Gabrielle Aplin - English Rain [EP]

Gabrielle Aplin - English Rain [EP]

2013, Parlophone International

Gabrielle Aplin’s story of discovery is very familiar.  The Sutton Benger, England native recorded covers of popular songs and published them on YouTube (ala Justin Bieber).  Though still quite young, Aplin impresses with a budding maturity as a songwriter.  With musical tastes honed on the likes of Joni Mitchell and Bob Dylan, Aplin has developed a very personal story-telling style. Aplin’s third EP, English Rain, peaked at #2 in the UK.  This spring she receives her first introduction to U.S. crowds, with dates between now and May 21, 2014 on the West Coast.

English Rain opens with "Panic Cord", a peppy little relationship post-mortem with brilliant folk/pop sensibilities. Aplin's voice has an ethereal quality vaguely reminiscent of Kate Miller-Heidke, and she has a delightfully conversational lyric style that's a perfect complement. Aplin's cover of Joni Mitchell's "A Case Of You" is esoteric and not without charm, but lacks the emotional presence of the original.  "Please Don't Say You Love Me" finds Aplin exploring the early routes of romance with adept musical and lyrical grace. It's a beautiful piece of songwriting likely to kick around your noggin for days.

"Home" is an ode to love and virtual space that two or more people can create with nothing but love.  Aplin's simple guitar-driven arrangement has an incessant quality that highlights the quiet urgency of the song's lyrics.  Aplin dwells on a bout of romantic hero worship with "Salvation", a soaring anthem/ballad with a bridge that's thoroughly out of place. You'll either love or hate this song with little room in between. Aplin departs with "The Power Of Love", a self-indulgent love song that's more obsessed with the concept of love than the thing itself. Aplin sells it with her unusual, lovely voice, but the songwriting here is incredibly young and unpolished, unlike the rest of the EP.

Gabrielle Aplin is still growing into her considerable talents.  On English Rain she shows both her strengths and weaknesses with unabashed confidence, choosing to be herself rather than trying to ply her musical talents to the latest trend.  The effort is laudable, and foreshadows the wonderfully talented and independent artist she is destined to become.  English Rain has its warts; a fact that will seem apropos to anyone who’s ever experienced English rain, but the spots where the sunlight shines through show a tomorrow full of promise.

Rating: 3 Stars (Out of 5)

Learn more at www.gabrielleaplin.co.uk.  

Justin Bieber - Bob Dylan tribute album

Island Def Jam Music Group confirmed today that JustinBieber will be heading into the studio starting May 15, 2013 to record a tribute album to Bob Dylan.  “It will be a newand exciting direction for Justin” stated Executive Producer Scott “Scooter”Braun.  Sources at Island Records confirmed that Bieber is looking for a more mature sound as he moves into his twenties.  One source even hinted that some of Bieber’s recent erratic behavior (such as wearing a gas mask inpublic), is Justin’s way of getting into the protest song mindset. 

Current plans call for an album of 12 Dylan covers, 2 Dylan inspired originals penned by Bieber himself, and a mega dance mix.  Dylan has apparently signed off on the project, and is considering a duet with Bieber on “The Times They Are A-Changin’”. 

Such career moves for young pop star are hardlyunprecedented.  It will remain to be seen whether Bieber’s young Believers will follow him into the world ofcountercultural folk/pop music.  It will also be a challenge for Bieber to convince music fans who have already writtenhim off as a teen (or tween) phenomenon to take him seriously.  Having Mr. Dylan on board will obviously help on that end.  It will be curious to see where this leads.

 

Matthew Heller - Invitation

Matthew Heller – Invitation
2013, Matthew Heller

Portland, Oregon’s Matthew Heller is set to turn perceptions of folk/rock upside down.  Like a man with two distinct personas, Heller jumps from protest song to personal confession/catharsis without warning.  Along the way, he brings a live and loud approach to the stage, and a songwriting style that eschews traditional boundaries and frameworks.  Heller’s debut album, Invitation, is a mighty flare of punk/folk/pop/rock goodness, rough edges and all.  Strap in, because it’s going to be a wild ride.

Heller kicks things off with “Father’s Son”, a dark and trouble rocker about filial recidivism.  The vibrant guitar accompaniment moves this song into high gear, while Heller’s unique voice convey and anguished approach to a life spent on the run.  “Space Girl” has more of a pop/rock orientation, and is written from the perspective of an eternally adolescent male.  Heller channels a bit of early Bowie here. Crawling in and out of the pop matrix as the mood strikes him.  Angular song construction and a willingness to expand on traditional pop structure make this an intriguing listen.  “Shake It” is punk roots-rock with a Dylan meets the Dead complex.  Heller writes stories in almost nonsensical allegory at ties, riven with psychedelic images and a teenager’s sex drive.

