Sahara Smith - Myth Of The Heart

Sahara Smith - Myth Of The Heart
2010, Playing In Traffic

Sahara Smith first came to national attention in 2004, placing second in a contest for young songwriters on A Prairie Home Companion. Six years later, the now 21-year old singer/songwriter from Wimberley, Texas is ready for the big time with her debut album, Myth Of The Heart. Under the guiding hand of T-Bone Burnett and produced by his longtime colleague Emile Kelman, Myth Of The Heart shows Smith as a dynamic young artist who is ready for the world. Myth Of The Heart features instrumental support from Jay Bellerose (drums); Marc Rinot (guitar) and Dennis Crouch (bass), as well as Smith's regular band.

Myth Of The Heart opens with "Thousand Secrets", and what an introduction. Smith tells a story from the perspective of the ocean; seeing all things that happen in its presence with many of those stories slipping away from human knowledge like the undertow pulls away from the shore. It's a deeply philosophical look at life from the perspective of all we don't know. The melody is highly memorable, and Smith's voice has a lush beauty that's tempered with a hard edge underneath; a beautiful instrument with the icy sheen of a historian of human events beneath. "Are You Lonely" starts out promisingly but devolves into a repetitive and somewhat closing chorus. The song explores the human need to be needed even if for one night and is well written minus the chorus. "Train Man" sounds like it should be a Roy Orbison cover, with a melody line that sounds a bit like an excerpt from Chris Isaak's "Wicked Games" at times. It's a well-written tune, and Smith certainly gives it her all, but the result is just a bit too derivative.

"Tin Man Town" takes more of a traditional country turn, and Smith's voice absolutely shines in this lonely ballad about living in a two-dimensional world. Smith turns up the heat a bit in "The Real Thing", adding some naughty girl oomph to a quiet anthem about breaking out of the norm and starting new someplace else. On the surface this is a plea to escape, but there's a darker, more carnal message underneath that Smith conveys very well. If Sahara Smith makes a big impression on commercial radio from Myth Of The Heart it's likely to be in the form of "Angel", a quiet, contemplative ballad about the tragedy of watching the one you love slip away. "Angel" is takes on the voice of the middle of the night when all is still and love and knowledge mix in an uneasy embrace where want and need diverge. "All I Need" takes a more positive tone, an affirming love song about being all you can for the one you love. This one has mix-tape written all over it.

"Myth Of The Heart" shows a highly cynical view of love, fearful of the myth of love and viewing it as a justification for procreation, in essence. It's an interesting song, a caricature in bleak that's very modern and yet very old in origin. It's not Smith's best performance on the album, but is an intriguing bit of songwriting. "Midnight Plane" is a mournful ballad of coming home that's more about the journey than the destination. There's a solitary beauty in this song, a dignity that's above human grace and yet of its most base nature. "Mermaid" is an interesting vignette, the memories of a soul who sees little hope in life, but is touched by memories of places she's never been and a voice calling out to her in the dark of night. Smith's voice is never more beautiful here, frail in the darkness and yet full of an ethereal glow. Myth Of The Heart closes with "Twilight Red", a mournful song of love lost. Smith pines on the loss and the effect the passing of time will have. It's a brave performance; dynamic in its depths and rich in vocal texture, recalling some of the slower, darker material of Sarah McLachlan.

Sahara Smith has seemed to have the world on her plate for a number of years now. The exposure she received from A Prairie Home Companion certainly seemed appropriate at the time, but it takes a lot to transform such a start into staying power as an artist. It might be a bit early for prognostication, but if Myth Of The Heart is any indication Sahara Smith will be around for many years to come. Smith walks a darker path vocally than many young artists, using her unorthodox vocal sound to plumb the depths of human sorrow extensively on the album. This works for Smith because even in the depths of misery she conveys a hope for better things. This dark incandescence is a vocal quality few artists can attain, much less maintain over the course of a song cycle. Even with songwriting that is up and down, Sahara Smith shines in the darkness.

Rating: 3 Stars (Out of 5)

Learn more about Sahara Smith at www.myspace.com/saharasmithmusic.  Myth Of The Heart is available via Amazon.com as a Myth of the Heart or Myth Of The Heart.  Digital copies are also available via iTunes.

Review: Dave Power - Addiction

Dave Power - Addiction
2009, Dave Power

Brisbane, Australia's Dave Power found his mother's old acoustic guitar at the age of 16 and found a creative world opening for him like none he'd ever imagined. His need to play helped Power develop a latent talent as a lyricist and songwriter that dovetails nicely with his strong, clear singing voice. Power has begun to grab a lot of attention in Australia, winning or placing as a finalist in songwriter/performing competitions sponsored by 4BC and Chartsong Studios. Internet and terrestrial airplay has been strong for the artist whose primary influences include Bob Dylan, John Mayer, Dave Matthews, James Taylor and Chris Isaak. Power's latest EP, Addiction, offers up six original tunes that have the potential to make Power a breakout artist both in Australia and in other markets around the world.

