Melissa Ferrick - Still Right Here

Melissa Ferrick – Still Right Here
2011, MPress Records

Melissa Ferrick is at it again, criss-crossing the country on tour in support of her latest release, Still Right Here.  An enigma in the rock and roll world when she first started out, Ferrick has kept the Indie light burning throughout her career, refusing to give in to the mores of major label madness.  Still Right Here is about what you would expect for Ferrick, well-written songs full of great lyrics and an understated storyteller’s panache.

Ferrick gets things started with the title track.  “Still Right Here” is a catchy little number with great pop sensibility about facing the reality of yourself and who you are.  Kaki King sits in on “Headphones On”, an ode to overcoming life’s difficulties through music.  Ferrick shares the great, swaying feel of “You Let Me Be” with none other than Ani DiFranco in a highly enjoyable duet that could play just as easily as a love song or a friends song.  “Seconds Like These” is catchy, with a solid chorus.  It’s a paean to making the most out of life.  Ferrick’s songwriting is solid on “One Of A Kind”, finding a rough-hewn,  open sound that fits her voice very well.  It’s a great listen with a positive message.

Regret is the theme of “Checking In”; a retrospective on a relationship past that tries to understand what was lost with an air of cautious indifference and a deep-seated hope for renewal.  The vulnerability here is palpable; cast behind a thinly veiled sheen of intellectual curiosity.  The genius of this song is the utter human imperfection and honesty of the lyrics.  “I Will Back You Up” is a pragmatic love song.  With great writing and a memorable melody, Ferrick creates one of her best tunes to date while dancing on the line between her more mature works and an almost Indigo Girls-like sound.  Ferrick wraps up with the gorgeous contemplation of fall and winter in the Northeast, “This Time Of Year”.  There is no complexity here, just a simple love for the land and the season that is stunning in its unadulterated beauty.

There was a time, back in the mid-1990’s, when Melissa Ferrick was hailed as the next Melissa Etheridge.  Yet she has proved over time that such media-attributed expectations truly can be overcome.  Ferrick has grown considerably over the years, developing into a finely nuanced songwriter who can still pick up a guitar and rock your socks off when the mood strikes her.  Ferrick has grown more contemplative over the years, zeroing in on a deeper understanding of the world around her through song, but the energy that runs through her songs hasn’t changed.  While “Still Right Here” perhaps doesn’t capture quite the magic that Ferrick managed on 2008’s Goodbye Youth, it’s not far off the mark.  The songwriting is solid-to-excellent throughout, and Ferrick just keeps getting better over time as a performer.  Still Right Here is a worthy effort.

Rating: 4 Stars (Out of 5)

Learn more about Melissa Ferrick at www.melissaferrick.com or www.myspace.com/melissaferrick.  Still Right Here is available as a CD or Download.  The album is also available via iTunes.

Grace Stumberg - To Whom It May Concern

Grace Stumberg - To Whom It May Concern
2011, Popadelic Records

Grace Stumberg is a 22-year old singer/songwriter from Buffalo, New York who proves that appearances can be deceiving.   But when you hear the big voice that emanates from her 4’11” frame you will be floored.  Stumberg, a graduate of Robbie Takac’s (Goo Goo Dolls) Music In Action career training program, is ready to take on the world with her debut album, To Whom It May Concern.  Showing a depth of songwriting talent you don’t often find in one so young, and a presence that recalls some of the great singer/songwriters of the past, Stumberg is just a break or two away from national recognition.

To Whom It May Concern opens with "Change The World", an anthem of inspiration and aspiration about making dreams come true.  Stumberg shows solid pop sensibility on what turns out to be the weakest offering on the album.  Commitment overcomes the arrangement.  The high point of the song is Grace Stumberg's voice, a gorgeous, velvety alto that works well for folk, pop and rock n roll.  "Happier Side" is a bluesy rocker looking for the bright side in a rough start.  It's a great tune, with big energy and an even bigger sound.  By the end of the tune you'll be thinking may Stumberg is the real deal.  By the end of "To Whom It May Concern" you won't even question it.  Stumberg goes for a more Americana setting this time around, with accordion, violin, acoustic guitar, bass and drums.  Stumberg sings for her own dreams here, declaring a trajectory she won't back down from; her voice is gorgeous and Stumberg creates a moment here.

"Steady" starts from a simple, acoustic guitar led look back at how things and people change over time and turns into a polyphonic, multi-layered anthem of hope.  Stumberg builds the song by layering orchestration and vocal harmonies on a bit at a time, culminating in a grand crescendo of sound and melody that's breathtaking.  "The Roses" shows off the singer/songwriter side of Stumberg.  The ode to her grandmother or to a grandmother-like figure gorgeous details enough aspects of her life to make it real and is a compelling testament of love.  Before it's over there is a lovely, baroque-style orchestration that blends in to what is essentially a folk ballad, creating a moment of beauty so rich and touching you'll be moved whatever your constitution.

"Change My Color" is a live, in-studio recording that likens the changes of seasons to personal transformations, pointing out that both are as unstoppable as any other natural law.  The song features a pretty, singular and stoic melody that is unforgettable, and Stumberg's voice fills it out to perfection.  "Sticks And Stones" is a refreshingly poetic kiss-off song with a quiet undercurrent that is surprisingly catchy.  Stumberg's use of imagery and children's rhymes is novel in the context of someone finally opening her eyes to the truth.  This conceptual coming of age is buttressed by Stumberg's velvety, sultry alto.  It's an amazing piece of song craft.

"My Love", an internal exploration of love gone bad, is matter-of-fact in the telling, but underscored with a touch of regret that makes the song compellingly human.  Stumberg seems to have a knack for using each song as a vessel of truth, whether expressing views of the world around her or matters of the heart.  This ability to enliven ideas marks the great songwriters for who they are, and early indications are that Stumberg has the gift.  "Home" blends Americana, pop and classic rock in a Bruce Hornsby-meets-Bonnie Raitt mashup that's amazing.  It's a catchy, mid-tempo number about finding out where your roots belong.  Stumberg is in fine voice here, and listeners may be left thinking that Stumberg has found something of a home in this sound.  Refusing to be pigeonholed quiet so easily, Stumberg launches into the edgy rocker "Miscommunichicken".  The chorus is almost comical: "Don't spread yourself too thin, cause just like bread on butter you're only gonna get eaten".  Get beyond that, however, and you have a Ben Folds Five inspired rocker marked by heavily percussive piano and a correspondingly raw sound.  It's not Stumberg's best, but is an intriguing window on the breadth and depth of Stumberg's songwriting talent.

"Wartime" is a vibrant piece of rock n roll; full in sound and stark in melody.  What Stumberg has done with finesse up until now, she accomplished with inundating force of sound here.  It's an overloaded classic rock feast that will make a great jam tune for live shows, bordering on the neighborhood of progressive rock without losing the singer-songwriter pastiche.  There are hints of Neil Young here that are impossible to ignore.  To Whom It May Concern closes with "Change The World (Woody Mix)".  The mix is just Stumberg, her guitar, and occasional vocal harmonies.  The song is much more powerful in this stripped down setting, conveying the struggle to make a better world more powerfully as a solitary voice.

