Light Over There - Light Over There

Light Over There – Light Over There
2015, Light Over There

The ubiquitous nature of the internet has allowed for artists who might never otherwise meet to connect and make some great art.  Perhaps none of those stories is as intriguing as the one behind Light Over There.  Rex Haberman is a musical veteran, with two solo albums, a duo album a series of EPs with socially progressive rockers War Poets.  Aileen Henderson is an 18 year old resident of Galway, Ireland.  Haberman Aileen Henderson met via Twitter in 2014, and still have never met face to face. Nevertheless, they have begun a writing and recording partnership that is bound to catch your ear.  The duo, with the help of a handful of Nashville musicians, recently released their debut EP, Light Over There. 

Light Over There kicks off with “Where Memories Live”, a solid Americana rocker with a good voice and the wonderfully enigmatic lead vocals of Aileen Henderson.  The song tackles the subject of dementia and the devastating impact it has on families.  In spite of heaviness of the subject, there’s a lightness and energy to the guitar-driven arrangement that reflects love for the passive protagonist.  This energy carries over to “She Cries To You”.  The juxtaposition of Henderson’s reserved yet dynamic voice and the up-beat rock arrangement is reminiscent of some of the better work of the Cowboy Junkies.  You’ll have a hard time shaking this song; it will follow you around for a few days, popping into you head at the most random moments.

“I Ain’t That Bad” is a low-key duet between Haberman and Henderson that’s well meant but perhaps doesn’t work quite as well as expected.  The arrangement has a country-ish Gin Blossoms feel, but there’s little vocal chemistry between Haberman and Henderson, and the gap is something of a distraction.  “Solitude, Gratitude” is another solid, low-key rocker, but Henderson’s vocal energy just isn’t this one.  Her voice is pleasant enough here, there’s just no oomph in the performance this time around.  Light Over There closes out with “Mountain Song”, by far the standout track on the EP.  It’s catchy, yet understated, and makes a brilliant showcase for Aileen Henderson’s voice.   Everything clicks here.

Light Over There chose their name as a reflection of the wonder of two musical kindred spirits finding one another across the vastness of the Atlantic Ocean (or the internet).  That inspiration is apparent on Light Over There more often than not.  The disconnect of recording in different places at different times does show up at times, but the band generally does a very good job of bringing an organic feel to the songs.  It will be interesting to see how the project progresses over time; working face to face will likely help Haberman and Henderson find the deeper roots that are apparent from the music on their promising debut.

Rating: 3.5 Stars (Out of 5)

Learn more about Light Over There from the band’s Facebook page.  Light Over There is available via Amazon or iTunes.

Lisa Bell - The Italian Project

Lisa Bell – The ItalianProject
2013, Lisa Bell

Colorado based singer/songwriter Lisa Bell has been offeringup her brand of original, positively-themed music for more than a decadenow.  While empowering others is at thecore of what she does, there is no denying that Bell is a talented songwriterand vocalist.  Bell got her startinterpreting Jazz standards, but quickly moved into the realm of originalmusic.  Her musical travels and travailshave seen her working with artists such as Bill Payne (Little Feat), Nelson Rangell, Gabriel Mark Hasselbach and Machan. Along the way she’s also opened shows for Christopher Cross, StanleyJordan and Oleta Adams.  Lisa Bell’sfourth album, The Italian Project wasborn of collaborations from new friends and colleagues gained over recent toursof Italy.

Lisa Bell is not one to be nailed down to one particulargenre, but she does sound most at home in that particular mix of rock andcountry that Bonnie Raitt did so well. There are even vocal similarities between the two artists.  Bell is her own creation, however, and flitsfrom genre to genre as she sees fit.  Herlyrics are positive and pragmatic, working to build rather than to teardown.  She gets things rolling nicely on The Italian Project with “Bring The Love”,a meat and potatoes mash of rock, blues and country that is very catchy.  This is one of those moments where you can’thelp but compare Bell to Raitt.  “Come MyWay” has a wonderfully variegated guitar part that adds nice texture to thesong.  This is eminently radio ready,with a memorable pop chorus you won’t escape.

Bell goes for a late 70’s/early 80’s soul sound on “OneFace, One Race”, and includes some backing vocals sung in Italian.  Whether in English or Italian the message isclear; we are all one.  “A Brighter Day”allows Bell to show off her dulcet alto over a light samba that she wear verywell.  “Walk With Me” is a love song,displayed in a catchy, blues/rock arrangement. There’s a distinct sensuality here in Bell’s voice, but it seems more ofa natural element than an affectation.  Bell’s "Love Hurts” pays homage to the Nazareth tune of the same name, but is otherwise original.   She imbues the song with an energy and spunk that make it thoroughly enjoyable. 

With “Quilt”, Bell returns to the theme of people beinguniversally connected.  The allegory forfinding a way to bind us all together will not be lost on the listener, andBell manages to protect a maternal air in the process.    Bell’s only stumble is “From The OutsideLooking In”, which just doesn’t seem to have the energy of the rest of thealbum.  The song is essentially its ownallegory.  “The Best Of Me” is a solidcountry anthem about making the most of your dreams.  It’s a great message, and Bell is in her bestvoice here.  “I Can Be Anything” followsin much the same theme.  The words hereborder on cliché, but Bell pulls it off with panache a genuine belief in whatshe has to say.  The Italian Project closes with “Set It Free (The Boomba BoombaSong), which seems to be a sort of children’s tune with a Caribbean feel.  It’s a fun little closer that’s more noveltythan anything else, but works to show a lighter side to Lisa Bell’s creativetalents.

