street sounds, kid’s voices and other sonic textures make for an interesting change of pace from the normal bill of fare. Even so, this isn’t the type of disc that will fire up a party. Think dim lights, incense and blissed out Hot Topics clerks and you’ll be closer to the overall vibe. The most accessible cuts are "Stranger Here", "Renmin Park (revisited)" and "My Fall" which are positively buoyant compared to the rest of the disc, albeit in a Cowboy Junkies kind of way. Made for rainy days, late nights or for those times where darkness fits better than sunshine. Smitty

NOBODYS DARLIN

Kitchen Girls

Jun 23, 2010

Nobody’s Darlin’ is an all-girl string band based right here in Grand Rapids, performers are: Janet Shelby (banjo), Sara Q (mandolin), Barb Weatherhead (upright bass), Sarah Jane (guitar), and Natalie Beversluis (fiddle). Kitchen Girls is their 2nd cd and this time out they do a wonderful job covering gospel, love songs, and Appalachian folk tunes—or as the band says, “Lots of songs about Drinkin’, Dyin’, and Jesus!” Their influences include The Carter Family, Doc Watson, Nitty Gritty Dirt Band, and The Bad Livers. I found lots of songs I hadn’t heard before, along with songs like “Bury Me Beneath the Willow” which has been recorded by everyone from The Carter Family in 1927 to a more recent Allison Krause version. Kitchen Girls is the embodiment of Americana music and these women use harmonizing vocals and delightfully simple arrangements to make this cd a pleasure. – Anne Lamont

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SALLY SELTMANN

Heart that's Pounding

Jun 23, 2010

Australian singer/songwriter Sally Seltmann , known prior as New Buffalo, presents a new cd, the first under her own name. Every mention of Sally Seltmann seems to start by saying that she co-wrote Feist’s hit “1234.” So now you know and we can move on. If this album aims to be sweet and sunny it succeeds to a somewhat alarming degree. From the opening track, “Harmony To My Heartbeat” with it’s clappy and happy sound to the end song “Dark Blue Angel” her voice is just so… pleasant. I really liked the lyrics on #2 “Set me Free”, “I’m holding the knife in my hand, I’m hurting the man who told me he’d love me & he’d understand.. a girl needs to be alone sometimes..so set me free”. I think this is a cd made to appear in Romcom movies. Lots of the lyrics seem repetitive but somehow it holds together. Probably the most interesting feature of this cd is a nice use of off the beaten path instrumentation. I think the addition of strings on #3 and #4 is really quite brilliant. I liked this cd over all but I od’d when I listened to it as a whole. There isn’t a song you can’t try but be aware if you’re looking for moody, deep music this is the wrong well. – Anne Lamont

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ALEJANDRO ESCOVEDO

STREET SONGS OF LOVE

Jun 21, 2010

Alejandro Escovedo has written some terrific rock tracks many of which have combined punk with Alt-Country. On Street Songs Of Love, Alejandro once again joins with Tony Visconti to produce an album that relies less upon the Alt-Country and more on his rock sound that made Real Animal one of Alejandro's most successful discs to date. In my opinion every track on this disc which explores some very interesting takes on the subject of love is a real treasure, but if the Title Track along with "Down In The Bowery" where Alejandro receives vocal support from Ian Hunter and "Anchor" don't pull you in then just jump from the boat. Alejandro also receives support from the boss Bruce Springsteen on the rocker "Faith". Alejandro has just risen the bar and released one of his finest discs to date. It is my opinion that "Street Songs Of Love" will bring one of music's most talented players and songwriters to the masses. Reviewed By: Gregg Saur

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Alejandro Escovedo Home Page

THE STANLEY CLARKE BAND

Jun 21, 2010

For those of you like myself who grew up listening to Return to Forever and the first three or four solo releases from Bass God Stanley Clarke, this CD will be a real treat. This is simply put a Jazz fusion masterpiece combining Stanley's electric bass with a whole host of talented players such as the lovely and talented Hiromi on acoustic piano and Ruslan on Synthesizers and electric piano. In addition to the new material, Stanley reworks a couple of his classics for this disc including "No Mystery" originally recorded with RTF in 1975 and the crowd favorite "I Wanna Play For You Too" which is a funky version of "I Wanna Play For You" originally released in 1979. On the track "How Is The Weather Up There?" Stanley mixes vocal spots which spotlights the evils created by global warming. "Sonny Rollins" is a very fitting tribute to the Jazz great. For those of you who have grown up with Stanley, you will love this disc, for those of you newly experiencing this Jazz great, take time to enjoy one of the pioneers of the Jazz fusion genre. Reviewed By: Gregg Saur

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Stanley Clarke Home Page

TOM PETTY AND THE HEARTBREAKERS

MOJO

Jun 21, 2010

Like all good blues musicians, you need to get you MOJO working before going into the studio. On this release Tom Petty and the talented Heartbreakers do exactly that, mixing both acoustic and electronic blues with both rock and even a reggae track to make this a very worthy listen. The recording sounds raw as it was recorded live in the studio with very little polish. Tom rocks the hardest he has done in years on tracks like "I Should Have Known It". He gets sensitive on the country tinged "No Reason To Cry" and discovers the evils of marijuana and driving on the track "Don't Pull Me Over". Tom as always keeps his humor as on the opening track "Jefferson Jericho Blues" which is about a love affair experienced by Thomas Jefferson. I guess that means for the lucky people that discover this disc, they will get both a great listen and a history lesson all at the same time. Reviewed By: Gregg Saur

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Tom Petty Home Page

CLOTHESLINE REVIVAL

They Came From Somewhere

Jun 21, 2010

Clothesline Revival (Conrad Praetzel & Robert Powell) create sounds that revive days gone by. Their first 2 albums; Of My Native Land and Long Gone were loaded with old field recordings that meshed with their own music. This album only uses one vocal sampling (on “Beautiful Home”; vocals by Orville McInturff). The rest of the songs are instrumental, and all the songs are original. Fiddle player Chris Rovetti and blues legend Charlie Musselwhite add their talents to a few songs also. It’s like someone bottled the mournful yearnings of early American hard times with the contentment of cricket filled breezy porch evenings. This album is the opening of that bottle. The enclosed moodiness is palpable. Some of it is similar to the atmospheric sounds Daniel Lanois likes to use in his music making. It stirs the emotions of untouchable memories. In spite of this moody factor, there is a whimsical twisting and bending in the instrumentation from time to time; just enough to let you know that these songs aren’t actually vintage recordings, and that they are all together unique. If you like any of what you hear on this album, you should listen to their first 2 albums. Like this one, they are also absolute treasures. Becky 6/2010

MISSISSIPPI HEAT

LET'S LIVE IT UP

Jun 14, 2010

Let's Live it up is the ninth full CD release from one of Chicago's premier blues outfits Mississippi Heat. Even though this band has seen many changes in their 19 years, the one constant has remained the extraordinary harp playing of Pierre Laccocque. Moving from Belgium to Chicago in 1969 Pierre was deeply influenced by the blues great Big Walter Horton. Big Walter entered blues heaven in 1981 but his sound and soul lives on through Pierre. This CD is a mixture of Chicago style blues, gospel, blues shuffles and some terrific boogie. John Primer lends his vocals on this disc on the tracks "Steadfast, Loyal and True", "Betty Sue" and "I Got Some News Today". His vocals mix it up with one of the strongest voices in Chicago Blues today, the great Inetta Visor. Innetta has the vocals that would stand out in a Baptist church choir or in the middle of a Smokey blues bar. The veteran blues man and guitar great Carl Weathersby also lends his signature sound to most tracks on this disc. It is truly the mixture of the different vocal styles with the leadership and harp playing of Pierre Lacocque that makes this band one of the finest blues outfits playing today. Reviewed By: Gregg Saur

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Mississippi Heat Home Page

SERGIO MENDES

BOM TEMPO BRASIL REMIXED

Jun 14, 2010

Bom Tempo the new release from the legendary Sergio Mendes is the best summer listen of 2010. This accompanying CD should find it's way into every dance club from here to Brazil. These are very well done electronica remixes from the likes of Bimbo Jones, Paul Oakenfold, Kaskade and Moto Blanco. In my opinion, if picking one or the other go for the original; but after spending some time listening to modern Electronica dance music, this CD should steam up any dance floor and is yes both fun and very sensuous. Reviewed By: Gregg Saur

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Sergio Mendes Home Page

John Nemeth's website

SERGIO MENDES

BOM TEMPO

Jun 6, 2010

In Portuguese Bom Tempo means a great time; there is not one place on this new disc where Sergio disappoints. Sergio is the absolute king of the summer listen and Bom Tempo is a CD that can take a permanent place in your CD player until next fall. On this disc Sergio relies less upon large name guests such as the Black Eyed Peas Will I Am and Fergie found on his last release. Instead he reinterprets Brazilian classics originally preformed by the like of the great Antonio Carlos Jobim and Gilberto Gil. There will be skeptics that will dislike some of his loose interpretations and Hip-Hop flavors found in several tracks. there is even one point in Ye-Me-Le where you can hear the sounds of Rod Stewarts "If You Think I'm Sexy", but then again this music was meant to not only be fun but very sensual as well. Reviewed By: Gregg Saur

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Sergio Mendes Music Home Page

REGINA CARTER

Reverse Thread

Jun 4, 2010

Jazz violinist extraordinaire and Detroit native Regina Carter received MacArthur Foundation funding (better known as a "genius grant") to infuse traditional music with contemporary stylings -- and still remain true to the past. It appears she put that money to good use and met her goal. "Reverse Thread" takes African and African Diaspora songs and weaves them with current jazz to come up with a unique blend that displays both global roots and modern rhythms. Kora master Yacouba Sissoko provides an earthy foundation to many of the songs. Grand Rapids jazz musician Xavier Davis arranged two pieces in this set (#1 and #10, the latter of which is a combination of an African melody and the gospel standard "God Be With You 'Till We Meet Again"). On "Zerapiky" (#8), Will Holshouser's accordion almost gives the tune first a Cajun feel, then an Irish lilt; that song has the most energy in the set. The opener and the closer are based on field recordings from Ugandan Jews, a community in East Uganda that is not genetically or historically Jewish, but practice the Jewish faith. An amazing musical journey, led by one of the finest musicians -- jazz or any genre -- in the country. MJVD 06/10 J-Roots (Global Fusion)

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INFAMOUS STRINGDUSTERS

THINGS THAT FLY

Jun 2, 2010

Generally speaking bluegrass music is best experienced live. There’s something about witnessing the complex interplay amongst the musicians as they trade leads with one another that elevates the routine into the sublime. Maybe it’s the urge to tap your toes and bop your head with abandon that is unleashed in the live setting and in the company of others but not in your living room that makes it happen? Some neurologist or anthropologist will have to figure it out. All I can do is comment on the little silver disc in my player. So, having said that, what’s the deal with this new release by the Infamous Stringdusters? Does it come close to capturing the infectious energy the six members routinely generate in their live shows? Well, mostly. Several of the tracks here including "Those Who’ve Gone On", "Take a Chance on the Truth", "The Deputy" and "17 Cents" (featuring Dierks Bentley on vocals) will get you moving regardless of the time or circumstance that has this disc in rotation. Others, like "Magic #9", or the U2 cover, "In God’s Country", feature lots of instrumental or vocal interplay that is pleasant but not attention grabbing and will likely fall into the background as the disc spins in your living room. Overall, a decent listen, but check out the band live for the true experience of these cuts. Smitty

PAUL WELLER

Wake Up the Nation

Jun 2, 2010

With a musical career spanning nearly four decades, Paul Weller has certainly earned the respect that would allow him to put out a recording such as his latest - "Wake Up The Nation" - that at times includes the weird and psychedelic poured over the more traditional fare that one comes to expect from the Englishman. In short, the former Jam and Style Council front-man expands and evolves once again in both style and grit. In brilliant fashion, the singer/songwriter opens things up with four tracks of exceptional quality and diversity. The title track - "Wake Up The Nation" is a call to action that finds Weller belting "wake up the nation and don't be not drag/shake up the station and out of their hands." Another one worth mentioning is the beautifully crafted "No Tears To Cry," which includes a vast array of stringed instruments throughout coupled with a sound that might best be described as R&B with a whole lot of soul thrown in as well. While the opening songs grab your attention, sadly the rest of the album falters as it meanders through the weird and often hard to follow. Another song worth some attention, however, is the fast-paced "Find The Torch, Burn the Plans." Here, Weller utilizes a community choir on a song that inspires the listener to "dream this dream if you can." On the David Byrne sound-a-like "Aim High," Weller creates perhaps the most complex musical arrangement here to elicit a sound that works well. While Weller can be commended for pushing the envelope once again, unfortunately while the experimentation continues, the quality gradually diminishes throughout the sixteen song set. Still, on those tracks that do work, keep in mind that they work really well and warrant some spins. ~ Reviewed by Jeff Bouma

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BETH NIELSEN CHAPMAN

Back to Love

May 31, 2010

Beth Nielsen Chapman, one of the best-known songwriters in Nashville, had writer's block while working on this record -- and for good reason. It turns out she had a brain tumor (gratefully benign) and surgery was successful. The words poured out and this set was the result. After plenty of tumult in her life (she lost her husband to cancer some years back and had an earlier bout with cancer), she has delivered a joy-filled series of songs, with the word "love" in five of the titles. Her voice is beautiful, very clear and precise. "Even as it All Goes By" is a big hit in the U.K. now. Check out "I Can See Me Loving You" (a nice duet with Darrell Scott), "More Than Love" and the lovely "Peace." MJVD 05/10 F-Contemporary

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GIA NOTTE

Shades

May 31, 2010

Margie "Gia" Notte delivers a set of jazz standards with a solid group of session musicians -- in fact, it is the band that make these renditions interesting to the listener (how many times can you hear "Caravan" or "My Funny Valentine" in a fresh way?). Notte can, indeed, sing and she demonstrates her knowledge of the jazz songbook on each track, but thank goodness for Don Bradon on the sax and flutes and Freddie Hendrix on the trumpet and flugelhorn; they add the improvisational spice to these tunes. Prime examples are "Since I Fell for You," "Lover Come Back to Me" and "It Don't Mean a Thing." MJVD 05/10 J-Contemporary (vocal)

TERRI HENDRIX

CRY TILL YOU LAUGH

May 25, 2010

Listening to Terri Hendrix new release is much like listening to a perfect set on WYCE. Terri perfectly mixes folk, blues, jazz and pop in a way that most musicians can only dream of. What makes this CD so special is not only Terri's songwriting, guitar playing, harmonica or mandolin it is her personality and charisma that shines through on each of these tracks. The CD begins with Terri on harmonica in a bluesy track of Dorothy Parker poems set to music. "Slow Down" is classic Terri Hendrix with her more traditional folk-pop sounds. Terri reaches into her blues repertory on tracks like "Automatic", "Roll On", "Sometimes" and "Hand Me Down Blues". "You Belong In New Orleans" is an upbeat jazz track with horns and could be used as the theme song for the crescent city. "Take Me Places" is the perfect ending to the disc where Terri dives into the sounds of Jazz/Swing music where she scats the horns blow and you realize this talented artist has just taken your mind on a very satisfying musical journey. Reviewed By: Gregg Saur

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Terri Hendrix Home Page

JACKIE GREENE

TILL THE LIGHT COMES

May 25, 2010

If you are searching for the bluesy or folk sounds found on past Jackie Greene releases this CD will surely disappoint. If you are looking for a well crafted rock release that encompasses both a classic pop and Americana sounds you will love this disc. This CD showcases an artist that is able to provide great melodies with songwriting that has enough hooks to reel you into his world and not let go. "Spooky Tina" is the story of a problematic lady and is meant to be a hit single. "1961" and "The Holy Land" are the most folk oriented tracks on this release and have a laid back sound that showcases Jackie's storytelling abilities. "Take Me Back In Time" sounds somewhere between a cross of the Beatles and the Grateful Dead. This CD is certainly meant to be heard more then once as it has grown on me after each listen. Reviewed By: Gregg Saur

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Jackie Greene Home Page

DELTA SPIRIT

History From Below

May 24, 2010

After gigging with San Diego emo band, Noise Ratchet, Jon Jameson (bass) and Brandon Young (drums) had enough and ventured forth on their own. Joined by Matthew Vasquez (vocals), Sean Walker (guitar), and Kelly Winrich (multi-instrumentalist), they formed Delta Spirit and released their debut album, "Ode to Sunshine" in 2007. After three years of touring, they've become more comfortable with one another and it shows on their sophomore release, "History from Below". Featuring drums, guitar, and occasional keys, combined with sometimes gruff vocals (911), and sometimes sweet harmonies (Salt in the Wound, Devil Knows You're Dead), and even a combination of the two (Vivian), this is nicely produced rustic rock. Rebecca Ruth

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THE NEW PORNOGRAPHERS

Together

May 18, 2010

With success brewing on the individual front (A.C. Newman and Neko Case to name only two) the casual listener might be wondering why the need for the 5th album from the The New Pornographers. Well, the old adage that many heads make great stuff most certainly holds true here. With Together, the Canadian eight-some is back for perhaps their best effort yet. Relentless guitar work combined with the shared vocals of Newman and Case on the opener "Moves" makes for a great way to get things rolling in the right direction. "Crash Years" is nearly an instant classic with its catchy beat, Neko's always stirring vocals and a few whistles too. "Your Hands (Together)" - the first single from the album incorporates the multiple vocal talents of its members while also managing to write a song that moves along at a fast and fun pace. After a great start, the music remains consistently good. On the marching and upbeat "Up In The Dark," Newman and Case ask the question "What's Love?" and conclude that it's "What turns up in the dark." Enough can't be said about the range, diversity, and overall excellence of what one hears from the 2010 version of The New Pornographers. Yes, lyrics that are less cryptic in nature would be nice. Still, from start to finish, this is some really good stuff. Consider it my favorite release of 2010 so far! ~ Reviewed by Jeff Bouma

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THE COAL MEN

BEAUTY IS A MOMENT

May 13, 2010

The Coal Men inhabit the same mid-tempo, soft rocking space as Jackson Browne, Bruce Cockburn and the Bodeans. While they occasionally turn up the guitars, for the most part the emphasis is on the vocals which, in the case of this disc, are focused on days gone by, "Beauty is a Moment", missing the boat on a relationship, "Outside Looking In", falling prey to a siren call, "Pretty Girls", looking for a second chance, "Sweet in the Pine" and other tales of heartbreak and regret. While the lyrics could find their way onto a blues disc, the musical backdrop is mostly buoyant and, with all three permanent band members contributing vocals, there’s plenty of harmonic ear candy to make this an enjoyable listen. Standout tracks include "Cleveland Sky" with its silky smooth slide guitar, "Outside Looking In" which sounds straight from the Bodeans catalogue, "Sweet in the Pines" with its Muscle Shoal vibe and "Louisiana" which uses accordion to evoke a sense of longing for the state, not as just a place, but as a frame of mind. Smitty

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LEGENDARY SHACK SHAKERS

AGRI - DUSTRIAL

May 13, 2010

The Legendary Shack Shakers rip through this 16 track set with the urgency of a man on the gallows with a lot still left to say as the floor falls away. While things lighten up a bit on the banjo fueled "Sugar Baby" and "Two Tickets to Hell" as well as on the aptly named "Dump Road Yodel" and the jug band/vaudeville evoking "Hoboes are my Heroes", for the most part these tracks rock hard with clanging hammers, chains, tongs and anvils providing extra percussive effects and chilling lyrics about big name politicians and “Mal Wart”, "Dixie Iron Fist", nighttime murders, "Greasy Creek", laws as sinister as the feared night riders, "Nightride", losing the righteous battle, "The Lost Cause" and the graphic violence of "The Hills of Hell" where whores are crucified and the family dog carries around your severed hand. Even when the lyrics aren’t chilling, the music and vocals are: "Hog-Eyed Man" and "Sin Eater" move at break neck speed with vocalist J.D White sounding as if he’s getting choked by the noose while trying to get his message out to the masses. Avoid while caffeinated. Smitty

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ANDERS OSBORNE

AMERICAN PATCHWORK

May 13, 2010

NATHAN KALISH

Delicate Veins

May 10, 2010

This is Nathan Kalish, sans The Wildfire. Left to himself, he's crafted introspective songs that are a bit quieter than his previous work with his band-mates. Featuring your typical rock configuration of guitar, drums, and bass, (with occasional organ), Delicate Veins is essentially a folk-rock album in the key of Neil Young or perhaps a countryfied Tom Petty. Rebecca Ruth

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Nathan Kalish Myspace

MEG HUTCHINSON

The Living Side

May 10, 2010

Meg Hutchinson graduated from college with a creative writing degree and then spent a long stretch as an organic lettuce farmer until the musical bug was too much to resist. Off to Boston and coffee houses and subway stations with her guitar. She's won awards at Kerrville, Telluride and Merlefest for songwriting and songsters such as John Gorka, Martin Sexton and Lori McKenna are fans. The songs are straightforward, her alto voice with little dressing and a focus on the lyrical images. The opener, "Hard to Change" mentions the "year of the billion dollar bailout" and "Gatekeeper" is based on the real-life story of a California motorcycle cop who has talked as many as 200 people out of jumping off the Golden Gate Bridge. "Yea Tho We Walk" contains the wise phrase, "Oh my friend the soul seems made from such a thread/No matter how hard it tears it always tries to mend." Probably graduated magna cum laude. 05/10 Michael J. F-Singer/Songwriter

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MEKLIT HADERO

On a Day Like This...