“Another Dose” could easily be a heavy rock song, but for the mostly acoustic arrangement offered here.  This quickly morphs into a pop/punk number that will have you shaking your hips and trying to sing along.  This is music you could spend a Saturday night dancing your cares away to.  Heller takes a break with “Interlude”, a gentle instrumental for piano and cello that’s surprisingly reserved and lovely.  Heller shows musical depth that speaks of good things to come.

“Howdy From Hades” is a reserved look at the effects of urban decay, drug addiction, poverty, etc.  The repetitive guitar arrangement seems to mimic the emotional desolation of being caught up in something you can’t live with but cannot escape.  The song is stark and memorable, and very marketable.  “Mercy” plays in the same desolate emotional playground, but this time has an autobiographical feel.  There is a hope of freedom here that is only to be found beyond the veil; a hope that becomes clear as the intensity of Heller’s guitar grows.  In “Man’s Prayer”, Heller shows off a rougher brand of songwriting.  Energy and emotion run through the song like electricity through a live wire, but Heller mashes words and music together at times in uncomfortable ways.

Heller gets back to his punk roots with the acerbically written “Drone Strike”.  He seems to find a special energy when gets into angular mode with his guitar, and that energy comes off of this tune in waves.  Just don’t try to stand still; you might hurt yourself.  Things quiet down a bit on “Jaclyn Of Spades”, a low key number full of quiet bluegrass licks and almost Zeppelin-esque deliberateness.  You could easily hear Robert Plant and company ripping up this number in a much louder and larger arrangement, but it works perfectly well as presented.  “Sink Or Swim” is a maudlin ballad that’s mildly pretty but feels a bit out of its element here.  It is a brief sidebar before Heller marches into the piano driven closer, “Dismay King”.  The low-fi presentation works well for Heller and the song is a solid bow with a positive message about keeping your chin up and moving forward.  This particular recording sounds more like a demo than a finished product, but Heller has definitely got something here.  The rough edges do not obscure the song’s distinctive pop pedigree; this one might help Heller find his way to the pop charts one day.

It’s always fun to follow Matthew Heller into a song.  Sometimes Heller goes right where you would expect him to, and others he takes you on unexpected twists and turns.  It’s all very musical and well constructed, but Heller’s musical perspective seems a bit unique.  Invitation has its rough edges, and occasionally revels in sophomoric ideas, but Heller’s originality and musicality are undeniable.  Invitation is very enjoyable for what it is, but perhaps more so for what it suggests for the future.

Rating:  4 Stars (Out of 5)

Learn more at http://matthewheller.bandcamp.com. 

The Nadas - Lovejoy Revival

The Nadas - Lovejoy Revival
2013, Authentic Records

Whoever knew that one of the (quietly) biggest juggernauts in Indie music would be based in Iowa?  It’s true, and you’ll understand once you get a listen to The Nadas.  The band has sold over 200,000 albums through their own Indie label, and consistently churns out some of the finest Americana rock and roll you’re likely to find.  The Nadas’ latest effort, Lovejoy Revival, finds the band at the peak of their musical powers, drawing on influences from country to classic rock and roll.  As always, The Nadas roll with a lyrical depth and musical grace that paces the Americana pack.

Lovejoy Revival kicks off with the edgy Americana/pop of "Star Crossed". The acapella opening is a nice touch, but the tale of love, ignominy and apocalypse has a certain charm. The full bodied arrangement is a perfect match, and Mike Butterworth's warm, calming vocal guides it all home. "Meant To Be" is a neo-classic wedding song, co-written with songwriter Tricia Martin. The Nadas sound more than a bit like Blue Rodeo here, with an almost melancholy arrangement contrasting lyrics full of love, hope and pragmatic dreams.

"Someone You've Never Known" has to qualify as some of the finest pieces of pop songwriting to cross this desk in some time. There's an irrepressible energy to this tune, and the prospective perspective on a relationship adds a refreshing perspective. "New Place To Hide" takes a down tempo look at a relationship as it falls apart. This is slow dance material, but a bit of a downer for the dance floor. It would fit nicely in a film soundtrack as a breakup song however. "Visitor" is a quietly ambling story song cut from the singer/songwriter tradition. The outcome here is as unknown as the song's terminus is unforeseen, but the listener is left with a palpable expectation that something is going to change.

"Love You To Pieces" is a quiet but persistent swoon that is memorable. Once again The Nadas appear to have hit on a sound that is perfect for a soundtrack. The Nadas dig out their electric guitars for "Honor". The intergenerational perspective on honor and military service is striking for its lack of political hyperbole and its personal feel. "Only Love Is Real" has a wonderfully unsettled sense of urgency that gets under your skin. This is a song with impact that you'll return to again and again. "I'll Wait Forever" is more settled, but impacts with a powerful sense of love and devotion. This is fairy tale love without the saccharine poetess of modern pop.  The Nadas' take on The Rolling Stones' "Beast Of Burden" is subtle and quiet, but manages to capture some of energy of the original. The closing track,  "Hard Rain" is powerful and emotive in its quite delivery.