Lisa Bell crafts eleven original and empowering songs on The Italian Project.Bell’s positive focus is a breath of fresh air, and her blends of rock, countryand blues are aurally appealing.  Bellwill be compared to Bonnie Raitt extensively, and it’s not an unfair simile,but Bell is very much her own artist who just happens to share some traits withone of the greats.  Listen to The Italian Project and you’ll behooked.  Lisa Bell is the real deal.

Rating:  4 Stars (Out of 5)

Learn more at www.lisabellmusic.com

 

Kathy Muir - Far From Entirely

Kathy Muir - Far From Entirely
2012, Kathy Muir

Kathy Muir grew up in Edinburgh, Scotland, and like so many other singers cut her teeth on first hymns, and later folk music from her church.  Over time she has garnered significant jazz and blues influences.  These days she writes on the edge of acoustic folk and rock, with a quiet energy that runs throughout her songs.  Those jazz, blues, and occasionally even country influences break through at unexpected times however, meaning you never really know what Kathy Muir might do next.  This unpredictability is highly evident on Muir’s debut album, Far From Entirely.

Muir opens up with the restrained and polished country/pop of Jezebel. This song feels like it should have more weight than it does. Muir's voice is solid, as she stays within a compact, comfortable range. "Heaven In Your Eyes" is a low key, mid- tempo song of love and longing. Intense emotion is conveyed in a diffuse and non-committal arrangement without any real spark.  There's a bit more life to "Sweet And Easy" in spite of the mellow arrangement. Muir is fully engaged here, singing with a quiet passion of the discoveries of new love. Things get a bit funky on "Come Undone", with Muir swinging her way through another love song. The slinky feel is a wake up of sorts, and one of the better musical moments encountered here.

"One Step Away" has a melody that's instantly familiar, but becomes a victim of its own low energy. Things pick up significantly on "Ties Of Love", which has a quietly vibrant chorus and a sense o urgency you can't shake. "Fairytale Lies" has the same urgent energy, as Muir swears off fairy tales as a relationship archetype in a compact country rocker.  Synth rock is the prime directive on "You Surround Me", a pyramidal musical structure based on one simple piano line. Muir builds the sounds through layers, but true crescendo and decrescendo would make this more vital. Muir stumbles through the meandering landscape of "The Piano Plays A Melody". Listeners may feel lost amidst the nearly free- form rhyme structure ad disjointed lyrical constructs used here. Muir closes on a positive note with "Dream Of The Night", a passionate and swarthy rocker that moves with its own inner life.

Kathy Muir lives through some musical highs and lows on Far From Entirely. In her best moments she engages listeners with a solid, comfortable voice and an easy going vocal style. The songwriting is generally well thought out and executed, and any sins noted above are forgivable in the context of the album as a whole. All in all, consider Far From Entirely to be a very cordial introduction to Kathy Muir.

Rating: 3 Stars (Out of 5)

Learn more at www.kathymuir.com. 

Kati Mac - Save Me From Myself

Kati Mac – Save Me From Myself
2012, Kati Mac

With five EMMY nominations, and stints as a backup vocalist for performers such as Meatloaf, Nona Hendryx, Sting and Michael Bolton, you would think that Kati Mac would be a household name.   If you’re a fan of daytime soap operas you’ve certainly heard some of Kati Mac’s original music.  In fact, her song “Only Love” was the final theme for long-time CBS soap The Guiding Light.  Kati Mac continues to produce her own original music from her home base in New York City.  Her most recent effort, Save Me From Myself, is a wondrous mix of folk, rock, Americana and blues, and features a guest appearance from the one and only Jeff Golub. 

Save Me From Myself opens with the title track, a sleep bit of bluesy folk/rock that established a rich feel for the album.  Kati Mac is not overpowering vocally, but she has a pleasant voice and a sense of presence that is commanding.  She owns this song, imbuing it with a sense of urgency that is palpable.  “Bullet Hole Road” is the catchy and dark tale of a desperate life laced with impressive guitar work.  The subject of the song is an outlaw, though not a bad person.  The moral here is that a person’s story is often more than just the sum of their actions.  It’s a great story song, and Kati Mac wraps a rich and fluid arrangement around it all.  “He’s Memory To Me Now” is a quiet ballad looking back at a relationship from the past.  There’s a sense of hope that pervades the song, but that hope is mixed with a deep sense of resolution that things simply are what they are.

“Been There Done That” is a catchy blues rock kiss-off song with style and a bit of cheek.   This highly entertaining turn shows off Kati Mac’s sense of humor in the context of finely crafted lyrics and a brilliant arrangement that wraps around it all like a shawl.  “The Wheels Go Round” is a solid country/blues number with a healthy jaunt to it.    This leads into “Times Like These”, a down-tempo ballad that features some of the best guitar work on the album.  Kati Mac is a bit exposed vocally on this tune, but manages a solid vocal regardless. 

Kati Mac trots out Blind Faith’s “Can’t Find My Way Home” for a run around the block, building wonderful tension into the song while offering up a knockout vocal performance.  She then launches into another kiss-off song in the form of “Cold Day In Hell”, this time chiding  former love that is looking to get back into her life.  Listeners will hear shades of Bonnie Raitt here; it’s a fun tune that you’ll revisit again and again.  Kati Mac struggles a bit with pitch on “I Won’t Get Back Up”.  The vague malaise carries through to “Highway 100”, this time not in pitch but in the form of a middle of the road ballad replete with melancholy. 

Kati Mac lights up the room with “Lord Have Mercy On Me”, a bluesy folk/rocker about being unable to help herself in the presence of a heartbreaker of a man.  The song it entertaining and raw, and she does lose a bit of vocal composure on the high notes.  It’s unclear whether this is by design or simply caused from Kati reaching beyond her comfortable range.  “If I Knew Then What I Know Now” is a solid lament on the past and things that might have been different.  Kati Mac sings from the heart here; the result is a compact tune with a fine arrangement and a powerful sense of emotional momentum that is hard to ignore.  Kati Mac winds things down with an acoustic take on her cover of “Can’t Find My Way Home”, this time with Jeff Golub putting in a stellar guest appearance. 

