Joe Marson - Joe Marson

Joe Marson - Joe Marson
2010, Joe Marson

San Diego-based singer/songwriter Joe Marson has made both the geographic and musical rounds to broaden his horizons and perfect his craft. Oregon, Boston, New York and Arizona are on his past itinerary, as are hip-hop, jazz, folk, bluegrass and gospel. Back home, Marson has settled fully into an Americana sound that draws strength from all the influences Marson has immersed himself in. Marson recently released his debut album, Joe Marson.

Marson opens with "Postcards From Siren City"; an interesting exploration of running away from home. The song is well-written and enjoyable. Marson is a bit off the beaten track here, and the diversion is welcome. "Mindf#ckedd" is a bluesy rock number that finds Marson singing with the attitude and sound of a young Billy Joel. It's an entertaining but dark tune you're likely to hit replay on several times over. "What I'm Sayin'" is a highly entertaining blues-based tune in pure singer/songwriter pastiche. Marson scores points with his cover of Cat Stevens' "Trouble"; a pensive performance that will appeal to fans of Stevens while putting his own stamp on it. "White Boy Blues" sounds like it may have been recovered live in-studio in one take. It's just Marson and his guitar and works very well, showing off Marson's voice in excellent light. Marson closes with a cover of Alicia Keys' "No One", a mildly soul rendition done with a reggae beat. It's a solid tune, and Marson does it justice.

Joe Marson has talent. His is a voice people will pay to listen to and he's more than just competent with a guitar in his hand. Marson shows flashes of real songwriting ability on his self-titled debut. There are rough spots along the way, but more often than not Marson comes out ahead. The occasional vocal similarities to Billy Joel and the Hendrix-style riffs that Marson sprinkles throughout his songs may make it easier for Marson to transition to an older demographic of fans as well. As a whole, Joe Marson is a solid effort.

Rating: 3 Stars (Out of 5)

Learn more about Joe Marson at http://www.joemarson.com/ or www.myspace.com/fakinggeniusmusic.  Joe Marson is available digitally from Amazon.com and iTunes.

Review: Grandpa Elliott - Sugar Sweet

Grandpa Elliott - Sugar Sweet
2009, Playing For Change Records

Grandpa Elliott Small came into the national spotlight as part of the Playing For Change project. He was one of the vocalists in the project's version of Stand By Me, which has been viewed over 15 Million times on YouTube. Grandpa Elliott is a New Orleans street musician who has been playing on Jackson Square and the French Quarter's Royal Street since the 1960's. He is a local icon who at the age of 64 played for the first time in front of a crowd of 40,000 at L.A.'s Dodger Stadium. His profile has been further raised by appearances on The Tonight Show and The Colbert Report. In November of 2009, Grandpa Elliott released his full-length debut album, Sugar Sweet, on Playing For Change Records.

Part of what makes Grandpa Elliott's music work is the blend of sounds. Take the sounds of Africa, the Caribbean and New Orleans, mix them up, and add in the salty, warm voice of the man himself and you get something a bit like magic. Grandpa Elliott opens with Ain't Nothing You Can Do, a song about the inevitability of heartbreak. It's a universal song with its roots in the Blues even though it's not a Blues tune. This Little Light Of Mine (Medley) is done in a superb arrangement incorporating a Gospel Choir and touches of Dixieland sound. It's a great listen and one of the highlights of the album. Sugar Is Sweet sounds like something that might have come out of an early R&B recording session; the song is a bit cliché but well-intended and well executed. Grandpa Elliott gently nudges aside the likes of BB King on Baby, What Do You Want Me To Do. The guitar work and vocal line here are exceptional, and Elliott could take a seat with the greats of Blues without feeling a bit out of place after this performance.

Share You Love With Me goes for the old school Rockin' R&B in a stylistic and memorable performance. Up next is a cover of Cat Stevens' Another Saturday Night. The song as presented is decent, done up with a gospel choir on backing vocals, but seems to take Grandpa Elliott away from his core sound. Fannie Mae is presented in a live recording that shows the sort of panache developed from five decades playing on the streets of New Orleans. Rockin’ Rhythm N Blues is the medium, and Grandpa Elliott absolutely owns the crowd. Sugar Sweet goes out on a high note, with a cover of Charles Brown's Please Come Home For Christmas. The song was first recorded by Brown in 1960, charting several times over the next dozen years, culminating in a #1 single in 1972. Numerous artists have recorded this one over the years, including top-10 singles from The Eagles and Bon Jovi. Grandpa Elliott brings the tune back to its piano-based Blues roots. Don't be surprised if Grandpa Elliott takes this old number up the charts one more time.

