Rachel Epp - Rosary

Rachel Epp – Rosary
2010, Rachel Epp

Rachel Epp grew up a farm girl, with the seeds of country and folk music sewn into her musical soul.  Artists such as Dolly Parton, Alison Krauss, Patty Griffin and Kathleen Edwards taught her what great songwriting is, and Epps applied these influences into the making of her own style.  The result is compelling; a storytelling style of song craft that is deeply personal and full of a vibrant intensity that never weighs too heavily on the listen.  Rachel Epp’s sophomore effort, Rosary, builds on her ability to use words to paint pictures that nearly come alive.

Epp kicks things off with “Ghost in the Graveyard”, an ode to young love full of summer nights and endless dreams.  With a radio-ready chorus and a sweet, instantly likeable voice, Epp makes a great first impression.  “East of the River” explores the dichotomy of being comfortable with one person but wanting more.  The demarcation here is New York’s East River, and the two sides are different worlds with different realities.  Epp brings out the beauty of where she wants to be and the indecision that accompanies it in a lush arrangement that wraps around you and pulls you into the story.  “Virginia” has a more plaintive feel, an ode to the transient feel of home once you’ve found a life elsewhere.  The full acoustic-electric arrangement is comfortable even as it explores emotional nooks and crannies that are often less so.

“Beautiful Like This” is full of melancholy memories of happy moments, and an awareness that tomorrow’s memories might be much the same.  It’s a beautiful reminiscence of now, full of an understanding that life is fleeting and memory, in the end, is all we are left with.  Rachel Epp writes much deeper than you might first assume, and that is never clearer than in this moment.  Rosary bows with “Wasted”, a country-tinged number that shows off Epp’s voice in its lonely beauty.  The straight-forward singer/songwriter style is enhanced by Epp’s flowing melancholy and darkly sweet arrangements.

Rachel Epp mesmerizes with doses of beauty and melancholy on Rosary.  Epp surprises you; wrapping you up in her stories with a voice that lulls and a sense of imagery that is sublime.  Rosary is not to be missed.

Rating: 4 Stars (Out of 5)

Learn more at www.rachelepp.com. 

The Steeldrivers - Hammer Down

The Steeldrivers - Hammer Down
2013, Rounder Records

In a town like Nashville you have four strata of musicians: The mega-stars, the headliners, the session/side musicians and the hungry newcomers or hangers-on.  Everyone knows the mega-stars, and most people would know a song or two from the headliners.  The kids are still trying to find their place and the hangers on are the lifers who never ‘make it’ but never give up. In betwixt and between them all is perhaps the most talent and dedicated group of musicians you will ever find.  These are the people who fill in the cracks on recordings for all of the above, from the new unknown working with an established songwriter to the biggest star on Music Row.  They are the session players and touring musicians.  These folks make their living playing music and supporting the muse of others.

Many of them play several instruments better than you or I will ever master one.  Many of them are singers and songwriters and arrangers and producers and anything else they can learn to keep them near the music.  Every once in a while one of these players will break out on his/her own.  That’s a parallel for the story of The Steeldrivers: Five highly successful musicians who have spent their careers playing the music of others.  Yet this dedicated group has been recording since 2006, and has become both critical darlings and crowd pleasers.  The Steeldrivers have recorded individually with some of the biggest stars in all of popular music, yet when they come together as one organic whole something special happens. The Steeldrivers return on February 5, 2013 with Hammer Down, perhaps their most sonically perfect work to date.

Hammer Down kicks off on the toe-tapping bluegrass of "Shallow Grave", featuring a memorable melody and exquisite vocal harmonies. That trend continues on "How Long Have I Been Your Fool", which takes a classic theme of betrayal and reworks it in wonderfully tuneful fashion. "When You Don't Come Home" completes a trio of dysfunctional or atypical relationship songs that open the album. This is the most infectious of the three, with primo vocals and some prodigious picking and fiddle playing involved as well.