Kati Mac is in the zone on Save Me From Myself, blending stellar songwriting, adept vocals and a wonderful compositional sense that draws the listener in and holds you in place.  There a couple of songs here where she pushes her own vocal range with mixed results, but one the whole Save Me From Myself is a splendid effort.

Rating: 4 Stars (Out of 5)

Learn more at www.katimac.com , www.facebook.com/kati.mac1 or www.youtube.com/katimac7. 

Renée Wahl - Cumberland Moonshine

Renée Wahl - Cumberland Moonshine
2011, Renée Wahl Records

Physicist, educator, U.S. Air Force veteran and singer/songwriter Renée Wahl has packed a lot of living and learning into her life thus far.  An educated drifter and an organized dreamer, Wahl found her way to Nashville a few years back to make another dream come true.  Earlier this spring part of that dream came to fruition, with the release of Wahl's debut album, Cumberland Moonshine.  With an alternative edge but deep respect for country music's roots, Renée Wahl writes about life, love and the spaces in between that make all the difference. 

Cumberland Moonshine opens with "On Something New", an energetic, mid-tempo country number capturing the high of new love.  Wahl's voice is sultry and just a bit gritty, with a gorgeous velvet tone.  The folks behind her aren't too shabby either, matching Wahl note for note.  "Keeping You For Mine" takes love and obsession to dark places.  Etched against a classic melody is tale of obsession so complete that only death can ensure they never part.  "One More To Go" is a catchy country number that's commercial without commercial aspirations.  Wahl could be mistaken for a cross between Reba and Bonnie Raitt here, and the song borders on instant classic status. 

Wahl delves into blues-based rock n roll for "Under My Skin", showing off a bit of her upper range in the process.  "Roses Are Blue" is a kiss-off number born of infidelity, but laced with a good-natured humor that's refreshing.  Wahl manages to sound classic country even while placing her firmly original stamp on the song.  Renée Wahl has a likely hit on her hands in "Heartbreak Thing".  Blues, rock and country mix in a tune about trying to get over a lost love but not quite letting go.  Drinking her troubles away turns into a cycle that keeps her locked in place, with the story told against a catchy honky-tonk arrangement you won't be able to get out of your noggin.  Wahl is thoroughly in her element here, in perfect voice with all cylinders firing.

"Love Won't Be Denied" is a solid, radio-friendly country number; the sort likely to pop on a soundtrack somewhere over the next year or two.  "Come On Baby" is the ultimate invitation in song.  Wahl drops this one like a bomb; listeners of all persuasions will find themselves wishing she was singing to them, in what might be one of the catchiest and danceable country songs of 2011.  "Got A Feeling" finds Wahl turning sultry and in a slow blues number carved from the harsh realities of life.  Cumberland Moonshine closes with "I'm A Wave", perhaps the only song on the album that seems out of place.  It's a somewhat disappointing end to what is otherwise a stellar effort.

Renée Wahl might just set Nashville on fire with her voice.  Wahl gives her all on Cumberland Moonshine, one of the most exciting country debuts in the past five years or so.  Wahl's just getting started, but has already shown herself to be better-than-average songwriter.  With a voice you could listen to all day long, and a backing band that's among the best in Nashville, expect big things from Renée Wahl in the future.  Cumberland Moonshine is a thrilling introduction.

Rating: 4.5 Stars (Out of 5)

Learn more about Renée Wahl at www.reneewahl.com or www.myspace.com/reneewahlmusic.  Cumberland Moonshine is available from Amazon.com 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.

Amy Black - One Time

Amy Black - One Time
2011, Reuben Records

Amy Black made her mark in the business world before embarking on a career in music.  Her debut album, Amy Black & The Red Clay Rascals was a tribute to Black's favorite songwriters, and earned Black notice for a compelling voice.  The voice is back on Amy Black's sophomore album, One Time.  This time around, Black penned nine original tunes to show off her distinctive love of storytelling in song.

One Time opens with "Run Johnny", a classic murder song that's surprisingly catchy.  Black's sultry voice falls somewhere between Bonnie Raitt and Jeannie C. Riley, with wonderful tone and just a bit of grit in the seams.  The tight and catchy arrangement presented here features top-notch instrumental work and shows off Black's presence as a performer.  "Whiskey And Wine" is a loved ballad about a doomed affair.  Black's gorgeous alto illuminates an exploration of a time when perhaps the pleasure is worth the pain.    "Stay" is a fun rockabilly number featuring an assist from Black's sister Corrie Jones.  Self-promotion is the name of the game in this soulful story song.

"Molly" is a melancholy ballad that plays like a letter written to a friend.  The arrangement and instrumentation here are exquisite.  Black mixes honky-tonk and old-school country on "You Ain't Woman Enough (To Take My Man)."  This song has hit written all over it; being incredibly catchy, especially for a mid-tempo song.  It has one of those choruses you'll find yourself singing along with the first time you hear it.  "All My Love" blends blues, country and rock with the addition of some funky guitar work.  Black's voice is utterly sensual here, dripping with emotion and charisma.  "Meet Me On The Dance Floor" is an upbeat and catchy flirtation in song.  Don't be surprised if this is the breakout track of the album.

"I Can't Play This Game" explores the beginning of moving on.  Sorrow and regret mix with an unwillingness to be wronged once more in a statement of self.  This is a solid album track, but the songwriting is surprisingly subtle and deep for a song of this type.  "Words Fail You" is pure country sorrow, complete with the plaintive cries of a pedal steel.  Melancholy blends into sorrow over the tragically beautiful melody.  One Time closes with "Ain't No Grave (Gonna Hold My Body Down)", giving Johnny Cash a run for his money.  Blues, gospel and Americana mix with a swing feel to provide the most dynamic moment on the album.  You'll get a glimpse of what Black is live here.