Sugar Sweet is certainly a treat. Grandpa Elliott just keeps doing what he's been doing all his life, playing great music. The big difference now is the size of the audience. In one sense, there are performers like Grandpa Elliott all over the world. Street musicians and small-time performers with a world of talent and pizzazz just waiting for that break that (for most) never comes along. In Grandpa Elliott's case, it finally came along in his seventh decade. But in another sense, there's no one quite like him. Sugar Sweet might not always have the best material for Elliott to play and sing, but he makes the most of every song. It's a strong effort, and worth spending some time on.

Rating: 3.5 Stars (Out of 5)

You can learn more about Grandpa Elliott on the Playing For Change website. You can purchase Sugar Sweet directly from Concord Music Group as either a CD or Download.

Review: Tim Miller - Sessions Lamar

Tim Miller - Sessions Lamar
2009, Tim Miller

Dallas, Texas singer/songwriter Tim Miller combines the sort of glorious voice and hard won musicianship that causes strangers to stop and listen. He came to our attention here at Wildy's World last year through his fine sophomore album, Adelaide. A member of the teeming horde of Acoustic Folk/Rock singer/songwriters, Miller rises quickly to the top because of his songwriting and voice. Turn to 2009, and Miller has a new song that needs to see the light of day. Rather than just publish a one-off single, Miller adds a Cat Stevens cover and acoustic re-interpretations of three songs from Adelaide. Sessions Lamar simply serves to remind us why we liked Miller so much in the first place.

Miller opens with the new track, Opposite Ways, a song about the inevitability of a relationship on the wane. It's a mature look at a love that's just not going to work, imploring the other person to see things for what they are. The melody is one that gets inside your head and bounces around for days. The music itself is ingenious, with Miller even creating juxtaposition between the bowed bass and keys that underscores the theme of the song. As always, Tim Miller has an amazing voice that's full of heart and soul. Up next is a cover of Cat Stevens' Father And Son, a timeless tune about the eternal conflict between an older generation looking to settle down and a younger generation looking to break out of the mold. Miller's version is touching and full of the full of the emotional conflict that Stevens first captured back in 1970.

Say Hello captures the fear and angst and excitement that can accompany new love or the renewal of old love. Miller's heart is fully on his sleeve here, with a moving vocal line that makes it sound like he's living it as he sings. The Point documents an intervention with a loved one drowning in addiction to alcohol. It's an unusually personal and poignant song with a powerful message. Anyone who's ever been or loved a friend of Bill is likely to be moved by The Point. Miller closes out with Man Overboard, an allegorical tune about personal destiny and relationships and how they don't always point in the same directions. Man Overboard is about putting those dreams first and inviting those who really care to come along. It's a powerful tune that gains a lot being stripped down to its simplest form.

Tim Miller does it again with Sessions Lamar, offering a great new tune, a powerful cover and enlightening new takes on three of his older songs. The only complaint is that it’s an EP and not a full-length release. With licensing arrangements in place with numerous shows across several networks, don't be surprised if you hear more and more from Tim Miller this year. In the meantime, pick up Sessions Lamar. It's very much worth the time and money!

Rating: 4 Stars (Out of 5)

You can learn more about Tim Miller at http://www.timmiller.com/ or www.myspace.com/timmiller. You can purchase a copy of Sessions Lamar at The Connexxion (Tim Miller’s online store), or you can download the EP from iTunes.

Review: Nightmare River Band - Call The Cops!!

Nightmare River Band - Call The Cops!!
2009, Nightmare River Band

“We are The Nightmare River Band, and we are coming to your town whether you like it or not.” This is the quote that closes the brief bio on Nightmare River Band’s web page, and it is very revealing of the band. Call it moxie, chutzpah, cajones, or what else you might, Nightmare River Band succeeds on musicality, but makes it work by getting your face and turning it up a notch. Former Fire Flies Matt Krahula (vox, acoustic guitar) and Seth Faulk (drums, vox) teamed up with The Designated Drivers alumni Kris Hayes (guitar, vox) and The Freams’ “Tall” Andy Tekverk to form Nightmare River Band. The band’s debut album, Call The Cops!!, takes Celtic, Punk and Folk elements and rolls them into one dynamic ball of fun.