"I'll Be There" takes this theme on a new direction, exploring in melancholy overtones the expectation, born of heartbreak that things will come back around. The melody here is nothing short of gorgeous, and the violin solo seems inspired by the late, great Stephanne Grappelli. Another type of darkness infuses "Burning' The Woodshed Down". Lead vocalist Gary Nichols sounds a great deal like Trout Fishing In America's Keith Grimwood, but perhaps never more than here. Perhaps even more intriguing, Tammy Rogers' harmony vocals make it sound like Alison Krauss is sitting in.

"Wearin' A Hole" is all about dancing (and drinking) as an escape from worldly troubles. It's a   feeling better song with a catchy mid-tempo arrangement that should make line dancers everywhere happy. "Lonesome Goodbye" is ripe with classic country melancholy. The brilliant melody is allowed to ride on the wave of an easy going arrangement that highlights its inherent beauty. The Steeldrivers launch next into the high energy bluegrass of "Hell On Wheels", the story of a small town girl gone wild. Full of frenetic energy and frantic instrumental work, you'll be jumping out of your seat when this little number comes on. "Cry No Mississippi" plays on the theme of falling out of love in a small town and having to see your former love on a regular basis. The bluesy folk arrangement is a perfect match for the pragmatic lyrics. Hammer Down comes to a close with the jaunty "When I'm Gone", which features the distinct melodies, vocal harmonies and instrumental prowess that seems to define The Steeldrivers. It's a sonically appealing way to say goodnight; one certain to bring listeners back for another go 'round.

The Steeldrivers suck you in and wrap you in their ever loving arms on Hammer Down.  Ten songs chock full of classic country heartbreak and neurosis await you, wrapped in amazing bluegrass arrangements bursting with irresistible pop hooks.  The chemistry here is amazing, and Hammer Down is a can’t miss listen.

Rating: 4.5 Stars (Out of 5)

Learn more at www.steeldrivers.net. 

Jeff Black - B-Sides and Confessions, Volume Two

Jeff Black – B-Sides and Confessions, Volume 2
2013, Lotos Nile Music

Jeff Black brings old school, road-warrior attitude into the digital age.  No stranger to the highways and byways, Black also uses his podcast, Black Tuesdays, to connect fans and try out new things.  The result is that Black has one of the most fervent followings in the alt-Americana genre.  Acknowledged as a top-notch songwriter, Black has had songs recorded by artists such as Alison Krauss, Waylon Jennings, Dierks Bentley, Sam Bush and Blackhawk.  Jeff Black returns on January 15, 2013 with B-Sides and Confessions, Volume 2, and just like a train with cargo to deliver, Black shows no signs of slowing down.

The confessions begin with “All Right Now”, a musical monologue for a man who has gone through hell and come out the other side.  The folksy-blues arrangement is subtle and not overdone, allowing Black’s rough-hewn voice to hold sway.  It’s a compelling opening salvo. “Molly Rose” takes on the expected Celtic air in a tragic song of love and valor.  It’s a reminder that sometimes when you win you lose, and sometimes when you lose; you win.  Black’s deft handling of the vocal/story-telling is a master-class in the art of the singer-songwriter.  “Avalon” is about a man willing to forsake all for a magical world.  This quixotic quest plays out in spite of loved ones at home, and listeners can argue over whether the quest is noble or ill-gotten, the picture of a man obsessed to move heaven and earth to find a dream is crystal clear.

Black next settles into the plaintive tones of “Impala”, a quiet contemplation featuring Black’s voice intermingled with piano and guitar.  This ‘down’ moment has the air of quiet reflection, a moment not generally open to the air revealed here in song.  “Alice Carry” is a quiet reflection on love; marriage, family and a life full of memories.  Black brings the character of Alice alive here as a living, breathing person full of the spark of life.  Memories flow like laughter and tears, and the characters and places Black describes are palpably real.  “Days On End” has a listless feel – not the song but the character; a deep melancholy and fatalism descend over the song like a pall.  Artistically and musically this song is striking, though one of the quieter moments on the album.