Indie music encompasses the full range of musical experiences.  Nowadays you can find everything from abstract teens scratching out chords in their basement on a laptop to established stars, newly escaped from label shackles working the DIY lines.  Out of the menagerie a band will occasionally rise to the top.  The Nadas are one such band, and Lovejoy Revival is a reminder that they just seem to keep getting better with time.  The mix of utter professionalism and distinctive creativity on Lovejoy Revival is hard to find, and the album is a well polished gem that sparkles with its own inner light.

Rating: 4.5 Stars (Out of 5)

See also the Wildy’s World reviews of The Nadas’ Almanac (2009) and Ghosts Inside These Halls (2008).

Learn more about The Nadas at www.thenadas.com. 

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. 

Darryl Gregory - Big Texas Sky

Darryl Gregory – Big Texas Sky
2012, Emptyhead Musikwerks

Darryl Gregory has seen it all, from the seedy clubs of 1990’s New York City to the wings of off- and off-off-Broadway shows.  He’s seen the music world from the classroom, the orchestra pit and behind the boards.  Even relatively settled now with a wife and children, Darryl Gregory continues to create.  Gregory’s latest album, Big Texas Sky, is an eye-opener for both the power of music and the power of spirit.

“Aunt Jean’s Piano” is a quiet lament of a relative called home too soon.  The song opens with a duet hymn in classic mixolydian harmony, before Gregory transitions into a loving tribute to a beloved aunt who inspired a life-long love of music.  It’s a heart-tugging song full of love and grace, played in a reverent country arrangement.  “Anywhere But Here” is a classic country anthem about a young lady stuck in a small town full of small dreams.  It’s a solid story song, full of wailing pedal steel guitar and a hope for something more.  Gregory shows his vocal limitations here but holds his own.  Techno, rock and blues come together on “Workin’ Man”, with slide guitar and an Industrial percussion style underlining a classic country/blues story song told by a man punching the clock so his lady can have the finer things.  The song is catchy but seems a bit out of character here.

“How Do I Tell Her” is a soliloquy from a man who has lost his job, and is agonizing over how to tell his wife that life has suddenly changed.  Love redeems all here, but the song cuts to the deepest insecurities of an old school working class man.  The melody flows like water, and you could easily imagine this tune in a movie or a countrified musical.  “What About Love” seemingly continues the story line, with the couple giving up their ties to worldly means and simply living.  It’s a recognition of all that is truly important, with love being the currency they share.  Gregory’s songwriting here touches deep to heart and human spirit in this moment.

“Elegy For An Old Man” takes the story tellers soliloquy form to another level; an autobiographical sketch of a life well lived.  There is something magical in the story telling here, as Gregory invokes thoughts of Gordon Lightfoot.  The song follows the life arch, retrospectively, of a man ready to sail off for the great beyond but telling his tale one more time before he leaves.  This is a ‘wow’ moment for Darryl Gregory, and it wouldn’t be at all surprising to see this song picked up by other artists and covered over time.  Gregory winds down Big Texas Sky with “Prayer & Allelujah”.  Starting out in somewhat contemplative fashion, Gregory kicks it up into a classic southern gospel barn burner that will have you on your feet and shouting to the skies.

Darryl Gregory is a pleasant surprising; showing strong compositional abilities and a talent for storytelling that is rare.  While Gregory’s voice is somewhat limited in its comfortable range he doesn’t let it get in his way, singing with the sort of confidence and strength that has powered the careers of Bob Dylan, Neil Young, Gordon Lightfoot and others.  Big Texas Sky ranges as wide as the red dirt it reflects, as Darryl Gregory leads listeners through inspiration, confidence, loss, rebirth and celebration.  It’s a wondrous journey, authentically human and fervently told.  Here’s hoping Darryl Gregory has more where this came from.

Rating: 4 Stars (Out of 5)

Learn more at www.darrylgregory.com.  You can purchase Big Texas Sky directly from Gregory’s website, or through the e-tailers below.

Amazon MP3                 CDBaby (CD & MP3)          iTunes

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Gaston Light - Peel

Gaston Light – Peel
2011, Idol Records

Dallas-born and based (by way of Los Angeles) Gaston Light brings a musical melting pot on his debut album, Peel.  Born Jason Corcoran, Gaston Light blends a musical melting pot of roots rock, country, soul, blues and folk, while showing a surprising lyrically subtlety for a twenty-two year old singer/songwriter.