Amy Black, where have you been?  One Time shows the presence and professionalism of an artist who's been in the music game much longer than Black has been.  Credit producer Lorne Entress (Lori McKenna, Bittertown) and a cast of musicians including Mark Erelli (guitar, vocals, and lap steel) and Stuart Duncan (fiddle) for helping to build a sound around Black that's both classic and fresh.  But don't forget to credit Amy Black herself.  One Time is destined for a lot of "best of" lists at the end of the year.  Performers this fresh and real and yet so polished come along rarely.  You'll be glad that Black finally put her musical dreams first.

Rating: 4.5 Stars (Out of 5)

Learn more about Amy Black at www.amyblack.com or www.myspace.com/amyblackmusic.  One Tine is available as a CD or as a download directly from Amy Black's webstore. The album is also available digitally from iTunes.

Lynn Miles - Fall For Beauty

Lynn Miles - Fall For Beauty

2011, True North Records

Lynn Miles is one of the most accomplished Americana (or Canadiana, if you will) singer/songwriters in Canada.  Taking the time to build herself as an artist, Miles spent time in Los Angeles and Nashville before returning home to Ottawa, but in the process picked up several Canadian Folk Music Awards and a Juno Award.  Miles’ latest album, Fall For Beauty, appears on track to be her most commercially successful to date.

Fall For Beauty opens with "Something Beautiful", a song that explores humanity's yen for seeking the beautiful and sublime amongst the everyday struggles of life.  The song offers a poignant, mature perspective in a sharp folk/rock arrangement with more than a little pop sensibility.  Miles has a wonderfully mature voice that's part Sheryl Crow, part Bonnie Raitt and part Lynn Anderson.  "Fearless Heart" features a melody that climbs inside of your head and refuses to leave, amidst a dynamic country/rock arrangement that's the perfect complement.    It's the story of someone who wishes she could grab hold of life and ride free but is caught up in her own fears.  It's a brilliant aural portrait of someone caught in-between, and the vocal harmonies are angelic. 

"I Will" is a musical monologue from someone who has lost faith in herself, life and humanity, but sees the need to get back to where she's been.  It's a song of determination and hope that carries the seeds of recovery from heartbreak and disillusion.  The gentle urgency here is compelling.  "Three Chords And The Truth" is a portrait of the artist as a young girl; an ode to taking on the world the only way she knows how: growing up and finding herself through writing and performing songs.  "Cracked And Broken" is a mournful tune detailing her broken heart at the hands of someone she loved deeply.  It's essentially an acknowledgement that she fell in love with the wrong person.  There's a tragic beauty to this tune, but something seems to be missing at the same time. 

"Little Bird" is a song of encouragement for someone who perhaps grew up with little.  It's a sweet number that may touch some chords out there.  "Love Doesn't Hurt" strays into the world of domestic violence, and may be the natural progression from "Little Bird".  The tale told here is simple and straight forward, all the more compelling for the lack of varnish or commentary.  "Save Me" is a mildly catchy number with an Orbison-esque guitar style.  It's an acknowledgment of wanting someone who is bad for and of being her own worst enemy.  Jim Bryson (Punchbuggy, Kathleen Edwards, Sarah Harmer, The Weakerthans) joins Miles for "Goodbye", a song of parting about the mutual realization that things aren't working out.   Miles and Bryson's voices are a unique blend that works very well.  Fall For Beauty closes with "Time To Let The Sun", a sweet and positive lullaby done in a classic MGM movie musical style.  This one obviously stands out stylistically, but is surprisingly good even for being a musical anomaly.

Lynn Miles writes with depth and insight, singing from the veldt that lays somewhere between heart and soul, but is of both and neither all at once.  Fall For Beauty is a mature and intellectually resounding work, more of a song cycle about the human condition than simply a collection of songs.  Miles also has a talent for crafting arrangements for her material that work perfectly hand in hand with the depth of her lyrics.  This is not an album you put down easily, even if gets a bit uneven at times in the middle.

Rating: 3.5 Stars (Out of 5)

Learn more about Lynn Miles at http://www.lynnmilesmusic.com/ or www.myspace.com/lynnmilesmusic. Fall For Beauty is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Laura Roppé – I’m Still Here

Laura Roppé – I’m Still Here
2010, Laura Roppé

When Laura Roppé broke out in 2008 with her debut album, Girl Like This, it looked like nothing could stop her.  Grand reviews, a record deal in the UK and the sort of personal reactions from fans that build a lasting impression with a nascent fan base made it look like Laura Roppé was on top of the world.  Then cancer came calling.  The rare diagnosis of a rare and aggressive form of breast cancer might have appeared to have been a potentially cruel ending to a promising career path, but Roppé has never been the sort to give in.  Just two years later, Roppé is healthy, happy and inspired.  Her sophomore album, I’m Still Here, shows an artist reborn into her most primal self.  I’m Still Here finds Roppé taking a step back to make a leap forward.  The polish and power of Girl Like This is gone, but Roppé finds her inner voice on I’m Still Here.  With the assistance of producer, cousin and Rx Bandits front-man Matthew Embree, Laura Roppé has created her most honest and personal work to date.