“Miss Me” has a sort of trouble beauty to it.  It’s a song of apology from a man who went away and is finally finding his way home.  Reasons are hard to come by, but understanding of his needs descends all the same.  It’s a song full of human frailty and need from a man who is still trying to figure things out, but finally understands where he belongs.  Black gets down to an old-time country/folk feel that’s reminiscent of Bob Dylan in “A Evil Lesson Is Soon Learned”.  This entertaining number has a free-form feel that’s catchy, but Black doesn’t sacrifice an ounce of his story-teller’s pastiche in the process. 

“Good Old Days” is a song of wisdom, reminding listeners that these are the days we will one day look back on.  It’s a carpe diem message of sorts; a reminder to make the most of the moment so that when you look back to here one day it’s not with regret.  Black’s gritty vocal is the perfect match to a minimalist arrangement that nevertheless explodes with quiet energy.  “True Love Never Let Me Down” is a Springsteen-esque declaration of simple truths.  Black explores the song’s backwaters with a tumbling arrangement that seems to accentuate the thought behind the lyrics, but the declarative nature of the song and its repetitive theme lend power to the message.  “Remain” is another quiet reflection on simple truths.  Love and the ties that band are the powerful magic in this song, and Black navigates them as a man who never truly understands but appreciates the magic nonetheless.  B-Sides And Confessions, Vol. 2 closes with the contemplative strains of “Sunday Falling”, nicely wrapping the song cycle with memories of an idyllic Sunday afternoon.  Black paints pictures with words here that are hard to ignore.

Jeff Black brings gritty beauty and grace to a collection of memories, stories and observations on B-Sides And Confessions, Vol. 2.  If we’re never entirely clear on where the lines between memory, reverie and hope stand then nothing has been lost.  Black paints over the edges in seamless fashion, allowing the listener to suspend disbelief for an hour or so and simply be in the music.  This is, perhaps, a musicians’ greatest gift to his/her fellow man; the ability to transcend, suspend and simply be.  Black plies that gift, that talent, to perfect here.  B-Sides and Confessions, Volume 2 is nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more at www.jeffblack.com. 

Tommy Shaw - The Great Divide

Tommy Shaw – The Great Divide
2011, Pazzo Music/Fontana

Tommy Shaw is something of a rock n roll icon.   As one of the principal songwriters and vocalists for rock group Styx since 1976, Shaw (and the band) has cut a career path worthy of inclusion in the Rock N Roll Hall Of Fame.  Shaw has spent his share of time on other projects over the years, cutting four solo albums, two albums with Damn Yankees (Ted Nugent, Jack Blades) and three as part of Shaw/Blades.  Shaw has also appeared on a number of tributes and collections over time.  With a tenor voice that’s instantly recognizable, it’s no surprise that some Shaw’s songs (“Fooling Yourself”, “Renegade”, “Too Much Time On My Hands”, and “High Enough”) continue to be staples on classic rock radio.  Shaw’s latest album takes him down a new road.  Working with some of the finest bluegrass session players around, and with guest appearances by Dwight Yoakam, Alison Krauss and Brad Davis, Shaw’s The Great Divide is an absolute delight.

The Great Divide opens with “The Next Right Thing”, a wonderful blend of pop/rock songwriting and bluegrass style.  You could easily hear this tune appearing on a Shaw/Blades album or even as a rock number by Styx, but the bluegrass sound seems to fit perfectly.  The picking here is incredible; the backing band the real deal.  Yoakam sits in on backing vocals, adding his sound to a complex arrangement full of movement and zest.  Shaw is in fine voice here.  “Back In Your Kitchen” explores love as expressed through the culinary art.  Shaw’s songwriting is sharp and full of good humor, with a light feel that’s sweet and enjoyable.  The instrumentation here is deliriously good, and the vocal line is flawless.  “Sawmill” almost sounds like it could be Shaw playing with Union Station, matching the latter stylistically in a catchy, old-school country sound.