Peel opens in provocative fashion with “Athens, TX”, giving the account of a murder in the first person from the one who got away with it.  The song is not as disturbing as it probably should be.  “Morning Fog” has a melancholy, sing-song air that is aurally appealing, even if the vocal line is a bit flat energy-wise.  The arrangement is nicely structured, and the guitar work lends a full sound to the composition.  “Kiss The Hive” is intriguing; Gaston Light uses an angular guitar sound to create an unsettled dynamic.  It’s unclear whether this is intentional, but it almost sounds as if he’s on to something sonically.  “In A Casket” shines from the middle of the album; it’s a great tune, albeit with an unusual premise.  It’s a catchy, roots rock number with some impressive pedal steel work going on in the background, and light gives a surprising vocal turn that’s one of the highlights of the album.

Gaston Light works his way through numbers such as “Half Awake”, “Close Your Good Eye” and “Crown”, while finding small moments in the catchy fun of “Xanax Blues” and the sappy/sweet “I’ll Wait For You (Please Wait For Me)”.  Light’s voice is pleasant to listen to, but there is a passive quality to his vocal style that can be interpreted as a real lack of energy or conviction.  It may just be Light mindfully working around his own vocal limitations, but if so, it challenges him to raise the energy level in the vocal lines in order to stay connected with listeners.  Musically, Peel is above average.  Light shows a penchant for unusual sounds and construction while staying married to traditional song forms.  His ear is excellent, as you’ll hear in the instrumental mixes woven into the seams of each song on Peel.  It’s safe to say that Gaston Light shows a lot of promise, but is still figuring out where he fits musically.  Peel, however, is a solid start.

Rating: 3 Stars (Out of 5)

Learn more about Gaston Light at www.gastonlight.com or www.facebook.com/gastonlight. 

CD                              MP3              

        iTunes.

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed.  Wildy's World is not responsible for price changes instituted by Amazon.com. 

David Serby - Poor Man's Poem

David Serby - Poor Man's Poem
2011, David Serby

David Serby spends his days as a Union Steward, representing workers and their interests in negotiations with employers.  When the working day is over, however, Serby picks up his guitar.  After spending three albums exploring 1960's style honky-tonk, Serby decided a different musical direction was in order.  Serby chose well, exploring a blend of Appalachia, folk and traditional country that fits perfectly to his story-teller's style.  With co-producer and guitarist Ed Tree (Spencer Davis Group), Serby has crafted his finest, most cogent work to date in the form of Poor Man's Poem. 

Serby's songwriting is rife with deep political thoughts, but the delivery is more that of a country bard.  Serby digs into stories steeped in U.S. history as a way of illuminating issues he sees as relevant to the present day.  The somewhat expansive country/folk arrangements he builds around his stories are subtle in nature and traditional in sound, coming across like the sort of personal folklore told on back porches throughout Appalachia rather than treatises on modern society.  Serby scores big with tunes like "Lay Down My Colt", a song that urges striving for peace, and the allegorical "Virginia Rail", which explores the life of a worker trying to make a living when large corporations control everything from where he works to the food he buys.

"Watch Over Her Baby" is a heartbreaker; the story of a young lady forced to give up her baby in the hope that he might have a better life, and her anguish watching from an alley as he sits upon steps where rich folks walk, hoping he'll be picked up and taken in.  "Wild West Show" explores the changes that have occurred over time for the First Nations of America.  "Evil Men" might just be the pick of the litter, however, comparing the rough and tumble behavior of the lawless on America's frontiers with that of those in boardrooms and state houses today. 

All of this is delivered in Serby's singularly plaintive voice.  He lulls you in with his delivery, and fills your head with images of times gone by while gently prodding you to think about today.  Poor Man's Poem walks the stilted streets of post-modern America trod by Bruce Springsteen and Bob Dylan, with a finesse and classic Americana/folk style that is compelling.  David Serby is the real deal.

Rating: 4 Stars (Out of 5)

Learn more about David Serby at www.davidserby.com or www.myspace.com/davidserby.  Poor Man’s Poem is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Two Cent Revival - The Devil's In This Whiskey

Two Cent Revival - The Devil's In This Whiskey
2011, Two Cent Revival

Brazilian-born, Texas-raised singer/songwriter Matt Jones found love for his Texas roots only after making the move to New York City.  The emotional resonance of being so far from home plays through Two Cent Revival's new EP, The Devil's In This Whiskey, available June 15, 2011.  With a mature writing style born of the desolate honesty of Bob Dylan and Townes Van Zandt, Jones spins tales of emotional darkness and redemption, and the constant pull of both forces on the soul.