Call the Cops!! opens with Center Of The Earth, an Irish drinking tune with electric guitars with a dark aspect. The instrumentation and vocal harmonies are outstanding, and the exuberance level from the band is off the charts. Jeffrey Dahmer continues in the vein of drinking tunes, but the title is really a lyrical afterthought. Dreamin' is a strong Rock tune with Pogues-like energy. It sounds like Nightmare River Band had a blast recording this tune, and I bet its killer live. To top it off, Matt Krahula is in great voice here with a smooth sound and just a hint of whiskey rasp. Pictures Frames & Photographs continues the strong songwriting; the song is very musical, intelligently written and has impressive vocal harmonies.

To The Sea takes on the age-old practice of burying the dead in the ocean. This dark subject is set against a driving Punk/Celtic tune that will have you running for the pits ready to pogo the night away. Summer Sun Sets takes a disco beat, surf guitar and horns and crafts them into an emotionally tumultuous but enjoyable listen. The song Procreate has a title with significant potential, but the energy just doesn't get it there. It's decent, but the title builds an expectation that just wasn't quite met. Call The Cops!! is a fun song with a huge tableau including horns and vocal harmonies. This is a pure Pub/Bar tune and probably brings the house down live. Nightmare River Band closes with the quiet epilogue, Where Do We Go. It is a radical change from the rest of the album in both style and volume, but reflects the introspective nature of the artist once the music stops. It's a lovely tune worth sticking around for.

Call The Cops!! is a great listen. Nightmare River Band plays with great musicality in a quasi-Lo-Fi environment. The arrangements might sound a bit messy once in a while, but this is more by design than mischance; the core of the sound is the band's exuberance. There isn't a track here where it doesn't come across that Nightmare River Band thoroughly enjoys what they're doing. Even on the last track, the commitment is 100% apparent to the listener. The instrumentation on Call The Cops!! runs a bit light at times, but the gaps are filled in with strong vocal harmonies. Nightmare River Band also has a sense of humor that runs through their songs; when it's subtle and inherent in the song it works wonderfully. There are a couple of times here when it sounds like maybe they're trying to be funny or ironic; such attempts don't work quite as well as the subtle, mischievous spirit that runs through the album. Fans of Captain Tractor will love Nightmare River Band. These guys can play and sing, and they're so exuberant it rubs off on the listener. Nightmare River Band is probably best heard in a pub with a raucous Saturday night crowd, but they do an outstanding job of capturing that energy and sound on Call The Cops!! Make sure you check them out; you won't be disappointed.

Rating: 3.5 Stars (Out of 5)

You can learn more about Nightmare River Band at www.myspace.com/nightmareriverband. You can order a copy of Call The Cops!! Through CDBaby.

Review: The Energy Commission - 10,000 Hours Of The Energy Commission

The Energy Commission - 10,000 Hours Of The Energy Commission
2009, Persistence Records

Jay Weinberg is something of a folk hero. In May of 2008 he staged a protest on the roof of a gas station where he sang his song Price Gouge'n. The song had been written in 2005 about oil companies running up the prices of fuel without cause and had gained little notice. That one act of civil disobedience turned Weinberg into an overnight sensation, appearing on Good Morning America and all major network newscasts. Weinberg saw an opportunity to use his music for a cause, and with his songwriter wife and a few friends formed The Energy Commission. The Energy Commission's latest release, 10,000 Hours Of The Energy Commission, captures 11 of Weinberg's politically charged and musically entertaining compositions.

10,000 Hours opens with the song that started it all. Price Gouge'n is done up in Reggae rhythms, sounding a bit like something Dr. Demento might have played back in his show's heyday. The song is extremely catchy and danceable and sounds like it's done tongue-in-cheek. Ode To Howard Beale (No Nations) has Weinberg sounding like a cross between Cat Stevens and Eminem, exhorting listeners to see who really pulls governmental strings. The Bertrand Williams Song (Single Ply) examines the difficulties of minimum wage workers to make ends meet. The Energy Commission revisits the Reggae vault for this tune which is very full lyrically but loses much of the vitality heard in Price Gouge'n. Mediocracy (If It Bleeds) takes on the vulture-like media culture that has evolved in the US, implying that the current media environment may in fact engender violent behavior. Drug Away takes on our cultures growing dependency on pharmaceutical solutions to pain and suffering.