Wow.

Wow moments happen in music.  You might hear a certain song and be floored by the message, or the melody, or a turn of phrase.  But it's pretty rare to have that reaction to an entire album; to an artist as a whole.  Grace Stumberg is young and still lacks some of the polish of a seasoned songwriter, but she has a gift that most songwriters would kill for.  Stumberg makes her songs come to life for those willing to listen.  To Whom It May Concern lives and breathes from start to finish, touching on people, places, thoughts, emotions and events with a subtlety and grace that is surprising in an artist so young.  Stumberg can blow out the amps as well, when called for.  It's that knowing when to and not to that marks the dividing lines between a great songwriter and someone who might just be discussed one day in hallowed tones.  It's much too early to tell what Grace Stumberg's final trajectory will be, but she certainly seems to have greatness in her sights.  To Whom It May Concern is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Grace Stumberg at www.gracestumberg.com or www.myspace.com/gracestumbergmusic.  To Whom It May Concern is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

S.J. Tucker - Mischief

S.J. Tucker - Mischief
2010, S.J. Tucker

S.J. Tucker fell into music at the age of three. The was The Beatles' Magical Mystery Tour that gave her the gentle shove that changes lives.  A veteran of bands such as Skinny White Chick, Tricky Pixie and The Traveling Fates, Tucker has ten albums under her belt.  A severe illness in 2008 and 2009 knocked Tucker off her feet and off the road for a time, but Tucker is back at with her tenth album, Mischief. Released in 2010, Tucker continues to mature as a songwriter while offering perhaps her most subtle work to date.

Mischief opens with "Ravens In The Library", an interesting personification of society and the roles that we take up in the course of human interaction.  Role are portrayed here as birds out of their element, with the laws of nature and social pecking orders asserting themselves immediately.  It's a cautionary morality tale exploring the effects our words and actions can have on others.  The simple, energetic acoustic guitar-based arrangement is remeniscent of Ani DiFranco, while the vocal line is more Sarah McLachlan.  "Cheshire Kitten (We're All Mad Here)" is an energetic folk number with real energy.  Tucker builds tremendous rhythms into a single acoustic guitar part, supporting herself both musically and rhythmically.  This is an anthem about being yourself in a world that ostracizes individualism, reminding us that we're all born a little off-kilter.  The chorus here is atypical and will stick with you.

"Were-Owl" explores the dangers, and thrills, of romancing darkness.  Tucker delivers her thoughts in a sultry, sensuous vocal line wrapped in stark harmonies.  "Love Lies" is a soulful acapella number that's deliciously arranged.  It's a short tune but full of sparks.  "Don't Get My Hopes Up" features Tucker solo with an acoustic guitar.   If ever a song were perfect for a singer is this one right here.  Tucker transitions through her vocal range with an interesting blend of confidence, insecurity and an unwillingness to waste her time on anything less than the real thing.  The dark and eerily beautiful textures of Tucker's voice will blow you away.

"Neptune" explores falling in love with someone new while looking back on a love that fell out.  The arrangement has a dark, unkempt feel that's strangely beautiful.  "Girl With The Lion's Tail" is a statement of self.  Tucker wants a romance, but doesn't want to be an object or curiosity in that context.  This isn't her best songwriting, but the exploration is an intriguing one.  "September's Rhyme" is another gorgeous acapella piece, this time with a baroque feel.  The vocal harmonies on this one are flat out amazing.  "Salad Of Doom" is tongue-in-cheek take on the healthiest choice on the menu; a highly entertaining moment of lightness.  "Witchka" is a sultry, witchy love song sung with the lusty abandon of young love.  Tucker closes with "To My Valentine", a simply gorgeous love song that could easily become a staple for mix tapes and wedding receptions.  Tucker keeps it simple in both arrangement and sentiment; there's nothing saccharine or contrived here.  An amazing performance.

S.J. Tucker doesn't say no; doesn't back down.  She practices the musical insistence of Ani DiFranco, the melodic intensity of Sarah McLachlan and the parenthetical approach to songwriting that fuels Tori Amos.  Mischief is off the beaten path just enough to intrigue, but not so much as to scare away casual listeners.  Tucker has the charisma and force of personality to wrap you in her charms and have her way with you, and the musical talents to make you love every minute of it.  Mischief is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about S.J. Tucker at http://www.skinnywhitechick.com/ or www.myspace.com/sjtuckerskinnywhitechick.  Mischief is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Bruce Cockburn – Small Source Of Comfort

Bruce Cockburn – Small Source Of Comfort
2011, True North Records

Bruce Cockburn has based his life on deep experience.  Over the years, Cockburn has travelled to the world’s trouble points, to see the truths of human existence for himself.  Cockburn has documented these experiences on thirty albums over the years, with a sense of subtlety and musicality that is rare in rock n roll.  An Officer of the Order of Canada and a member of the Canadian Music Hall Of Fame, Bruce Cockburn’s music has been covered by such artists are Barenaked Ladies, Anne Murray, Ani DiFranco, Dan Fogelberg, Judy Collins and Jimmy Buffett.  On March 8, 2011, Cockburn releases his 31^st album, Small Source Of Comfort.

Small Source Of Comfort opens with “Iris Of The World”, commenting on the tendency of humanity to grab onto meaningless things while overlooking things that matter.  Semi-autographical, the song finds Cockburn perhaps sharing his own role in the human play; recognizing the beauty of a moment and sharing it with others.  This is classic Cockburn, finding the subtle depths of an experience and exposing them in a complex, highly rhythmic and oddly beautiful arrangement.  “Call Me Rose” is a tongue in cheek story song about Richard Nixon reincarnated as a single mother of two kids living in the projects.  It’s something of a Great Reversal concept (“the last will be first and the first will be last”) born of Judeo-Christian theology, but is very amusing and is written from a very human perspective.  In Cockburn’s musical daydream Nixon sees himself for who he was and is a better person for it, even if he continues to long for the old days.  Cockburn sticks to a fairly straight-forward folk-rock arrangement this time around in order to let the story shine through.

“Bohemian 3-Step” is a pretty instrumental that plays like a slow waltz, relying on cross-rhythms, or a variant, to create an intriguing sense of rhythm.  The piece has great energy, and is beautifully crafted.  “Radiance” is a musical meditation on beauty, both in lyrics and music.  Cockburn impresses with unusually beautiful guitar work, capturing an abject loneliness in both his instrument and voice as he looks on from afar.  The cello is a nice touch, completing the tragic displacement of the vocal line in dark and dulcet tones.  This is a musical ‘wow’ moment; a song that’s both heart-breaking and uplifting in its beauty.  “Five Fifty-One” is an edgy story song that plays on the edges of folk, rock and blues.   The story here is a bit disjointed, a calculated effect given the state of mind of the story teller.  The cops show up at his house in the wee hours of the morning and we’re never entirely certain why, but the overall impression is of someone who is dancing on the edge of madness.  Cockburn creates a highly rhythmic arrangement that leaves ample room for acoustic guitar-driven sidebars that will make the most of the would-be guitarists out there wish they could play like that.