May 8, 2010

Meklit Hadero was born in Ethiopia and did her musical training in San Fransisco (after first getting a degree in political science from Yale). She's been touted as a cross between Joni Mitchell and Nina Simone -- and you can hear elements of Joni's poetry and lilting voice and Nina's tone and phrasing in some of these songs. The result, however, is a very unique sound and her lyric choices aren't run-of-the-mill, either. Her singular journey has brought a singular perspective and it's enriching to let it seep in. This is another CD that's impossible to classify: folk, world, jazz all work here. Certainly, "Abbay Mado," a song about her Ethiopian heritage, ought to be played as "World." A release like this is what we have WYCE for, to give airplay to these gems that otherwise don't get radio play. Michael J. 05/10 F-Soul

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STANTON MOORE

GROOVE ALCHEMY

May 7, 2010

This all instrumental disc features Galactic drummer Stanton Moore, guitarist Will Bernard and keyboard player Robert Walter taking a spin through the roots of funk drumming. Inspired by pioneers like Jabo Starks, Clyde Stubblefield and Zigaboo Modeliste who powered the Meters and James Brown’s 1960’s bands, Moore and crew give modern day listeners a lesson in just how deep a band can get into a groove when it isn’t saddled with the verse/chorus/verse structure of songs involving vocals. Like his prior solo releases Moore is all over each of these tunes but doesn’t burden them with lengthy drum solos or showboating percussion work. Instead, this is a true ensemble recording with most of the color being added by Walter’s work on the Hammond B3. Fans of Jimmy Smith, Ron Levy’s Wild Kingdom or local band Organissimo will find themselves in familiar territory here. Stand out tracks include "Keep on Gwine" which sounds like it could have fallen straight off a Dr. John disc with its rollicking piano groove, "Neeps and Tatties" with its heavily accented beats and scatting guitar on the break, "Knocker" with its Shaft style overdriven guitar and Moore’s deft snare work, the eerie "Cleanse This House" and the down and dirty "Root Cellar". Smitty

SEASICK STEVE

MAN FROM ANOTHER TIME

May 7, 2010

Steve Wold a/k/a “Seasick” Steve has one of those resumes that seems made up by a marketing firm looking to promote a rags to riches story: He left home at 13, hopped freight trains, worked as a carnie, a cowboy and a migrant farmer, busked on street corners, spent three decades on a succession of marriages with a passel of kids, opened a studio and recorded with punk and grunge bands, had a heart attack and recuperated by recording a disc that went on to sell 200,000 units in the UK. He then released a second disc that sold even more and soon found himself playing the storied Royal Albert Hall. The cool thing is that the story is true and his music rocks! Like Watermelon Slim, this storied resume gives Steve a rich palette of personal experiences from which to draw his songs. "Big Green and Yeller" sounds like a classic blues double entendre, but it really is just about a John Deer Tractor. "Wenatchee" tells the tale of a migrant farmer while "Happy (To Have a Job)" is how a busking musician gets through the day. The title cut finds Steve worrying that by looking at the past he’ll turn into the kind of “boring old fart” that used to dampen his younger days. "That’s All" is a prisoner’s dream of an elusive freedom, a sentiment repeated in "Never Go West" where he finds himself on the wrong side of the law. With a vocal delivery somewhere between Ry Cooder and Omar Dykes and a penchant for hill country blues grooves, Steve plays with the skill of his many years but with the energy of musicians a fraction of his age. Most of the cuts are mid to up-tempo and hit hard despite the spare instrumentation of just Steve’s rattlesnake guitar and Dan Magnuysson’s percussion. It just doesn’t get much hotter than on "Diddley Bo" which features the Bo Diddley beat and razor sharp one string grooves. Change ups include the forlorn "The Banjo Song", the simmering "Dark" and the gentle "Just Because I Can (CSX)" where he takes a last chance to hop a freight train and ride for free. Oh, did I mention that I dig this disc? Smitty

KRISTY HANSON

Into the Quiet

May 5, 2010

Claiming influences such as Joni Mitchell, Joan Baez and a vast assortment of other notable female artists, Kristy Hanson's desire is that at the end of the day, what she'd rather sound like is "me." While influences do play a part here, the Los Angeles based Hanson is most certainly herself on this her fourth full-length release. While folk-pop might be the best description here - there's plenty of grit on this recording too. On the guitar-driven rocker - "Wrong Way," the singer/songwriter belts out "that's the wrong way sign, baby that's the wrong way." A couple of songs that preach encouragement despite tough times are the softer "Too Much" and the faster-paced "Dig." On the former, the nice melody is coupled with the songstress singing about coming back from reaching rock-bottom: "I'm so full of hope, too much hope." On the latter, the theme is similar as the artist encouragingly sings about digging out of whatever hole you might find yourself in. The album ends with the pleasant, soft and heartfelt title track "Into the Quiet." In the end, while a few more "rockers" would have been nice, Hanson puts together a nice blend of the fast and the slow for a mostly successful recording. Her voice is great and her songwriting is mostly spot-on. If you're a fan of the folk-pop genre, Hanson won't disappoint. ~Reviewed by Jeff Bouma

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Kristy Hanson Official Site

CANASTA

The Fakeout, The Tease, and The Breather

May 3, 2010

The band name, Canasta, led me to believe that this might be dance music or maybe electronic music, or that it might at least be upbeat. (Maybe it's because the cover looks incredibly similar to Dengue Fever's "Venus on Earth" release.) With its second release, Chicago-based Canasta delivers quiet pop with orchestral elements. This is pretty and well-produced stuff with occasional bits of violin or cello shining through. Best song? "Mexico City", with its shouted "Go, go, go" chorus. Rebecca Ruth

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MINUS THE BEAR

Omni

May 3, 2010

This is the fourth album from Seattle band, Minus the Bear. Many of the songs here start out with interesting guitar layers ("Excuses" and "The Thief"). Others feature vintage synth sounds ("Into the Mirror" and "Animal Backwards"). They seem promising until the vocals come in and the songs deteriorate into your average synth and guitar radio-ready rock. The single here is the first track, "My Time". It doesn't particularly stand out from the crowd; but then, neither does this entire release. Rebecca Ruth

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AJ Downing and The Buick 6

Way Back Home

May 2, 2010

If you are one that likes to do some honky-tonking in a Texas Roadhouse setting then AJ Downing's latest release "Way Back Home" will fill the bill quite nicely. Throw in some cajun accordion with slide guitar and you will think you are in Austin, TX which is exactly where this CD was recorded. When you listen to this disc it's not hard to see why AJ Downing has been called the voice of Americana Music. This is some good old days hillbilly writing that takes you through all the familiar struggles of life from being alone, to being done wrong, to finding love and then losing it, and chasing rainbows for life's pot of gold we all find at the end. I may be alone in this assessment but I hear Ricky Nelson coming through loud and clear on a number of tracks. "...Put your picture on Facebook, let the world know you're still around. Put your picture on facebook and soon you'll be the talk of the town...Downing sings tongue in cheek from a perspective of someone that isn't on facebook...........Way Back Home isn't all fun and games however. It's really about messages written between the lines as much as the lyrics themselves. All good songs have different meanings depending on each listener's own personal journey. So take the trip that AJ Downing takes you on and find your own way back home..........reviewed by Mike James

GOTAN PROJECT

Tango 3.0

Apr 29, 2010

With its third release, Gotan Project continues to meld traditional Argentine sounds with modern electronics to create a dynamic sound. From the reading of excerpts of Argentine author Jules Cortazar's novel, Rayuela, (in the song of the same name), to the liberal use of the bandoneon (an accordion-like instrument), there is plenty of Argentine flavor to this disc. Highlights include "La Gloria", which features legendary Argentine football commentator Victor Hugo Morales mimicking his famous "Goooooooal!" proclamation, but instead, he shouts, "Goooootaaaaan!". (It's awesome...check it out!) Another highlight is the song "Rayuela" (Hopscotch), which features children counting out a little hopscotch rhyme. I've always liked Gotan Project, but this release culminates into the best work they've done so far. Rebecca Ruth

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WOOKIEFOOT

Activate

Apr 29, 2010

This Minneapolis jam band, Wookiefoot's fourth release. Sometimes sounding reggae ("The Bitter End" or "Words in My Mouth"), sometimes sounding funky ("Third Side of the Coin" or "From the Sun"), sometimes sounding bluegrassy (the title track or "Move Over Now"), sometimes bringing an Eastern Indian feel to the music ("Dead in the Eyes"), Wookiefoot creates music with a message in an engaging way. The message is simple..."Be the change you want to see in the world." This is cool stuff and I have respect for a band that practices what it preaches (see video embedded in CD). Rebecca Ruth

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Wookiefoot Website

Dave Barnes

What We Want, What We Get

Apr 27, 2010

JOHNNY MOELLER

BLOO GA LOO

Apr 26, 2010

Johnny Moeller is the newly crowned Austin guitar wizard. His guitar playing is certainly one part Stevie Ray, one part Anders Osborne and another Freddie King. Johnny is a current member of the Fabulous Thunderbirds where fellow member Kim Wilson describes Johnny as a "monster and should be recognized as one of the worlds top musicians". Johnny mixes electric blues with rock and plenty of soul on this disc to keep his audience on the edge of their seats in anticipation of the next note that is going to be played. Johnny has also assembles a first rate band on this disc which includes special guests Kim Wilson of the T-Birds, fellow Texans Louann Barton and Shawn Pittman. It is still early, but this will be an easy pick as one of the best blues discs for 2010. Reviewed By: Gregg Saur

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Allmusic

SPEAK

Speak

Apr 19, 2010

Out of Seattle, Speak presents interesting and sometimes improvisational jazz. Featuring keys, reeds, drums, and bass, this quintet offers edgy jazz that while usually melodic, sometimes delves into a tasteful free-form style. The disc starts out strong with "Amalgam in the Middle", a song that rocks with plenty of effects/distortion on Cuong Vu's trumpet. The slower, "People or Cats" is a pretty composition. My favorite piece, however, is the busy "Polypockets", which reminds me of a hive of bees. Rebecca Ruth

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GUITAR SHORTY

BARE KNUCKLES

Apr 13, 2010

With a career that includes stints with blues/soul luminaries such as Ray Charles and Sam Cooke and, in his earlier years, a stage show that included mid-solo back flips and somersaults, Guitar Shorty has always been a force to be reckoned with. While the theatrics may have helped put him on the map, his guitar skills are what caught the attention of both a young Jimi Hendrix and a well seasoned Willie Dixon with Hendrix going AWOL from the army to catch his club shows and Dixon bringing a young Shorty to Chicago to record with the great Otis Rush as his backup! Shorty’s new release reveals that his guitar chops have remained inventive and hot-wired even as many of his mentors have passed on and his contemporaries have mellowed. Like Buddy Guy, Shorty spends most of his time in the higher registers with fluid, yet intense bursts of guitar adding spice to the 12 tracks collected here. With topical lyrics addressing the recession’s impact on the man on the street, "Please Mr. President" and the unfair hardships visited upon our veterans (Viet Nam vets take note: different war, same post-war crap), "Slow Burn", Shorty strikes a populist chord. He also ventures down the well worn blues highway where he’s got something for the ladies, "Temporary Man", and "Texas Women" are the best but there are plenty of others who will cheat, "True Lies", and break your heart, "Betrayed". Most of these tracks move at a solid mid-tempo pace with the rollicking "Get Off" kicking into a higher gear that wouldn’t be out of place on a Little Richard disc. Shorty’s vocals are not as adept as his guitar work but work well in the service of the hard rocking blues found on this set. As the title suggests this is an unadorned effort that packs a pretty good punch. Smitty

DRIVE BY TRUCKERS

THE BIG TO DO

Apr 13, 2010

The Drive By Truckers marry big rock hooks with dark and often twisted chronicles of modern life that hit hard with sharp attention to detail and big doses of everyday truth. "The Wig He Made Her Wear" is a true life tale of a preacher’s wife who made the SOB pay for making her dress like a cheap hooker while "Birthday Boy" is a hooker’s lament about a promising life gone bad. "Drag the Lake Charlie" is a rollicking tale of a feckless duo hoping to escape the wrath of a friend’s honked off spouse. "Daddy Learned to Fly" is a heartfelt reflection on the loss of a father. The sense of despair of that song creeps into the wistful homage to the tragic death of famous circus troop, "The Flying Wallendas". Despair of another sort finds its way into the mix on "After the Scene Dies" where the death of a music club to make way for the pre-fab world of chain stores is chronicled with riffs that would make Neil Young proud. "This Fucking Job" hits hard with its slamming guitar riffs and ranting lyrics about getting trapped into a dead end routine. Of course, the only thing worse than a bad job is having no job at all and having to face the spite of a resentful mate as happens on "Get Downtown". While Patterson Hood and Mike Cooley handle most of the vocal duties, Shonna Tucker steps up on the majestic, almost symphonic "You Got Another" and on the 50’s style girl group rocker, "(It’s Gonna Be) I Told You So". From beginning to end, these are tunes that stick. Smitty

MGMT

Congratulations

Apr 12, 2010

Is this sophomore release from MGMT adventurous, or self-indulgent? Listen to "Congratulations" and decide for yourself. However, don't expect to hear anything like 2008's "Oracular Spectacular". There are no catchy electro-rock tunes to be had on this release. "Congratulations" is fun for a song or two, and it certainly has its shining moments, but listening to this throwback to the late 60's psych-rock era gets a bit tedious when taken in its entirety. I give the guys credit for not following a formula, though, and it only whets my appetite to see what MGMT might have in store for the future. Rebecca Ruth

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CLUTCHY HOPKINS

The Storyteller

Apr 12, 2010

Clutchy hasn't broached any new territory with this release and I don't buy the melodramatic tale told in the liner notes of how "The Storyteller" came to be. I like the music anyway. This is simply more cool instrumental grooves, as expected from the man of mystery. Rebecca Ruth

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Ubiquity Records

Bloodshot Records

CARRIE RODRIGUEZ

LOVE AND CIRCUMSTANCE

Mar 28, 2010

On Carrie's third solo release "Love And Circumstance" she has chosen to a cover song release from some of the worlds greatest American roots musicians. These are beautifully polished tracks where Carrie brings her beautiful voice and soul and makes them her own. The CD begins with a terrific interpolation of the Little Village classic" Big Love" penned by Ry Cooder, John Hiatt, Jim Keltner and Nick Lowe. This track along with Julie Millers "Wide River To Cross" and the Gillian Welch and David Rawlings track "I made A Lovers Prayer" are the most upbeat and spirited covers on the release. Along with paying tribute to some of her modern day heroes such as Lucinda Williams on "Steal Your Love", Carrie ventures into the classics with Merle Haggard's "I Started Loving You Again" as well as Hank Williams "I'm So Lonesome I Could Cry". This is Carries most roots driven solo release and shows an artist that is confident in her abilities to make her listeners as well as some of the worlds greatest song writers proud. Reviewed By: Gregg Saur

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Carrie Rodriguez Home Page

LONELADY

Nerve Up

Mar 26, 2010

Hailing from Manchester, England is newcomer Lonelady (aka Julie Campbell.) With a sound inspired from a plethora of places, including the post-punk scene of her hometown, Lonelady manages to capture a sound largely categorized as synth laced pop-rock with some guitar thrown in as well. She first began making waves with her debut single, “Hi Ho Bastard/Fear No More” (released June 2005). This was followed that October with the “Have No Past” EP. LoneLady’s first show outside Manchester was at 2006’s SXSW festival in Texas - where she was invited to play on the strength of these 4-track recordings. Billboard listed LoneLady as one of their ‘Ones to watch’ in their SXSW 2007 preview feature. LoneLady signed to Warp Records in 2009 and now we have "Nerve Up" - her first full-length release. Quite noticeable throughout is the guitar work that manages to bring back memories of the early B-52's. This is especially notable on the track "Intuition" that combines the biting vocals of Campbell with an overall catchy beat. The opener, "If Not Now" is also worth a few spins as Cambell's somewhat unique voice immediately comes to the forefront. The title track "Nerve Up" incorporates a drum-machine and an attitude from Lonelady that makes for a really good song. Another track that especially stands out here is the beautiful "Marble" with its electro-pop feel and reverb effects. In the end, while the guitars and the same overall sound can be a bit tiresome, the debut of Lonelady is pretty good as Campbell recaptures a sound from the past and makes it relevant for today's music scene! ~ Reviewed by Jeff Bouma

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Lonelady on Myspace

PETER WOLF

MIDNIGHT SOUVENIRS

Mar 24, 2010

While Peter Wolf will forever be known as the hip, irreverent voice of the J.Geils Band, the mostly inactive status of that band over the past couple of decades hasn’t left him on the sidelines. Starting with his 1984 solo debut, "Lights Out", he’s had a successful, if not overly active, solo career. Focusing on quality rather than quantity, he’s released six discs including 2002’s "Sleepless" and 1998’s "Fools Parade" which Rolling Stone named in the top 500 albums of all time and top 50 of the 1990’s respectively. This disc marks his 7th release and is well worth the wait. With 14 songs that cover the sonic waterfront from country (as channeled by the Faces or Stones), "I’m Always Asking For You" and "Tragedy" (with Shelby Lynne), folk, "Leaves Us All Behind", classic singer song-writer ballads, "It’s Too Late For Me" (with Merle Haggard) rock, "I Don’t Wanna Know" and "The Night Comes Down", pop, "The Greenfields of Summer" (with Neko Case), sexy soul, "Overnight Lows", and meaty slabs of funk, "Everything I Do Gonna Be Funky" and "Watch Her Move", the latter of which recalls the Rolling Stone’s "Miss You" with its rubbery bass groove, Wolf doesn’t hit a false note. While his trademark sense of humor is in place: check out the semi-rapped interludes on "Overnight Lows" where he reprises the stream of consciousness that made the intro to the J.Geils live classic, "Must Have Got Lost", such a fun listen- only this time he doesn’t get Rapuntzel; instead he’s sitting alone in his underwear in the dark eating baloney sandwiches, he’s also reflective as he examines opportunities to be pursued, "There’s Still Time", and the folly of remaking someone, "Don’t Try Any Change Her". Despite the passage of time, Wolf’s voice and delivery remains as supple as ever with emotional nuances that got lost in J. Geils’ harder rock. Solid from start to finish, this is a terrific release. Smitty

NICK CURRAN AND THE LOWLIFES

REFORM SCHOOL GIRL

The Steel Wheels have rolled out one great release of old time sounding folk, blues and gospel to capture their audience through all fourteen tracks. Fans of bands such as the old Crow Medicine Show will appreciate how this four person band from Virginia can make their old time acoustic music sound as if it could have been recorded 50-60 years ago, yet still sound fresh today. Trent Wagler's raspy vocals sound as if he had just returned from the old west during the middle of a dust bowl. It is this lack of polish accompanied with some terrific fiddle, guitar, mandolin and upright bass playing that makes this release a terrific slice of American roots music. Reviewed By: Gregg Saur

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The Steel Wheels Home Page

CARRIE NEWCOMER

Before and After

Mar 7, 2010

I'm sure it is easy to dismiss Carrie Newcomer's earnestness and quiet diplomacy of thoughtful living in these days of picking sides and yelling our opinions. Perhaps her music is too gentle for you, her observations too quaint. Too bad. Her 12th release for Rounder is another set of well-written and -delivered folk songs that counsel, "Courage doesn't always shout/But whispers and reminds/When we get up one more morning/And try one more time." Her rich alto has never sounded better, and the opening title track has her duet with another fine singer/songwriter, Mary Chapin Carpenter. She retains her gift of seeing the larger meaning in common daily experiences, best illustrated in "I Do Not Know Its Name." The song "Hush" is a beautiful rumination on forgiveness. The closer gives Eve credit for naming the animals (tough luck, Adam). If more of us would turn off cable news and listen to a Carrie Newcomer CD, we'd live in a better country. Try getting that through Congress. F-Contemporary 03/10 Michael J.