I’m Still Here opens with “Bail Yourself Out”, a catchy folk/rock/funk/soul number that’s part Bonnie Raitt.  Roppé urges self-reliance in an urgently catchy tune that will get stuck in your noggin for days.  “Heart Inside Your Palm” is an unusually honest and childlike song about the responsibility of holding another’s heart in your hands.  There’s a cute quality to this song that’s almost trite, but that quality is overcome by the childlike simplicity of the song.  “Little Stick Of Dynamite” is a song Roppé wrote about her youngest daughter; both a loving ode and a warning to the world at large, “Little Stick Of Wonder” is full of the blend of mother’s love and utter awe at the unfolding of a personality born from her own but so thoroughly distinct.  “Woobie” is a simple love song using a child’s security blanket as the archetype for protection from the troubles of the world around us. 

“Making A Living” is a catchy pop tune about living life in the moment and rising above the norm.  “Daddy’s Little Angels” is an insightful tune about the push and pull between fathers and daughters, particularly once boys come into the milieu.  Interestingly, Roppé seems to be writing about her husband and daughters while imprinting her own experiences as a daughter within the subtext of the song.  This is among the best songwriting on the album.  “She’s Gonna Change The World” finds Roppé opining on her oldest daughter and her serious, purposeful way of approaching the world around her.  Full of a mother’s love, the song is a moving tribute.

Roppé’s battle with cancer helped produce her own personal “bucket list”, a concept playfully treated with in “George Clooney”.  This smarmy little number is about living in the moment and having the audacity to dream your dreams no matter how outlandish they may seem.  While not Roppé’s most polished songwriting, she gets points for honesty and for letting the song be what it wants to be.  “I’m So Sorry” is a tongue-in-cheek instructional tune on the proper way to apologize to a woman.  This is destined to be a crowd favorite in Roppé’s live shows, particularly for current and prospective Bunco girls.    “No Place I’d Rather Be” is a simple, feel-good love song that’s in love and in the moment.  This is one of the best pure melodies on I’m Still Here, and stands out for its uncomplicated approach to an honest and simple message that is too often glitzed and glossed to death. 

“Butterfly Girl” is a song of love and support that’s heartfelt and warm.  Mothers, sisters and others of that ilk will be touched by a tune both simple and deep in its truths.  “Wage Peace” finds Roppé kicking tail in a soul-filled 1960’s rocker that delivers an aggressively pacifist message with attitude and oomph that’s sultry and powerful.  Roppé is entirely in her element here, and shines like the sun.  Roppé closes I’m Still Here with the raw and powerful title track.  “I’m Still Here” is certain to be a cancer survivor’s anthem, and not surprisingly is Roppé’s most inspired performance on the album.  It’s a kiss off song with an edge that’s unaffected but full of the power and grace of one who has persevered.

There will be those who listen to I’m Still Here and not get it.  The album is not as musically consistent as Roppé’s debut Girl Like This, but there’s more to the story than that.  Girl Like This was an explosion caused by the long-standing pressure of someone in their fourth decade who has finally found what they are meant to be doing.  I’m Still Here takes that initial burst of enthusiasm and begins the process of channeling the creative energies that have always been there.  This process was both complicated and catalyzed by Roppé’s battle with cancer.  The end result is a startlingly honest and personal album from someone who has been quite literally ripped from her status quo and has subsequently given herself the freedom to dream.  So while you may make the argument that Roppé;s songwriting isn’t as consistent on I’m Still Here, that isn’t so much a criticism as it is an observation.  Roppé’s development as a songwriter has been given a mighty goose by circumstances beyond her control, and she is meeting the challenges of Becoming quite nicely.  I’m Still Here is a celebration of life, of art and of a self newly-discovered.  In it, Roppé is magically and musically human, bringing beauty and truth out of the darkness for all to see.

Rating: 4.5 Stars (Out of 5)

Learn more about Laura Roppé at www.lauraroppe.com or www.myspace.com/lauraroppe.  I'm Still Here is available on CD directly from Roppé's website.  Digital versions of the album are available from Amazon.com and iTunes.

Review: Sass Jordan - From Dusk Til Dawn

Sass Jordan - From Dusk Til Dawn
2010, RBE Music/Kindling Music/Fontana

Sass Jordan never goes away. The owner of twelve Top-40 singles in Canada (including two in the Top-10, keeps finding ways to express herself in the arts. The star of the off-Broadway hit Love Janis also served as a judge for six years on Canadian Idol. Her music has been featured on numerous television shows and soundtracks (including an iconic duet with Joe Cocker on The Bodyguard soundtrack. Jordan's toured with Aerosmith, Cheap Trick, Alice Cooper, Van Halen, Carlos Santana and Cocker, but always returns to her own solo performing as the root of her creativity. On March 16, 2010, Jordan releases her eighth album, From Dusk Til Dawn. Rather than coasting comfortably at a point her career when the Juno-Award winning songwriter might, Jordan sparks with the vibrancy that turned heads even back in her days with Montreal’s The Pinups.

From Dusk 'Til Dawn opens with the delicious Blues/Rock of What I Need. Jordan steeps herself in the roots of old school Rhythm & Blues with the sort of strong rock vocal performance she's become known for. It's a knock out track that could be a big winner over the radios and at the award shows. Fell In Love Again goes with a classic Motown feel. You could almost here Mary Wells digging into this one, and Jordan does a great job with it. Awake is a gorgeous ballad full of regret; a song about getting ready to move on. For a rocker with something of a rough edge to her voice, Jordan is surprisingly polished and nuanced on the ballads on From Dusk 'Til Dawn. Jordan's everywoman act continues on Why Did You?, where she slips in Americana shoes amidst a big hook and catchy arrangement.

Lonely blends Country, Blues and Rock, ala Bonnie Raitt. This is another tune that could conceivably be a big hit over the airwaves. Jordan goes for an almost Appalchian feel on Matter Of Time, using very basic song structure and minimalist arrangement accented by great vocal harmonies. The song is well written and expertly performed. Jordan aces her cover of Tom Waits' Ol' 55, going for a highly fluid and smooth rendition, which works wonderfully well with and in contrast to Jordan's rock diva rasp. Stronger is great Pop songwriting; perhaps not as elemental as the other songs presented here, but certainly a decent offering. Jordan closes with the folky Home Again, a solid closer that sees Jordan adding to her versatility as a performer.