“Lois On The Autobahn” is an energetic instrumental that plays off Cockburn’s guitar against a dancing dervish of a violin, capturing a sound not dissimilar from that of Django Reinhardt and Stéphane Grappelli.  “Boundless” is a spiritual exploration in song; exploring the similarities between the boundlessness of space and of belief.  Cockburn creates an ethereal feel at the opening with a multitude of bells, but moves quickly into an urgent vocal line over (for Cockburn) a relatively simple arrangement.  The imagery used here has many levels; delivered in poetic prose that is laced deep with references both cultural and theological.  Wit takes over on “Called Me Back”, a humorous take on a call that never comes, and the resulting anxiety over what might have happened to a close friend.  It’s an entertaining turn; a well-placed moment of levity that both highlights Cockburn’s depth as a songwriter and works in much the same fashion as a comic song placed in the middle of a big Broadway musical. 

“Comets Of Kandahar” is a dark instrumental that again pairs Cockburn’s guitar with violin; this time the result is dark with a disturbed energy.  The composition itself is amazing, and was inspired by Cockburn’s trip to Afghanistan to play for Canadian troops in theater.  “Each One Lost”, inspired by the same trip, is a somber tribute to those who have given their lives.  The song is full of heartbreak and plays like a lonely hymn, punctuated by a lonely accordion.  “Parnassus And The Fog” finds Cockburn’s guitar once again paired with violin in a lilting instrumental ballad that plays like a love song.  “Ancestors” is a gorgeous, haunting instrumental full of staccato guitar against a dreamlike background of musical ether.  The affect of the piece is subtle and compelling, as Cockburn builds a story into the rhythm of the song.  Small Source Of Comfort closes with “Gifts”, a quiet celebration of the moments in life that illuminate an emotion, person or place and define meaning for us.    It’s a gorgeous, quiet arrangement that whispers quietly to you about the truth of what’s important in the world.

Bruce Cockburn is a rare gem in the world of singers and songwriters.  His depth and subtlety as both a musician and lyricist puts him in rarefied air.  Small Source Of Comfort is an album that, if not at peace with the world around it, has certainly found the peace that comes with understanding hard truths.  A decade or two ago Cockburn would have railed at government and political machines in a mad frenzy, driving the intricate beauty of his music into exile under the constant barrage of verbal artillery aimed at the injustices of the world.  Small Source Of Comfort takes deadly aim at the same sort of social inconsistencies, but with a subtle grace and veracity that cuts far deeper that some of his past efforts.  Where a younger Bruce Cockburn would have imbued his message with the power of righteous indignation, the songwriter now allows the simple power of truth to blend with the intricate beauty of his musical creations to reach beyond the defenses of even the most politically hardened psyche.  Small Source Of Comfort stands amongst Cockburn’s finest works, and is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Bruce Cockburn at www.brucecockburn.com or www.myspace.com/officialbrucecockburn.  Small Source Of Comfort drops in the US on March 8, 2011.  You can order the CD or Digital album through Amazon.com.  The album is also available digitally from iTunes.

Hannah Fairchild - Paper Kingdoms

Hannah Fairchild - Paper Kingdoms
2010, Hannah Fairchild

Minnesota native Hannah Fairchild re-settled in Brooklyn in 2005 with the intent of becoming an actor. Highly artistic with a strong independent streak, Fairchild didn’t take to the bridle of the actor. Fairchild spent her 2006 tax return on a guitar and set out to remake herself as an artist. Four short years later, Fairchild released her debut album, Paper Kingdoms. Recorded entirely independently in Fairchild’s apartment, Paper Kingdoms dances a highly personal path between fantasy and reality as it explores the difficulty of being a girl and growing up in a complicated world.

Paper Kingdoms opens with "Pin Up", a song of consolation to a friend who has gone through a breakup. Cutting and powerfully empathic, Fairchild avoids the usual syrup and sap that such songs seems to inspire. If Paul Simon had a love child with Tori Amos, she might sound a bit like Fairchild here. "All Eyes On Me" is a song of growing self-assurance and power that might reflect recovery from a loss or just a late bloomer coming out of her shell. It's an amazing bit of songwriting that shows a bit of Ani DiFranco influence. "Before The Cold Air Hits Us" documents the angst and gratification of a dysfunctional relationship in chillingly honest terms, focusing on the comfort and familiarity of the situation for both parties. The title here references reality and the hope to dwell in the known a bit longer before reality hits.

"Poor Leander" shows further empathy, this time for a friend whose need to save others lures him into messy relationships again and again. The intriguing narrative recognizes this quality and also his need to seek out the narrator every time that things fall apart. Fairchild gets in-depth with "Cassie At The End Of Things", an intriguingly positive look at falling down. The song digs past complacence to the elements of loss. Fairchild is in her best voice here, and the performance is nothing short of electric. "Nicollet" is a brilliant tune about a broken soul trying to be the beauty she seeks. Stark and hair-raisingly beautiful, the narrator is full of defiance and self-respect in spite of all she's been through. The last two songs on Paper Kingdoms appear to be cut from different musical cloth. On the rest of the album Fairchild has shown an ability to drill down on her subject and tell lyrically dense but concise stories in song. On "Lady Of The Court" and "Long Since Gone" show Fairchild as a more rambling lyricist. One might guess that these two are earlier songs of Fairchild's included here to fill out space. Both show promise but don't have the focus found on the rest of Paper Kingdoms.

Hannah Fairchild has a voice that grabs your attention and holds it, a gorgeous and edgy alto that's as unsettling as it is entrancing. Writing with a ferocious honesty on Paper Kingdoms, Fairchild bears her soul while maintaining a charming yet firm sense of control. Paper Kingdoms is one of the most strikingly honest and beautiful creations to cross this desk in 2010, even accounting for the final two tracks. Don't deprive yourself of the experience that is Hannah Fairchild.

Rating: 4.5 Stars (Out of 5)

Learn more about Hannah Fairchild at http://www.hannah-fairchild.com/ or www.myspace.com/hannahintheory.  Paper Kingdoms is available digitally from iTunes.

Margaret Cho - Cho Dependent

Margaret Cho - Cho Dependent
2010, Clownery Records

For many years Margaret Cho has been known as the potty-mouthed comedienne who has done more to tear down Asian-American stereotypes than anyone since George Takei. Cho's comedic act has always brimmed with language that would make George Carlin blush, but in the process she has shown an insightful eye for comedic detail that cannot be denied. Cho began bringing that insight, humor, and yes, language to song a few years ago, incorporating more and more comedic songs into her act. Cho recently documented her efforts with the release of Cho Dependent, a collection of fourteen songs based in serious music and the comedic whimsy of Margaret Cho and several of her musical friends. Guests include Tegan & Sara, Ani DiFranco, Ben Lee, Tommy Chong, Garrison Starr and Fiona Apple (among others).