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BO DEANS

Mr. Sad Clown

Mar 6, 2010

It was 1979 in Waukesha, Wisconsin, that Kurt Neumann and Sam Llanas formed what is now the Bo Deans, and their voices still harmonize in a distinctive way that feels like summer, the windows rolled down in your car and a cold beer on the front porch. They scored first in 1986, teaming up with T-Bone Burnett for "Love & Hope & Sex & Dreams" and continue the legacy of great songs with this, their ninth studio CD (they have two live discs, a best-of and some b-side collections, too). This set opens with a traditional Bo Deans rocker, "Stay," which also introduces something new for the guys, a bit of trumpet on the chorus. You'll find more of that rock harmony on "Say Goodbye," "Let it Ride," "Feel 'Lil Love" and "Back Then." The other cuts are more reflective in nature, but still feature flashes of that blend of voices that keep them -- and us -- coming back for more. New Bo Deans = Must Be Getting Warmer Outside! R-Contemporary 03/10 Michael J.

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FYFE DANGERFIELD

Fly Yellow Moon

Mar 6, 2010

This is the first solo release from Guillemots front man, Fyfe Dangerfield. I didn't want to like this, simply based on the guy's name; but the opening track blew me away. The catchy, piano-driven pop of "When You Walk into the Room" has "hit" written all over it. As far as the rest of this goes, it is sometimes quiet pop, such as "Firebird" and "High on the Tide". Sometimes it's mid-tempo stuff like "So Brand New". Sometimes it is a little more rock, like "She Needs Me" or the Coldplay sound-alike "Faster Than the Setting Sun". Overall, this is catchy pop rock, featuring nice production and Fyfe's sometimes shaky (though not in a bad way) vocals. Rebecca Ruth

THE SOULJAZZ ORCHESTRA

Rising Sun

Mar 6, 2010

Out of Ottawa, The Souljazz Orchestra has released its third album. Melding Afro-Cuban rhythms with hot musicianship and sometimes odd time signatures, Rising Sun is jazz to be reckoned with. The quiet intro leads to one of the highlights of the disc, "Agbara". The next song, "Negus Nagast" was inspired by label-mate Mulatu Astatke...reason enough to like the song; but the fact that it rocks just adds to the pleasure! The slower "Lotus Flower" has a nice groove and features the muted trumpet of guest, Nicholas Dyson (Gladys Knight and the Pips, The Coasters). The rest of this release gets a little quieter. The best of these quieter pieces is "Serenity", with its flute highlights and with the clarinet helping out on the back-beat. This is nice stuff. Rebecca Ruth

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NOAH BAERMAN, WAYNE ESCOFFERY, AMANDA MONACO, VINNIE SPERRAZZA, HENRY LUGO

Playdate

Mar 5, 2010

This is the debut release from childhood friends, Noah Baerman, Wayne Escoffery, Amanda Monaco, Vinnie Sperrazza, and Henry Lugo. While I loved the playful tone of this cd package, the music inside was anything but. This is quiet, melodic jazz, fronted by hollow-bodied guitar, accompanied by piano and occasional saxophone, bass, and drums. Playdate starts out with the almost upbeat "Coppertone", and it gets quieter from there. Don't let the look of this cd fool you! This is music to snooze to. Rebecca Ruth

Quick Links:

Positone Website

BLACK 47

Bankers and Gangsters

Mar 3, 2010

After twenty years together, Black 47 has mellowed a bit with age. On this, it's fourteenth release, the band offers a slew of medium-tempo Celtic-rock songs and ballads. Larry Kirwan still writes humorous songs full of rock band debauchery (Celtic Rocker) and drink-fueled visions (Long Lost Tapes of Hendrix). There's even a fun kiss-off song from a woman's point of view (Wedding Reel). The crew still utilizes classic Irish instrumentation combined with rock elements. They just seem to have matured a bit compared to past releases. I guess after two decades of doing this, though, they should be allowed to slow it down a bit. Rebecca Ruth

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JOHN HIATT

THE OPEN ROAD

Mar 3, 2010

After 2008’s somewhat listless "Same Old Man" John Hiatt returns to form with this disc. Not only does the disc pack a muscular musical punch, compliments of Kenneth Blevins on drums, Doug Lancio on electric guitar and Patrick O’Hearn on bass, it features some of Hiatt’s sharpest writing in years. When he’s on his game he’s almost peerless in his ability to conjure up images that stick with you. Take "The Open Road" with its reference to “Midnight falling like a bag of bones” and you get the idea real soon that it is a road to nowhere. Likewise, you can easily imagine the hard edged girl that “puts her hairspray on with a lit cigarette in her mouth/Takes her fingernail polish off Speeding down some rural route” on "My Babe" or the ghosts who get no rest in "Homeland" because “You can’t bury anything, men or nations/Old memories, old vibrations/The pain doesn’t stop just because the killing ceased”. Elsewhere, he reveals he’s not all he seems to be on the rocking "What Kind of Man" and channels both Dylan and Petty on "Go Down Swinging". As with most Hiatt discs, he also explores the rocky path faced by most relationships. While he broods about lost opportunities on the blues grinder Like a "Freight Train" and the stark "Wonder of Love" and kisses off another relationship on "Fireball Roberts" he also affirms that all is not lost in love. On "Haulin’" he liberates a Benjamin from a club owner and rushes to his baby for some hot loving and on "Carry You Back Home" he finds the courage to return the love he gets. Overall, a stellar release that should stand tall against his already solid catalog of great songs. Smitty

ELMORE JAMES, JR AND THE BLUESDUSTERS

BABY PLEASE SET A DATE

Mar 3, 2010

As one of nearly 30 children fathered by legendary slide guitarist, Elmore James, Earnest Johnson got to spend time with first generation blues masters such as Sonny Boy Williamson, Willie Dixon, Walter Horton and even Robert Johnson. Capitalizing on his linage and education in the roots of the blues, Johnson has made a career of touring as Elmore James, Jr. Of course having the right name doesn’t mean a thing without the chops to back it up. This disc reveals he was an adept student of the barb-wire taut licks that were his father’s stock in trade. While he plays with more restraint than his father, he certainly knows how to charge hard when the song demands it. Joined here by a hard charging band with keys and a saxophone to spice up the guitar oriented mix, Johnson gives a 13 song lesson in traditional electric Chicago blues. The only downside is that he includes a number of his father’s hits such as "Dust My Broom", "The Sky is Crying" and "Mean Mistreater", that have been covered so often that even his blood connection to the tunes can’t shake off the weariness of hearing them yet another time. Apart from that, his originals have a spark to them that keeps them interesting even though the musical path they follow is pretty well worn. Smitty

PRESERVATION HALL JAZZ BAND

PRESERVATION

Mar 3, 2010

RJD2

The Colossus

Feb 22, 2010

Sista Monica Parker Home Page

RAY WYLIE HUBBARD

A. ENLIGHTENMENT, B. ENDARKENMENT (HINT: THERE IS NO C)

Feb 2, 2010

Is Ray Wylie Hubbard one of those “outlaw country” guys? Is he a smart ass Texas Troubadour? Is he a blues guy? Is he a hippy cowboy? Yes to all of the above. Ray Wylie Hubbard is a Texas based storyteller who draws from a deep well of musical inspiration that includes blues, country and twangy rock. With a gruff delivery that is equally comfortable delivering a Neil Young style ballad, "Black Wings", as a jazzy hodge podge of sound that could fall off a Chuck E. Weiss or Tom Waits disc, "Pot and Pans", or a mid-tempo rocker that sounds eerily like Ian Hunter, "Loose", Hubbard weaves tales about naked women on the crunchy, "Drunken Poet’s Dream", the end times on the gospel inspired, "The Four Horses of the Apocalypse", pesky wasps on the slow stomper, "Wasps Nest", and even draws inspiration from Edgar Allen Poe’s The Raven on the rootsy title cut. Elsewhere, Hubbard mixes things up with an a cappella rave up, "Whoop and Hollar", an eerie folk blues, "Tornado Ripe", a hot-wired, slinky blues, "Down Home Country Blues", and a lumbering number that stomps and jerks like a zombie on the prowl, "Every Day is the Day of the Dead". While his wide ranging repertoire makes him difficult to peg, his talent has no problem shining through on this release. Smitty

JEFF HEALEY

SONGS FROM THE ROAD

Any band with the word "underground" in its title should be an electronic, or dub, or possibly funk or jam band, right? That seemed to be my preconceived notion when I first popped this CD into my player. The Diamond Underground is none of these things. After getting over my initial disappointment, I realized that this is pretty stuff. Cincinnati musician, John Wagner, who writes and records under the name, The Diamond Underground, has made a decent first album. With effects on his vocals and the help of studio musicians in guitar, drums, bass, and keys, this is sweet, sad rock music. Add well-crafted production and you have something here that ever so slightly resembles the Jesus and Mary Chain. Rebecca Ruth

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OUT TO LUNCH

Melvin's Rockpile

Feb 1, 2010

David Levy has done it again as leader of Out To Lunch and given us another album of groove-oriented jazz. Assembled here is a crack team of musicians whose apparent age belies their experience. Out To Lunch takes us on a journey when this album is played from beginning to end. Melvin's Rockpile starts with the slow, ambient piece "Song for the Solstice", goes into the smooth jazz of "Little Neddie Knickers", then works up to the late-night groove of "To the Queen". Things really start kicking with "Sunday in Sausalito", "The Diminutive Swashbuckler", and "Captain Stilts" before the denouement of "Black Tea on Francis Street". Rebecca Ruth

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HARLEM PARLOR MUSIC CLUB

SALT OF THE EARTH

Feb 1, 2010

There are certain discs that just uplift you and leave you with a joyous feeling after listening too; Harlem Parlor Music Club’s Salt of The Earth is certainly one of them. This superb gathering of 15 friends and musicians from the New York area includes WYCE favorites Darden Smith and Mary Lee Kortes from the band Mary Lee’s Corvette. HPMC combines traditional folk, gospel and just a pinch of funk to keep their sound fresh through all 11 tracks. HPMC sound could easily be compared to the band Ollabelle as they use six different vocalists, traditional strings, three different dobro players and a terrific rhythm section to round out their sound. Out of the 11 tracks 10 are originals with the exception of the masterful job done to Sly And The Family Stone classic “Thank You {forlettinmebemiceelfagin}” This CD was recorded in an 1890’s Harlem townhouse with very little overdubs leaving it with a warmth felt when 15 friends join together to make great music. Reviewed By: Gregg Saur

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Harlem Parlor Music Club My Space

ALEXIS HARTE

Big Red Sun

Jan 31, 2010

Bay Area native Alexis Harte has used his experience in environmental studies and his time living in Brazil to conjure up four releases full of birds, flowers and planets with a Jack Johnson delivery that shows off the rhythms of South America. Harte has a master's degree in ecology and spent three years working in Brazil, with his guitar never far away -- that actually sounds like a Paul Simon, Rhythm of the Saints combination, doesn't it? He has drawn kudos from Performing Songwriter and Acoustic Guitar magazines along the way. In this set, the opener, "Mayflies," gets your attention immediately with a lush beginning and rhythmic backbeat. "Pot of Rainbow," "A Moment's Peace" and "Temporary Tattoo" are other standouts. If you think he's getting too Cat Stevens on you, check out the manic beat of "Send a Robot." There's a hidden track #13 on this record, entitled "How Can I Find You?" 01/10 Michael J. F-Contemporary

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MOLINA AND JOHNSON

Jan 27, 2010

On their self-titled and alt country debut, Molina and Johnson share their combined talents on fourteen soothing and often sad songs. Known for his work with Magnolia Electric Co., Jason Molina's baleful cry is found in varying ways here. One of the best is the haunting "32 Blues" wherein Molina cries about the vast unknown of the after world. Will Johnson, of Centro-matic and South San Gabriel fame is a nice contrast to Molina with his husky growl. While surfacing throughout, perhaps the song the best exemplifies Johnson's talents is the one that he shares with the Texan songstress Sarah Jaffe - "All Gone, All Gone." In the background on this one is an instrument known by some as the crying saw. In this case, it produces a haunting and chilling effect. Another song worthy of some attention is the opener, "Twenty Cycles to the Ground." Here, both Molina and Johnson share the vocals on the laid back and organ accompanied song. Minimalism is again in full-force but it shines brightly on "Almost Let You In." Here, Molina and Johnson combine the best of their vocal talents and add it to their knack for songwriting to create a track that deserves its just due. On the whole, there are certainly no toe-tappers here. The fact is, these are two markedly talented but mournful men that have chosen to create a bare sound that's often a little too dark and depressing. While the sound and the mood do grow on you, it's probably not enough for most to give it their time. ~Reviewed by Jeff Bouma

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MATT THE ELECTRICIAN

Animal Boy

Jan 26, 2010

Anyone who thanks chickens in their album liner notes is alright with me. Texas musician, Matt Sever (who really was an electrician at one time) does just that on this, his sixth album. I'll forgive him for covering "Faithfully", because I quite liked the rest of this release. It's full of fun instrumentation provided by Matt, his producer, Mark Addison, and occasional guests. The narrative lyrics are fun and hold my interest...I want to know what happens next. It's hard for me to pick a favorite here, but check out "For Angela" or the title track for starters. Rebecca Ruth

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Matt the Electrician Website

MIDLAKE

The Courage of Others

Jan 26, 2010

With pensive, poetic lyrics and keen musicianship, Tim Smith and crew have created dark, pretty prog-rock on this, their fourth release. Brooding on dark and desolate themes, this well-crafted album might leave you with an otherworldly sense of melancholy. Rebecca Ruth

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LAURIE MORVAN BAND

FIRE IT UP!

Jan 26, 2010

I couldn’t think of a better title to this disc then “Fire It Up” because it sizzles from the opening note. The opening track ‘Nothin’ But The Blues” expresses the joy that only the blues can bring. “Come On Over To My BBQ” is saucy blues at its very best filled with double entendres such as “I’m gonna put up my tenderloins and let you fire up my grill” It left me wondering what would be left for dessert. “Skinny Chicks” may be Laurie’s answer to the Fiona Boyes track “Celebrate the Curves”. “Let Me Carry Your Troubles” has an almost Rory Block sound to it and certainly represents the heartfelt sensitive side of Laurie Morvan. This Gal from California certainly can play a screaming’ guitar, write great blues songs, and lead her top notch band through twelve tracks of sizzling blues. My recommendation is grab this disc and Fire It Up!!! Reviewed By: Gregg Saur

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Laurie Morvan Home Page

THE WATSON TWINS

TALKING TO YOU, TALKING TO ME

Jan 26, 2010

Twin sisters Chandra Watson and Leigh Watson have been combining great harmonies with folk, country and roots sounds since 1998. In 2010 the harmonies couldn’t be more perfect, but their sound has taken on a distinctive pop edge. The track “Harpeth River” has a unique reggae backbeat and combines an uncharacteristic funk sound to it. “Forever Me” is a beautifully laid back track with a soft Jazz feel to it. The track “Midnight” starts slow and builds to one of the more rock sounds on this disc. The Watson Twins have taken an adventurous turn on this disc and their listeners will be fully rewarded with what is truly a beautiful recording. Reviewed By: Gregg Saur

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The Watson Twins Home Page

THE WATSON TWINS

TALKING TO YOU, TALKING TO ME

Jan 26, 2010

Quick Links:

The Watson Twins Home Page

The School of Seven Bells on Myspace

CHRIS KASPER

Chasing another Sundown

Jan 18, 2010

Chris Kasper’s new cd “Chasing another Sundown” is a folksy, harmonious set of graceful melodies. On guitar or banjo, Kasper's skillfull playing highlights his bluegrass and folk influences. This album is both quiet and bright, his ability to get your toe tapping balancing the delicate ballads that gives his vocals the perfect setting. Manayunk, PA is Kasper home. He’s shared festival bills with Bela Fleck and Keller Williams and opened for Amos Lee. I’ve never heard Kasper’s previous albums (FlyingBoy and Trust the Tale, Not the Teller) but I will now. He seems to finds enchantment in ordinary situations. If you crave innovative music, give this a try. I loved the melodies and lyrics. It’s really hard to pick favorite songs because I really loved them all. #7 has a bit of funk, #8 Loosely Pray (you don’t fade away) is a quiet, beautiful song, and the slide guitar is perfect. #9, the last song, has a little ditty that comes on at 6.11 into it – just a bit of fun. I hope you enjoy this as much as I do. Anne Lamont

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Chris Kasper's My Space page

ALLISON MOORER

CROWS

Jan 18, 2010

In 2003 Shelby Lynne, Allison Moorer’s sister released a CD entitled Identity Crisis as she was wavering between country and pop sounds. In 2010 Allison Moorer has shed the country and released a lush pop CD that focuses on the piano and her most beautiful instrument, her voice. This CD represents a major change from Allison’s prior releases as this sophisticated Pop release has no traces of the folk- country sounds that have earned her both Grammy nominations and critical acclaim. The track “Broken Girl” could rank as one of this years finest vocal performances and could easily be a top single. Allison’s voice has never sounded better and “Crows” should earn her legions of new fans and dedicated fans need to enjoy the changes from one of music’s sweetest voices. Reviewed By: Gregg Saur