The Devil's In This Whiskey opens with "Rear View Mirror", a catchy, id-tempo Americana blend about running away from a past the narrator can't escape.  This anthem of a tortured soul comes with recognition of the trap and in ability to stop running.  Jones sounds a great deal like Paul Gross on vocals, with a steady baritone born of country grit and a touch of folk/rock seer.  "The Devil's In This Whiskey" is a brilliant rune about losing control to the bottle, in spite of having every reason not to.  He's gone to the well one too many times and spoiled the one relationship with any hope of keeping him sane.  Jones begs for mercy, expecting none, in the beginning of a spiral of competing needs.  It's an impressively compelling story-song with many layers.

"Give Me More Time" is catchy number about trying to pick someone up at a bar and being painfully aware of one's own inabilities while trying to make it look good for your friends.  The internal conversation here is well-wrought, reflecting a man who spends too much time thinking and not enough simply doing as insecurities plague his every move.  "Save Our Souls" starts out as a plaintive country/rock ballad, but turns into a Doors-esque epic rocker.  Full of urgency and desperation, this tremendous piece of songwriting shows its progressive rock roots as things swing further and further out of balance.  Two Cent Revival closes with "Back In The Day", a romantic retrospective based in a paucity of emotion.  The narrator isn't certain about happiness, but remembers a time when life was simpler as a bright light.  The solid Americana arrangement lends to the emotionally maudlin tenor of the song.

The songs on The Devil's In This Whiskey are well crafted Americana/country hybrids, but it is the personal story-telling style and pure charisma of Matt Jones that gives Two Cent Revival their wings.  Jones would be equally as compelling alone on stage with a guitar as he is in front of a band, but the full band flavor of the recordings certainly gives additional oomph to Jones' tales of imperfection, pathos and hope.  Two Cent Revival is going to make a lot of new fans with songs like this.

Rating: 3.5 Stars (Out of 5)

Learn more about Two Cent Revival at www.twocentrevival.com or www.myspace.com/twocentrevival.  The Devil's In This Whiskey drops on June 15, 2011.  You can pre-order digital copies from Amazon.com.  Expect wider availability upon release.

Buxter Hoot'n - Buxter Hoot'n

Buxter Hoot'n - Buxter Hoot'n
2011, Buxter Hoot'n

San Francisco's Buxter Hoot'n is set to release their third album in five years, with the May 30, 2011 drop of Buxter Hoot'n.  Vo-vocalists Vince Dewald and Melissa Merrill; Jimmy Dewald (bass); Ben Andrews (guitar/violin) and Jeremy Shanok (drums) cover the turrets between Americana and Southern Rock on Buxter Hoot'n, the follow-up to their highly successful sophomore album In Another Life, which charted on the Americana Music Association, Roots Music Review and Jambands.com charts. 

Buxter Hoot'n opens with "Mariel", a story song that sounds like it could be an early Crash Test Dummies outtake.  The song has a solid melodic sensibility and a down-home feel.  Vince DeWald takes lead vocals this time around.  "Out The Door" is a Dylan-esque bit of bluesy Americana; a solid album track.  "Chief Justice Shepard" is a protest song that explores collusion between judges, governments and private corporations to keep prisons full of bodies.  This is a great tune, enveloped in a snappy Americana arrangement that's appealing to the ears.

"Thought I Head You Say" features Melissa Merrill on lead vocals, showing off fine alto sound with just a touch of toughness sewn in.  "Go Get Your Gun" is a song of paranoia and deeply repressed rage.  The gypsy-style violin (ala Stephane Grappelli) is a nice touch however.  "Cover Band" is a celebration of music at its most appealing; the story of a cover band working for all its worth.  This good time song manages to keep a low key approach that works well.  "Spill Some Juice On Me" is done in a bluesy, talk/sing style.  It's a solid album track, catchy in its own right.  Buxter Hoot'n closes with "Curtain", a brief instrumental fugue that tends off into nothing.

Buxter Hoot'n gets a fair amount right on their self-titled album, but also misses some of the finer points of creativity and production in the process.  Both vocalists are competent, and Buxter Hoot'n, the band, appears to have a very clear vision of who they are and where they are going.  As such, Buxter Hoot'n is highly representative of the band as they are now.  There are obvious opportunities for improvement (as there always are), but it wouldn't be surprising of the band re-creates the success they discovered with In Another Life.

Rating: 3 Stars (Out of 5)

Learn more about Buxter Hoot'n at www.buxterhootn.com or www.myspace.com/buxterhootn. Buxter Hoot'n drops on May 30, 2011, and will be available through the band's webstore.  Expect availability via CDBaby, Amazon.com and iTunes soon.

Ron Hawkins - Straightjacket Love

Ron Hawkins - Straightjacket Love
2011, Ron Hawkins

There is a point in time and space where music, art and life intersect in mysterious ways.  It is a place where truths are lost and found; a place where magic happens.  All great songwriters strive for this marriage of time, place and muse, and even the greatest miss it more often than not.  Ron Hawkins has been dancing about the edges of this vortex for the past two decades, quietly carving out a niche as one of the finest songwriters of his generation.  First as a member of legendary Canadian rockers Lowest of the Low, and later in various solo incarnations, Ron Hawkins has built an impressive catalog of songs built on raw honesty and a master craftsman's ear for words and melody.  Hawkins recently released his 8th solo album, Straightjacket Love, drawing from country, rock and blues styles to create one of his most dynamic and satisfying works to date.