Margaret Cho is incredibly smart, and she approached Cho Dependent with an eye to keep the music viable; a serious effort. In this she mostly succeeds on Cho Dependent. As for her lyrics/humor; it's really a matter of whether you like Cho coming in. If you like Cho's comedy then you'll like the album. If you don't, then the album will be a waste of your time. Cho opens with "Intervention", featuring Tegan & Sara. The song is an intervention in progress with Cho playing the one in need. Things go badly as interventions often do until something gets broken. The humor here is baseline and predictable, but the song is decent. "Calling In Stoned" features Ben Lee and Tommy Chong (as himself). It's one of the more amusing tracks on the disc, featuring a phone message from Chong to Cheech about stopping over to Cho's house for supplies.

"Your D!ck", with Ben Lee is too crass and straight-forward to be funny, turning more into an exercise to see how many times Cho can repeat the word in one song. "Baby I'm With The Band" is at least a little more subtle; not really funny but at least entertaining. "Hey Big Dog" tells the story of an interloper from the perspective of a canine. It's actually a pretty neat bit of songwriting. Fiona Apple guests in a decidedly atypical performance. "I'm Sorry" is a wayward and posthumous apology for homicide to the victim, featuring Andrew Bird. Cho's premise here has potential, but the delivery is two straightforward to mine that potential. Ditto "Lice", which takes the humor out of the equation by going rate for the comic jugular.

"Enemies" (with Jon Brion) is an anti-breakup song from the perspective of a megalomaniac celebrity who won't be put off. It's an amusing effort, particularly with the "don't you know who I am" mentality, and is well-crafted musically. "Gimme Your Seed" fails the humor test and isn't exactly the sort of thing you'd expect to hear Garrison Starr sitting in on. It's the low point of the album (followed closely by the preceding track "Asian ADJacent". "Eat Sh!t & Die" is extremely crass and equally amusing; a breakup song that could be an anthem in the right crowd. "Captain Cameltoe" was highly disappointing; particularly consider that Cho had none other than Ani DiFranco sitting in. "My Puss" is an estrogen-laced diatribe against a neighbor that Cho recorded off the cuff with friends and became a YouTube sensation. The song is that it is; a bit too straight forward and repetitive in form to appeal on a musical level. Perhaps the best song on the disc is the hidden track, "Lesbian Escalation", which Cho co-wrote and recorded with Rachel Yamagata. You'll have to hang around for a few minutes after the last track to catch this one.

Margaret Cho has a formula that works for her in Comedy, and she has carried that formula over into her music. Cho Dependent works on several levels, but funny is often not one of them. Cho has crafted an album full of viable compositions, but lacks the subtlety to really bring the humor out of her songs. As always, Cho tackles her subjects head on hoping to surprise or even bully the laughs out of you. The physical aspect of her comedy routine assists in this process, as Cho can pull some masterful facial expressions out of her bag of tricks. That gimmick doesn't work with the music, particularly not on CD/MP3. Too often Cho goes for the lowest common denominator, which is a valid choice, but it will leave too many listeners out in the cold to get Cho Dependent recognized as the serious attempt at music that it is.

Rating: 2.5 Stars (Out of 5)

Learn more about Margaret Cho at http://www.margaretcho.com/ or www.myspace.com/margaretcho.  Cho Dependent is available from Amazon.com as a CD' or Download.  You can also find the album on iTunes.

Rain Perry - Internal Combustion

Rain Perry - Internal Combustion
2010, Precipitous Records

Rain Perry grew up in a Bohemian lifestyle that involved 20-something moves by high school. Born to free-spirited parents in California, Perry had the room to choose her own path as she grew, and particular with the development of her musical talents. Immersing herself early in the songwriting of Joni Mitchell, Randy Newman, Bob Dylan and Carole King, Perry has developed her own flair for a well-told story and well-constructed song. These tendencies have led to Perry winning the grand Prize at the 2000 John Lennon Songwriting competition in the folk category as well as having her song "Beautiful Tree" selected as the title track of the CW's Life Unexpected. Perry continues her confessional style on the folk/rock extravaganza Internal Combustion, due out September 21, 2010. Produced by Mark Hallman (Ani DiFranco, Carole King, Eliza Gilkyson), Internal Combustion finds Perry ruminating on inner motivations and how the force us to relate to the world around us.

Internal Combustion opens with the clinically personal anthem "The Compartmentalized Thing". It's a self-assessment on the ability to put your heart on your sleeve as a performer and then walk away and have a life away from the stage. Perry's voice is warm and wiry, having both a gentle quality that draws you in and a wiry strength that holds onto you once drawn. "Til It Shines" (Bob Seger) is a great read of a classic tune. Perry's rendition is subtle and full of quiet emotion, perhaps one-upping the original with a warmth and sweetness that Seger's rough-edged voice could just never convey. "Red Green White Blue" is all about seeking solace in your surroundings; in nature. It's offered up in a gentle arrangement that's poignant and sweet. Perry is in fine voice for "So You're The Muse". This is a song you might not take to on first listen, but it will grow on you with its searching needfulness and minimalist arrangement.

"Next Big Thing" is sort of a sociological observation on the primal draw of a young preacher wrapped in a gospel/blues arrangement. Focusing more on physical than spiritual "salvation", the song is spot-on in digging at humanity's yang and yin of corruption and rebirth. Perry's sense of humor comes fully out in the open on "Keanuville", an obsessive rumination on Keanu Reeves and his band Dogstar written from the perspective of his biggest fan. One of the true highlights of Internal Combustion is Perry's cover of Paul Simon's "Rene & Georgette Magritte With Their Dog After The War". Perry gives the song a lyric reading and is at her vocal best. Simon fans may find the arrangement of the background vocalists a bit jarring, and this is actually something of a distraction. Stripping this number down to just Rain Perry and piano without the backing vocalists would simply highlight how stellar a performance this is.

"A Perfect Storm" is an amazing ode to an old sea captain who's lost at sea and those he left behind, with a parallel drawn between the endless flow of the sea and of life. This is the best outright songwriting on the album. "Ambulance Song" plays like random thoughts reaching out to the survivors of an accident when coming upon an ambulance on the roadside. It's a great moment; warm and heartfelt and thoroughly uncharacteristic of your typical rock/pop album. Perry closes with a cover of Marvin Gaye's "Let's Get It On", singing it as more of a pure love song but still with the carnal intent. It's a highly appealing cover that could certainly garner Perry some licensing placements and perhaps even a place on the charts.

Rain Perry is exquisitely human on Internal Combustion, establishing an almost personal link with the listener while running the gamut of human emotion and imperfection. As debut albums go, this one is stellar. You might not see any big hits out of Perry this time around, but Internal Combustion is the sort of album that builds serious expectations for next time. And Perry might just have the goods to deliver.

Rating: 4 Stars (Out of 5)

Learn more about Rain Perry at http://www.rainperry.com/ or www.myspace.com/rainperry.  Internal Combustion drops on September 21, 2010.  Keep checking Perry's site for availability.

Bess Rogers - Bess Rogers Presents: Bess Rogers

Bess Rogers - Bess Rogers Presents: Bess Rogers
2010, Hubbub!