I remember the days of Racine and Rats, when Jordan was challenging Lee Aaron for the title of Miss Thing on the Canadian rock charts. Jordan hasn't lost the edge that made her a hit in Canada back then, but as an artist she's matured; adding nuance and class to a dynamic voice and an ear for melody that goes well with her ability to blow the roof off a room. From Dusk 'Til Dawn isn't so much a mellowing of Jordan's style or sound as it is a broadening of horizons. It would appear several years of judging the performances of others has made Jordan even more astute in making her own musical choices. On From Dusk 'Til Dawn she executes nearly flawlessly without giving up an iota of the energy or passion that always gave Jordan her Sass.

Rating: 4 Stars (Out of 5)

You can learn more about Sass Jordan at http://www.sassjordan.com/ or www.myspace.com/sassjordan. From Dusk Til Dawn sees its US release on March 16, 2010. Expect wide availability, if you simply can’t wait, the album was released in the Fall of 2009 in Canada, and is available through numerous resources on the web, including MapleMusic.com.

Review: Ali Gray - Johnson Street

Ali Gray - Johnson Street
2009, Starlilly Records

Minnesota native Ali Gray flies in the face of convention. Her first album, Let You In was roots rock with a country feel. Recorded with producer Patrik Tanner, Let You In had Ali Gray on track to run with the likes of Martina McBride and Faith Hill. Gray's apparently never heard that success tends to breed conformity, so when she set out to record her sophomore album, Johnson Street, Gray decided to go for more of a Rock N Roll sound. Drawing on a mid-western sensibility, a little bit of that Americana feel and some good old fashioned classic Rock N Roll, Gray has fashioned an album that should do more than just compete for a spot on year end lists.

Gray comes roaring out of the box with an unrepentant kiss-off song with a bit of blues-rock guitar in its ancestry in Out Of My Way. Gray has the clear tone of a Faith Hill while having a bit of that rough-road quality that Bonnie Raitt brings to the fore. This is one rocking song and is stylistically ambiguous enough to have a shot at crossing over between Rock and Country formats. (You'll Never Make A) Mrs. Out Of Me is kiss-off song, part two. Less brazen than Out Of My Way, Mrs. Out Of Me is more cutting and personal; a great tune with a melody you'll want to sing along to. Till The Stars Go Away would make a great radio single, sounding like it stepped right out of the 1980's. The song is very catchy and memorable and isn't fluffy like your typical Pop/Rock song. Gray goes for reverie and longing on Dream You Again, and her voice takes flight on a song that sounds like it could be a classic.

Devil's Angels is a rockin' Country anthem for a night out on the town for a group of young ladies. The hook in the chorus will get stuck in your noggin and drag you along in spite of yourself. This song, with the right push, takes over country radio for several weeks, settling in somewhere near the top of the radio charts. Bank on it. Your Dreams is a rueful look at a relationship where dreams aren't shared but conflict one with the other. The narrator here decides to walk away, fully in love with the man, but knowing its best for both of them to have what they want, if not who. Come Over Again could be the logical epilogue, or a "transitional man song". The relationship in this song isn't about love but about hiding from and maybe even healing from a broken heart. Keys And Kisses is a song about making a clean break from an unfulfilling relationship. Gray recounts all that she's put into the relationship and what little she gets out. The arrangement is pure Pop/Country and may have real commercial legs.

If You Love Me is another surefire hit. It's a Pop/Rock love song with a bit of health skepticism woven in. The song is catchy with a memorable melody; the sort you walk around humming for the rest of the day after first hearing the song. Pretty Cameo Star sounds like the theme song of the "other woman", the one perpetually in the background who likely wants something more. Full of melancholy and regret, she longs for her moment in the sun. If Devil's Angels is an anthem for the younger set, Your Good Girl's Gonna Go Bad might be a theme for the disaffected married ladies in the crowd. The narrator has tired of seeing her husband running around on the seedier side of light and decides that if that's what he wants, it's exactly what he's going to get. The same young ladies that would have raised their glasses to Devil's Angels twenty years ago will be whooping it up to this one.

One of the reasons I write this blog is that every so often an unknown artist comes out of left field and simply blows you away. There are talented folks all over the world writing songs in notebooks while they hold down day jobs, and some of them are even making music on a local or regional basis. Talents like Ali Gray, while rare, do exist and deserve to heard be larger audiences than they might attract in their home markets. Johnson Street is a breath of fresh air, bouncing back and forth between Country, Pop and Blues-driven Rock. Gray has a mesmerizing voice; the sort that other artists long to be compared to. The songwriting on Johnson Street is superb, and the weakest songs might have a shot at radio play. Check out Johnson Street; this sort of album doesn't happen every day. Johnson Street is Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Ali Gray at http://www.aligray.com/ or www.myspace.com/aligray. Johnson Street will be released on November 19, 2009. You can purchase a copy of Johnson Street from CDBaby.com. Ali Gray will be celebrating the release of Johnson Street with a release party at The Varsity Theater in Minneapolis on Thursday, November 19, 2009. If you're in town you might want to check out the show.

Review: Sarah Bettens - Never Say Goodbye

Sarah Bettens - Never Say Goodbye
2008, Cocoon Music, LLC

Former K’s Choice vocalist Sarah Bettens returns with her fourth solo album, Never Say Goodbye. For Bettens, it’s the first release on her own imprint, Cocoon Music. A 2006 winner of the European Border Breakers Award for Best New Artist, Bettens has enjoyed chart success in Europe as well as placing/writing music for American television. As a member of K’s Choice, Bettens is responsible for several gold and platinum records in Europe. Never Say Goodbye is being marketed exclusively to fans on her current concert tour and through her website.