Straightjacket Love opens with "One Hundred Five", a comfortable country/folk/rock number that wastes no time showing off Hawkins' talent at turning a phrase: "And we tug our time like ragged sleeves / and our days we wear 'em thin / we scatter them like pumpkin seeds / oh breath into the wind."  It's a song of love built from long survival together and filled with an acceptance of profundity and imperfection side by side, illuminate by the light of life's limitations.  With a simple arrangement and amazing depth, Hawkins outlines what will become an album born of love songs, but rooted in the real world understanding of someone who has seen the trenches and knows that every moment is a real gift.  "Corner Room" explores distances that can never be overcome, even from one room away.  References to history are both personal and musical, and Hawkins creates a moment of angst in music that's so real it's painful.  The song is a gorgeous testament to the emotional baggage that we all carry when something good falls apart.

"The Sickness (That's What They Call Love)" is a wonderful little alt-country celebration of love.  Catchy and sweet without ever stepping into cliché, the song features a swaying chorus you can't help but sing along to.  "Hong Kong Station" is a love song written far from home on a long train ride, where contemplation turns to truth.  This one feels like it could have been a Lowest of the Low number, but is gussied up here with an Americana sound.  Hawkins has always had a talent for romanticizing the desolate moments in song, and repeats the feat with "Waitin' On Something That's Already Here".  It's a gentle calling out of someone afraid to commit that's well-written and performed with a bare honesty that's heartbreaking. 

Hawkins returns to the blues-influenced folk/rock of his early solo career (Secrets Of My Excess) with "Black".  It's a bit of musical self-flagellation decorated with remorse and hope for forgiveness, and surrounded by wonderful instrumental cameos that create a distinctive impression.  This song will get stuck in your head and stay there, and it wouldn't be at all surprising to find this song licensed for a movie somewhere down the line.  "Kill The Lights" seems to vacillate grandly between trying to get better and giving up the fight, in a life where demons both inborn and acquired bear down on the narrator's soul.  The quietly edgy guitar work serves as a counter to the almost dirge-like incantation to hold off the night, and Hawkins delivers chants the chorus with an urgency that's chilling.

Hawkins changes pace with "Company Ink", a story-song where a chance meeting and time create the circumstances for a deep fall full of competing uncertainties and profound truths.  The song explores the dichotomy of love, of being lost and found all at once.  Hawkins wraps it all up in a cute, 1970's singer/songwriter pastiche, and delivers some wonderfully subtle lyrics in the process: "I met you in July as they showed you around the floor / I filed your name away but it rattled in my drawer."  The song is a true wow moment on an album full of them.

"Straightjacket Love" heads for the honky-tonk in a catchy country/rock exploration of love, freedom and attachment.  Don't bother trying to sit still, and forget getting this number out of your head for some time to come.  "Lucky Street Lazarus" is a kiss-off song to a prior romantic offender trying to waltz back into his life.  This is pure Ron Hawkins in a bouncy, rock arrangement that would be at home in either a solo or Lowest of the Low set.  Once again, try to get this song out of your head; it's next to impossible.   

Hawkins saves his most powerful works for last.  "Diamonds In The Water" finds the narrator coming to terms with a rough history while making amends and dealing with the mental and emotional detritus of a hard life.  Here we see a man exploring his current frame of reference while making sense of the past; afraid of losing both in a wash of tides he has little or no control over.  This is songwriting at its most powerful and raw, even when steeped in imagery and ideas open to wide swings interpretation.  The image of the title, the letting go of valuable thoughts by someone for whom memory is a valuable commodity is gut-wrenching and brilliant.  Hawkins wraps things up with a silly little love song, in his own fashion, with "Prairie Girl".  It's a charmingly catchy little number that grabs you by the lapel and pulls you along; knowing no matter how dark the past may have been, right now the sun is shining bright.  And that's enough.

Ron Hawkins continues to dig closer and closer to his own personal truths on Straightjacket Love, striving like a miner to find what's real in the structure of song.  On what is perhaps his most personal and compelling work to date, Hawkins delivers an entertaining blend of celebration, rumination and remorse from the building blocks of country, rock, folk and blues.  Magic both lyrical and melodic abounds on Straightjacket Love, an album that captures you like a great book and is over before you realize a moment's passed.  You'll find yourself returning again and again, looking for the subtle, ineffable gems Hawkins uncovers in his continued search for understanding.  Straightjacket Love is mesmerizing, a Wildy’s World Certified Desert Island Disc, and an album you simply cannot afford to miss.