A few years back Ingrid Michaelson saw years of hard work turn into overnight success because of social media. Somewhere along that path Michaelson had need for a lead guitarist. Through friends she found out about Brooklyn guitarist Bess Rogers. Rogers has been on the road with Michaelson ever since. You might call this series of events serendipity. Rogers loves all styles of music, playing almost everything under the sun. Aside from a solo career and playing lead for Michaelson she is also currently the front woman of The Flux Capacitors and plays guitar and keyboards for the electro-prog outfit The Age Of Rockets. Rogers is well known in Indie circles for her instrumental work, her songwriting and her voice, but name recognition has largely eluded her outside of distinct musical circles. That all changes on September 21, 2010, when Rogers releases Bess Rogers Presents: Bess Rogers. While just a 5-song EP, Bess Rogers Presents: Bess Rogers is the sort of musical calling card that moves an artist up the ladder of notoriety by leaps and bounds. Accordingly, Bess Rogers is the Wildy's World Artist of the Month for September, 2010.

Bess Rogers runs in a circle of musicians who trade musical styles like kids used to trade baseball cards. This melting pot of musical styles helps to explain the distinct pop sensibility that Rogers embeds in each song. But Rogers doesn't just make you want to dance; you'll find yourself getting deep into the lyrical pool that Rogers creates as well, as she spins melodies with a voice that's party every-woman and part angel. Comparisons to Regina Spektor and Juliana Hatfield abound, but there are elements of Ani DiFranco and Rachel Sage in Rogers' musical DNA as well. Rogers opens with "Come Home", an incredibly catchy number that in a perfect world would light up the pop charts for weeks on end. Rogers has penned a chorus that you'll be singing along with the very first time you hear it, and delivers the vocals with such an unaffected air that you can't help but instantly like her. It's a brilliant bit of songwriting. "What We Want" plays around the edges of greener grasses with the ultimate realization that all is well. It's another catchy tune with a great melody, even if Rogers does rely a bit heavily on repetition in the chorus.

Rogers writes without filters on "Good Enough", an exploration of turning yourself inside out to capture someone you'll never have. The contemplative, peaceful nature of the song hides a deep-seated anger and frustration that finally explodes in a dark, cloudy guitar exposition in the song's closing moments. Rogers doesn't need to go over the top to get her message across here, relying on subtle shifts in attitude and aspect and bare hints of irony and anger that lead to an explosion that is both less and more than you might expect. "Favorite Day" is a punk/folk/pop anthem in the form of a love song. Rogers reminisces about the moment when a relationship moved from fun to real for her. It's a tremendous exposition of the moment that catchy but affectionate and full of reverie. Rogers started out with brilliant pop, and closes with brilliance of another kind. "All In Good Fun" explores the emotional shrapnel of a relationship where she was left high and dry. It's a tremendous moment of vulnerability, written in raw emotional turns from someone who is perhaps at peace with what happened but still trying to clean up the mess it left behind. "All In Good Fun" may not have the pure pop feel to it that "Come Home" possesses, but it's an amazing song that could survive the snares of pop radio purgatory and win spins based on popular demand.

Songwriting can be likened to the process of creating gem stones. Each stone has its own characteristics based on the elements involved and the pressures applied to the process. Songwriting relies on basic elements as well (notes, words, rhythms), and the pressures applied are a combination of musical experience and exposure, personal experience, emotional makeup, etc. It seems likely that Rogers' vast musical experiences and competencies create an unusual creative tension in her songwriting process, and the emotional honesty of her songwriting rounds the rough edges that every gem is born with. Some songwriters create quartz; some create opals. On Bess Rogers Presents: Bess Rogers, Rogers creates diamonds. Bess Rogers Presents: Bess Rogers is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Bess Rogers at http://www.bessrogers.com/ or www.myspace.com/bessrogers.  Bess Rogers Presents: Bess Rogers drops on September 21, 2010 and is available from Amazon.com as a CD or Download.

Artist Of The Month: Sami.The.Great - Nothing Left To See

Sami.The.Great - Nothing Left To See
2010, Bold Love

They say big things come in small packages. Whomever coined that phrase might have been thinking of Sami Akbari, AKA Sami.The.Great. Once a small fish in the big pond of the New York City Indie singer/songwriter scene, Akbari has made a name for herself with honest, creative songwriting and a dynamic presence on stage, in-person and in the studio. Akbari’s latest EP, Nothing Left To See, shows an artist very much coming into her own. Akbari shows a musical grace and maturity far beyond her relatively tender years, and displays the melodic temperament of some of the great acts of the British Invasion (The Beatles included). Sami.The.Great also has the honor of being Wildy’s World Artist Of The Month for August of 2010. Take note of her name(s), and don’t be surprised if she becomes a national (and perhaps international) presence over the next few years.

Nothing Left To See opens with "Love's A Losing Game", a bright and airy song of incandescent cynicism that is heartbreaking in its simple acceptance of a losing hand. Akbari has a voice that's as sweet as wine, and hearing her wax poetic about the inevitability of loss is a compelling experience. Truth be told, it's a wonderfully crafted song befitting a songwriter of many more than Akbari's early 20-something years, and Akbari delivers it with a deft coolness that will surprise you. "Nothing Left To See" isn't so much a come as a baring of the soul to love; Akbari lays it all on the line in one of the most honest and revealing pop songs you're likely ever to hear. You'll find yourself hanging on her every word, and your heart will leap with Akbari's voice as she ascends into her angelic upper register. In "Lose You" Akbari faces the heartbreaking realization that in order to be herself she needs to give up someone she loves. The song is heart-wrenchingly beautiful and sad. Akbari once again dips deep into the well of honest emotions and events and surprises with both the candor and musicality of the song.

"Satisfy" laments the speed at which life passes us by; not so much sad for the things she's done but an acknowledgement that whatever our choices there are things we miss. The song is a lush exploration of the emotions surrounding that one friend who always grounds you no matter how crazy life gets and no matter how far away from your roots you feel. Akbari's cover of The Police's Roxanne is dance-beat infused barn burner full of sensuality and tension. In this case the dance beat sounds a bit contrived, but Akbari's vocal is so full of vitality you can pretty much ignore the distraction. Nothing Left To See closes with "Wasted Emotion", a pensive and dreamy capitulation to a relationship that doesn't work but which she can't walk away from. There's a sense of déjà vu that underlies this song, as if she's been here before and made the same mistake time and time again but somehow cannot pull away.

Sami.The.Great indeed. I don't know where the New York City music scene has been hiding Sami Akbari but the secret is very much out. Nothing Left To See shows Akbari in many lights, and each displays an artist truly on the rise. With a voice that can hang you out to dry, break your heart and welcome you in all in the same breath, and a deft touch for songwriting that speaks of wisdom well beyond her years, Sami.The.Great is one big break away from being a household name. Nothing Left To See can be nothing less than a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Sami.The.Great at http://www.samithegreat.com/ or www.myspace.com/samiakbari.  Nothing Left To See is currently only available via iTunes unless your lucky enough to catch Sami.The.Great live.  Expect wider distribution to follow.

