Take Me To The Pilot - What Makes You

Take Me To The Pilot – What Makes You
2013, Take Me To The Pilot

Winnipeg quartet Take Me To The Pilot might be Manitoba’s best kept secret, but not for long.  With a full bodied rocket and roll sound, and a penchant for the sort of pop hooks that leave radio programmers breathless, Take Me To The Pilot is on the ascent, and their sophomore release, What Makes You, might just the vehicle that brings then international attention.

What Makes You opens with the sonically pleasing alt-rock of “Baby We’re Gonna Be Rich”.  Fired by a big rock and roll hook and a positive outlook on the world, this is the sort of hope-filled pop rock song that has been out of vogue since before the days of grunge.  Take Me To The Pilot has a potential hit single on their hands here.  “Carry You Back” it balladeer rock in the style of the Goo Goo Dolls.  A memorable chorus and pleasant lead vocal from Mike Bilenki make this a AAA radio programmer’s dream.  “Right Now” shows Take Me To The Pilot’s frenetic pop tendencies in a fast paced toe tapper.  The full sound here is great for a concert hall or open air amphitheatre, and will sound equally appealing as the backdrop for a scene from a motion picture.

“Time’s Up” plays on the same sonic playground as “Right Now”, and has an irresistible pop hook at its core.  Fans of The Replacements, Train and Plain White T’s will like the sound mix here.  Things slow down a bit for “Travelin’ Heart”, a tortured dialogue between the musician and the love he leaves at home when out on the road.  There’s no big finish here, just a representation of the push and pull in such a relationship.  Take Me To The Pilot keeps up the string of sing-along choruses here while one again reminding listeners of the Goo Goo Dolls. Take Me To The Pilot winds up with “What About The Time”, an almost jubilant sounding, post-break up attempt to put things back together.  This is already set for radio programming or movie placement, with an irrepressible pop hook and the polished sound of a major label band.

Take Me To The Pilot combines high quality songwriting, delicious pop hooks and a stadium ready sound on What Makes You.  On top of it all, Take Me To The Pilot manages to capture some of the uncomplicated joy of 1980’s pop/rock music.  What Makes You will make you a fan.

Rating: 4 Stars (Out of 5)

Learn more at www.tmttp.com. 

 

The Waltons - Live In Buffalo - May 4, 2013

 

The first time I saw the Barenaked Ladies was in a truck garage-turned-bar called The Ikon, in Buffalo, NY.  With approximately 400 people crushed into a space that legally allowed about 250, it was quite a death defying experience.  Perhaps the biggest surprise of the night, however, was the opening act.  A four piece from Regina, Saskatchewan called The Waltons.  The Juno Award winning group had an independent album, Lik My Trakter, which was in the process of being optioned by WEA Records Canada, and brought their own inviolate energy to a catchy mix of acoustic folk and rock and roll.  Warner never really supported The Waltons, and in spite of placement on one of the Friends soundtrack collections the band never really took off in the states.  Nevertheless, the band was among the most talented to come out of the Toronto Indie scene of the early 1990’s.

The Waltons went their own ways in 2001.  Jason Plumb has gone on to become one of Canada’s most respected singer/songwriters, both independently and with his band The Willing.  By 2013, the band hadn’t been in the same room in about eight years, but on one mild spring night last weekend in North Buffalo, The Waltons were reunited in the living room of a friend.  For the stretch of thirteen songs, the Waltons were as vivacious and alive as ever they were.

This particular lineup included Jason Plumb on vocals and guitar; Keith Nakonechny on bass and vocals; Sean Bryson on drums; and Jeff McLeod (Jason Plumb and the Willing) filling in for Todd Lumley on keys.  In spite of not playing together in close to a decade, the Waltons were on.  Jason Plumb joked about not having the range he once had, but the appreciative crowd never took notice.  The set was heavy on tunes from the band’s first album, and in spite of years apart The Waltons didn’t miss a beat.  Fan favorites such as “The Middle Of Nowhere”, “Colder Than You”, “Michaelangelo’s Tummy” and “Beats The Hell Out Of Me” were well received, but the biggest reactions were for “Colder Than You” and “In The Meantime”.