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Allison Moorer Home Page

MATTHEW RYAN

DEAR LOVER

Jan 18, 2010

Matthew Ryan writes some of his best songs when faced by personal tragedies or situations. Matthew was sitting in an emergency room with a good friend. Thinking it was too soon to loose this friend, he sat down with a pen and wrote 10 songs dedicated to saying things to lovers that often go unsaid. The heartfelt emotion felt in this release is gripping. Matthew teeters between slower folk songs like “Your Museum” and “The World is” to tracks that have a U2 rock quality such as “The Wilderness” and “Spark” a slower dance trance track featuring DJ Perch. The raspy quality in Matthews’s voice is perfectly suited for the emotions felt in this disc and he brings you into his heart on each of the tracks. After just one listen to this disc it is easy to understand why Matthew Ryan is one of the most underrated recording artists recording today. Reviewed By: Gregg Saur

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Matthew Ryan Home Page

Fundubmentals Myspace

JOE SWANK & THE ZEN PIRATES

HANK WILLIAMS DIED FOR MY SINS

Dec 15, 2009

Joe Sank describes his music with the Zen Pirates as country, punk, southern rock and aggressive hillbilly music. I say the 10 tracks on this release would make Hank Williams proud. It is a combination of the Drive-By Truckers, The Bottle Rockets and Scott Miller and the Commonwealth all wrapped up together. As Joe takes his listeners through beer drenched halls and the church of perpetual neon he may not make a lot of new converts, but fans of this style of Americana will surely be converted. Joe even tackles a lesser known Kiss tune on”Strutter” the closing track on this release. Reviewed By: Gregg Saur

Quick Links:

Joe Swank My Space Page

DARRELL NULISCH

JUST FOR YOU

Dec 14, 2009

Combine an eight piece horn section, three back ground vocalists, a solid rhythm section and one of the best blues soul singers alive and you have a combination that will not disappoint. Darrell returns to his more soulful roots after his Blues Music Award nominated “Goin’ Back to Dallas”. Combining six original tracks and four covers Darrell has made a CD that would make his influences Otis Redding and Al Green proud. The track “Work for Love” originally recorded by Lou Pride in the 1970’s is the soul highlight on the disc, while “Just a Little Blues” you can feel Darrell channeling the blues of Robert Cray. Whether singing the blues or R&B Darrell Nulisch has one of the finest voices in music today. Reviewed By: Gregg Saur

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Darrell Nulisch Home Page

Eugene "Hideaway" Bridges

LIVE IN SAN ANTONIO

Dec 7, 2009

Recorded live at Chango’s Havana Club in San Antonio, Texas, this disc features singer/guitarist Eugene Hideaway Bridges backed by a swinging band including keys and a horn section. With a guitar sound that draws on the smooth lyrical styles of B.B. King and Robert Cray but with fleet fingered flourishes thrown in to add a sonic punch, Bridges makes each of the 15 cuts collected here an enjoyable listen. Far from just another night of 12 bar blues, (although straight blues gets is due on "Real Hero" and several other tracks), Bridges and crew treated the audience to everything from shades of Otis Redding style soul, "Learn How To Let You Go", to Roadhouse rockers a la Delbert McClinton, "Giving Up On Love", to Sam Cooke’s "Rome Wasn’t Built in a Day" to jump blues, "Jump the Joint" and even a bit of East Coast beach style music, "Movin’ and a Groovin’". Interestingly, Bridges shares more than a guitar style with B.B. King: he also has a big, expressive voice that, like King, can sound notes of despair one moment and outright glee just as effectively the next. While Bridges is clearly the star of the show he gives the band plenty of room to shine throughout the disc but most prominently on the smoking "I Know That you Love Me" which features punchy solos from each band member that show their skills but don’t overstay their welcome. With one hot tune after another there’s no doubt that the crowd at this show were sweat soaked and happy at the end of the night. Smitty

CLARENCE BUCARO

NEW ORLEANS

Dec 7, 2009

While New Orleans is ground zero for some of the most upbeat party music you’ll ever hear, it is also home to plenty of great Soul and R & B. The likes of Irma Thomas, John Boutte, Johnny Adams and Aaron Neville provide a welcome respite from the hip-shaking dance floor with songs that burn low, slow and sweet. Ohio native Clarence Bucaro became smitten with the soulful side of New Orleans and joined forces with Anders Osborne (guitar and vocals), Kirk Joseph (Sousaphone), Mike Burkart (B3/keys) and Doug Belote (drums) from the local scene to lay down the 10 tracks collected here. Like all good Soul music, this set is intensely personal and lures you into its emotional web. While most of the cuts are low key and focus more on the vocals than the groove, there are a few semi-upbeat exceptions including "Light in Your Eyes", "The Other End", "Let me Let Go of You" and "Red Herring". While Bucaro has a ways to go to be mentioned in the same breath with long term members of the scene, his supple voice and the well crafted tunes collected here have him on the right path. A good bet when it’s time to move the party from the dance floor to the dark and quiet corner. Smitty

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DeSoto Rust Website

Afroskull Website

ECHO AND THE BUNNYMEN

The Fountain

Nov 24, 2009

With The Fountain, Ian McCulloch and his fellow Liverpool Bunnymen are back for their 11th full-length release. While there's nothing profound here, simple and succinct melodic hooks abound. The opener and the first single off of the album, "Think I Need It Too," is initially a song that seemingly warrants several spins but sadly grows a bit tiresome over time. The short and upbeat "Do You Know Who I Am" works better as McCulloch belts "Do you know who I am? Do you know what I've got? Do you know who I am? Cause I know what you're not." Another track worth mentioning is the arresting "Life Of A Thousand Crimes," which manages to create a hook that is nothing less than infectious. Still, the best song here might just be "Everlasting Neverendless," capturing the best of McCulloch with a tempo that makes you want to return again and again. In the end, without prior knowledge of the Bunnymen's legacy, there's little to dislike here. However, with a history in mind, it's a little tougher to get on the bandwagon. Still, while this ten-song set of music ends with the longest and least compelling piece of music titled "The Idolness of Gods," long before reaching this point, the Bunnymen have already sold you on their ability to make good music despite being several years removed from their 80's heyday. In the end, what we have here is some pretty "good stuff." ~ Reviewed by Jeff Bouma

Quick Links:

Official Echo and the Bunnymen Site

IVAN "FUNKBOY" BODLEY

PIGS FEET & POTTED MEAT

Nov 24, 2009

When it comes to Bass players that know how to funk it up, it is easy to name Stanley Clarke and Victor Wooten, on this disc Ivan “Funkboy” Bodley demonstrates he is very capable of laying down one of 2009’s funkiest discs. Ivan is no stranger to either funk or jazz as he has been the musical director for the likes of Sam Moore, Martha Reeves & the Shirelles and has preformed with The Temptations, Solomon Burke, Ben E. King and Bo Diddley. His Bass playing most resembles the late 1970’s and early 80’s Stanley Clarke on discs like “I Wanna Play For You”. Ivan describes this disc as feel-good funky music that is unapologetically buoyant and fun, I can’t agree more. I suggest picking up a jar of “Pigs Feet & Potted Meat” at your local record store. Reviewed By: Gregg Saur

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Ivan "Funkboy" Bodley Home Page

DIAMOND JIM GREENE

HOLDIN' ON

Nov 24, 2009

Chicago blues man Diamond Jim Greene offers a dozen delta style blues tracks mixed with some gospel. The CD begins with his covering of the classic Percy Mayfield track “Please Send Me Someone To Love”. It is Diamond Jim’s best vocal track on the disc, as many of the others reminded me of what would happen if Leon Russell released a blues disc. “Oh Glory {How Happy I Am} is a cover of Reverend Gary Davis gospel track and leaves you feeling that you have just attended a southern Baptist church service. “Girlfriend Blues” is the tale of a mans girlfriend discovering his girlfriend also has a girlfriend, it may be catchy but seems a bit clicheé. This certainly is not a diamond standard offering in the world of blues music, but it is good to see musicians like Diamond Jim Greene continue to bring the sounds of Delta Blues to a new generation. Reviewed By; Gregg Saur

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Diamond Jim Greene Home Page

AGGROLITES

Nov 22, 2009

Southern Califorian’s Aggrolites play an appealing mix of ska and what they call “dirty” reggae (raw, stripped down). Here is their 2006 self titled sophomore cd. These are very talented guys - keyboardist Roger Rivas steals certain songs (Sound of a Bombshell) and the throaty voice of Jesse Wagner sounds like Jamaica to me. With 19 tracks the instrumental songs (4,7,9,11,13,14) started to sound the same and I believe it’s the weakest part of this offering. The first two tracks were brilliant and the last song is their very own cheer. I think you‘ll find this Reggae cd offers something a bit different and at WYCE that means it’s all good! Anne Lamont

Quick Links:

Aggrolites website

Los Cenzontles Productions Website

DEBBIE DAVIS

Holdin’ court

Nov 13, 2009

Debbie Davies’s new cd “Holdin’ court” lets the electric blues guitar goddess shine. I’ve always enjoyed her music but not her vocals so much. Davis’s music heritage includes her father working with people like Ray Charles and Frank Sinatra, her mother a classical pianist, and Davis spent 3 years with Albert Collins in his Ice Breakers band. Since 1991 she’s been on her own. After 22 years of performing, Davies brings her road tested licks and music appreciation to her 12th solo offering. This VizzTone release is a collection of originals songs packed with homage’s to electric blues players of the 1960s including Otis Rush, Albert Collins, and Gatemouth Brown. I think this cd has something for everyone from the opening horns backed blues tune “Fishnet” to the last “Zoom-in” surf guitar style song. I recommend you Play Often!

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Debbie Davis website

SHELLEY KING

Welcome Home

Nov 13, 2009

Shelley King was the 2008 Official State Musician of Texas; she was the first woman to hold that honor. "Welcome Home", her 5th cd shows why. This solidly Delta Blues cd started out as an informal gathering of friends to record a few demos. Her friends are the Subdudes; John Magnie, Tim Cook, & Steve Amedee and together they took this cd to a Texas style, bigger than life, recording. King has a VOICE and adding the harmonies from the Subdudes creates a WYCE perfect cd. I loved the first song “Summer Wine” best - maybe after the fall we had it just hit me right. I hope you’ll find something that is as appealing to you. Anne Lamont

Quick Links:

Shelly's home web page

Friction Records Website

CARRIE RODRIGUEZ

LIVE IN LOUISVILLE

Nov 9, 2009

This live recording was made in 2007 when Carrie Rodriguez was opening for Lucinda Williams. It is easy to hear after one listen how this Austin Texas fiddler who has spent much of her recording career with partner Chip Taylor has moved into a more edgy side of the Alt-Country world. The Tracks “I Don’t Want to Play House Anymore” and “You Won’t Be Satisfied That Way” have a Lucinda feel to them or Patty Griffin during the days of Red. Carrie also releases her sexual energy on “50’s French Movie” a track that reminded me of Lucinda Williams song “Righteously” The tracks“ Mask Of Moses” which begins slow and works up to a full steam boil and “Never Gonna Be Your Bride” demonstrates that this country gal from Austin sure knows how to rock. Carrie’s last Studio CD’s have brought attention to her as a solo artist and this live recording should solidify the talents of this underrated performer. Reviewed By: Gregg Saur

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Carrie Rodriguez Home Page

TOM WAITS

GLITTER AND DOOM LIVE

Nov 9, 2009

In 2008 Paste magazine called Tom Waits Glitter and Doom tour the best live show of that year. The 17 tracks on this disc were recorded in 10 different locations and showcase some of Tom’s finest works. This CD will bring smiles to fans that were with him during Closing Time all the way to his Real Gone Days. The CD includes crowd favorites from “Get Behind The Mule” originally found on Mule Variations and “Singapore” from the now classic Rain Dogs release. “Dirt In The Ground” from Bone Machine may be one of the most captivating songs ever recorded by Mr. Waits. Tracks like “Fannin Street”, “Lucky Day” and “I’ll Shoot The Moon” are all tracks that will bring smiles to fans who liked Tom’s early years. “Live Circus” certainly represents the off kilter story telling side of Tom. This release will set along with some of Tom’s finest works and that’s saying a lot. Reviewed By: Gregg Saur

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Tom Waits Home Page

PACHA MASSIVE

If You Want It

Nov 6, 2009

Out of New York, by way of the Dominican Republic, single-monikered musician, Nova, writes, produces, and records his style of hip hop under the name Pacha Massive. Singing bilingual lyrics and often joined by female guest vocalists, Nova gives his Latin groove and R&B feel on this, his second album. Rebecca Ruth

The Pantones' Website

DIGITAL PRIMITIVES

Hum, Crackle, and Pop

Oct 25, 2009

This third album from modern jazz trio, Digital Primitives, offers original compositions performed on both modern and primitive instruments, thus the band name. It's fun listening to this just to figure out what's being played. There's not much detail in the liner notes here, but the first song, "Walkabout", is one of the best offerings and, from what I can figure, uses the m'bira and the mouth bow to help keep the beat and a bass clarinet to play the repetitive melody. The effects on the tenor sax make the track "Crackle and Pop" seem more rock than jazz with its kit drums and awesome noise. "Love Truth" is a pretty ballad with tenor sax that crescendos into the ethereal. Is that a "twinger didly bow" that's being used on the track "Hum"? Whatever it is, it reminds me a bit of the sounds that Adrian Belew pulls out of his guitar. Digital Primitives is doing its part to keep the jazz genre fresh with this release. Rebecca Ruth

LYLE LOVETT

NATURAL FORCES

Guitarist Bryan Lee, the “Braille Blues Daddy” has long been a mainstay of the New Orleans blues scene turning out blues for the tourists on Bourbon Street night after night. What sets him apart from the over-amped, paint by numbers, cover bands that mar that scene is the fact he avoids the standards and plays mostly original tunes or unknown gems. He’s also an adept guitarist with big gruff voice and a knack for a compelling story. Joined on this effort by a host of all-star guests, Lee weaves his way through the 12 cuts here like another night on the band stand with shouts of encouragement to the band interspersed with the lyrics. While the horns and keys added by the guests provide a dimension that doesn’t exist in his normal live shows there is still plenty of room for Lee to shine with stinging guitar work that is a treat from beginning to end. Albert Collins and the three Kings (Albert, B.B. and Freddie) can all take credit for the sounds that pour out of his guitar. Well worth the listen. Smitty

PONCHO SANCHEZ

PSYCHEDELIC BLUES

Oct 17, 2009

Poncho Sanchez is a fleet-handed percussionist who knows his way around almost any item that can be beaten, shaked or stirred. So, is this a disc featuring nothing but variations on the dreaded 10 minute drum solo? Not a chance. Sanchez has surrounded himself with a large horn section, a keyboardist and guitarist who end up being the featured course here with Sanchez adding the percussive spice. While the title suggests this to be a blues disc there isn’t a boogie or shuffle to be found. Instead, Sanchez and crew mix up an intoxicating brew of jazz and latin jazz with a number of smoking horn charts. Herbie Hancock’s "Cantaloupe Island", "Con Sabor Latino" and the "Willie Bobo Medley" (the later two featuring vocals from Sanchez) will transport you south of the border in no time while John Coltrane’s "Grand Central" aims more at the head than the hips with its free spirited chart. Those that do dig a short percussion interlude should check out "The One Ways", "Delifonse" and the title track. Each feature relatively brief solos by Sanchez which fit perfectly into the tunes without making you wonder if you should fade the cut before the sound of radios clicking off overwhelms you. Overall, a pretty decent listen. Smitty

BONERAMA

HARD TIMES

Oct 12, 2009

Four trombones, drums, guitar and bass equals 30 minutes of jazz, rock and soul bliss on this new offering from New Orleans Bonerama. It is easy to see that Bonerama is steering towards a more funky path on this disc and as I experienced watching them in the Crescent City that they know how to steam up a dance floor. The other difference you will notice on this disc is all but the excellent instrumental “Folly” are vocal tracks that are shared by Mark Mullins and Craig Klein. The other big change is the addition of the organ that adds to the funkiness of this disc especially on the cover of “Turn On Your Love Light”. “When the Levee Breaks” is a full out rock track originally penned by Jimmy Page and Robert Plant but certainly brings back the thoughts of Hurricane Katrina. This is certainly one “Hard Times” that you can really enjoy. Reviewed By: Gregg Saur

Quick Links:

Bonerama Home Page

Joshua James' Website

Brian O'Neil

Daisy

Oct 6, 2009

BRIAN O’NEAL – Daisy Regional (Detroit) I have been to two of Brian O'Neal's concerts and both have been excellent musicianship. Brian connects with the audience during and after the concert. An example, he invited some kids up on stage at one of the last numbers to play various rhythm instruments. On his Facebook and Myspace sites he takes time to answer many of his fans comments. He plays the keyboards and drums occasionally. His band consists of another keyboardist, drummer, 2 guitar, saxophonist- alto tenor clarinet, conga player and sometimes brass. His music is jazz hard driving, easy listening and even funk. One of his newest songs "Islands in the Sun" with Rod Tate has a Caribbean beat. He tours with KEM on occasion as a keyboardist O'Neal has shared the stage with many great musicians over the past two decades including Will Downing, Morris Day and the Time, India Arie, Ledisi, Fantasia, Angela Bofill, Stevie Wonder, Maze (featuring Frankie Beverly), Alex Bugnon, George Duke, Pieces of a Dream, Chaka Kahn, Najee, Kindred the Family Soul, and Jeff Lorber. He has also composed and produced music for several artists abroad; including UNV, Kathy Avalon, Eddie Oliver and a host of other upcoming talents. I highly recommend Brian to the WYCE audience and would love to see him in one of GR great venues. – Lowell Anderson, a WYCE Listener

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Home Page

HOPE SANDOVAL & THE WARM INVENTIONS

Through the Devil Softly

Oct 6, 2009

With several years in between (their last release was 2001's Bavarian Fruit Bread), Hope Sandoval & The Warm Inventions are back with their second full-length release. From the start, let's just say this: commercial music this is not! Picking up where they left off on their previous release, spare and subtle musical arrangements abound - accompanied by the gentle vocal style of Sandoval whose sensuous chords provide the major strength here. The opener, "Blanchard," showcases the tender and spooky folk found throughout. It also features the simple nature of the music that accompanies the soft-spoken songstress. "For the Rest of Your Life," is haunting, featuring eerie guitar effects and percussion. "Lady Jessica and Sam" is another song based on the simple. Still, with the singer/songwriter at the forefront, the acoustic background works well. "Things Like That" manages to pick things up a bit, with a tempo accentuated by the cello and the hypnotic violin. Near the end of this eleven-song set of music is the song "Trouble," which just might be the best of all. Here, the drums come out in all their fullness in order to add to the haunting nature of what is truly Sandoval at her vocal best. Overall, what seems to be lacking on this recording are songs that offer memorable hooks that beg the listener to come back time and time again. Still, Hope Sandoval and her "warm" counterparts have crafted a sound that might best be described as beautiful in all its eeriness. ~ Reviewed by Jeff Bouma

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BRUCE HORNSBY AND THE NOISEMAKERS

LEVITATE

Oct 6, 2009

When I heard Bruce Hornsby was debuting with Verve Records with a CD entitled Levitate, I was expecting an uplifting Jazz style release. Instead spider fingers has abandoned all his wonderful piano solos for a less then inspiring band release. The CD begins with a comical tale of ‘The Black Rats of London” that carries a Celtic flavor to it. “Prairie Dog Town” could easily be mistaken as a rocking Todd Snider tune. The third track “Cyclone” is one of the last up-tempo tracks and is able to blow some dust prior to the CD going into a string of less then inspiring mid tempo string of songs. The CD ends with “In the Low Country” one of the best tracks on this release and will bring Bruce’s listeners back to the glory days on the range. If you are searching for a safe Pop style release this may be a good pick, but it failed to levitate me and left me flat on the ground. Reviewed By: Gregg Saur