Jessica Labus - Mirrors

Jessica Labus - Mirrors
2009, Jessica Labus
Born in Florida but raised in Niagara Falls and Grand Island, New York, Jessica Labus had a hunger to perform from an early age. Musical theater and country/western music were her fortes in childhood, but as soon as Labus could drive she quit small town life for New York City. Playing the subways and taking classes in musical theater helped Labus establish her priorities, and soon she set out to become a singer/songwriter. With a bitingly honest songwriting style and flashes of biography based on her own life and people she knows, Labus writes meaningful musical dialogs punched with the efficacy of truth, but run through with an admirable pop/rock sensibility that's hard to ignore. Jessica Labus launched her debut album, Mirrors, in 2009.

Mirrors opens with "Bryan's Song", a tune about personal demons and addictions. It's a call to wake up and make a change before things fall apart, and was written about/to a family member who had a hard time listening to the counsel of loved ones. "Mirrors" is an urgent/angry rocker about an affair a friend had with a married man. It's written from an interesting perspective, capturing a wealth of conflicting emotions that arise from such poisoned undertakings. In "Time Spent", Labus engages in reverie over a relationship gone by;k not regretting a moment but allowing a wash of wistful melancholy to dance with the not-quite-dormant emotions the memory stirs. "With Or Without Me" looks back on a relationship that went wrong because Labus never took her partner seriously. With time and perspective as her guide she realizes she really loved him, but finds the most important thing to be his happiness.

"Anything From You" goes to the relationship well once again, this time from a more confused and hurt place; there is a moral to the story, but you'll have to listen all the way to the end to find it out. Labus pours her heart out in "Back To You"; her voice breaking with the emotion of the song in a fashion that seems natural rather than effected. It's a great tune, one of the more positive songs about love on the album. "Quarter Past Four" encompasses the misgivings that attack us in the wee hours. It's vulnerability of a personal sort that shows up in "Quarter Past Four", but it becomes a strength as Labus realizes she needs to take control of her own life even it means giving up something she adores.

"Who" takes another tack entirely. It's a biting, sarcastic kiss off song, written, by Labus' own admission, to embarrass someone who just walked out of her life. Labus' affection for country music shines through here, and you could picture "Who" becoming an anthem for those who have been wronged by men with less-than-honorable intentions. With "Meant To Be", Labus breaks down the barrier between things that are meant to be and things that are meant to last forever. It's a mature perspective that is built part out of the need of the moment and part out of our own ability to fool ourselves into believing that what we want and what we are "meant for" are one in the same. Mirrors closes with "Watching Over Me", an ode Labus' grandmother for all of the love and lessons she gave ("Now that you're slowly fading into a memory / I keep you close by believing in what I cannot see / Now I've got an angel watching over me"). It's a touching closer that will hit home with anyone who's lost a beloved parent, grandparent or parental figure.

Jessica Labus has a point blank story-telling style that is likely to intrigue you unless it hits a little close to home. Labus deals with reality as she sees it, in a no-nonsense fashion that is both refreshing and occasionally discomfiting. Every note on Mirrors is finely crafted and is full of passion and emotion; even in the quite moments Labus' voice burns with the heat of each memory and emotion. Mirrors is Labus thinking aloud in song, and you'll be glad she's welcomes you into her mind. Here there is no hedging; no pretty colors to distract or blind you; just solid, honest song-writing delivered in impassioned tones. Mirrors is a must-have album.

Rating: 4 Stars (Out of 5)

Learn more about Jessica Labus at www.myspace.com/jessicalabus. Mirrors is available in multiple formats from Amazon, CDBaby and iTunes.

Audra Connolly - Dear Friend

Audra Connolly - Dear Friend
2009, Hole Heart Records

Boise, Idaho’s Audra Connolly grew up in a household where the arts and nature mixed in wondrous ways. Read through Connolly’s stream of consciousness biography and you begin to get the picture of a sophisticated mind that still enjoys the simple things in life. Connolly writes music straight from the heart, with an authorial voice that’s more like an old friend pouring her heart out. Her voice is in kind, full of the richness and texture of emotion and her personality. Connolly’s voice rings true on her debut album, Dear Friend.

The songs on Dear Friend are very well written, with a wonderfully deep level of communication going on. If Connolly misses at all on Dear Friend, it’s where her songs get so deeply personal that the only real audience is the person the song was written for. Every song here is carefully crafted and full of Connolly’s heart, full of lyrically complex prose laden with imagery. Dear Friend kicks off with “Eternal Youth”, a delightful rocker about self-determination. There’s a happy, carefree vibe to the song that’s unmistakable. You’ll fall quickly for Connolly’s voice and style, and “Eternal Youth” is the perfect opener. “Blue Eyes” and “Friendship” have something of an easy going air, but Connolly’s heart bulls through on “Givin’ It All Away”. Connolly’s declaration of love in song in what appears to be a complicated situations; this is not your typical syrupy love song, but a deeply nuanced and mature love at love in the true light of day.

“Loudly Rings” is a thing of beauty, immersed deeply in Audra Connolly’s perceptions. Connolly finds magic on “Diversions”, an exploration of romantic diversions (presumably) in her life. The song is a series of vignettes about people who might have been wonderful for her but didn’t work out for one reason or another. Over the course of the song you get the picture of someone who perhaps enjoys the chase more than the catch. “Thinking Of You” is a regretful number where Connolly ruminates on falling for someone and the complications it will bring. Connolly doesn’t want to fall in love because of the complications it will bring to her life, but can’t get a certain someone out of her mind. You’ll think she’s losing the battle, but she probably lost it before she even wrote the song. “Meet You There” is highly emotional, detailing the deep love for a friend who’s become much more. This is the most highly personal song on the album, written in the language Connolly speaks with the person she’s most herself with. Connolly closes with “Love Unconditional”, an epilogue for all the songs that came before that is both more “typical” of a love song and yet somehow the only fitting conclusion to the process documented here.

Dear Friend is an album about falling in love with your best friend. It is deeply personal, self-focused and self-aware without sounding self-centered. Connolly displays a deep, intense personality woven through songs of intricate emotion and imagery, as if Dear Friend is a musical diary and Connolly has invited us all to get to know her heart. Dear Friend is a gift for the taking. You’ll be charmed by her personal delivery and intricate detail in telling the story of how a heart that perhaps feared love fell into it unwittingly, fought it and lost. In the end Connolly won, and with Dear Friend, so will you.

Rating: 4 Stars (Out of 5)

Learn more about Audra Connolly at http://www.audraconnolly.com/ or www.myspace.com/audraconnollysongs. Dear Friend is available as either a CD or Download through Amazon.com. Digital copies are also available from iTunes.

Review: Molly Thomason - Through The Static

Molly Thomason - Through The Static
2009, Molly Thomason

Molly Thomason carries with her the sort of polish and maturity of an established artist whose been writing and performing professionally for a number of years. She’s been writing for seven years by now, but the fact that she’s all of fifteen years old will come as something of a surprise if you hear her before you see her. The Antigonish, Nova Scotia resident who was born in Kent, England into an artist family was singing practically before she was talking; if there’s ever been someone born to make music its Molly Thomason. Thomason makes a big impression with her debut album, Through The Static, showing poise beyond her years.