I have no doubt that Jay Weinberg believes strongly in a whole host of social issues, many of which he touches upon on 10,000 Hours Of The Energy Commission, but the presentation here is a bit too much for one sitting. Price Gouge'n plays like the spontaneous composition it was, coming at a time when Weinberg was writing music for the utter joy of doing so. The fact that the song turned out to be lightning in a bottle fueled both Weinberg's musical ambitions and his desire to effect change in the world around him. The difficulty is that much of 10,000 Hours doesn't have that spontaneous joy. It's very apparent that Weinberg is now writing for a purpose other than for himself; the spark of life that Weinberg displays on Price Gouge'n is in short supply on the rest of the record. This happens sometimes when an artist transitions from writing at their own pace and for their own reasons to suddenly being known and having to produce. The songs themselves are solid but devoid of the vivacity The Energy Commission is capable of.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Energy Commission at www.myspace.com/theenergycommission or http://www.theenergycommission.com/, where you can purchase a copy of 10,000 Hours.

Rod Stewart - Atlantic Crossing/A Night On The Town Ltd Edition Collector's Editions

Rod Stewart - Atlantic Crossing/A Night On The Town Limited Edition Collector's Editions
2009, Rhino/Warner Bros. Records

The period of 1975-1976 was one of great transition for Rod Stewart; moving to the United States and saying goodbye to The Faces for a solo career opened new musical avenues to Stewart. Stewart traded the British Folk-Rock sound for one steeped in American Rhythm & Blues, a move that was fostered by producer Tom Dowd who introduced Stewart to Steve Cropper, Donald "Duck" Dunn and Al Jackson, Jr. (otherwise known as the MG's minus Booker T and occasionally as the Swampers). This association fueled Atlantic Crossing, Stewart's first "American" album which went on to be a hit on both sides of the Atlantic, gaining Gold certification from the RIAA. The album is presented here with a bonus disc featuring an alternate version of the album plus great covers of the Bee Gees' To Love Somebody, Lee Dorsey's Holy Cow and Elvis Presley's Return To Sender. One of the alternate takes that's a pleasant surprise is Too Much Noise, a very early version of Stone Cold Sober that Stewart fans will go ga-ga over. Also notable is Skye Boat Song, done by the Atlantic Crossing Drum & Pipe Band in a stirring rendition that will have you reaching for your kilt.

In 1976, Stewart followed up with A Night On The Town, which achieved double-platinum status (2 million copies sold) on the strength of the #1 hit, Tonight's The Night (Gonna Be Alright). This is perhaps Stewart's most recognizable tune, still getting regular airplay on Adult Contemporary stations 33 years later. The backing band here is referred to as "The Garage Band" in the liner notes, and again included the MG's as well as Joe Walsh and David Lindley among others. The album also features a great cover of Cat Stevens' The First Cut Is The Deepest and the Southern Rock/Roadhouse The Wild Side Of Life. The bonus disc here is a real treat, with an early take of a cover of The Beatles' Get Back and early versions of the album and one B-Side, Rosie.

The Collector's Editions of these albums will be around for a while, but if you want the 2-disc versions with all of the alternate takes you'd better act fast. Warner Bros. is only selling these limited edition sets through the summer. This fall they'll be replaced with single-disc versions with less bonus tracks. Very often these sorts of expanded editions are take-'em-or-leave-'em affairs, but Atlantic Crossing and A Night On The Town are exceptions. The re-masters are flawless, and the alternate takes give fans real insight into the creative process of these two great albums. Plus, it's great to hear Stewart dig into some classic sounding Rock N Roll. If you're a hard-core Rod Stewart fan, or if there's one in your life, then these two sets are must haves. If you're not familiar with Rod Stewart other than a few fluffy ballads he's done in recent years, then it's time to see where the man come from.

Ratings:

Atlantic Crossing Limited Collector's Edition: 4.5 Stars (Out of 5)
A Night On The Town Limited Collector's Edition: 4 Stars (Out of 5)

You can learn more about Rod Stewart at www.wbr.com/rodstewart. You can order the Limited Edition Collector’s Edition of Atlantic Crossing and the Limited Edition Collector’s Edition of A Night On The Town at Amazon.com.