The Waltons worked their way through ten songs, and were enticed into playing three more by the small but enthusiastic crowd.  “I Could Care Less” got everyone moving, but the band’s cover of Simon & Garfunkel’s “The Boxer” was a highlight of the night.  The words didn’t come to memory easy, but the performance had an impromptu and fun feel that was very laid back.  The detour into David Alan Coe’s “The Rodeo Song” in the middle might have had something to do with it.  The Waltons had one more hit in them before the night was through, bringing down the house with “The Naked Rain”; a long time fan favorite.

This year marks the 20^th Anniversary of Lik My Trakter, and The Waltons plan on playing a handful of club gigs to celebrate.  Regina, Toronto and Buffalo are sure to be on the agenda.  Dates will be limited because the band members all have families and careers these days, but if this house concert was any indication, The Waltons have still got it.

Uncle Devin - Drum Tales

Uncle Devin - Drum Tales
2012, Uncle Devin Productions

Uncle Devin, also known as Devin Walker, is a renowned percussionist who uses his love for rhythm to educate children.  While music is the focal center of The Uncle Devin Show, Uncle Devin’s target audience also learns about personal safety, making healthy choices and character education points such as honesty.  Uncle Devin has an easy-going air that at times risks being too casual, but he seems to have a genuine interest in helping children to learn and grow.  Uncle Devin’s debut album, Drum Tales, tackles a wide range of kid-friendly topics in interesting and sometime awkward fashion.

Drum Tales gets rolling with the "Uncle Devin Theme Show", a catchy song/speak tune with some funk in its roots. This is very low key and lo-fi compared to a lot if children's show themes out there, but speaks from the heart about learning, having fun and being the most you can be. The response parts, presumably by kids and their parents sound a bit canned, and this gives the song a hokey feel. "I Like Onions" finds Uncle Devin waxing poetic about his favorite vegetable. The song is lyrically awkward, and Uncle Devin has significant issues with pitch. The Green Eggs and Ham paraphrase used here just serves to illuminate the rough edges in Uncle Devin's own words. "Africa" delves into an Afro centric metaphysics while emphasizing the rhythms and geographic highlights of the continent.

"Drum Roll Call" teaches about Latin rhythms and the instruments used to create them. "Me And My Drums" plays on the same theme but with a more generic beat in mind. The plaintive arrangement is repetitive and gets lost in its own sense of ennui. "Good Health" implores Uncle Devin's young listeners to adapt healthy habits, from washing hands to eating healthy to avoiding bad things. The extended introduction here is likely to lose out to the attention span of his audience. Likewise, the generalizations here serve as well intended but may not have a lot of impact with his intended audience.

"The Victory Horn" implores students not to give up no matter how bad things get. It's a great message, but the repetitive nature of the song and banal lyrical approach make this a tough listen. "Don't Put Your Business on the Internet" is a drudging chant against the dangers of putting personal information on the net "because people will research you and try to hurt you." Once again, the thought behind this is great, but the presentation is tough. "Just One of Those Days" bemoans a morning where nothing goes right. There's a catchy element here, as Uncle Devin gets a nice flow going. The awkward transitions are still here, but the overall presentation works. Uncle Devin closes with "Tell the Truth". The song starts with a brief skit and then moves into an overly repetitive spoken word/rap. Once Devin gets beyond the repetition there's sort of a "Fresh Prince of Bel Air" feel to the song. It's a great moment for Uncle Devin and is likely to play well with the under ten crowd.

Drum Tales is a heartwarming, beautiful in its intent and often messy.  Uncle Devin does best when sticking to his talk/sing style.  Notes just don’t come out as they are intended more often than not.  The lyrical content is hit or miss, depending on whether Uncle Devin prizes creativity or structure within the framework of a specific song, but his heart is always in the right place.  This is a fun album for kids.