Through The Static opens with Untitled #2 (Kiss Me), a solid Pop tune in an acoustic arrangement with a killer chorus. Thomason establishes herself early as a center-of-the-road mix of Ingrid Michaelson and Lisa Loeb; sweet with just a bit of edge to her. Textbook Cute is a tough read. After several listens I am still not sure I'm with the text, but the arrangement is great. The song seems to be about involvement with someone who is dysfunctional and up-front about it; either the dysfunction is catching or the narrator realizes that she, too, is given to the same sort of dysfunction. Streetfight didn't catch me hard the first few listens, but the more I hear it the more weight it has. It's a song about the tension and anxiety of growing up and enmeshing your life with another. Thomason plays around the edges of sharing space and establishing boundaries in very artful, musical terms.

Break My Heart is a dash of Urban Folk-core, ala Ani DiFranco, but with a slightly harder edge. The song is catchy and memorable, and among Thomason's better offerings. Summer Rain is another highlight, capturing that moment in a relationship where things come to the brink of falling apart before the wounds heal. All relationships go through these moments; even the ones that work out. Thomason shows a deft lyrical touch here. All That I Would Like To Say is a heartfelt ballad that leaves nothing unspoken. The abject honesty could be either refreshing or too much depending on the listener's perspective. Thomason returns to Urban Folk-core for Sister Sarah. Again, I didn't quite stay with Thomason on this one, but the song has a great sound.

Thomason shows a lot of vulnerability on Through The Static, touching on the realization in a relationship that her partner would be okay without her. It's a crisis of confidence borne of insecurity, asking the key question: Do you love me? One Anthem Girl confronts a behavior that can and likely will tear apart the relationship (in this case drugs). The song seemed a little flat, nowhere near as emotionally intense as you might expect given the emotional range shown elsewhere on Through The Static. Thomason saves her best for last. Little Bones features Thomason at her most poetic; crafting a delightful Folk arrangement with Jazz accents and instrumentation that bring the song to life.

Molly Thomason's Through The Static is a very solid effort, providing consistent quality songwriting and performance throughout. Just when you think Thomason will soldier out as she came in, she throws you a wink and a curve with the final track; an invitation to come along and see what else she has up her sleeve. Thomason isn't about you to blow you away, but she has a very affable voice, a knack for telling stories and guiding them through compact Folk/Rock arrangements, and the ability to pull the rug out from under you when you least expect it. Through The Static is a solid listen you'll come back to. You might even find yourself sticking around to find what comes next.

Rating: 3.5 Stars (Out of 5)

You can learn more about Molly Thomason at http://www.mollythomason.ca/. You can purchase Through The Static as either a CD or Download from CDBaby.com.

Review: Jean Mann - Daisies And Fire

Jean Mann - Daisies And Fire
2009, Jean Mann

The Emerald City houses a number of musical gems. Jean Mann has been a fixture on the Seattle scene and across the northwest US since 2002. A favorite of Cyndi Lauper and Jacqui Naylor, Mann uses her angelic voice and cultured, urban tales to put listeners at ease like an old friend weaving stories over a cup of coffee. Mann's latest album, Daisies And Fire, combines an urban sophistication with melodic simplicity in an alt-folk mix comparable to that of Aimee Mann or even Ani DiFranco's less acerbic work.

Daisies And Fire opens with The Path, a pleasant, innocuous Folk/Pop confection that pleases but fades away like the afterimage of a flashbulb. Blue Soul offers a bit more to chew on; "I wonder what it's going to take to climb out of my heart". It's a song of mourning and loss peppered with the surety that better is to come. The melody and arrangement are both quite lovely. Daisies And Fire is vaguely reminiscent of Norah Jones' I Don't Know Why in the base arrangement, but differs thematically. It's a pleasant listen, although the ghost of Jones was there throughout for me. Two Birds is a heartfelt, melancholy tune that comprises Mann's darkest moment on Daisies And Fire. I expected there to be more tension in this song but it never quite materialized.

Blue Sky is dreamy Jazz/Pop that would have been right at home on 1970's AM radio and is among the better songwriting on the disc. On Pull Over, Mann explores the need to "stop and smell the roses", as it were. It's a well-written affair, high on the pleasantries meter but continuing in a vein that's perhaps a bit too consistent. Side By Side revels in the comforts and magic of established love, again going to the 1970's AM sound and blending it with hints of Country flavoring. The rest of the journey is relatively as it has been before, with the lone exception being Tide. Mann is the same, but the cello and guitar work some magic in this tune that would have been welcome elsewhere.

As a songwriter/performer on Daisies And Fire, Jean Mann is eminently likeable. Her voice is sweet, and even the darker moments in song seem harmless. There lies the rub. I'm not sure whether Mann challenged herself in the process of creating the album, but as a listener there was no challenge here. It's good to hear a songwriter who's comfortable with who, what and where they are, but the occasional risk would add some much needed spice to a pleasant but conventional folk/pop album.

Rating: 3 Stars (Out of 5)

You can learn more about Jean Mann at http://www.jeanmann.com/. You can purchase Daisies And Fire as either a CD or Download from CDBaby.com.

Review: Mona Sterling - Lay Down Your Weapons

Mona Sterling - Lay Down Your Weapons
2009, Sterling Creative Enterprises

Seattle's Mona Sterling is known for her arresting voice and percussive guitar style. Comparisons to Melissa Etheridge, Johnette Napolitano (Concrete Blonde) and even Ani DiFranco are unsurprising, and Sterling writes with an emotional honesty that is refreshing. A songwriter from the age of five, Sterling has been influenced by everything from Carmen to Led Zeppelin, and allows everything she's taken in to flow back out in her music. Sterling's debut album, Lay Down Your Weapons, illuminates the talent of a singer-songwriter who shines even amidst the glow of the Emerald City.

Lay Down Your Weapons opens with the contemplative rocker Something Sweet, a love song that's more about how being in love makes you feel. Sterling's voice reminds vaguely of Grace Slick at times; hers is a sharp, powerful voice with a warm tone that's exceedingly pleasant to listen to. The lady can belt when she wants to as well, as you'll quickly hear on Lay Down Your Weapons, an Americana/Rocker full of wondrous sounds that mimic a pedal steel at times. Rhythm Of Heart looks back on a long-standing love, still in wonderment at how easy it's been. It's a love song that fails to fall into the ooey-gooey cliché of Pop radio love songs and is driven by a wonderfully rhythmic riff on acoustic guitar.

Room To Change is an angry kiss off song delivered in measured tones. Sterling again building wonderful movement into the arrangement, which in this case seems to stoke the fire in the vocal line. Room To Change shows Sterling to be an incredibly nuanced songwriter who retains the ability to surprise listeners with the occasional brutal blunt force of honesty. Little Under takes another blind turn, exploring the effects of a relationship between non-equals. Sterling gently frames the anxiety and insecurity that wreaks havoc on a relationship where one partner is always in control and neither can win. Sterling turns vitriolic again with Wreck You, another kiss-off song that's wonderfully dark and full of long-hidden anger. Sterling's voice is perfect for this song, channeling an angry strength that gains force as the song progresses. Lay Down Your Weapons closes with Dan's Song, a communication to an ex to give up waiting for a reprise. It becomes clear quickly that the antagonist here borders on stalker-like behavior. Somewhat dark subject matter is covered in a jaunty, upbeat arrangement that's either ironic or downright farcical.