Rating: 5 Stars (Out of 5)

Learn more about Ron Hawkins at www.ronhawkins.com.  Straightjacket Love drops May 31, 2011, but you can order it now in both CD and instant download versions from VictimlessCapitalism.com.  Be sure to poke around VictimlessCapitalism.com while you’re there – it’s a great site for artists to sell their music while keeping most of the proceeds.

Grateful Dead – Road Trips, Vol. 4, No. 2 – April Fools '88

Grateful Dead – Road Trips, Vol. 4, No. 2 – April Fools '88
2011, Rhino Records/Dead.net

Dead.net and Rhino Records continue their brilliant Road Trips series in 2011.  The first release, a 3-disc offering entitled April Fools '88, features live performances from Brendan Byrne Arena (then known as The Meadowlands) from March 31^st and April 1^st of 1988.  Generally renowned for their concert performances, the recordings from these two nights are like capturing lightning in a bottle, with rare performances and a stage energy from the band that is simply exceptional.

Some very rare tracks can be found in the middle of the show, including “To Lay Me Down” and Bob Dylan’s “Ballad Of A Thin Man”.   The sets offered here are full of classic Dead tunes as well,  but the real prize is the energy and flow of the two shows; especially the April 1^st performance.  The Grateful Dead were in the fullness of their musical powers in 1988, and Jerry Garcia was a new man after his medical trouble two years previous.  The result was a stunning live show, and a brilliantly produced and mastered archival record in the form of April Fools '88.  If you’re a Dead fan, this is a must have, and if you’re looking for a good introduction to the Grateful Dead, you couldn’t choose better.

Rating: 4.5 Stars (Out of 5)

Learn more about Grateful Dead at http://www.dead.net/, where you can order a copy of Road Trips, Vol. 4, No. 2 – April Fools '88.

Nate Marshall - Stowaways, Throwaways & Drifters

Nate Marshall - Stowaways, Throwaways & Drifters
201, Nate Marshall

Nate Marshall may be familiar to readers of Wildy's World as one half of Upstate New York duo Nate & Kate.  A lot has gone on in the world of Nate Marshall since we reviewed Now & Then; but the essential character of his songwriting hasn't changed even as continued touring and the cascade of life events have deepened his perspective on the world around him.  Marshall recently returned with Stowaways, Throwaways & Drifters, a collection of eleven tracks that documents Marshall's continued development as a songwriter and storyteller.

Marshall opens with "Smile That Smile For Me", a folky love song with something of a mid-1970's Paul Simon flair to it.  You'll find yourself hitting repeat on this track, which combines great songwriting with vibrant energy and a subtle sense of musical timing.  "River Of Liquor" is a bit muddled and messy; reflecting an attempt at recovery from alcoholism and the restoration of a relationship.  "Anything, Anytime, Anywhere: Free" is a sociological take on how the prevalence of technology has blurred the line between "needs" and "wants".  It's an apt observation planted in a blues/folk/American arrangement you can't shake.  "Here To The Midnight Shore" changes pace a bit; a love song embossed with Beach Boys-style harmonies.  It's a sweet number that's pretty and airy but manages substance in spite of it all. 

"Architects Of Destiny" is like a messy Blood Sweat & Tears jam.  The horns are jarring and the arrangement has an uncomfortable feel; which may be by accident but more likely seems an instrumental allegory for deep discomfort with the direction of the world.  "Turn The Key" opens with an instrumental take on "Oh Susanna" that grows through variation and embellishment into a tune about the imperturbable draw of home, even from within the unrelenting walls of prison.  Marshall descends into inspired silliness for "I Love U More", a love song that includes references to George Bush, Saddam Hussein, Jesus, Burger King, McDonalds and nudism.  It's hokey and fun and may even evoke a chuckle or two.

Marshall displays depth with "Piano Overture", a bluesy pop piano piece that sounds like it was recorded in a restaurant at dinner time.  Marshall impressive with a lyrical style, a sense of dynamics and vibrant personality that plays out through the keys.  Horizons continue to broaden on "Fiery, Desolate Day", which dawns stylistic guitar work that feeds into a high octane acoustic blues tune you won't soon forget.  "That Ain't Us, Ain't That Us" is a story song about the things we all say we don't do in relationships even as we do them.  It's an indictment of human behavior and sincerity that relies on human tendency as the primary indictment.  It's a smooth bit of songwriting that is likely to stick around Marshall's live sets for years.  "Not In My Name" is a political protest song, calling out the U.S. government for waging wars her people don't support.