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BRIAN SETZER ORCHESTRA

SONGS FROM LONELY AVENUE

Oct 5, 2009

It’s been two years since Brian Setzer took on Beethoven and other classical superstars on “Wolfgang’s Big Night Out” While that CD was loose interpolations of Classics, Songs From Lonely Avenue” is a soundtrack to an unwritten film. Brian’s love for not only the music of the 40’s and 50’s but the film noir from that era was the main inspiration for this CD. This is Brian’s most cohesive and arguably finest Orchestra release to date. The CD begins with the fiery sounds of Brian’s guitar on “Trouble Train” and proceeds into a full Orchestra assault. The title track “Lonely Avenue” has a classic 1940’s jazz sound. “Mr. Jazzer Goes Surfin” and “Mr. Surfer Goes Jazzin” are rocking instrumentals that showcase how terrific and underrated Brian Setzer is a guitarist. This is the first Orchestra release where Brian wrote all the tracks and if the movie is half as good as this release is you will not want to miss Lonely Avenue. Reviewed By: Gregg Saur

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MATISYAHU

LIGHT

Oct 3, 2009

Born Matthew Miller but using his Hebrew name, Matisyahu, as a recording artist, this New York native melds reggae, dub, hip hop and rock into a mostly pleasing stew of sounds to support his pleas for peace, love, understanding and enlightenment. Those with an ear for the more challenging beats and changes in tempo will find much to like in "Smash Lies". Hip hop is the order of the day for "Escape" although the musical backdrop heads towards dub reggae. Other tracks such as "We Will Walk" and "For You" have a big production and rock hooks that wouldn’t be out of place on a Church or U2 disc. "One Day" has an easy groove that is reminiscent of Bob Marley’s "No Woman, No Cry" while "I Will Be Light" has a slow, percolating dub bass beat that propels the introspective lyrics about the search for identity, a theme repeated in "So Hi, So Lo" which has a big sing along chorus. "Motivate" and "On Nature" both grab a mid-tempo punk/reggae groove that sounds like vintage Joe Strummer and the Mescalaroes or even early Clash. Matisyahu proves himself to be a vocal mimic as well with the chorus to "Darkness Into Light" sounding eerily like solo Ozzie Osbourne and "Silence" echoing Paul Simon. While those who dislike hip hop or who insist on categorizing Matisyahu as a reggae artist will struggle with this disc most everyone else will find something to like. Smitty

DRIVE BY TRUCKERS

THE FINE PRINT

Oct 3, 2009

With everything from alternate takes of released material to tracks that simply didn’t fit into the final mix of tracks that made up some of their best discs, this collection is a treasure trove for Drive By Truckers fans. "Rebels" is the band’s take on the classic Tom Petty track that was used for the show King of the Hill. The jangly guitar work and high energy that fuel that track carry over to the rocking "Uncle Frank", "When the Well Runs Dry" and "Goode’s Field Road". Slowing things down the band gives a history lesson on the impact of the Tennessee Valley Authority on the acoustic "TVA" and weaves a stark first party tale of arson and other skullduggery on "The Great Car Dealer War". "Great Big Horse" is a whimsical tale based on an old dirty joke delivered like one of Todd Snider’s talking ballads. The mid-tempo take on Tom T. Hall’s Vietnam War era classic "Mama Bake A Pie (Daddy Kill a Chicken)" remains powerful today as we are mired in yet another war. "Mrs. Claus’ Kimono" probably won’t get many Christmas spins with its low down dirty groove, tales of sexual debauchery with Mrs. Claus and accusations about Santa’s activities with a reindeer but is a fun spin in a twisted kind of way. Taking no prisoners, the band tears into Warren Zevon’s "Play it All Night Long" with a desperate conviction befitting the fact the band had just recently learned of Zevon’s impending death and cut this as a tribute of sorts. Also potent is the band’s take on Dylan’s classic "Like a Rolling Stone" which features a hard hitting musical backdrop and every band member taking a turn at lead vocals. Overall, a solid collection that highlights the band’s versatility and unshackles it from the tight themes that can make it hard to pluck single songs out of the context of its regular albums. Smitty

CAROLYN WONDERLAND

BLOODLESS REVOLUTION

Oct 3, 2009

After a couple of mid-90’s discs fronting the Imperial Monkeys, Houston, Texas native Carolyn Wonderland moved to Austin and laid down her stake as a solo artist. This release is the first of her three to date. One listen and you’ll understand why she’s shared the stage with the likes of Bob Dylan, Buddy Guy, Los Lobos and most blues musicians who call Austin their home. Vocally, she’s a combination of Janis Joplin, Etta James and Ella Fitzgerald with big brassy rock and roll roars followed by a taste of soul stew and then sweet jazz runs. She’s also a social activist who’s not afraid to cut right to the point. "Annie’Scarlet Letter" uses a spare acoustic backdrop to rail against the injustice of a young single mother that is jailed for selling a little pot to make ends meet. "Homelessness in Austin" is a jazzy number that is far more upbeat than Wonderland’s real life tale of having to live in her van and busk on street corners to keep her belly full. The title track has a fun, mysterious groove that almost sounds like an outtake from the Rocky Horror Picture Show but tells a hopeful tale of a change in the status quo based on “love, not fear” (Remember, this was released during the Bush/Kerry election cycle- another shattered dream). Her ballads hit hard as well. "Unbroken" finds her too scared by the fear of rejection to express her love while "Heart" focuses on the need to abandon false hopes. Both give her a chance to shine vocally with an uncluttered musical backdrop and lots of room to soar. While she’s most often cast as a blues musician, many of the tracks here including "Smile", "Judgment Day Blues", "He Said, She Said" and "From a Waffle Booth Six" tend more towards raucous bar room rock in the style of the Faces or Stones. Great stuff that regrettably didn’t earn Wonderland the accolades that were deserved upon its release. Smitty

RODRIGO Y GABRIELA

11:11

Sep 27, 2009

These young Mexican guitarists -- some say the possessors of the fastest fingers on the planet -- deliver another set of acoustic instrumental excellence, each number dedicated to one of their musical heroes. Carlos Santana, Jimi Hendrix, Pink Floyd, Al Di Meola and others receive bouquets, but these kids are making their own mark. Known for their amazing speed on the strings, this release goes further and reveals more complicated songwriting, with layers of musical lines under other lines. Rodrigo typically handles the melody and Gabriela the rhythm, and that continues here but with more mood changes in the songs and the impression of a fully-conceived story to be told in each number. They took the album's concept seriously and wanted to honor the musicians who inspired them uniquely and expertly. Mission accomplished. 09/09 W-Latin (Mexico) Michael J.

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DAVID BAZAN

Curse Your Branches

Sep 18, 2009

Former front man of alternative Christian rock band Pedro the Lion, David Bazan has made a name for himself in recent years by battling alcoholism (with a few famous on-stage debacles) and a defiant turn against his earlier expressions of faith. His new solo disc is loaded with caustic lines aimed at religion ("With the threat of hell hanging over my head like a halo/I was made to believe in a couple of truths" from "When We Fell") along with a number of references to his battles with bottle (in "Bless This Mess," he wonders if his baby daughter would "soon despise the smell of the booze on my breath"). Personally, I don't find this music offensive at all; at times harrowing, yes, but it is the honest expression of fear, doubt and even anger that we all experience along life's journey. Sometimes tender and repentant, sometimes raging and table-pounding, Bazan examines the deep recesses of his soul -- and causes us to reflect on what we're made of in the process. Michael J. 09/09 R-Alternative

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BOOKA AND THE FLAMING GECKOS

Baghdad Texas

Sep 17, 2009

Texan, producer/musician, Booka Michel has produced and performed music all over the world in just about every genre. Listed here as producer, composer, and drummer/percussionist, Booka used three musical genres for inspiration: Latin, Americana, and Middle Eastern, based on the three main characters in Baghdad Texas, the movie that this is the soundtrack to. Clocking in at under thirty minutes, with most of the songs less than three, this is mostly instrumentals and is of the Americana genre with Latin and Middle Eastern influences. I quite liked this and my only complaint would be that there be more than a half hour of music! Rebecca Ruth

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THE INSTRUCTION

Failure By Design

Sep 17, 2009

Hailing from Louisville, Kentucky, this foursome offers morose, sophomoric lyrics set to a well-produced electric guitar and drums background. This adds up to rock that is sometimes interesting (occasionally even a bit reminiscent of Interpol, though nearly not as cool). It does tend to drag, though, before the disc if half finished. Best song here is "Into the Tomorrow". Though "Hello Darlin'" is supposed to be the focus track, I found it to be a dull ballad, even with its catchy chorus. Rebecca Ruth

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Sonablast Website

ONE ESKIMO

Sep 16, 2009

Hot off the press is this, the self-titled debut from the London, England four-piece indie band calling themselves One Eskimo. Described as the brainchild of front-man Kristian Leontiou, who himself has had some commercial success on his own, reaching the top 10 on the UK charts back in 2004 with the hit "Story of My Life," the band has been tirelessly promoting their debut by touring with the likes of Tori Amos. The first single, "Kandi" was actually one of three songs featured on the 4-song EP released in July of 2009 ("Kandi" appears twice) and features a sample of Candi Staton's 1969 hit "He Called Me Baby." On the full-length, "Hometime" is the opener, a song that features an ethereal melody recognizable by Toyota's use of it in a commercial to promote their eco-friendly manufacturing process. Another standout is the soulful "Giving Up," which features the soft serenade of Leontiou's vocals coupled with a harmony that fits well. "All Balloons" is simple track, featuring a mostly acoustic sound, but one that seems to capture the "lightness" of life as Leontiou sings: "Maybe we're all balloons filled with air, and the reason we're deflated is to remind us that the ground is there." In the end, there's much to like here. The final song, "Amazing," doesn't disappoint as it shed's light on the amazing aspects of the heavenly life to come. On the whole, One Eskimo has created eleven songs that seem to get better each time through and will rightfully attract no small amount of attention in the months to come. ~Reviewed by Jeff Bouma

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One Eskimo Website

MALCOLM HOLCOMBE

For the Mission Baby

Sep 15, 2009

Described by David Fricke of Rolling Stone Magazine as "not quite country, somewhere beyond folk...a kind of blues in motion," Malcolm Holcombe is just that - hard to compartmentalize. Still, that's what keeps things interesting on the singer/songwriter's eighth album release; a seemingly introspective and honest look at the realities of life and living. The raspy voice and gritty folk is prevalent from the start as Holcombe kicks things off with the catchy "Bigtime Blues." The second, the Americana inspired "Hannah's Trading Post" is equally pleasing to the ear. The short and heartfelt "You Have it All," captures the essence of a world where some win and some lose. Building on this theme, on the final song, the lush and beautiful "Someone Left Behind," Holcomb hopefully sings: "But there's better days ahead in time for someone, somewhere left behind." Expected by the record company to garner the "best reaction yet," Holcombe and the Grammy award winning producer Ray Kennedy don't disappoint. The reaction from Lucinda Williams was this: "From the first note I was drawn in. He is an old soul and a modern day blues poet." Make no mistake about it, from beginning to end, the reaction to Holcombe's latest is "right on." ~Reviewed by Jeff Bouma

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Malcolm Holcombe Website

LEE HARVEY OSMOND

A QUIET EVIL

Sep 14, 2009

No Lee Harvey Osmond is not a new solo artist, but a super group formed between Tom Wilson from Blackie and the Rodeo Kings as well as members from the Cowboy Junkies. Their music is described as Acid folk and after it spinned for the fifth time in my CD player I have to admit it put its spell on me. My favorite track “Cuckoo’s Nest” with the bass lines from John Finlayson had an almost Morphine feel to it. Other tracks like “Blade of Grass” sounded a bit like Chris Isaak. Margo Timmins from the Junkies does a beautiful duet with Tom Wilson on “I’m Going to Stay That Way”. Other notables are some terrific Dobro playing through out the disc from the great Colin Linden. I have a strong feeling that this quiet evil may become extremely infectious. Reviewed By: Gregg Saur

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FUNKTION

Funk Prelude

Sep 6, 2009

Out of Kalamazoo, Funktion offers soul-tinged blues on this, their debut release. Andrew Schrock does a nice job with the vocals, sometimes doing it soulfully, such as on "Hypnotyze" and sometimes doing it hip-hop style, such as on the title track. Horn solos abound, but are kept tastefully short, such as Terrence Massey's trumpet solo on "#4". Funky soul can be had on the track "Funk Spot" and on the slightly slower "Make You See". All in all, this is a fine debut album of dance floor-filling, radio-friendly blues. Rebecca Ruth

Quick Links:

Funktion's Myspace

NII OTOO ANNAN AND STEVEN FELD

Bufo Variations

Sep 6, 2009

When Steven Feld traveled to Ghana in 2004, for musical studies, he took notice of the croaking of the frogs (Bufo regularis) emanating from the city's sewers. He recorded them and called it his "Bufo Aria". There, he also met multi-instrumentalist Nii Otoo Annan. Their collaboration consisted of Nii Otoo listening to the bufo aria in headphones, while recording his drummed responses. Essentially, this album consists of the Bufo Aria as the first song. The succeeding variations are all Nii Otoo drumming to the frogs, but with the frog track removed. The drums used are most often traditiona African hand drums with occassional use of guitar (Variation 6) or with the addition of sax and voice (Variation 10). This album is an interesting concept as experimentalist music, but it's not altogether radio-friendly. Rebecca Ruth.

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Voxlox Website

GEOFF MULDAUR AND THE TEXAS SHEIKS

TEXAS SHEIKS

Sep 6, 2009

This is acoustic front porch blues at its finest. American roots musician Geoff Muldaur the Ex-husband of Maria & father to Jenni Muldaur has put together the Texas Sheiks an musical all-star ensemble that is sure to captivate the hearts and ears of all its listeners. Joining Geoff as a member of the Sheiks is the great Suzy Thompson on fiddle, Cindy Cashdollar who is now both a Sheik and a Guilty Women on both slide and steel guitars and the Texas legend the late great Stephen Bruton on guitar and mandolin. Geoff describes the Sheiks as old time back woods rhythm and soul. I couldn’t agree more. The Sheiks are all serious musicians but after the first listen it is easy to tell the fun that was had while making this recording and the sense of humor shown on tracks like “Under the Chicken Tree” and “Blues in the Bottle”. It is my hope that the Texas Sheiks will ride into your living room, take control of your stereo and be enjoyed on every front porch from Texas and beyond. Reviewed By: Gregg Saur

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WILLIE NELSON

Lost Highway

Sep 4, 2009

As Willie Nelson departs his record company, Lost Highway, for another classic brand (Blue Note), the good folks at Lost Highway have released this "chestnuts" package with songs from previously released LH recordings -- along with four never-on-record-before cuts (one of which we can't play). The set starts out strong with assists from Rob Thomas and Lee Ann Womack, and the Jimmy Cliff tune from "Countryman" is always a treat. And of course, any duet with Lucinda is worth hearing again. The disc ends with two songs relating to the film "Brokeback Mountain," the first one an iTunes hit now on record; the second unplayable because of language. In all, a solid compilation of the latest Willie Era, on the cusp of him beginning yet another. Michael J. 09/09 F-Americana

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FIONA BOYES

BLUES WOMAN

Aug 20, 2009

Silveroot My-Space Page

SONNY LANDRETH

LEVEE TOWN {EXPANDED EDITION}

Aug 11, 2009

In 2000 Sonny Ladreth released one of the finest discs of his career Levee Town. In 2009 we revisit this great recording that blended rock, blues, zydeco and even folk sounds that made this recording easily accessible to fans of Sonny’s signature slide guitar work as well as a new generation that was searching for some great Louisiana & Americana music. The expanded edition includes a bonus disc of five tracks recorded between 1998-2000 that would have fit beautifully on the original disc. The first track “Pedal To The Metal” is signature Sonny slide guitar mastery and shows how fast this mans fingers can fly. “For Who We Are” is the only vocal track of the five and is a nice sounding ballad featuring Jennifer Warnes”. The remaining three instrumentals prove that no words are required to show the beauty contained within one mans soul and his guitar. Reviewed By: Gregg Saur

Quick Links:

Sonny Landreth Home Page

The Bottle Rockets Home Page

HOT CLUB OF COWTOWN

WISHFUL THINKING

Jul 27, 2009

It has been stated that good things are worth waiting for and after seven long years the first studio CD from the Hot Club Of Cowtown is no exception to that rule. The CD begins with HCCT’s signature western swing sound with a cover of the Bob Wills track “Cant Go On This Way”. This CD Is hard to categorize as it ventures into several different genres including the jazz influenced renditions of “Someone to Watch Over Me” and: One Step Closer”. “The Magic Violin” and “Heart of a Roman” are both instrumentals that showcase the classically trained fiddle work of Elana James”. Whit Smith’s guitar and vocals provide a wonderful rendition of the Hoagy Carmichael country ballad “Georgia” and the folk ballad “Carry Me Close”. This is also the first HCCT disc with drums provided by newcomer Damian Llanes. I hope it is not just “Wishful Thinking” that we won’t have to wait seven more years until we next hear from the Hot Club Of Cowtown. Reviewed By: Gregg Saur

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Hot Club Of Cowtown Homepage

CHARLES WILSON

Troubled Child

Jul 25, 2009

On the blues/soul circuit since 1964, Charles Wilson seems to have hit his stride with Al Green-ish soul sets, with this disc following up on his award-nominated "If Heartaches Were Nickles." The nephew of the late Little Milton, Wilson knows his way around a song, as evidenced by the opener, "Where My Baby Went," a Bobby Bland tune or "The Good Side of My Girl." He gives homage to his departed uncle on "Somebody's Tears" and does an soul cover of Bob Marley's "Is This Love." Wilson has talent and pedigree, and most of this set is pleasingly smooth R&B. B-R&B 07/09 Michael J.

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BOMBA ESTEREO

Blow Up

Jul 21, 2009

Out of Bogota, Columbia, Bomba Estereo exploded onto the scene at SXSW 2009 creating buzz for this, the debut album. Combining hip hop and Colombian rhythms with electronic dance music, they're sure to get you moving. Rebecca Ruth.