“The Great Divide” is sweet and melancholy; full of great hope and love.  Shaw manages to capture a bit of the high lonesome sound here at times in a ballad with a modern feel.  Alison Krauss adds her sweet voice on backing vocals.  “Shadows In The Moonlight” is a hauntingly tragic love story told in song.  Shaw manages an exquisite arrangement full of dark beauty.  “Get On The One” is a high energy turn about grabbing onto your dream and following it to fruition.  This is a theme that Shaw has revisited throughout the years in his songwriting, but remains fresh in an allegory of trains and contemporary bluegrass styling.  “Umpteen Miles” finds Shaw trying to sound like an Appalachian back-porch singer on the first verse.  It works to a degree, but the sound is much better when he graduates to his higher range for the chorus.  The story-song is brilliantly written and told; however, exploring the life of someone irrevocably tied to the land he grew up on. 

“Cavalry” is a sweet little love song built around traditional instrumentation and a wonderfully fresh pop sensibility.  “Afraid To Love” is pure Tommy Shaw; a pure pop ballad with bluegrass instrumentation.  “Give ‘Em Hell Harry” is a talk/sing number about Harry Truman’s musical career and how he stumbled into the presidency, suddenly communing with the likes of Stalin and Churchill.  It’s an entertaining turn; a nice change of pace.  Shaw closes out with “I’ll Be Comin’ Home”, an Americana/rock number done up in bluegrass instrumentation.  This is great songwriting, pure and simple, and Shaw’s iconic voice has never been better.  It’s the perfect close to a near-perfect album.

Tommy Shaw takes a surprising and pleasing turn with The Great Divide.  While it’s not at all surprising for a rock artist to suddenly turn to more traditional musical styles as their career progresses, it’s unusual to make the transition so well.  The Great Divide deftly blends traditional bluegrass sound and modern songwriting to create what should turn out to be one of the best bluegrass albums of 2011.  Don’t be entirely surprised if Shaw gets serious consideration for at least a GRAMMY nomination this time around.

Rating: 4.5 Stars (Out of 5)

Learn more about Tommy Shaw and The Great Divide at www.thegreatdividemusic.com.  The Great Divide is available from Amazon.com on CD, Vinyl and as a Download.  The album is also available from iTunes.

Sierra Hull - Daybreak

Sierra Hull – Daybreak
2011, Rounder Records

To say that 19-year old singer/songwriter/mandolin player Sierra Hull is a phenom might be an underestimation.  Today she releases her third full-length album, Daybreak, to the sort of breathless anticipation that marks the release of a superstar.  Hull’s star has certainly risen quickly in the world of traditional country and bluegrass music, where she has already made fans of Dolly Parton and Alison Krauss.  Hull has been nominated for five IBMA (International Bluegrass Music Association) awards in the past three years, and is also a recipient of Berklee College of Music’s Presidential Scholarship.

The first time you hear Sierra Hull sing you’re going to do a double take.  At first blush you’ll be certain you’re hearing a new Alison Krauss song you didn’t know existed.  Sonically and stylistically there are distinct similarities, but Hull distinguishes herself as a songwriter and by her instrument of choice, the mandolin.  The songs on Daybreak vary from pop/country to traditional bluegrass, but all shine with an effervescence that emanates from inside Hull herself.  “Easy Come, Easy Go” is a declaration of sorts; of arrival in adulthood and of a setting aside the pain of the past.  Hull’s voice is breathtaking, and her work on the mandolin is intricate, clean and full of heart.  This is an amazing tune with real commercial legs; a great way to start off an album.  “Don’t Pick Me Up” is built on a classic bluegrass sound.  Hull will remind listeners a bit of a young Dolly Parton here.  Hull’s band stands out here as well, building a tapestry around her that’s both a perfect fit and a perfect foil to Hull’s sweet voice. 

“All Because Of You” is full of a quiet heartbreak.  Hull’s voice is exquisite as always, and the mandolin and violin trade sparks, but the vocal harmonies are off the charts good and steal the show.  “Bombshell” is a thrilling number that shows Hull and her violinist, Christian Ward, at their instrumental best.   You could take Sierra Hull and her song “Best Buy” and drop her on the Grand Ol’ Opry Stage at any point in its history and she’d be right at home.  Hull’s voice is quite simply perfect in this setting; easy, light and beautiful.  “Best Buy” is a kiss off song, but is sung with such genuine sweetness that it’s a pleasant musical surprise. 