Rating: 3 Stars (Out of 5)

Learn more at www.theuncledevinshow.com. 

Keznamdi - Bridging The Gap

Keznamdi – Bridging The Gap
2013, Keznamdi

Keznamdi is an ambassador, of sorts.  You see, the man was born to make music.  His parents, the co-lead vocalists of international reggae band Chakula, immersed their children in music from a young age.  Keznamdi came to the United States to attend college for the opportunity to broaden his musical experiences and opportunities and to play Division I soccer.  Both opportunities served him well, and Keznamdi is now building the foundation of his own career in music.  Keznamdi’s debut EP, Bridging The Gap, shows an artist who overcomes genre and misunderstanding in one fell swoop.

Bridging The Gap kicks off with “Darkness”, a message to the politically and powerfully way placed that they will not get away with exploiting the poor.  It’s a pre-revolutionary message that is powerfully in simplicity.  The message will carry well in the current day and age, and Keznamdi builds around it an arrangement that’s equally fitting for a dancehall or a radio playlist.  Kabaka Pyramid lends his talents here.  “My Love For You”, featuring Chronixx, is a radio friendly love song that mixes Reggae, pop and R&B.  Keznamdi is convincing and charismatic here, and the song works on several levels at once.  “I Don’t Wanna” is the sleeper on the album, but with just voice and a rhythmic acoustic guitar.  This was a pleasant surprise, and may ultimately be the most radio friendly track on the album.  Give this the right remix and it will be a dancehall hit the world over.

“Weekend” is a mooning ballad that gets stuck under its own weight.  This is perhaps the weakest track on the album, but Keznamdi manages to sell it anyway.    “Just Vibe” works on the simplest level.  It is a clear reflection of what the artist wants to find.  From a songwriting perspective it’s passable, but doesn’t have the strength of its convictions to make it all happen.  Keznamdi closes with “I Don’t Wanna”, a wonderfully catchy mix of reggae and folk that you won’t be able to get out of your head.  Once again, with the right remix this could be a major hit.

Keznamdi brings a positive vibe to Bridging The Gap, exploring love and social justice amidst generally well crafted and occasionally catchy songs.  There are rough spots, of course, but Keznamdi overcomes with a gentle force of personality and presence.  Bridging The Gap does more than its name; it redefines the boundaries for reggae in the popular Rome.

Rating:  4 Stars (Out of 5)

Learn more at www.keznamdi.com. 

Harmonic Blue - Villa Borghese

Harmonic Blue - Villa Borghese
2012, MondoTunes

Harmonic Blue is the coming together of Zach Field, Gabe Bustos, Anthony Ajluni and Sam Balcom, for very distinctive musicians with varying musical backgrounds.  This unsung super group creates some of the most lushly crafted pieces of musical experimentation around. Harmonic Blue’s latest efforts are documented on the album, Villa Borghese.

Harmonic Blue kicks things off with "Hey", a needful tune looking for a tryst. The vocal line is a bit bland and a bit too low in the mix, but there's some fantastic guitar work going on behind the scenes here. "NO8DO" is a brief finger style guitar instrumental that sounds as if it wants to be part of a song. It's an incomplete idea with potential. "I Go, She Goes" follows the path of a relationship that is all in the mind. Once again, the vocals are passable, but the guitar work is inspired by some of Hendrix' more melodic work. The compositional style here is complex and longitudinal, like one of Sting's post-jazz transitional pieces.