Quick Links:

Nacional Records Website

Official Website

LANDy on MySpace

DUKE ROBILLARD

STOMP! THE BLUES TONIGHT

Jun 23, 2009

It is said that everything old is new again and Duke Robilard is bring back the Rockin R&B sounds of the 40’s and 50’s with vengeance. Joined by roomful of blues alumni Doug James, Rich Latiaille and Carl Querfurth on horns this could have been released as the finest Roomful CD in years. Sharing vocals with the terrific Sunny Crownover Duke plays homage to some of the finest vocalists of the era including Wynoie Harris, Roy Milton, Big Joe Turner and Helen Humes’ who originally recorded the “Million Dollar Secret”. Most of the tracks on this disc were originally recorded 40-60 years ago, but Duke brings them back to life and makes them sound as fresh as the day they were recoded. My advice is put on your dancing shoes and Stomp the Blues Tonight! Reviewed By: Gregg Saur

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Dukes Official Web Sight

DIZZY GILLESPIE ALL STAR BIG BAND

I'm BeBoppin' Too

Jun 22, 2009

In celebration of Dizzy Gillespie's big band legacy, former Dizzy alums John Lee (bass) and Slide Hampton (trombone) got together to form the Dizzy Gillespie All Star Big Band. They updated the sound by bringing in new blood such as Antonio Hart (flute)and Roberta Gambarini (vocals) to perform Gillespie's compositions. Modern day trumpeter, Roy Hargrove, is also here, not only to blow his horn, (He's featured on "I Can't Get Started".) but also to blow his own pipes on vocals for the title track. There is other fine trumpeting here from Claudio Roditi as well on "Birk's Works". Rebecca Ruth

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STARDEATH AND WHITE DWARFS

The Birth

Jun 22, 2009

There seems to be some Flaming Lips influence on this full-length debut from Oklahoma psych rockers Stardeath and White Dwarfs. How could there not be, when lead singer Dennis Coyne is Wayne Coyne's nephew and three members of this quartet were Lips roadies? This album features heavy guitars (The Birth), loud organ (The Sea Is On Fire), and nice production. The single, "New Heat", is the weakest song on this. Better choices might have been the quiet, Yes-like prog/rock of "Country Ballad" or the rocker "The March". Rebecca Ruth

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BJ ALLEN & BLUE VOODOO

HEARTLESS

Jun 22, 2009

Kirksville Missouri musician BJ Allen and her band Blue Voodoo is certainly a force to be reckoned with. BJ has a dynamic vocal quality and range that could easily be compared to Ellen White, Liz Mandville or even Grand Rapids own Roberta Bradley. You can feel BJ pour her entire soul into each track on this fine release. The first track “Don’t Know What You’re Missin” is sure to fill the dance floor with its swinging sound. The track “Borderline” shows the funkier side of BJ and her excellent cover of Janis Joplin’s “Get It While You Can” has a certain gospel feel to it. BJ also slows things down a bit on Dinah Washington’s classic track “Sunday Kind Of Love” displaying her more sensitive side. The name of this CD is Heartless but after one listen you will discover that this Musician and her excellent band from Missouri have a whole lot of heart and lots of soul. Reviewed By: Gregg Saur

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WANDA JACKSON

HEART TROUBLE

Jun 19, 2009

TERRI HENDRIX

LEFT OVER ALLS

Jun 19, 2009

This release gives Terri Hendrix a place to showcase cuts that didn’t end up having a home on her prior discs or that have been reinvented so much on the road that they need revisiting. Make no mistake though, these aren’t mere cast offs or demos, they are full fledged efforts that stand tall on their own merits. Highlights include the tough, sinewy "Posey Road Stomp", her live show staples, "Wallet" and "Hole in my Pocket", the funky, semi-spoken, "Bottom of the Hill 2", the gypsy groove of Cheryl Wheeler’s "Summer Fly", the reggae bounce of "Wilderness Song" and the Little Feat style work out "Rockin’ on the River" where Hendrix sounds uncannily like a young Maria Muldaur. Also included are a couple of new cuts that paint a bright future for Hendrix: "Bring ‘Em All In" has multi-track vocals and features her best Dolores O’Riordan (the Cranberries) imitation to generally good effect while "Give Me Flowers" is the kind of earnest message song that seems to spring effortlessly from her pen. Like fellow Texan, Michelle Shocked, Hendrix has the ability to both enlighten and entertain. This disc has ample doses of both of these strengths. Smitty

LEVON HELM

ELECTRIC DIRT

Jun 19, 2009

After hitting a home run with his 2007 release, Dirt Farmer, Levon Helm returns with Electric Dirt. Featuring a cast of musicians that has a wide and deep background in roots music of all forms and tracks written or popularized by the likes of the Grateful Dead, Pops Staples, The Carter Brothers, Nina Simone, Ollabelle, Muddy Waters and Randy Newman, Helm has crafted a disc that is loose, organic and a solid delight from beginning to end. As always, tying all of the pieces together are the rough, gruff vocals that Rolling Stone Magazine has ranked in the top 100 of all time. With the ravages of time and throat cancer seemingly held in abeyance Helm gives a boisterous reading to Muddy’s "Stuff You Gotta Watch", goes deep into the delta for the field holler groove of Staple’s "Move Along Train", duplicates the good time vibe of the Band on "I Wish I Knew How It Would Feel To Be Free" and rocks out on guitarist Larry Campbell’s "When I Go Away". While there are contemporary flourishes and horns on many of the tracks that distinguish this disc from the stripped down folk of Dirt Farmer, Helms seldom veers too far from his past. On "Golden Bird" and "White Dove", Helm and crew move deep into Appalachia with dulcimers, fiddles and acoustic guitars providing the backdrop to odes about hard times and simple pleasures. Given his roots in rural Arkansas and long tutelage in folk and blues music Helm is able to perform these numbers with an authenticity that lays waste to the efforts of modern roots pretenders. Electric Dirt gets beneath your nails and won’t scrub out with a simple washing. Smitty Kingfish- “Shitkickers”, “Ass”

GREG NAGY

WALK THAT FINE THIN LINE

Jun 19, 2009

Greg Nagy is well known to mid-western audiences as the guitarist and occasional vocalist for Lansing, Michigan based Root Doctor. This disc reveals that if his main gig ever ends, Nagy will land quickly on his feet. Joined by Jim Alfredson (Root Doctor and Organissimo) and Al Hill (Bettye Lavette) on keys, Jen Sygit and Rachael Davis on vocals and a host of others, Nagy and crew rip through 10 mostly self-penned tunes that cover a broad range of blues styles. The Don Nix classic, "For The Love of A Woman" is not only funky, but has some scorching guitar work. The title cut plays closer to the Soul side of the spectrum while "M & O Blues" has a Hill Country feel to it and "You Can Love Yourself" will have Keb’ Mo’ smiling at Nagy’s adept cover. On "Sunrise", Nagy channels the Doobie Brothers with his supple vocals propelling the rocking groove. Closing things out is the ballad, "She’s My Baby" which showcases Nagy’s sensitive side. Overall, a fine release. Smitty

AMONG THE OAK & ASH

Among the Oak & Ash

Jun 19, 2009

Folk-rockers Josh Joplin and Garrison Starr team up on this interesting set of traditional folk tunes reworked (and many of them revved up) to give us a fresh take on these historic musical touchstones. "Peggy-O," "Angel Gabriel" and "The Water is Wide" are examples of famous songs that will re-engage you once you hear these two musicians take them down new avenues. Doomed legends such as Hiram Hubbard and Joe Hill have their stories retold by the troubadours; Joplin and Starr also contribute their own song to the genre -- "High, Low & Wide" -- and it fits perfectly in this company. Nice project, and they promise a reprise. MJVD 06/09 F-Neo-Traditional

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SON VOLT

American Central Dust

Jun 15, 2009

With their first effort for Rounder Records, Son Volt offers up American Central Dust - their 6th full-length recording. While many of the band members have changed since Son Volt's debut Trace in 1995, one constant has been lead vocalist and primary songwriter, Jay Farrar. Continuing mostly in the genre and vein of Americana inspired rock, Farrar calls this effort a little more positive than previous recordings while still reflecting socio-politically on the past. Bringing back memories of early R.E.M., the Volt kicks things off with the short, harmonious and accordion driven "Dynamite." Then, inspired by Keith Richard's admission (later revoked) that he had smoked his father's ashes, "Cocaine and Ashes," brings to light the effects of addiction with a stripped down sound - mostly carried by the fiddle, piano and Farrar's heartfelt vocals. In the vein of Americana inspired music, "Sultana" brings the listener back to the maritime tragedy of 1865 wherein the greatest steamboat disaster in American history occurred - often referred to as the Titanic of the Mississippi. Perhaps the best song here, "When the Wheels Don't Move," delves into the socio-political realm highlighting the greed and avarice of the oil industry. Here, Farrar is admittedly inspired by the soaring gas prices of 2009 as he sings: "Who makes the decision / to feed the tanks and not the mouths / when the wheels don't move." Overall, while there's nothing spectacular here and there's a few missteps along the way, what Son Volt has recorded is a well rounded album that grows more interesting after each listen. ~ Reviewed by Jeff Bouma

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BUTTERFLY BOUCHER

Scary Fragile

Jun 15, 2009

Aussie native, Butterfly Boucher, not only wrote and arranged everything on this album, she also played all the instruments. This is the follow-up to her first release, Flutterby, which had a song featured on Grey's Anatomy. "A Bitter Song" has now been re-released on this album. The song title pretty much says it all for this album. This is full of teenage angst, sung in over-produced vocals over power-pop guitars. There is nothing interesting or challenging here. If you like the bands Paramour or Evanescence, you might enjoy this one too. Rebecca Ruth

Quick Links:

Nettwerk Records Website

Rapster Records Website

VIVA VOCE

Rose City

May 31, 2009

Out of Portland, duo-used-to-be, Viva Voce is now a quartet for its second album on Barsuk Records. Combining guy-girl harmonies with dreamy guitar and dark lyrics, Viva Voce offers and ambient shoegaze-pop sound. This album was written, arranged and recorded within a month for an immediate sound. Best songs are the country-noir "Red Letter Day" and "Die A Little" with its cool "oooh, oooh, oooh" refrain. Nothing here beats "Devotion", though, the album's opener. Rebecca Ruth

Quick Links:

Barsuk Records Website

JILL HENNESSY

Ghost in My Head

May 31, 2009

The star of the television shows "Crossing Jordan" and "Law & Order" goes back to her first loves, strumming a guitar and writing songs. Hennessy started out as a 17-year-old singing on the streets of Toronto and got into acting because she was cast in a musical about Buddy Holly -- and things took off from there (interestingly, she now lives with her husband and two kids in the same NYC apartment building as Buddy did in 1958). She shows off plenty of talent in this debut, both musically and lyrically. I would have appreciated more diversity in the set -- only the electric "4 Small Hands" strays from a basic country/folk approach -- but there are some solid songs here. I liked the first four entries, especially "10,000 Miles" and the aforementioned "Hands." Also impressive is "Holding On," which features musician extraordinaire Lloyd Maines and Dixie Chick Martie Maguire. Many actors try their hand at music and fail miserably. Not Hennessy -- a musician before the acting opportunity came along. 05/09 Michael J. F-Contemporary

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BIG BAD VOODOO DADDY

HOW BIG CAN YOU GET ?

May 26, 2009

BIG BAD VOODOO DADDY HOW BIG CAN YOU GET? This CD is tribute release to the late great Cab Calloway. The songs on this disc jump alive and bring back the charisma from one of the finest band leaders ever in the Jump Jazz genre. Cab passed away in 1994, but he passed his torch on and his music will live for generations to come. Big Bad Voodoo Daddy Would make Cab proud on this release with their signature high energy sound including a larger horn section then was found on the original tracks. Scotty Morris can not duplicate the authentic vocal sound that made Cab Calloway a legend but he can certainly bring his listeners back to a simpler time when Jazz was the music of the day. Reviewed By: Gregg Saur

Quick Links:

BBVD Home Page

DAVE ALVIN AND THE GUILTY WOMEN

May 26, 2009

Dave Alvin and the Guilty Women Dave Alvin has been in the forefront of Americana music for the last three decades, heading up bands like the Blasters, the Knitters and the Guilty Men, Dave’s journey down the American highway has joined him with seven of the finest female musicians in Americana music today. The result is a superb collection of songs that range from the reworked Blasters classic “Marie Marie” done in a bluegrass format to the western swing sounds of “Boss of the Blues”, Dave’s tribute to the late great Big Joe Turner. Dave also gives leading vocal recognition to Christy McWilson and the guilty women on the tracks “Weight Of The World” and “Potters Field”. Every track on this disc is a little gem including the coolest version of “Que Sera Sera” you will ever hear. As that song ends asking what the future will bring, I only see good things for Dave Alvin and the Guilty Women. Que Sera Sera. Reviewed By: Gregg Saur

Quick Links:

Dave Alvin Home Page

Lonesome Jane's Myspace

STAFF BENDA BILILI

Tres Tres Fort

May 17, 2009

Staff Benda Bilili is a band of homeless and disabled (four members are paraplegic) people living in the grounds of Kinshasa Zoo in Congo. Benda Bilili literally translates to "put forward what is hidden", which pretty much means to look beyond appearances. Playing mostly home-made and found instruments, including a plastic armchair drum kit, they were "discovered" when introduced to British and US musicians who visited Kinshasa as part of the Africa Express trip of 2007. They won the hearts of members of Massive Attack and Damon Albarn, with whom they performed. This is an album of amazingly optimistic songs that document everyday life for these people. Take the lyrics to "Tonkara", for instance. "I once slept on cardboard. Good luck hit me. I bought myself a mattress. It can happen to you..." Optimistic indeed! Rebecca Ruth.

Quick Links:

Crammed Discs Website

May 5, 2009

COMANDER CODY DOPERS, DRUNKS AND EVERYDAY LOSERS Commander Cody remains an enigma of American roots music. On this release he combines new songs with redone classics to tell the stories of dopers, drunks and everyday losers. This CD is a combination of roots rock, outlaw country and a dash of western swing that should have a warning label. After one listen you may find yourself rolling your own, going for the liquor cabinet or enjoying one of your favorite unhealthy vices. Most tracks are Commander originals with the exceptions of the John Hiatt classic “Tennessee Plates” and the “No No Song” which was made famous by Ring Star. You will also find reworked versions of commander classics “Wine Do Yer Stuff” and “Seeds and Stems Again”. The Commander may have lost the Lost Planet Airmen but he sure hasn’t lost his sense of humor or ability to tell a story. Reviewed By: Gregg Saur

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Commander Cody Home Page

PLAYING FOR CHANGE

Songs Around the World

May 5, 2009

An innovative music project released on both CD and DVD, Playing for Change founder Mark Johnson and friends spent 10 years recording artists all over the world performing the same song in out-of-doors locations and then edited the result to blend the music played by people of different cultures. The interesting result allows musicians separated by oceans, politics and economics to collaborate together. Only two of the artists recorded are household names: Bono on Bob Marley's "War/No More Trouble" and Keb' Mo' on "Better Man." While quite an amazing production feat, this project may be more effective as video than simply audio. Try both and come to your own conclusion. W-Fusion 5/09 Michael J.

Zachary Richard Home Page

RUTHIE AND THE WRANGLERS

AMERICANA EXPRESS

Apr 21, 2009

RUTHIE AND THE WRANGLERS AMERICANA EXPRESS Combining roots rock, rockabilly, honky tonk country and lots of fun Ruthie and the Wranglers have released a captivating CD that will make their listeners want to jump on board and take a ride. This band from the Washington DC area combines elements of Molly and the Makers, Asleep at the Wheel as well as Southern Culture on the Skids to make their own brand of Americana. Although this is a full band effort Ruthie Logsdon possesses a voice that has earned her the prestigious vocalist of the year Wammie award in Washington DC on at least 3 different occasions. The tracks on this disc are cleverly crafted with enough humor to keep their listeners smiling through all 12 tracks. Jump on board the Americana Express and leave all your troubles at the door you wont be disappointed. Reviewed By; Gregg Saur

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Ruthie And The Wranglers Home Page

GOMEZ

A New Tide

Apr 20, 2009

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BELL X1

Blue Lights on the Runway

Apr 13, 2009

Bell X1, named after the first supersonic airplane, is an Irish band. They were originally known as Juniper and included Damien Rice as a member. This is their fourth studio album and their sound has changed a bit since Mr. Rice's leaving. Their sound has been compared to that of Talking Heads. I don't buy the comparison, unless you are talking about the track, "The Great Defector". As the lead single from the album, it offers a lot of similarities, right down to the David Byrne-sounding vocals of Paul Noonan. Otherwise, this is electronic-infused pop with the best songs being the upbeat "A Better Band" and "Breastfed". "Amelia" is a good one as well, it being about none other than Amelia Earhart. The liner notes mention the ballad, "Light Catches Your Face", as a focus track that was once featured on a television show called One Tree Hill. Reviewed by Rebecca Ruth.

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PAPERCUTS

You Can Have What You Want

Apr 13, 2009

This is the third album from Jason Robert Quever (Beach House, Vetiver). This is a quiet album of cosmic lyrics sung with reverb-tinged vocals over vintage organs, big percussion, and lush string arrangements. The entire thing has a melancholy feel the grew on me with each listen. Incidentally, it was recorded entirely analog. There is no computer processing here at all. Give it a try when you are feeling quiet. It might suit your mood. Reviewed by Rebecca Ruth.

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Gnomonsong Website

BUJU BANTON

RASTA GOT SOUL

Apr 13, 2009

BUJU BANTON RASTA GOT SOUL Buju Banton has bee considered one of the pioneers of Jamaican dancehall reggae music. He has often been criticized for his graphic sexual and homophobic lyrics. This disc finds Buju delivering a captivating set of traditional and some dancehall tracks that explore his more conscious and spiritual side. The music on this CD is certainly meant to lift your spirits but leaves room to still get sinful on the dance floor. Buju also receives help from Wyclef Jean on the track Bedtime Story a story that would leave any child with nightmares as it is a story of a Childs father being murdered. The track “Sense of Purpose” is a dancehall love track featuring the great reggae band Third World. The Rastafarian religion has certainly provided Buju Banton with the soul to deliver his finest work to date. Reviewed By: Gregg Saur

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VIENNA TENG

Inland Territory

Apr 12, 2009

DESMOND AND THE TUTUS

Tuckshop

Apr 6, 2009

This debut album from this South African outfit rocks! All the songs here feature amusing lyrics and an energetic pace that one can't help but at least tap a foot (or two) to. Every song's a winner, but the best one is "Good and Guilty" with its danceable beat, rhythm guitar and fun vocals. Another one in the same vein is "German Modern". Both songs feature tongue-in-cheek lyrics, but other funny ones are "Crazy Rebel". ("You can finish a double cheese and bacon burger all by yourself...you my friend are a crazy rebel.") I'll bet many people could relate to the lyrics of "High Five". ("I'm excited to see you, but your high fives are far too hard.") This album is just plain, danceable fun. Enjoy! Reviewed by Rebecca Ruth.

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ELLEN WHYTE

FOUR WAY STOP

Apr 1, 2009

On her fourth disc, Portland, Oregon based multi-instrumentalist (guitar, accordion, percussion) and vocalist Ellen Whyte unleashes 11 original cuts that explore remorse, fear, love and strength. Joined by the ESP Horns (Renato Caranto, Pete Petersen, Greg Garrett and Mike Kelly) and a large band Garry Meziere and Dave Mullany on guitars, Gene Houck on bass, Jean-Pierre Garau on organ, clavinet and piano and Reinhardt Melz on drums, Whyte delivers insightful, thought-provoking lyrics against a broad musical palette. There’s everything from dark rootsy rockers reminiscent of Eagle Glenn Frey’s solo work, "No One Knows Better Than Me", to upbeat soul on the title cut to spare ballads, "Last to Know", Tower of Power style funky horn grooves, "Thanks for the Ride", and straight up rock, "Falling". Whyte matches the band’s ample hooks with lyrical hooks that dig deep. While she mines the normal blues vein of heartache, despair and working under the thumb of the man, she does so without resorting to the tired clichés we’ve heard way too many times. On "Over My Shoulder" an errant lover is admonished that “you’re doing too much thinking/you ain’t got enough time to feel” as she relegates him to the scrap heap. "Jack & Jokers" not only rocks, but is a timely call to action against the havoc wrecked by “Men in fine suits/suiting just themselves.” "When You Walk Away From Love" is a tender ballad about making the right choices in love and making sure the “when you walk away from love/Just remember… move slow/Take a look around you/you will miss it when you go.” These pointed lyrics get delivered by Whyte with a voice of incredible depth ranging from the sophisticated jazz stylings of Nina Simone on "Last to Know" to the husky swagger of rockabilly queen Rosie Flores on the upbeat number about finding love, "Lucky in Love", to the sly sexiness of Maria Muldaur on the seductive, "Wide Awake Woman". Overall, a fine release that deserves plenty of attention. Smitty

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DAN HICKS AND THE HOT LICKS

TANGLED TALES

Apr 1, 2009

DAN HICKS AND THE HOT LICKS With a voice that is often perilously close to being out of tune and a delivery that spits out words faster than bullets at a drive by shooting Dan Hicks can sometimes leave listeners in the dust which, of course, is part of the charm as you listen to his tunes over and over again to pick up the sly jokes and crazed ruminations on life. Making the repeated listening worthwhile is a musical backdrop that veers wildly between gypsy swing, jazz, jug band and blues Highlights of this set include Hicks trying to negotiate through a rude world on "The Diplomat", which gets extra sass from his female backing crew, the bass driven "Blues My Naughty Baby" and the title track, both of which feature Hicks trying his hand at Cab Calloway style scatting, the jazzy homage to his father, "Song for my Father", the bluesy tale of a party gal, "The Rounder" (featuring Charlie Musselwhite on harmonica), the tub-thumping, "Ragtime Cowboy Joe", the spot on cover of Dylan’s "Subterranean Homesick Blues" and the chill out vibe of "Let It Simmer". Smitty

ERNIE AND THE AUTOMATICS

LOW EXPECTATIONS

This second album from South Jersey youngster, Matt Duke, is your basic mild rock album that would fit in just fine on the soundtrack to American Idol or perhaps on my teenage niece's ipod. These are songs about every day life, sung earnestly over guitar, drums and keys. Reviewed by Rebecca Ruth.