“I’ll Always Be Waiting For You” is an old time country ballad where Hull’s voice, the vocal harmonies and the instrumentation all work together to achieve new heights of sonic beauty.  Hull gets a bit of gospel in her soul on “The Land Of The Living”, a pretty and sweet number with a bit of Memphis in its roots that fits in nicely here.  “What Do You Say?” is an energetic love song; an invitation to take or leave love how you find it.  This is one of the seven originals on Daybreak, and shows that Hull has some real chops as a songwriter as well.  Hull’s voice is as sweet as ever, and the mixture of banjo, mandolin and violin here is explosive.  “Tell Me Tomorrow” is a song of hope and impending heartbreak; of putting off the pain until another day in the hope that something will change.  The song is a dichotomy of sweet naiveté and sad knowledge that is compelling, sweet and sorrowful all at once. 

“Daybreak” has future hit written all over it.  Delivered here in an all-acoustic arrangement, it is a classic country/pop ballad that could easily take over the airwaves as it is.  Sorrowful and full of heart, Hull has a winner on her hands here.  “Chasin’ Skies” is another brilliant instrumental turn that’s high energy and fun.  You won’t be able to keep your feet from tapping.  Hull closes with the wistful and sweet “Wouldn’t Matter To Me”.  The character Hull embodies here doesn’t mean a word of what she’s saying; it’s quite obvious that it matters to her a lot, but Hull is a breath of fresh air.  Rather than trade on the sort of vitriol and anger that seem to drive a lot of today’s pop/country kiss-off songs, Hull works with real emotion in her songs.  “Wouldn’t Matter To Me” is no exception.  The end result is another tune that could take Hull to the top of the country and bluegrass charts, with the distinct possibility of crossover success to follow.

Sierra Hull combines the poetic grace of a seasoned songwriter with the emotional depth and vigor of youth on Daybreak, creating a dynamic in her songs that’s compellingly honest and real.  Hull has a backup band that could sit in on any stage anywhere and be welcome, but its Hull’s sweetness and light; and that voice, that make Daybreak an album you’ll want to revisit again and again.  Her voice is angelic, and her mandolin playing is full of a fire and technical brilliance that calls to mind Rhonda Vincent.  Hull shows that she can play equally well on the fields of bluegrass, country and pop, and leads the vanguard of young artists who can play the pop game but show a deeper understanding of the roots of American music than has been seen in some time.  Don’t be surprised if Hull is still a force in the music world 40 or 50 years from now.  Daybreak is exquisite, a Wildy’s World Certified Desert Island Disc.  Don’t be surprised when Daybreak shows up on a host of year-end best-of lists.

Rating: 5 Stars (Out of 5)

Learn more about Sierra Hull at http://www.sierrahull.com/ or www.myspace.com/sierrahullmusic.  Daybreak is available from Amazon.com as a CD or Download.  The album is also available digitally through iTunes.

Chip Taylor & Carrie Rodriguez - The New Bye & Bye

Chip Taylor & Carrie Rodriguez - The New Bye & Bye

2010, Train Wreck Records

It was a fated meeting at SXSW in 2002 that brought Carrie Rodriguez and Chip Taylor together.  From 2003 through 2005 the duo put out three critically acclaimed albums on Taylor's Train Wreck Records and toured the world together.  In that time Rodriguez blossomed as a singer and solo performer, and Chip Taylor found his passion for songwriting and recording reborn.  In 2006 the duo parted ways to pursue their own interests, with Rodriguez going on to become a successful recording artist in her own right and Taylor reclaiming his mantle as a legend-in-waiting of Americana music.  On October 12, 2010, Train Wreck Records will release The New Bye & Bye - The Best of The Train Wreck Records 2002 - 2007, featuring 13 tracks from past releases and four new songs.