Bettens has a gorgeous, deep alto voice tempered by a dog-eared rasp that comes from years singing Rock N Roll, both individually and with the band K's Choice. This gruff but warm sound makes for particularly sultry listening on the more jazz-oriented material on Never Say Goodbye. Bettens gets things started with the Torch style of I Can Do Better Than You. It's a very enjoyable listen and just unexpected enough to hook you for the ride. Slow You Down shows a wonderful maturity in songwriting about a relationship where one partner does everything except leave for good. It's an amazing tune. Arthur Hamilton's Cry Me A River is up next. Originally written for Ella Fitzgerald to sing in the movie Pete Kelly's Blues, Fitzgerald never recorded the song until six years later because it was dropped from the movie. The popularized version was recorded by Julie London, and Bettens does her proud. It's just Bettens and piano, and Sarah Bettens is in her best voice.

Bettens hits mix-tape gold with Win Me Over. It's too bad the Pop Radio market is what it is these days. Win Me Over is chart gold, and I guarantee you that some artist down the road will release a version of this song and have a major hit with it. Whoever it is, I doubt they'll end up sounding as good as Bettens does here. Bettens tackles a Mike Reid/Allen Shamblin tune popularized by Bonnie Raitt next. I Can't Make You Love Me is a modern classic; Bettens treats it with reverence, injecting it with her own warmth and vulnerability in an unforgettable performance. One of my personal favorite songs on the disc is Scream; it's a piano-based tune about making with most of what you have. The song is poignant and a real treat. Bettens highlights the dangers of keeping a gun at home where small children live. Her viewpoint is obvious without sounding preachy and the melody is wonderful. Follow Me is an invitation to love and adventure; a musical fairy tell if you will. Romance is the highest goal here. Bettens closes out with a K's Choice tune, Not An Addict. It's an enjoyable version of the song, although not a favorite personally.

Sarah Bettens is probably more of a draw in Europe than the US these days, but audiences on the West side of the Atlantic really ought to be paying her more attention. Bettens has a wonderfully listenable voice and a knack for crafting intelligent and tuneful Pop/Rock songs that stick with you better than a bowl of oatmeal on a cold morning. Never Say Goodbye doesn't break significant new ground, but for pure listening enjoyment it's very much worth your time.

Rating: 4 Stars (Out of 5)

You can learn more about Sarah Bettens at http://www.sarahbettens.com/ or www.myspace.com/sarahbettens. You can purchase Never Say Goodbye through Bettens’ web store.

Review: Kate Redgate - Nothing Tragic

Kate Redgate - Nothing Tragic
2009, Kate Redgate Music

Kate Redgate has never let a life less than easy stand in the way of her creative process; indeed her choices and the results have fueled her songwriting for the better part of 20 years. Redgate was adopted from Scott Air Force Base in 1970 and spent much of the first 16 years of her life on a farm in Southern Illinois. A stint in Foster Care at the age of 16 before several years of street life ensued where Redgate learned the craft of music hanging out in clubs and getting to know musicians. Children and single motherhood kept Redgate from performing a great deal for a number of years, although she began to reconnect with performing in 2001 following the recording of a self-titled demo CD. In 2005, Redgate shattered her arm in an accident and faced the possibility she might never play again. Things worked out for the better, and Redgate comes back in 2009 with Nothing Tragic; a reflection on all that's come before and a personal attitude that drives Redgate on toward the future.

Sitting down listening to Nothing Tragic isn't something you take lightly. It's like catching up with an old friend who's had a lot go under the bridge since last you spoke. With a dark and plain-spoken manner that speaks of Bonnie Raitt, Kate Redgate spins autobiographical musical yarns about a life that hasn't always been kind but has born good fruit. Last To Know underlines this spirit, with Redgate coming to the realization that mistakes are nothing to fear and that failure and freedom are co-equal partners in making choices. The Country/Rocker Into The Blues puts world-weary wisdom into an upbeat arrangement that's full of a cautious optimism and faith in tomorrow. The song is an "I'm alright" declaration with strong commercial punch. The Palace is a sonic painting of Redgate's time as a bartender, giving musical lift to at least one of the characters she encountered during that time.

Nothing Tragic speaks to Redgate's recovery from a serious injury that occurred at a point where she felt like she was getting her life together. It's a recognition that we all have our trials and that the cliché "whatever doesn't kill you makes you stronger" is true. Believe is about coming to a point where you're ready to put yourself out there again after having been hurt. It's potential mix-tape material for the broken-hearted and is couched in a great Country arrangement. Walkin' A Fine Line is another fine Country arrangement that finds Redgate further exploring the territory she enters in Believe; having graduated from a willingness to put herself out there to a committed interest. Cold November sounds like an allegory for putting your life back together after a loss; the song is honest without sounding bitter but also full of resolve. Written in strong-but-vulnerable language, Cold November is the sort of song I would expect to see licensed for a movie down the line. Redgate closes out with Roxy's, an ode to those who sell themselves, or at least an image of themselves to put food in their children's bellies and a roof over their heads. It's about the resolve to survive and give your kids a life even if no one ever gave you one.

Kate Redgate has walked a hard road and survived and has come back to a place where dreams are more than possible; they're in reach. Nothing Tragic lets go of the past and embraces a future full of hope and possibilities; told from the well of wisdom the hard road has won her. Musically the album is strong with great musicianship and a sense of melody that's pleasing to the ear, but it's as a story-teller that Redgate excels, wrapping listeners in her true-to-life tales and not letting go until the last notes fade from hearing. Make sure Nothing Tragic finds its way into your collection.