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DOVES

Kingdom of Rust

Mar 29, 2009

On this their fourth studio release, the threesome known as the Doves serves up what some might expect from a band finding its groove - a bigger and more mature sound. While the lyrics are merely okay - many of them have a veiled sort of meaning - what stands out on Kingdom of Rust is truly the sound. For instance, the first four songs are truly the four best tracks here and most definitely stand out from the rest. "Jetstream" is a great opener with a sound that builds and builds as it plugs along - a true pleasure to listen to. "Kingdom of Rust," the title track as well as the first single, is another good song that just plain sounds good. Next, "The Outsiders," begins in a Pink Floyd sort of way but then gradually moves into the more familiar Dove territory making for an interesting spin. Finally, "Winter Hill" is a love song of sorts as Jimi Goodwin sings and reminisces about days on Winter Hill. While the effort seems to taper off a bit midway through the eleven song set, it does end well with four pretty good songs. "House of Mirrors," one of the faster moving songs on the album and "Lifelines," a slower and yet well put together song, are the best of the final four. In the end, aside from the addition of a few "beats and blips" commonly found in electronic music, the Doves still sound like the Doves and have provided something well worth a few spins for fans both new and old. ~Reviewed by Jeff Bouma

Quick Links:

The Doves Official Site

LIZ DURRETT

Outside Our Gates

Mar 27, 2009

Durrett has a warm soft voice, dark thoughtful lyrics, and music that is lush and penetrating with waltzy rhythms that hang in the air long after the album concludes. These rhythms are the driving undercurrent carrying this album to various heights, and depths. So many layers that some of them seem to be whispering to your brain…secretly…you won’t even know it until later. She’s the young niece of singer/songwriter Vic Chesnutt (they both hail from Athens, GA, like so many other musical greats). Uncle Vic helped her get started when she was quite young, and now that she’s a pro (this being her 3rd release, along with lots of rave reviews from reputable sources) he lends some of his talents on her album. In spite of the fact that she herself plays guitar, piano, drums, organ and xylophone, she has a large troupe of other talented musicians adding their stings, brass, beats and “space effects”. Her voice is low and whispery like that of Cat Power and Beth Orton. The songs are transporting. The album is beautiful. Becky Kenny 2009

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WAR CHILD-16 Of Todays Biggest Artists

HEROS

Mar 23, 2009

WAR CHILD PRESENTS HEROS Everything associated with this Disc is amazing. It assembles 16 classic artists including {Dylan, The Clash, Steve Wonder Leonard Cohen, U2, David Bowie and more} and has them pick 16 of today’s hottest artists Including {Beck, Duffy, Lilly Allen, Rufus Wainwright & the Scissor Sisters} to cover some of their classic tracks. Instead of trying to reproduce exact covers each artist takes their own liberties in making these classic tracks their own. It is fair to say there is not one missed target in this group. The other amazing thing is the proceeds from this disc go to an award winning charity that provides humanitarian assistance to war-affected children in some of the most devastated regions of the world. This leads me to only one question if children were left to their own devices and the power of the music provided on this disc would there ever be a thing called war? Reviewed By: Gregg Saur

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THE BLIND BOYS OF ALABAMA

LIVE IN NEW ORLEANS

Mar 23, 2009

THE BLIND BOYS OF ALABAMA LIVE IN NEW ORLEANS Recorded live at the legendary Tipitina’s during the 2008 New Orleans Jazz and heritage festival this disc shows this legendary group in a high energy set that is sure to captivate and lift any listeners spirit. Joined on stage with the Blind Boys are the Preservation Hall Jazz Band, Henry Butler, Dr. John & others covering Norman Greebbaum’s “Spirit in the Sky”, Tom Waits “Down In The Hole” as well as other classic covers including their amazing version of “Amazing Grace”. Fans of their last release will also reveal in their version of the Crescent City classic “Bourbon St. Parade”. The Blind Boys have been putting out great music for 75 years and after one listen to this disc you can tell that some things just get better with age. The only complaint I have regarding this disc is it is only 31 minutes long and is missing four tracks from the store release of this disc. Reviewed By: Gregg Saur

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Luminescent Orchestrii

Neptune's Daughter

Mar 16, 2009

Neptune's Daughter, by NYC's Luminescent Orchestrii, is an intriguing blend of traditional Romanian Gypsy folk songs, punk rock rhythm, bluesy vocals, and jazz improvisation. The Orchestrii, or small ensemble with orchestral intentions, is made up of a fiddler and guitarist from the NYC Theatre underground, a free-jazz bassist, and an old-time fiddler. The group toured extensively in Europe for a time, gaining much. Their music is not something you would expect to hear in modern America, but certainly welcome nonetheless. – Matt Kwiek

Luka Bloom

Eleven Songs

Mar 16, 2009

My favorite new music of 2009! Luca is a veteran singer/songwriter out of Ireland. He has been compared to Van Morrison and Bono to some degree. I loved this CD- and the more I listened to it, the better. Track #11 - Don't be Afraid of the Light Shines Within You is a classic #7- When Loves Comes and #2 I'm On Your Side are a couple of other tunes highlighted by the label to promote. I can't disagree! Several songs highlight his Irish lilt, and are tender, moving and entirely enjoyable. – john Rumery

Nathan Kalish and The Wildfire

Waterbirds

Mar 16, 2009

From Grand Rapids’ own Nathan Kalish and the Wildfire comes their latest, full length album, “Waterbirds,” available 2009 from Caveman records. While this release may do little to expand the horizons of the world of rock music, it certainly stays true to the tested and time honored traditions of the genre. Wildfire sound like they could be The Rolling Stones’ nephews. A fine presentation by fine musicians, “Waterbirds” is a solid release from a band that bills itself as “The Last Rock Band in Grand Rapids.” – Mike Shade

Great Lakes Swimmers

Lost Channels

Mar 16, 2009

ALICE PEACOCK

Love Remains

Based on a theatrical piece in the works, Duncan Sheik's Whisper House, released January 26th, 2009 unmistakably offers rich material similar to his previous recordings, including blends of orchestral, acoustic rock, and epherial folk. Not an album to spin with any firearms or sleeping pills nearby, a listener may long for a glimmer of hope. The album highlights Holly Brook's vocals throughout, which surely add a sweetness to a somewhat depressing experience. However, what he does, he masterfully. – Christian Borg

GRETEL

The Dregs

Mar 7, 2009

Out of Boston, this folky three-piece (occasionally four-piece) outfit offers heart-wrenching lyrics over a multitude of down-home instruments, including banjo, Wurlitzer, accordion, and guitar. Reva Williams wrote and produced this entire album. Her lead vocals are often accompanied by those of band mates Melissa Myers and Phil DuPertuis to create handsome harmonies that fit the music perfectly. This is a lovely album with lyrics that'll kick you in the gut, but the blow is softened with the delivery. Reviewed by Rebecca Ruth.

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BUMP

Forward

Mar 7, 2009

This is the fourth album from this Detroit-based rock band. It's not quite so proggy prog-rock. Their website compares them to Flaming Lips and Death Cab for Cutie, which I can see to some extent. The album starts nicely with "Everyone Knows", but it seems to fizzle halfway through as the songs begin to sound a bit too similar. It's a nice enough release, though, with decent production, good musicianship, and occasional odd time signatures. Reviewed by Rebecca Ruth.

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DAVID EGAN

YOU DON'T KNOW YOUR MIND

Mar 6, 2009

David Egan is a Lafayette, LA piano man who covers a lot of territory on the 11 tracks collected on this, his second solo release, after a career playing for the likes of Lilf Band Of Gold, FileŒ and Jo-El Sonnier. While the title track has a straight forward cadence that would fit into a military March that only serves to highlight the second line groove of "Youfre Lying Again", the boogie of "Moneyfs Farm" and "Smile" and the rollicking good times of "Proud Dog". While there isnft much here to tie the disc to its bayou roots, the influence of the area is inescapable. The funky "Love, Honor and Obey" has a strong percolating beat that would fit nicely on a Radiators disc while the horn grooves of "Sing It" and the second line feel of "Youfre Lying Again" reminds you that New Orleans is only a couple of hours over the horizon. As a tunesmith whofs written for Percy Sledge, Johnny Adams, Etta James, Joe Cocker and, most recently, for the Marcia Ball, Tracy Nelson and Irma Thomas collaboration, Sing It, Egan knows his way around the lyric sheet as evidenced here by the 11 original tunes including, most notably the scathing indictment of an errant spouse on "Love, Honor and Obey" and the pep talk for the down and out on "Smile". With a voice that morphs from the soulful croon of Charles Brown on "Bourbon In My Cup" to a light Louis Prima style duet with Jennifer Nicely on "If It Is What It Is (Itfs Love)" and then to a Paul Thorn style stuffy croak on "Best of Love Turned Blue", Egan always finds just the right tone to get his point across. Based on the strength of this release, Egan is an artist deserving plenty of attention. Smitty

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DAMON FOWLER

SUGAR SHACK

Mar 6, 2009

As one of the newest members of the Blind Pig records stable of artists, Damon Fowler brings more than blues to the party. The rollicking guitar licks of "Some Fun" that introduce the disc set you up for the fun that follows. Mixing things up between guitar and lap steel, Fowler conjures up a Lynyrd Skynyrd twist on the Merle Haggard classic, "Tonight the Bottle Let Me Down", a funky, Little Feat style take on the Amazing Rhythm Aces’ "Third Rate Romance", a couple of Chuck Berry style rockers, "VFW" and "Lonely Blues", and a host of other well-penned original numbers. Throughout, Fowler steadfastly avoids the predictability of most blues discs by skipping boogies and shuffles in favor of mostly upbeat southern fried roots rock and road house stomps that would fit nicely on a Delbert McClinton disc. "Sugar Shack" is a swamp rock ode to an after hours club while "Sugar Lee" is a happily ever after tale about a failed romance that blossoms anew after the cleansing effect of time does its magic. "Wrong Side of the Road", on the other hand, is a tale of a woman gone bad with $50 placed in the right hands leaving someone dead. With a smooth lap steel groove, the cut lacks only the overproduction to make it something from an Eagles disc. Slowing things down a bit, Fowler wraps some sacred steel licks around the lyrics of "James", a sympathetic ballad of a man who gets knocked around his entire life, adding just the right amount of anguish to pull you into that tale. While those looking for straight blues won’t find a whole lot here, they will find some well played guitar, soulful vocals and rocking tunes. And sometimes, that’s just what you need. Smitty

Quick Links:

Blind Pig Records

Quick Links:

Blind Pig Records

JOSHUA REDMAN

Compass

Mar 4, 2009

Harvard-educated Joshua Redman provides an interesting musical experiment on this latest set -- employing two bassists for most the cuts, one in each channel, and at times doubling up on the drum section as well. The "double trio" format is unusual and Redman wasn't sure that the arrangements would work: Would the music be too "bottom-heavy" and weighted down? The results, on the contrary, are striking and most of the "doubling up" sessions made the record. I think the emphasis on the rhythm gives the songs a fresh feel and actually make Redman's fine sax playing stand out all the more. I liked the cuts that build up steam as they progress, such as "Faraway" and "Identity Thief," plus the generally upbeat selections "Hitchhiker's Guide" and "Round Reuben." For the upper crust, there's a unique interpretation of Beethoven's "Moonlight Sonata." J-Esoteric 03/09 Michael J.

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LOS FABULOSOS CADILLACS

LA LUZ DEL RITMO

Mar 3, 2009

LOS FABULOSOS CADILLACS LA LUZ DEL RITMO Los Fabulosos Cadillacs has been described as “Argentina’s hippest musical export pumping Latin heat into punk, reggae and fun for a wild ride that demolishes borders.” I can’t agree more after a seven year absence LFC has provided us with this year’s ultimate party CD. Most tracks on this disc blend all the genres listed above into an infectious groove that would fill any dance floor with a lot of hot sweat drenched body’s. Most tracks are LFC originals with the exception of their masterful cover of the Clash’s “Should I Stay or Should I Go.” If the Jammies or Grammy’s adds a category for best party CD of the year this disc should walk away with the award. Reviewed By: Gregg Saur

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DONNA ULISSE

Walk This Mountain Down

Mar 2, 2009

Feb 27, 2009

This Austin-based rock band has made some changes in the seven years since their last release. Their line-up has gone from being a quartet to a trio and they've moved from a major label to their own start-up label. Their sound is not much different than on previous releases, but this album simply can't compare to 2002's "Source Tags and Codes". That album was a bit more accessible while this one is at times poorly mixed and over-produced. While I think this album is okay as a whole, there isn't a single stand-out track on this one. Reviewed by Rebecca Ruth.

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THE JAMES TAYLOR QUARTET

New World

Feb 24, 2009

While James Taylor may be considered a master of the Hammond, he says he was inspired to make this piano-based album by the baby grand piano that he was storing for a friend. There is, however, plenty of Hammond, clavinet, and Fender Rhodes here to go around. While this band may be tight with their studio recordings, I think this leans more toward smooth jazz than on their more upbeat and interesting live releases. (Check out the albums "Live at the Jazz Cafe" or "Whole Lotta Live".) There is still some mildly interesting stuff here such as the opening track which features Gareth Lockrane on flute. The best track most definitely is "Hotwire" with its quick horn bursts and high-hat taps. Reviewed by Rebecca Ruth.

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NEKO CASE

MIDDLE CYCLONE

Feb 24, 2009

NEKO CASE MIDDLE CYCLONE This is Neko Case’s sixth solo release and showcases an artist that is growing with each release. Where 2006’s Fox Confessor Brings the Flood brought Neko into the spotlight and showed a more Pop side of Neko, this CD goes even further. This CD is pure pop, rock and at times soulful candy. To help with this disc Neko brought an army of friends including M. Ward, & members of the New Pornographers, Los, Lobos, Calexico and the Sadies. The true magic of this disc remains Neko’s voice wrapped around some well crafted and written songs. It was 3 years between discs, but I think most will agree that the wait was worth it. Reviewed By: Gregg Saur

Quick Links:

Neko Case Home Page

Keane's Official Website

Madeleine Peyroux Home Page

MO' HORIZONS

TEN YEARS OF

Jan 27, 2009

MO HORIZONS TEN YEARS OF Mo’Horizons music has always been a little hard to describe, so I am going to try; Sexy, Seductive, Bossa Nova, Jazz, Dance, Funky, Electronica, Caribbean Beats, Original and fun music are just a few adjectives that describe Mo’ Horizons. Located in Lower Saxony Germany or as they call Boss Hanover, the duo of Ralf Droesemeyer and Mark Foh Weizer have release 4 terrific studio discs over the past 10 years. This disc would represent a terrific place to start for the unfamiliar listener as it captures some of the finest on these discs. The bonus remix disc is also well done and will be a must for all fans of this duo. This disc should find a permanent spot in your CD changer for a long time to come. Reviewed By: Gregg Saur

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Raul Malo

Lucky One

Jan 26, 2009

RAUL MALO LUCKY ONE It’s been seven long years since we have had a full CD of all original tracks from one of music’s greatest voices. This disc doesn’t have the world beat influences found on 2001’s “Today” but is the closest thing to a Mavericks disc we have heard in years. These tracks were written and some recorded at Raul’s Nashville home over the past 2 years. The title track as well as “Moonlight Kiss” and “Hello Again” are all upbeat tracks and as solid as anything Raul had recorded with the Mavericks. “You Always Win” shows the softer Jazzy styling’s of Raul and in “Lonely Hearts” has the Tex-Mex sounds that have been a favorite of Raul’s. The track “Something Tells Me” has a certain Roy Orbison feel to it. Raul Malo has a voice that could make almost any song sound good, but this reviewer believes when he sings his own he is at his best. Reviewed By; Gregg Saur

Quick Links:

Raul Malo Home Page

Otis Gibbs Official Site

Official Alice Russell Website

JEB LOY NICHOLS

Parish Bar

Jan 10, 2009

Born in the Midwest and currently living in Wales, Jeb Loy Nichols has given us an album of ...um...folk/country/soul. I didn't know what to make of this until I found out his history and now, it all makes sense. Growing up, his mom listened to jazz and his dad listened to bluegrass. The Kansas City radio station he listened to as a child played country by day and soul at night. His teen years, were spent living in Austin, TX and sucking up the punk scene. Later, as a student at Parsons School of Design, in NY in the early 80's, the emerging rap scene influenced him. I can hear all these influences in this album. The opening track, "Countrymusicdisco45" tells a true story and has some soul in it. An interesting country/dub/reggae piece is "I'm Blue and I'm Lonesome Too". You want rock/blues/soul? Check out "'Neath the Cold Ground". One of my favorites is the soul groove of "Dr. Noblio". Reviewed by Rebecca Ruth

Quick Links:

Compass Records Website

The Parties on Myspace

Official Website

MARY RADEMACHER & RICK REUTHER

Two of a Kind

Dec 5, 2008

Local jazz musicians and long-time collaborators Mary Rademacher and Rick Reuther team up for a set of duets, mostly standards with an original (#10) and a chestnut or two thrown in for good measure. Maybe it's just my ear, but Mary seems to have the jazz chops here; I like her voice and phrasing. Rick's lines don't have the same zing. I also wish they would have resisted following the "Two of a Kind" theme to the nth degree -- with each trading lines back and forth on every song. That alone would have given the set some variety. Hard to recommend any one track here, although I liked their choice of late night comedian king Steve Allen's "Something Big" (#3). Song to avoid? "You Smell So Good" (#7), complete with sniffing sounds at the conclusion. 12/08 Michael J.

Quick Links:

Mary Rademacher's site

ERIN BODE

The Little Garden

Dec 5, 2008

St. Louis based Erin Bode's third release continues her journey from interpreter to songwriter. Her debut contained all covers as she modeled Eva Cassidy, an early influence; her second set contained a bunch of originals along with covers of Paul Simon and Mick Hucknall. This time, it's all Erin and/or her piano playing compatriot Adam Maness -- except for another Paul Simon song, "Born at the Right Time," which she does very, very well. She starts out strong with two fine compositions, "New England Friends" and "Chasing after You" -- and then pretty much keeps up the quality throughout. You can argue that this is NOT a jazz release, especially on the gently paced title track, but Bode and her band grew up steeped in the genre and those rhythms seem to be the basis for most of what's happening here. "Genre boundaries are being blurred these days," she says, and certainly at this station we applaud the creativity. 12/08 J-Contemporary (Vocal) Michael J.