The New Bye & Bye really isn't an album you analyze but one you let wash over you.  Taylor & Rodriguez don't so much tell stories as create moments for the listener to experience, the sort that usually might only be found on a back porch on a Texas summer night (with gracious nods to Appalachian folk).  Highlights include "Your Name Is On My Lips", a mournful love song with a sense that the narrator has been here many times before.  The song is full of sorrow without a sense of being overdone.  Rodriguez chips in on vocals but it's here violin in the break that highlights the sorrow as if interpreting the heart of it all.  "The New Bye & Bye" is a fight in song, with Rodriguez spitting fire while Taylor plays the placating miscreant in an old-school country musical play.  "Don't Speak In English" is the utter highlight of the disc; a tune about breaking out of the ordinary where such is made unimaginable by life circumstance.  The mix of toughness and vulnerability here is stunning, and Taylor and Rodriguez both run with it.  "All The Rain" is a rambunctious turn, the best instrumental work on the album and a highly danceable number you won't soon get out of your noggin.

The New Bye & Bye features two live versions of Taylor classics.  "Angel Of The Morning" is done in the same vocal split employed throughout the album, with Taylor slightly in the lead.  While this may be appropriate considering Taylor wrote the song, Carrie Rodriguez lights up the stage in the moments when she's alone at the mic.  This would have been one time to allow here to have the whole stage.  "Wild Thing" is offered up here in a low-key version that paints the song in a very brush than the version made famous by The Troggs.  Taylor sings it like a love song sung by someone whose been beaten around by life.  The context illuminates aspects of the song you might not have before considered.  The two live tracks are performed by an all-star band that includes Taylor, Rodriguez, pedal steel master Greg Leisz (Robert Plant and Alison Krauss, Joni Mitchell), Bill Frisell and Buddy Miller.  The album closes with a reprise of "The New Bye & Bye", an apt closer.

If your taste in music runs to the roots of country, rock and folk as played on back porches across post-frontier frontier then you need to be listening to Chip Taylor and Carrie Rodriguez.  The New Bye & Bye is a great place to start, offering the best work of their years together and some nice new surprises.  Taylor and Rodriguez are very capable of making magic on their own.  Together they combine those collective talents with the sort of chemistry you can't buy or force.  The New Bye & Bye is essential listening.

Rating: 4 Stars (Out of 5)

Learn more about Chip Taylor and Carrie Rodriguez at http://www.chiptaylor.com/,  http://www.carrierodriguez.com/ or  Train Wreck Records.  The New Bye & Bye drops on October 12, 2010.  Pre-orders of the CD are available from Train Wreck Records and Amazon.com.  A digital version is available via iTunes.

Review: Anne Trenning - Watching For Rain

Anne Trenning – Watching For Rain
2009, Shadetree Records

Anne Trenning is back with her third full-length album, Watching For Rain. The Chicago born resident of Charlotte, North Carolina had per previous album, All One World, ranked as one of the top 5 albums of the year by New Age Reporter. Watching For Rain features ten original songs plus five covers or re-interpretations. Trenning mines Classical, New Age, Pop, Jazz and Celtic influences across the fifteen tracks presented here for a sonically interesting but mellow listening experience.

Watching For Rain opens with a gorgeous arrangement of Welsh folk song The Ash Grove on piano and strings. This song has been adapted for everything from Chamber Pieces to hymns in the Anglican church. As much as Trenning is lauded as a pianist, the violin is the star of this arrangement, dancing and trading leads with the piano in a wonderful duet. Silent Night II is a magical composition full of energy and beauty. The piano is reserved enough to allow the strings to soar, but brings the song home in a moment of utter musical grace. Eden Hall, sometimes recast as Simple Gifts or The Shaker Song, is given a full Celtic workup here; you’ll wonder how you ever heard it otherwise once Trenning is done. Carolina Moon is a lively waltz with a bit of swing feel to it that will have you looking for a dance partner.