Review: Bailey - Burden The Hand

Bailey - Burden The Hand

2008, Baileymusic

Ohio native Chris Bailey has released six albums since 1999, both individually and with his band Moonlight Graham. Weaned on 1970's singer/songwriter types such as Jim Croce, Cat Stevens, Van Morrison, Paul McCartney and John Lee Hooker, Bailey writes in a bluesy folk style that would have fit in with the folks above while retaining a modern edge. Bailey's latest release, Burden In The Hand is intensely personal and forthright, using a broad range of instruments and sounds to tell a series of 7 stories to highly entertaining and complex musical arrangements.

Bailey opens with Sunny Road, a blues flavored folk rocker that would do Van Morrison proud. The arrangement is bare through most of the song but builds to a delicious crescendo as the chorus concludes. Bailey delves deeper into the Blues on Burden The Hand. Bailey's voice is incredibly soulful here with just the right mix of gruffness. The song builds from barebones to a big jam surrounding the tasty guitar riff that drives the song. This is my personal favorite song on the disc. River sticks with the blues sound and brings out a vocal quality that you hear before now but becomes extremely plain on River. Bailey sounds very, very similar to Dave Matthews. The main difference is that whatever Matthews is vocally, Bailey is more so. Bailey has just a bit more gruffness to his voice, and vocally has a more compelling sound than Matthews (based on tone, power, etc.). DMB fans will find themselves doing double takes when they first hear Bailey.

On Top Of The World is more in the singer-songwriter style Bailey grew up with. The song is a bit of genius writing. Bailey sounds like no one but himself here, and the performance is excellent. Between The Tracks sounds like Bob Dylan meets Billy Joel stylistically. It's pleasant singer-songwriter stuff but perhaps doesn't stand out quite the way some of the other material here does. The EP closes out with In Your Hands and Flowers, two musical short stories that are pleasant closure to a strong introduction.

Chris Bailey offers a memorable performance on Burden The Hand, proving that the singer/songwriter genre is alive and well. Highly introspective and reserved, Bailey offers up 7 vignettes in song that are entertaining and gratifying listens. The market for Burden The Hand probably veers strongly toward older music fans, but Bailey will find adherents across all age groups. There's nothing glitzy here, just good old fashioned music.

Rating: 3.5 Stars (Out of 5)

You can learn more about Bailey at www.myspace.com/baileyandthe. You can purchase a copy of Burden The Hand at www.cdbaby.com/cd/chrisbailey.

Review: Tom Bolton - When I Cross The River

Tom Bolton - When I Cross The River
2007, Tom Bolton

Melbourne, Australia’s Tom Bolton is something of a throwback in folk music. Bolton recalls to mind a time when folk music was about the song and the story within the song, rather than adapting a purely pop songwriting style to acoustic instruments. Bolton grew up in a family where music was always around, exposed to everything from Cat Stevens and Jefferson Airplane to R.E.M., David Sylvian and Nick Drake. Bolton’s third release, When I Cross The River is a celebration of original folk music in its purest sense. Together with double-bass master Richard Grace, Bolton weaves 12 witty and intelligent musical monologues for your listening delight.

When I Cross The River opens with the title track, a hauntingly beautiful bit of musical prose that seems evoke love, thankfulness and regret all at once. Three Hearts has a musical melancholy that stands in contrast to the happily regretful lyrics. Whose Army has a blues vibe to it that is both energizing and fun. The highlight of the album is the folk/country All I Can Do. It's a pure ballad with a simple, memorable melody, gorgeous harmonies and lyrics that touch the listener. Bolton seems to have a talent for wrapping mixed emotions into his songs. The sense of melancholy juxtaposed with a thankful spirit is a common theme on When I Cross The River. This could become trying, but for the most part Bolton avoids getting bogged down in the sediment of sentiment. Other highlights include the Celtic flavored Where You Wanna Go, the Americana themed Hold The Sun, or Sweet Days, a gorgeous acoustic guitar instrumental.

Tom Bolton has a talent for beautiful and interesting music with a melancholic flair wrapped around lyrics and ideas that often run counter to the music in their emotional weight. Bolton's lyrics are intelligent, his melodies instantly memorable, and his performances are spot on. When I Cross The River is a strong entry in the Folk Music market and should do very well for him. It's definitely worth checking out.

Rating: 4 Stars (Out of 5)

You can learn more about Tom Bolton at http://www.sensibletom.com/. You can purchase a copy of When I Cross The River at www.cdbaby.com/cd/tombolton.