"Silver Spoon" rests firmly in the angst of an adult child with an overbearing parent. Vocalist Zach Field sings with a passive air of being trapped in the perceptions of others while bemoaning his fate. The music is worth digging into, even if the vocal is stretched a bit thin. "Subreality" is an expansive musical exploration at nearly six and a half minutes. Guitarist Anthony Ajluni has some of his finest moments here, waxing poetic on six strings like an artist in thrall. "Villa Borghese" picks up the unfinished thought introduced in "NO8DO" and carries it to its logical conclusion, which turns out to be none at all. Instead we are left with a musical epigraph that fades in and out like the very rhythm of life. Harmonic Blue closes with the evocative and expansive sounds of "Sturgeon Moon", winding down on a melancholy and decidedly disarming note. The same musical dynamics found throughout the rest of the album are present here, with Zach Field reaching to the edge of his range and Anthony Ajluni laying down a lush sonicscape on which he can play.

It is the proud stoic musician who can stand up to the slings and arrows of pop music without flinching.  Harmonic Blue is lucky enough to have four such musicians in one ensemble.  The result is a world class sound, with four instrumental voices mixing in angelic fashion.  The lead vocal is stretched a bit thin at times, but the band makes it all work out in the end.  Villa Borghese is a memorable experience.

Rating: 3.5 Stars (Out of 5)

Learn more at www.reverbnation.com/theharmonicblue.

 

 

Sasha Papernik - Victory

Sasha Papernik – Victory
2012, Sasha Papernik

It was 2011 when I first heard of Sasha Papernik.  Her album with Sasha & The Indulgents, Love In A Box was one of the biggest surprises of the year.  The classically trained, first-generation Russian-American singer/songwriter showed a depth of musical and human understanding that was breathtaking.  A lot has changed in the last two years:  Papernik is now billing fully under her own name, and her depth and maturity as a songwriter has grown.  Papernik now writes with the confidence of an established star, and her muse seemingly knows no boundaries.  Papernik’s latest album, Victory, is an eye opener.

Kicking things off with the title track, Papernik uses a pop-noire sound to call out a man who played her.  The dark undertones in “Victory” are straight out of Russian musical heritage, and give the song a wonderfully complex musical flavor.  “Kiss Me Fast” is an impetuous entreaty written in a 1960’s girl pop sound.  It is a memorable tune that will return to your mind at odd moments.  “Oy Moroz, Moroz” is a wonderful little blend of blues, rock and folk, with Papernik singing in both Russian and English.  Try to keep your foot still, as Papernik and her band work through the incredibly catchy and tight arrangement. 

Papernik will delight listeners with “Solitude”, a singer/songwriter piece underwritten by a deliciously sly little tango.  It’s just piano and voice this time around, but Papernik leaves the stunning impression of an impresario at her best.  “Whispering Tree” is a nice change of pace; a swaying cabaret-pop number with dark undertones that’s simply gorgeous.  It’s time to waltz when Papernik launches into the Russian folk song “Tonkaya Ryabina”.  You’ll be seduced by the three-step rhythm, and lulled by the utterly beautiful arrangement Papernik has built around it. 

Papernik shows off a bit of a country flavor on “Polina”, a bit of musical counsel to a friend who has fallen off the marital path.  Driven by a pure singer/songwriter pastiche, “Polina” is an enjoyable side trip.  “Wrong Side Of Twenty-Five” is the sort of character sketch in song that is among the most difficult to write.  Papernik is working out the kinks of the process here, but it is a solid effort and bodes well for the future.  She goes Baroque on “Luchina”, a classically-themed pop piece with a pretty melody you’ll want to repeat.  “Wildwood Flower” is a catchy little tune that that takes you by surprise.  You may not take particular notice of it the first time you hear it, but it quickly grows on you. 

“Peter’s Letters” is am ambling and ambitious reminiscence, but is too weighty for its own good.  It’s the only song on the album you’ll be tempted to skip, but Papernik is so engaging even here that you’ll stick with her through the tune.  Papernik has one more star turn in her, however, as she shows on “Take It As It Comes”.  This is pure singer/songwriter material, encompassing styles including country, pop and a touch of Baroque classical.  Papernik then bows with the gentle piano-pop of “Tall Grass”, which leaves the listener with an endearing image and sense of peace.  It’s a solid closer that’s a bit anti-climactic, but not a bad choice. 