Quick Links:

Erin's homepage

TRAVIS

Ode to J. Smith

Dec 2, 2008

For the eclectic ear and fans of the Brit Pop genre of music, Travis' latest release could be just what your ears have been craving. Led by singer and primary songwriter Fran Healy, the Scottish band from Glasgow, on this their sixth studio release of original songs, provides a set that captures the listeners attention throughout by keeping it fairly interesting. For instance, the first three pack quite a punch. "Chinese Blues" - the opener - a pop/rock and piano driven track is catchy and really quite good. This is followed by the title track, "J. Smith," - a song with a different sound that ends with a choir singing the final verse in Latin. The third, the short, sweet and grunge inspired "Something Anything" is surprisingly the first single off of the album - mostly because the previous tracks mentioned are stronger. Another song worth mentioning is the final one - "Before You Were Young." This is perhaps the most out-of-place song here, but maybe also the most beautiful as it accentuates Healy's depth and quality both lyrically and vocally. Aside from a few blunders such as the somber and vocally broken, "Broken Mirror," this collection of music from Travis is catchy and proves itself especially better with time. ~Reviewed by Jeff Bouma

Quick Links:

Official Travis Website

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PAUL REDDICK

SUGAR BIRD

Dec 2, 2008

Joined by the likes of Colin Linden, Hutch Hutchinson, Garth Hudson, Darrell Leonard and Joe Sublette, harmonica ace Paul Reddick has crafted a disc that continues the trend of his 2006 release "Villanelle", focusing on the edges of the blues rather than the well worn Little Walter path. There’s everything from "Morning Bell", which sounds like an outtake from a session with the Band, to slinky, atmospheric roots numbers, "I Will Vanish", to acoustic folk blues, "Breathless Girls", to big band style blues on the catchy "It’s Later than you Think". This rich musical backdrop serves to highlight Reddick’s finely honed writer’s eye for detail with tales of a woman as thin as turpentine, "Devilment", and a first person account of "John Lennon in New Orleans" where he imagines Lennon seeking anonymous comfort from loneliness with a Cajun girl. While Reddick made his initial splash as a harmonica player he unleashes it here more as an accent piece than a lead instrument with only the straight blues of "Block of Wood" featuring more than a quick flourish. Reddick’s nuanced vocals take center stage on most of the songs and weave a spell-binding web that the all-star musical cast pulls tight around the listener. Colin Linden’s production adds polish where needed but leaves enough edges to make these tunes stick. Smitty

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JOE LOUIS WALKER

WITNESS TO THE BLUES

Dec 2, 2008

With a long and storied career that has included stints with John Lee Hooker, Thelonius Monk, Steve Miller, Jimi Hendrix and others, singer/guitarist Joe Louis Walker has had the opportunity to soak up lots of influences which he shows off on this disc. Joined by numerous guests including Duke Robillard (guitar), Bruce Katz (keys), Doug James (sax) and Shemekia Copeland (vocals), Walker lays down some horn driven funk, "It’s a Shame", rockabilly, "Midnight Train", jazzy ballads, "Witness", blues filtered through the Rolling Stones, "Rollin’ & Tumblin’", acoustic blues, "I Got What You Need", harmonica driven shuffles, "Sugar Mama", and bluesy torch songs, "Lover’s Holiday". As if this diversity isn’t enough, the call and response of "Keep on Believin’" allows Walker to revisit his gospel days while the salacious "100% More Man" puts him firmly at the other end of the righteousness scale with the saucy lyrics made all the more potent by a smoking slide guitar that would have Muddy Waters grinning. Each of these cuts is delivered by Walker with a voice that evokes comparisons to Buddy Guy when he’s having fun and John Hiatt when he wants to get gruff. But, Walker doesn’t have to sing a word to take you on a musical journey: "Highview" is an instrumental scorcher that gives Walker and Robillard a chance to jam on guitars and Katz a chance to get the pot boiling at full steam with his scorching b3 breaks. Worthy of much play! Smitty

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Stony Plain

LUCKY DUBE

RETROSPECTIVE

Dec 2, 2008

Colbie Caillat's Official Website

THERESA ANDERSSON

Hummingbird, Go!

Oct 31, 2008

Born and raised on the Swedish island of Gotland, Theresa Andersson now calls New Orleans her home. This album was recorded in her kitchen and she often uses "found" instruments from her kitchen cupboards. The xylophone sound on "The Waltz" is actually soda bottles filled with varying levels of water. She also makes unconventional use of conventional instruments. Consider that the slide guitar sound in "Hi-Low" is actually a violin. All this adds up to a quirky indie-girl-pop sound that is both interesting and accessible. Reviewed by Rebecca Ruth.

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WINTERPILLS

Central Chambers

Oct 31, 2008

Oct 25, 2008

Rory Block was 15 and a guitar-playing prodigy when she met the 62-year-old Son House, recently rediscovered and back on the blues circuit. The experience left an indelible impact on her, and, more than 40 years later, she has released a set of Son House classics. The songs are played in the style of the great bluesman -- hard on the guitar and rough on the vocals. After all, if the blues were actually so real to you that they had actually taken on human form and you saw them "walkin' like a man," you'd sing with a bit of urgency, too. Son House always said he was the one who taught Robert Johnson how to play guitar; Rory doesn't doubt it and sees in the intracacies of the music (cf. "Jinx Blues," which she calls "an impossible series of strums and snaps") true genius. Her fine tribute to Son shows that Rory has the same stuff in her heart, soul -- and fingers. 10/08 Michael J.

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AQUALUNG

Words and Music

Oct 24, 2008

Commenting on his website, Matt Hales (aka Aqualung) writes: “I nearly called this album Heart Songs, because that’s sort of what they are...There’s something about the spirit of these recordings that feels like the start of something new. I don’t know exactly where it will take me, but it will be very interesting to find out.” What the singer/songwriter called the album instead is Words and Music and for good reason for what we find from this latest Aqualung collection are songs that are stripped down musically and yet heart-felt lyrically. This is no more noticeable than on the opener, "7 Keys." Hales sings: "Darling believe / You’re closer than anyone has even been / Oh baby don’t leave me alone / I'm yours for eternity / You hold the seven keys to my soul." An equally compelling tune is the lush and beautiful "On My Knees" - as the lyrics convey a focus on forgiveness and a yearning to make things right. The other standout track is the eloquent "When I Finally Get My Own Place," that paints life in relationship as a roller-coaster of emotions. Aside from the aforementioned, however, the majority of the album leaves the listener wanting something more - perhaps a little energy to combat the slow meandering of most of the songs. On the Paul Simon cover, "Slip Sliding Away," Hales finds some of this energy but the rendition as a whole doesn't seem to do justice to the original - a nearly perfect song that probably needs not be redone. So, while Hales may very well offer his heart, what is mostly lacking here are graceful, compelling, and beautiful melodies that will capture the heart of his listeners as well. For this, Aqualung fans may have to wait for something new or search someplace else. ~ Reviewed by Jeff Bouma

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TRUCKSTOP HONEYMOON

Great Big Family

Oct 21, 2008

TRUCKSTOP HONEYMOON GREAT BIG FAMILY Husband & Wife team Mike West & Katie Euliss otherwise known as Truckstop Honeymoon take off right where they left off with Diamonds in the Asphalt. There sound remains a mixture of old time country, bluegrass, folk & punk. Mike & Katie trade vocals on most tracks& the lyrics are at many times a humorous look at life, tragedy, love & themselves. This disc may not put them on the cover of the New York Times as they sing about on this disc, but it will certainly put a smile on your face as you listen to the 14 tracks on this very entertaining disc. Reviewed By: Gregg Saur

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Truckstop Honeymoon Home Page

JIMMY THACKERY & THE DRIVERS

– Inside Tracks

Oct 20, 2008

Jimmy Thackery and the drivers may simply be the finest 3 piece blues band recording today. This is Jimmy’s seventh release for Telrac and one of the finest from a blues man that has been a staple of the industry since the 1970’s. Jimmy mixes Blues, Rock, and Country & Jazz on this disc and keeps it interesting throughout all 10 tracks. This CD begins with a more laid back blues track “All Because Of You” & progresses into a rocking version of the “Promised Land” a track that could have easily been recorded by John Fogerty. Jimmy pens of his most political tracks on “Change the Rules” while Land Locked” is a terrific blues instrumental. On the” Blinking of an Eye” Jimmy explores his more sensitive country side. The ending track “{You got Me} Now What You Gonna Do” is a classic jazz instrumental with a real Chet Atkins feel to it. On this disc it doesn’t matter what genre Jimmy is playing you are listening to a guitar player, singer & song writer at the top of his game. - Gregg Saur

AMP FIDDLER SLY &ROBBIE

Inspiration Information

Oct 20, 2008

Oct 16, 2008

This two-disc set is the soundtrack to the film of the same name. The film is about the surf scene in two communities on Australia's east coast. The first disc features Aussie musician Shawn Lee and except for the first song is all instrumental. These surf-inspired songs are all good, be they at times funky or mellow with a cool groove. The use of harmonica in many of them lends a refreshing retro feel. The second disc features a collective of musicians from various Australian bands. It may be slightly more serene, but it is just as compelling as the first disc. The second and third songs on disc two, "Dylan's Wings" and "Sol Train" could be considered blues/rock as they feature vocals and some funky electric guitar. They are quite different from the other songs, yet they still fit in nicely. This disc is all around a really good listen. Reviewed by Rebecca Ruth.

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RAY LA MONTAGNE

Gossip in the Grain

Oct 16, 2008

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HANS THEESSINK ANDTERRY EVANS

VISIONS

Oct 15, 2008

Dutch acoustic bluesman Hans Theessink is a virtual mirror image of J.J. Cale with his laid back vocals and unadorned, yet catchy picking. This disc pairs him up with Terry Evans who is perhaps best known for his work, along with Bobby King, as vocalists for Ry Cooder. With Theessink singing the low parts and Evans soaring above him the two take on a few of their own tunes plus a handful of covers and cook up a wonderful roots music stew. Even though the instrumentation is kept relatively spare, the two cover a pretty broad range of sounds. "Got to Keep Moving" is driven by a dark, slinky percolating groove that would be at home on a Tony Joe White disc while their take on the Fats Domino cut "Let the Four Winds blow" is all sunshine and light. "Mother Earth" and "Come to the River" have a gospel feel while "Going Back Home" and the J.B. Lenoir classic, "Talk to Your Daughter" are pure blues. Dan Penn’s "At the Dark End of the Street" moves along at a meditative pace that is a stark contrast to the driving beat of Willie Dixon’s "You Can’t Judge A Book By the Cover", which gets added punch at the end from Bo Diddley who encourages the duo to keep up the beat. "Vicksburg is my Home", while written by Theessink, gets its power from Evan’s soulful vocals about going home. While many acoustic blues discs can be somber affairs, this is an often upbeat release that clearly was a labor of love for Theessink and Evans: the twinkle in their eyes is never more evident than on their upbeat take on "Glory of Love". Smitty

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Hans Theessink

TAJ MAHAL

MAESTRO

Oct 15, 2008

With a career that has passed the four decade mark and with countless albums and a couple of Grammy’s ® to his credit, Taj Mahal is a bona fide icon of American music. This wide-ranging disc is another stellar part of his legacy and includes guest appearances by a number of “A” list bands and performers as well as frequent collaborators, The Phantom Blues Band. Kicking things off with the soulful "Scratch My Back", a track most often associated with Otis Redding, Mahal moves easily through Reggae on "Never Let You Go" (featuring Los Lobos) and "Black Man Brown Man" (featuring Ziggy Marley) , funk, "Dust Me Down", (featuring Ben Harper) R & B, "Further On Down the Road" (featuring Jack Johnson), complex African rhythms, "Zanzibar" (featuring Angelique Kidjo and Toumani Diabate), blues, "Diddy Wah Diddy" (featuring the Phantom Blues Band) and "TV Mama" (Los Lobos) and percolating New Orleans second line grooves on the Fats Domino classic "Hello Josephine" and "I Can Make You Happy" (both featuring the New Orleans Social Club). The broad range of material allows Mahal to try on different voices ranging from the Omar Dykes style gut bucket growl of "I Can Make You Happy" and "Strong Man Holler" to the smooth, laid back drawl that makes him almost undistinguishable from Jack Johnson on "Further On Down the Road". The breadth of Mahal’s talent is evident as he moves through these various vocal styles, genres and musical pairings without ever sounding out of place. You would think that he’s spent his life with this material rather than just visiting it on his way to another musical frontier. Let’s hope the journey continues. Smitty

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The Official Smile Smile Website

THE IGUANAS – If You Should Ever Fall on Hard Times

Oct 13, 2008

Described by some as R&B, Conjunto, and Chicano Rock - meshed together with various Latin styles - The Iguanas undoubtedly carry with them such an eclectic sound on their latest and Katrina influenced release. With their first effort since 2003's Plastic Silver 9 Volt Heart, the foursome from New Orleans begin on a high-note with the Rock N' Roll infused title track, If You Should Ever Fall On Hard Times. Led by Rod Hodges on vocals, this song has a certain "flair" to it that warrants no small amount of attention while it showcases Hodge's vocals as kind of a Dylan/Springsteen hybrid. Another strong piece is Okemah, arguably the best sounding track that again shows the diverse sound of Hodge's voice that sounds something like Mark Knopfler meets Tom Petty. The Instrumental The Beep has a fun and yet mischevious sound to it that reminds one of the theme from Pink Panther. Another standout on this album is the accordion driven Back in the Limelight that highlights the opportunity for second chances in life as the lyrics imply with the following line: "I've done my time, it's my time to shine." Like their former release, The Iguana's also offer their listeners three Spanish language songs with the strongest of these being Celos Con Mezcal. However, neither one of these three is especially exciting enough to warrant repeated listens. Pelican Bay is another track worth mentioning as it offers up a care-free and electric piano laced ode to a place near and dear to ones heart. Rounding things off, the recording ends on a rather positive and hopeful note on the love song titled Warm Sun. While not their greatest set of music, considering what the group went through post-Katrina, The Iguanas do provide their fans with a noble effort and should be commended for it. – Jeff Bouma

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VARIOUS ARTISTS

– Les Paul and Friends: A Tribute to a Legend

Oct 13, 2008

This album featured a melting pot of great musicians paying tribute to Les Paul, and I liked the mixture of genres represented on this album. From Blues to Rock, this album doesn’t disappoint. My favorites tracks are 2-“The Walls Came Tumbling Down” (feat. Hiram Bullock) a bluesy piece with that patented Les Paul sound, (6)-69 Freedom Special, (7) Vocalise (feat. Slash), (8) I Love You more than You Know (feat. Mick Hucknall), and (9) How Long (feat. Jeff Golub) with just the collaborations alone on this album, you have a plethora of flavor for the listener. From lick to lick on the strings left me wishing I could play guitar like that and I actually enjoyed this album from top to bottom and would recommend it to anyone who loves guitar. –Corey Jones, WYCE Intern

Randy Brecker

- Randy in Brasil

Oct 13, 2008

Spectacular! A Melodic Latin Jazz recording from modern-day legend, the great Randy Brecker. Randy in Brazil was produced and arranged by Ruria Duprat at the popular Banda Sonora Studios in Brazil and features an amazing band formed around some of the best and most famous Brazilian musicians (including Ricardo Silveira) whose resumes read like a 'who's who' of Brazilian stars. Choosing the material from the files of Djavan, Ivan Lins, Gilberto Gil and Joao Bosco, Randy includes two smokin' hot originals for a tasty Latin production. You'll dig it; this is Brecker-Special! Randy Brecker has been shaping the sound of Jazz, R&B and Rock for decades. His trumpet and flugelhorn performances have graced hundreds of albums by a wide range of artists from James Taylor, Bruce Springsteen, Chaka Khan, George Benson and Parliament-Funkadelics to Frank Sinatra, Steely Dan, David Sanborn, Horace Silver, Jaco Pastorius and Frank Zappa. His solo recordings and rich performance history over the last five decades, as well as the wonderful Brecker Brothers efforts, have received international critical acclaim and have helped place Randy into a “living-legend" status. – AllAboutJazz.com

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ANAT COHEN

- Notes From The Village

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THE IGUANAS

If You Should Ever Fall On Hard Times

Oct 8, 2008

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ELEANOR MC EVOY

Love Must Be Tough

Oct 7, 2008

Dublin's Eleanor Mc Evoy gets grittier on this CD, using songs written by men (and not typically covered by women), as well as some new compositions of her own to convey some hard-learned and world-weary advice to those still fightin' for love and a decent life. The opener, "Mother's Little Helper" of Rolling Stones fame, starts with the famous line "What a drag it is getting old" and the hard-fought lessons of the narrator keep on coming throughout the tracks. But I didn't find the music depressing; rather it is delivered as sound -- if a bit lip-curled -- advice from a survivor. The title track sums it up, a fine new song by Eleanor, co-written with music legend Johnny Rivers (remember "Summer Rain"?). I liked the percussion-only background of Sly Stone's "If You Want Me to Stay" and the horns on the Van Morrison-ish "Roll Out Better Days." My hunch that Eleanor is, in the end, still encouraging us to keep on keepin' on was confirmed by the nod-and-a-wink rockabilly Nick Lowe closer "I Knew the Bride." Who needs Dr. Phil when we have Eleanor? 10/08 Michael J. F-Rock

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JOHN BROWN'S BODY

Amplify

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RATATAT

- LP3

Oct 6, 2008

This is RATATAT’s third studio album, a follow-up to 2006’s Classics. The duo, Mike Stroud and Evan Mast, recorded the album at Old Soul Studios, which is a large old house in upstate New York. The house was equipped with a wealth of keyboard instruments, but not so much in the way of hi-tech recording. Pretty much every instrument at Old Soul made it onto this record, giving it a broad palette of sounds. This record is much more dynamic than their previous two, with a leaning towards keyboards as opposed to guitars, and live percussion rather than programmed beats. The album was mixed down onto 1/4 inch tape, which has given it another layer of atmosphere. LP3 is timeless, yet very now.-LaRae

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Various Artists -

The Champions of R&B

I'd have to describe this as atmospheric pop-rock. Some songs start delicately and become quite lush as different musical elements are added, such as the first (and best) song, "Brownblue's Passing". Another good one is "Chicago" which offers nice harmonies and seems somewhat melancholy. "Happy Yellow Rainbow" is almost prog/rock and has some nice piano breaks in it before it becomes somewhat heavy (in a good way). To put it in a nutshell, I rather liked this offering from these Oklahoma City boys. Reviewed by Rebecca Ruth.

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Quarterstick Records

JOHN PATTON

Soul Connection

Sep 30, 2008

John Patton passed away in 2002. This is a re-release of a 1983 album. This is some fine jazz, featuring Mr. Patton on the B3 organ. To sum this thing up, I'd have to say that the best song is the title track with Alvin Queen being an absolute monster on the drums. Then there is "Pinto", a big band/blues piece. "Extensions" offers some nice fretwork from Melvin Sparks on guitar. All the musicians have a moment to shine in the swinging "Space Station". The last tune, "The Coaster" has a nice groove while featuring Grachan Moncur and Grant Reed blowing their horns with muscle. Reviewed by Rebecca Ruth.

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Justin Time Records