Rating: 4 Stars (Out of 5)

You can learn more about Kate Redgate at www.myspace.com/kateredgate or http://www.kateredgate.com/. You can purchase Nothing Tragic as either a CD or download at www.cdbaby.com/cd/kateredgate.

Review: Christina Grimm - No Time To Be Blue

Christina Grimm - No Time To Be Blue
2008, Christina M. Grimm

Christina Grimm is a classic singer/songwriter in the 1970's style of Carole King and Joni Mitchell. Imbued with passion, personal appeal, humor and life, Grimm is a highly entertaining figure both on stage and on CD. Her latest release, No Time To Be Blue, encompasses the performance spirit and wit of the golden age of singer/songwriters; using pop, folk, rock and blues as backdrops for her intricate and subtle story songs.

Christina Grimm steps right off a 1970's AM radio dial with a singer/songwriter flair that's part Carly Simon, part Christine Lavin and just a little bit of Bonnie Raitt. No Time To Be Blue opens with White Magic which, while well-written, is overly reminiscent of the most syrupy songs of that era. Grimm sets to some sizzle on the title track in blues slow-burner that grabs you by the shirt and shouts, "Listen!” Vegetable Man is something of a love song full of innuendo and wit. It borders a tad on the silly side but is a fun listen. Grimm sets course due Southwest on Come Back To Santa Fe, a mellow country/rocker about life moving on and what is sometimes left in the wake.

Distant Dream is a mournful country ballad about being on the other side of leaving. It's a song not so much of heartbreak but uncertainty and the dimming of hope. True Love Never Dies is a song written for a wedding, perhaps even someone's vows in song. It's sweet, and is likely to get chosen as a wedding song for a lot of couples who might here it, but is also quite ridden with cliché. Perfect Beauty carries a strong message, one that is important to convey, but in this instance the message prevails over the musicality. The result is an awkward lyrical experience where the music sometimes seems forgotten. Dog And Cat Blues finds Grimm regaining her feet in a blues-based tune full of innuendo and some serious guitar work.

Beautiful Soul is perhaps the perfect representation of the mix of Christina Grimm's talent and her most confounding tendency. Grimm has crafted a brilliant composition with a touching, even moving subject. But when it comes to matching lyric to song there is a gap that occurs; an awkward pairing of words and music that becomes distracting. I would guess that Grimm writes the lyrics first and then crafts melodies she's conceived around them, but chooses to be flexible with the music but never the words. It's not the conceptualization that becomes a roadblock but the execution; forcing music around words it just doesn't fit with. I came across this issue several times on No Time To Be Blue, but not in every song; when Grimm lets her hair down, like on the Blues tunes, she really seems to just let everything flow. Even the final song, Your Love Is So Divine seems to meld lyric and song quite nicely.

Vocally, Christina Grimm is a joy to listen to. She has a strong alto voice with great tone and enough personality and energy to hold onto listeners. The songwriting can range from above average to awkward, the latter mostly in the lyrical aspect. No Time To Be Blue reflects Grimm as a solid performer and songwriter who might benefit from working with another lyricist from time to time, but is worth spending some time with in any case.

Rating: 3 Stars (Out of 5)

You can learn more about Christina Grimm at http://www.christinagrimmmusic.com/ or www.myspace.com/christinamgrimm. You can purchase a copy of No Time To Be Blue at CDBaby.com.

Review: Davie Gayle - Amber In The Clay

Davie Gayle - Amber In The Clay
2009, Claydirt Music/Remba Records

Los Angeles-based Davie Gayle grew up on country music in New Jersey, where her father was a guitarist in a country band. Her entire family was musical, and Gayle eventually formed a duo with her brother (The Gayles). After moving to LA, Michael began his own label and went into production while Davie threw herself into songwriting and performing. Davie Gayle’s debut solo album, Amber In The Clay, is a distinct and poignant collection of songs drawn from her own life experiences. Comparisons to Emmylou Harris, Patty Loveless and Lucinda Williams are understandable, but Gayle’s point of view as a songwriter is practically unique.

Amber In The Clay opens with the title track, a story song paralleling a scientist who finds the building blocks of life stored in the earth and a person of significance who helps a broken or lost person rebuild their life. The song has a classic country tragic sound while moving toward a positive message. Get Me is a great roadhouse country tune that sounds like it should be a hit on the country charts. If Shania or someone of that ilk recorded this song you'd hear it everywhere, and Gayle is a much better vocalist. 3:09 finds Gayle giving a classic country performance in a voice that mixes her sweet tone and just the right dose of bittersweet sorrow. Channel To You takes more to the pop side of the scale with some R&B and Gospel influence in one of the more daring tracks on the disc.

Roundabout is one of the best story songs I've heard in some time, culminating in a positive message that parallels Robert Frost's Stopping By Woods On A Snowy Evening. Gayle's sweet, honest voice is the perfect instrument to deliver this song, and she deserves real attention for this one. You Don't Say is a country flavored blues rocker ala Bonnie Raitt with an innate pop sensibility that will turn a lot of heads. Doghouse Flowers lets Gayle rip it up a little; this one will be a particular favorite of the ladies. Rockabilly Bug will have you reaching for your dancing shoes and cowboy hats.

Amber In The Clay is a pleasant surprise, hitting the high points of country music without succumbing to the Top-20 Country milieu that pervades commercial radio. Davie Gayle has a tremendous voice mixing sweetness with just a hint of mischief, and the arrangements here are out of sight. Amber In The Clay is music you need to hear; a potential breakout disc.

Rating: 4.5 Stars (Out of 5)

You can learn more about Davie Gayle at http://www.daviegayle.com/ or www.myspace.com/daviegayle. You can purchase a copy of Amber In The Clay at www.cdbaby.com/cd/daviegayle.