Sasha Papernik embraces her classical roots on Victory, writing a genre-bending album with distinct pop sensibilities but a master’s sense of melody, harmony and precision.  Papernik is also a credibly story-teller, engaging listeners with tales and sketches in song that draw in as they color the musical landscape.  Papernik’s voice is a joy to listen to, and she is a consummate performer.  Victory is aptly named, and turns out to have been one of the finest releases of 2012

Rating:           4.5 Stars (Out of 5)

Learn more at www.sashatheband.com. 

Maria Dunn - Piece By Piece

Maria Dunn – Piece By Piece
2012, Distant Whisper Music

Maria Dunn is perhaps one of the finest folk singer/songwriters Canada has to offer.  The Scottish-born performer who makes her home in Edmonton has one Juno nomination (2002) and two Independent Music Award nominations (2013) under her belt. Her songs have been covered by such artists as Niamh Parsons, Bob Bossin, Aengus Finnan and The Outside Track.  Dunn’s fifth album, Piece By Piece, documents the story of immigrant textile workers at Edmonton’s GWG factory.  Stark, lonely and beautiful, just like their protagonists, Maria Dunn’s songs shine like the gems that they are. 

Dunn begins by documenting the act of leaving home to make a better life in “I Cannot Tell You”.  She gets all sides of the story here, from the love of those who send a child off to greater opportunity to the loneliness and determination of the one who moves on.  Dunn captures the beautiful rough edges of humanity in song here, with a voice that is as wonderfully hand-crafted as her songs.  “Speed Up” deals with the plight of the worker, of whom more is always expected without the commensurate rise in recompense.  What starts as a challenge to improve becomes a race to keep up, else opportunity is lost.  “Blue Lung” documents the malady of textile workers in a denim factory.  Dunn’s arrangement is perfectly fit to the tale of an inevitable conclusion for those who (quite literally) give their life to the factory.

“Assunta’s Song” covers the worries and hopes of the wife of a World War II soldier who is working while he is away.  Gypsy violin dots the soundscape here, intermittent to some haunting vocal harmonies.  Dunn finds a perfect moment in song and seems to live it as if it were her own experience.  This is a powerful voice, and Dunn’s voice is absolutely gorgeous.  “Shareholder’s Reel” is something of a social revolt amongst workers against the big wigs.  The push for more and more is stopped dead in its tracks by people rising up in their own interest.  It is the spirit that led to organized labor in the U.S. and Canada that inspires this song; A spirit that was needed for a time when workers rights were thoroughly trod upon by robber barons and thieves.

Dunn finds another moment of perfection on “Immigrant Dreams”, with her voice carving out of the either the eternal reach for a better tomorrow through hard work, love, dedication, and a sense of honor that is an afterthought today.  For all that has come before, there is little to say or do to prepare the listener for “Lullaby”.  Dunn finds a moment of musical transcendence in a simple arrangement that is haunting and beautiful.  If you aren’t moved you simply aren’t listening.  Dunn closes with “Farewell”, a solid end to a memorable album that serves as balm and reminder of the struggle documented herein.

Maria Dunn blends Celtic, folk, bluegrass and old school country in wondrous ways throughout Piece by Piece.  Her songwriting is exquisitely crafted, underwritten by a keen storyteller’s sensibility.  It’s not uncommon to find storytellers who are fair songwriters or vice versa, but Dunn is the complete package.  Her arrangements, simple or otherwise, are as expressive as her words.  For all of this, it is Maria Dunn’s voice that makes the sale.  Beautifully imperfect, and full of the haunting qualities of loneliness, love and pure will, Dunn’s voice rings true of conditions both human and divine.  Maria Dunn is one of a kind, and Piece by Piece can be nothing other than a Wildy’s World Certified Desert Island Disc.  This one’s an instant classic.

Rating: 5 Stars (Out of 5)

Learn more at www.mariadunn.com.