Perhaps the most pleasant surprise on the album is the treatment of When You Say Nothing At All. Perhaps the best known version of this song is the Allison Krauss recording, but numerous artists have covered this tune. The piano/strings arrangement is wonderfully reverent without sounding like elevator music. There is real life to this recording and it is a very enjoyable listen. Other highlights include A Prayer For The World, You And Me, I Want To Be Ready and Benediction.

Solo piano albums choose two paths; reverence to their subjects/styles or cutting new ground. Those that choose the more common path walk a fine line reverence and cliché. It takes more than technical ability to walk this line confidently and without fear; it takes talent and heart, neither of which can be learned. Anne Trenning has both. Watching For Rain manages to inhabit the world of New Age/Classical recordings without falling into unwitting self-parody or “Available on TV” cliché. Trenning’s creations and arrangements come to life at her fingertips. Don’t try to use this CD as dinner music unless you want to end up talking about the music. Come to think of it, that’s not a bad idea.

Rating: 4 Stars (Out of 5)

You can learn more about Anne Trenning at http://www.annetrenning.com/. There’s a link on Trenning’s web site allowing you to purchase Watching For Rain on CDBaby.com, but it does not appear to be working at this time. Keep checking back to her web site for updates.

Review: Tamara Lewis - Living Down River

Tamara Lewis – Living Down River
2008, Tamara Lewis

Seattle’s Tamara Lewis is a singer/songwriter whose writing is informed by twenty years as a psychotherapist as well as her own struggle with a decade-long serious illness. Writing primarily in a folk style with country and blues influences, Lewis opens her heart to listeners with no quarter asked. Supported by Max Cohen (Dar Williams), Pat Donohue (Prairie Home Companion), Murl Sanders and a cast of extremely talented musicians, Lewis delivers ten songs of passionate folk on her second CD, Living Down River. You’ll hear hints of influences such as Alison Krauss, Patsy Cline and Nanci Griffith, but Lewis’ distinctive voice and lyrical style will leave a marked impression on listeners from opening note to last.

Living Down River opens with I’ll Come Home, a song about being able to find and stay in your center even when darkness descends on your life. Lewis’ voice is strong and soothing; the perfect complement to the lyrics when you realize that she’s singing as much to herself as to you. Better Day is a country lullaby for a bad day; full of the vulnerability of someone who has lost control of their life, it is one of the most poignant songs you’re likely to come across. There’s a sad yet hopeful beauty here that is magical. Don’t Look At The Mountain is in a southern gospel style that infuses bluegrass instrumentation. It’s an incredibly enjoyable listen.

That Leavin’ Sound is a class country song of heartbreak sung in intelligent and vibrant terms. Tamara Lewis sings this song as if she’s feeling every wrench of her heart. Try not to be moved. Big City Blues goes to the other end of the spectrum. It’s a smart look at city life and is probably the most fun song on the album. With My Eyes is a special moment. It addresses fidelity and attraction in an honest and bare fashion that is refreshing. Cold Coffee, Warm Beer is a humorous look at how to handle running into an ex-boyfriend written in the spirit/style of Christine Lavin. Key Of Lonely is the keynote song on Living Down River; a gorgeous piano-based ballad about a relationship that doesn’t work despite best intentions by both involved. The album closes out with Living Down River, a haunting song full of home style wisdom and haunting harmonica.

The talent of Tamara Lewis is abundantly clear. In songwriting she is able to drop the filters that we live with every day and just stand alone in her songs. Steeped in an honesty that is almost unsettling, Lewis finds human insights in her songs like a prospector looking for gemstones. The listener is enriched in the process, but one gets the impression that is Lewis who is most healed by her search. Living Down River is a sonically gorgeous album that is smart, occasionally witty and just plain good. Spend an hour with Tamara Lewis. You’ll be happy you did, and you’ll go back again.

Rating: 5 Stars (Out of 5)

You can learn more about Tamara Lewis at http://www.tlewismusic.com/ or www.myspace.com/tamaralewis. You can purchase a copy of Living Down River at www.cdbaby.com/cd/tamaralewis2.