Nate Marshall doesn't have a perfect voice, but he has the perfect voice for the songs he write and the style he purveys.  There's something gritty and knowing about the man as a songwriter that puts listeners at ease right away.  Stowaways, Throwaways & Drifters is a varied collection that shows off some of Marshall's strengths as a writer and performer, but also manages to unearth some sides to the artist you might not have expected.  In a crowded Indie singer/songwriter marketplace, Nate Marshall stands out.

Rating: 4 Stars (Out of 5)

Learn more about Nate Marshall (and Nate & Kate) at www.nateandkatemusic.com or www.myspace.com/nateandkatemusic.  Stowaways, Throwaways & Drifters is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Sherman Ewing – Single Room Saloon

Sherman Ewing – Single Room Saloon
2011, Okindalia Records

Sherman Ewing walked through hell and lives to tell the tale.  Tell it he does on his latest album, Single Room Saloon.  The Columbia University grad, who once played in a band called Sherman And The Bureaucrats with John “Jojo” Hermann of Widespread Panic, grew up in British boarding schools during the birth of the punk movement.  His songwriting evokes some of that attitude infused into a blend of pop, rock and country.  With an all-star band at his back (members have worked with Bob Dylan, Spin Doctors, Hank Williams, Jr., Phish, Keith Richards and Widespread Panic), Ewing opens an emotional vein for all the world to hear.

Single Room Saloon opens with “Heaven Waits”, an intriguing commentary on materialism and the corruption it breeds.  Ewing points to a light in the distance in a delicious blend of country guitars and sophisticated rock n roll.  “Single Room Saloon” has a distinctly urgent feel; imagine the Beatles playing in an Americana style.  The result is an edgy sound that will stay with you.  “Grey Skies Blue” is catchy, but its Ewing’s guitar work that most stands out.  It’s a tune about that one person who makes even the darkest day bright, and brings to mind some of the better works of Wilco.  “Flatlands” is a dreamy Americana blend that’s as pleasing to the ear as it is pointed in message.

“Walk On” is all about making your way in the world and finding your place.  It’s a delicious bit of soulful, buzzy rock and roll.  Things slow down for a couple of songs, but Ewing gets back on track with “Bye Bye America”.  Ewing laments those who would stand by and watch America’s decline as long as they get what they feel is coming to them.  Ewing keeps up the social commentary on “The Mission”, delving into the growing gap between rich and poor and the inability of the latter to keep up.   Ewing closes with “Marilyn”, an inconspicuous final track that plays like an epilogic vector.

Sherman Ewing shows a distinctive ability in the crafting of songs on Single Room Saloon.  The material presented here is, for the most part, cogently written and melodically sound.  Ewing’s special talent is in the musical details, which he wraps around the melodic core in layers both distinctive and refined.  Not all of the songs here work on all levels, but there’s more than enough here to make Single Room Saloon worth your time.

Rating: 3.5 Stars (Out of 5)

Learn more about Sherman Ewing at www.shermanewing.com.  Single Room Saloon is available digitally from Amazon.com or iTunes.

Jeff Cochell - Between The Lines

Jeff Cochell - Between The Lines

2009, Jeff Cochell

Portland, Oregon guitarist/singer/songwriter Jeff Cochell was first influenced by the work of Bob Dylan and Jimmy Page.  Somewhere along the way he discovered Lindsay Buckingham and Leo Kottke, and dove headfirst into the study of Fingerstyle guitar.  Cochell has become a phenom with the six string; his art clearly apparent throughout his debut album, Between The Lines.

Between The Lines is a confounding album.  Jeff Cochell is obviously very talented on the guitar, a notable point all throughout the album.  As much as Cochell excels as a guitar player and composer, as a lyricist he is often awkward in his phrasing, seeking out ham-handed lines that simple do not flow.  Cochell is at his best in "My Back's Against The Wall", using vocal harmonies to effectively mask a lack of vocal discipline that often leads to being off pitch while delivering the most cogent lyrics on the album.  "Somewhere" stresses Cochell's strengths as a guitarist in a stirring instrumental piece you'll find yourself listening to again and again.     Throughout much of the rest of Between The Lines Cochell mixes solid musical offerings with less than spectacular vocals and lyrics.

Jeff Cochell has a real ear as a writer and instrumentalist, and it's clear that in the right arrangement with a carefully chosen vocal line Cochell can sound quite good, but his fumbling lyrical sense is a definite disadvantage.  Working with someone for a more natural poetic proclivity may yield an impressive trove of songs as well as sparking the sort of constructive tension that can elevate good songwriting to great.  Between The Lines shows the seeds of musical success, but work needs to be done and Cochell may need to collaborate to realize the best of his talents.

Rating: 2.5 Stars (Out of 5)

Learn more about Jeff Cochell at http://www.jeffcochell.com/ or www.myspace.com/jeffcochell.   Between The Lines is available from Amazon.com as a CD or Download.  The album is also available digitally from iTunes.