Lay Down Your Weapons reveals Mona Sterling to be a splendid story-teller in song, sprinkling real life relationship stories with intelligence, wit and the sort of personal perspective that comes from having lived through them (or close enough). Add to this Sterling's unforgettable voice, and Lay Down Your Weapons goes down as a highly memorable listening experience. Sterling plays all parts here, ranging from sweet to sassy; loving to spiteful and vulnerable to resolute in the course of nine splendid songs. The full range of human emotions play themselves out on Lay Down Your Weapons, and Sterling gives the sort of performance that causes first time listeners to seek out other recordings, opportunities to see her live, etc.

Rating: 4 Stars (Out of 5)

You can learn more about Mona Sterling at http://www.monasterling.com/ or www.myspace.com/monasterling. You can purchase Lay Down Your Weapons as either a CD or Download from CDBaby.com.

Review: Levit/Susilo - Asmarandana

Levit/Susilo - Asmarandana
2007, Symbol System 0701

Emiko Saraswait Susilo and Rob Levit created an entrancing album in 2007, entitled Asmarandana. Asmarandana is a form of Javanese Macapat (poetry) that is sung. The form uses lines of multiple lengths in a prescribed pattern and generally tends to be love songs. Levit and Susilo met through UCLA's Center For Intercultural Performance's APPEX program. Levit is known of his Rob Levit Trio, well known in Jazz circles in California, and Susilo is a founding member of Balis Cudamani, which has toured Indonesia, Greece, the US and Canada.

Susilo has one of those voices where you wish she'd just sing all day, and Levit has a supple hand on the guitar, crafting simple-yet-perfect arrangements that touch on Pop, Lounge and Jazz styles. Asmarandana opens with Ati Bolong, a gorgeous and seemingly tragic tune (my Javanese vocabulary rests squarely at zero words). Susilo is enthralling here. Rep Sidhem dances out of Susilo's mouth at times, carrying its weight with grace. Susilo explores her upper register to good effect, with a strong clear soprano voice that floats over the song. Asmarandana is a slow, contemplative song with an almost ethereal feel. The guitar work here is exquisitely subtle, filling around Susilo's voice like a second skin. Suwe Ora Jamu plays like a Easy Listening/Jazz tune. Levit is at his best here, and Susilo's vocal line is sweet and searching.

Galang Bulan is stark and gorgeously played, steeped in vocal harmonies and sparse guitar accompaniment; providing perhaps the most poignant and memorable moments on the album. Demonya Tukang Bonang is compelling, with a highly rhythmic guitar part that sounds like something Ani DiFranco might have written. The song has an urgent, vibrant feel that takes the listener by the band and leads you along. Levit and Susilo hit a Latin Jazz sound on Welha, with Levit getting to show off some serious licks on guitar. Asmarandana closes with the seven-minute-plus Improvisation, a highly rhythmic and variable piece of musical performance art that will sit better with some listeners than others. Susilo lets herself go completely, sounding the best she has on the album, while Levit extracts every possible sound imaginable from his guitar (along with a few that weren't).

Rob Levit and Emiko Saraswait Susilo have created a compelling sound and style on Asmarandana. The blending of musical styles creates a listening experience whose sum is greater than the talents of the two primary performers. Susilo has a beautiful voice that is better heard than described. It's not perfect in tone by western standards, but there is an authenticity in both sound and style that eludes many performers. Levit is, quite simply, a world class guitarist, so marked both what he does with the guitar as what he does not. Levit/Susilo is likely to be around for a good long time. Make sure you take a few minutes and check out their fine album, Asmarandana.

Rating: 3.5 Stars (Out of 5)

You can learn more about Levit/Susilo at http://www.amarandana.net/. You can purchase a copy of Asmarandana on either CD or as a Download through CDBaby.com.

Review: Katie Garibaldi - Next Ride Out

Katie Garibaldi - Next Ride Out
2009, Living Dream Music

San Francisco's Katie Garibaldi released her sixth album, Next Ride Out, in June of 2009, a stunning feat considering Garibaldi is all of twenty-five years old. Garibaldi is a prodigious songwriter and engaging performer and finds time in-between to run her own record label, Living Dream Music. Produced by Guitar Player Magazine Editor-In-Chief Michael Molenda, and displays Garibaldi's eclectic mix of Rock, Country and Folk that's as Americana as they come, while also showing a more personal and more mature side of Garibaldi than we've seen in the past.

Following in the footsteps of artists like Ani DiFranco, Garibaldi controls all of her material and her own musical destiny. That comfort and self-assuredness comes through on Next Ride Out. Garibaldi opens with Say The Word, a song of love and devotion that's sweet and sultry and innocent all at once. It's major mix-tape material and seems like a perfect candidate for country and pop radio in spite of the girl-next-door aura the song carries. Hey, Hey Darlin' is a fun little country tune about love and the truly important things in a relationship from the perspective of someone who's nearly lost what they had in that department. Garibaldi breaks out the funk on A Love Without Chains, a dark and slinky tune with a seriously soulful vocal line. Without Trying So Hard looks back at a failed relationship that's deeply bittersweet. Garibaldi is at her most vulnerable here as a performer, delivering a musical soliloquy that could have walked right out of musical with deep emotion and a grace that is compelling.

You've Already Got Me gets back to the Americana sound with a sweet song of assurance that just asks for the time to allow emotions and bonds to grow in their own order. It's an incredibly mature and intelligent bit of writing that runs entirely counter to the sort of glitz-and-ditz that passes for love songs on commercial country radio. Nothing Good Lasts digs into a healthy slice of cynicism about a beau in a classic Country/Rock arrangement. This is probably the most "commercial" track on the disc. I Owe You Nothing is a down-tempo country anthem for those whose hearts have been toyed with, featuring strong songwriting and a melody that will sit in the back of your mind and remind you repeatedly that it's there. Next Ride Out closes out with Falling For You, the sort of ballad that Nashville producers drool over. Garibaldi outdoes herself with a performance that should seriously raise her profile in the country music world.

Katie Garibaldi just keeps getting better with time; the girl next door with a magical talent and an affable delivery will turn a lot of heads with Next Ride Out. Her song Falling For You is going to be a serious hit for someone, whether it's Garibaldi or someone else covering it down the road is the only question. Talent like this needs to be heard outside of the Northwest US and Texas. If you're a fan of Country or Americana music, Katie Garibaldi is a must-hear artist.

Rating: 4 Stars (Out of 5)

You can learn more about Katie Garibaldi at http://www.katiegaribaldi.com/ or http://www.livingdreammusic.com/. You can purchase Next Ride Out on CD or as a download at www.cdbaby.com/cd/garibaldi4.