Power plies a highly personal story-telling style in song on Addiction, opening with the sweet reverence of Angel Girl. Angel Girl is pure mix tape magic that could be a true hit for Power. American Adult Contemporary Radio would eat this up, particularly if a show like Delilah got hold of it. Power launches next into the soulful Lovestruck, crafting a smooth and sultry jam that has major commercial potential. Addiction tells the story of being so enthralled with a relationship that all other responsibilities fall out of focus. The dark elements of the arrangement foretell the realization that all is not right in a wonderfully written and arranged tune. Power gets in an upbeat love song certain to fill up dedication lines on Here Tonight. What's most impressive about Power is the clear, prescient Pop sensibility he displays in his songs. Power writes melodies you want to sing along to and lyrics that are memorable, all wrapped up in ribbons of subtlety and grace. The Old Man reflects on the wisdom of elders in a wonderfully crafted story-song that will serve as a pep talk for anyone chasing a dream when doubts creep in. Power closes out with The Grand Plan, a meandering love song with an ethereal feel.

Dave Power is the real deal as a songwriter, reminding me strongly of Dan Fogelberg for his lyrical acuity and sense of melody. Addiction is worthy of its name; I suspect that folks who get Power will have these songs on repeat for some time to come. This is not the last we'll hear of Dave Power. Someone this talented won't be just a regional talent for long.

Rating: 4.5 Stars (Out of 5)

You can learn more about Dave Power at http://www.davepowermusic.com/ or www.myspace.com/davepowermusic. If you need your Addiction on CD you can purchase it directly from Dave Power, or you can get digital from iTunes.

Review: Alan Semerdjian - The Big Beauty

Alan Semerdjian - The Big Beauty
2009, Alan Arts Music

Alan Semerdjian has created a circle with his music where life feeds art and art feeds life. As the front man for New York City band Surreal for most of the 1990’s, Semerdjian toured the East Coast of the United State many times over, sharing the stage with a who’s who of bands and artists and writing music that still gets used periodically for television and movies. These days, Semerdjian is on his own, playing a quirky brand of Alt-Pop mixed with Americana. And I wouldn’t say he’s entirely on his own, as Semerdjian collaborates with an impressive list of friends (including Jen Chapin, Daniel Carter, Nick Gianni and Chris Barron (Spin Doctors)). Semerdjian’s latest release, The Big Beauty, encompasses all of the melodic and lyric charms fans have become accustomed to in a slightly more refined package. The Big Beauty is produced by Rilo Kiley's Michael Bloom, and features Franz Nicholay (Hold Steady), Chris Kuffner (Ingrid Michaelson, Regina Spektor), Dave Diamond (Zen Trickers) and Philip A. Jimenez (Wheatus) among others.

The Big Beauty opens with Your Love, a distinctive melody wrapped in gorgeous harmonies and an Americana-Pop arrangement you won't be able to get out of your brain. This leads into I Can't Tell You How; strong active Americana-Rock that reminds me of what you might hear if Ron Hawkins were ever to jam with the likes of Blue Rodeo. Semerdjian has a couple of WOW moments on The Big Beauty, and the first one arrives three songs in. Bad Dreams is an amazing take on loving someone who is perhaps not emotionally stable. Lyrically, musically and vocally this song is flawless. You Can Run finds Semerdjian taking a Chris Isaak turn with a beautiful yet melancholy tale.

Hole In Your Home is highly textured in arrangement and equally emotive. The two distinctly percussive natures (one literal, the other emotional) come together to create a powerful moment in song. The sometimes shadowing and sometimes juxtaposed natures of these two rhythms seem to echo relationships as the members fall in and out of sync repeatedly over time. Semerdjian rips off the roof on Everything (She's Still The Best). Fans of early Skydiggers/Cash Brothers will listen to this with distinct joy. Semerdjian dishes out a bit of sleight of hand here, opening with a prologue that speaks to his Armenian heritage before slowly transitioning into a driving folk/country arrangement that won't allow you to sit still. Stephanie is a love song that takes a disastrous turn. Keep your game face on, as the lyrics will get a smile out of your before they're done.

Melody combines elements of Jazz, Funk and Blues in a tune that is alternately pensive and busy (perhaps at times too much so). This is a great listen, but does border on becoming too muddy at moments. When There Was Something Wrong With You is the other real WOW moment on The Big Beauty. Semerdjian has crafted an arrangement you won't want to end. This is true ear candy. AM Radio changes pace with a full, multi-layered sound wrapped around an unforgettable melody that's very much down tempo.

Alan Semerdjian has one of those voices you could listen to all day. Take care you don't get so into his voice that you miss on out on the wonderful musicianship, distinctive lyrical style and songwriting that comprise The Big Beauty. Alan Semerdjian has been a critical favorite for a long time, and carries a lot of respect from fellow musicians, but its baffling how he hasn't broken through into the social conscience of a music scene crying for talent like this. The Big Beauty is required listening from an essentially talent. Make sure you spend some time with Alan Semerdjian soon.

Rating: 4.5 Stars (Out of 5)

You can learn more about Alan Semerdjian at http://www.alanarts.com/, http://www.alansemerdjian.com/ or www.myspace.com/semerdjian. The Big Beauty hits the street on September 1, 2009. You can purchase a copy of The Big Beauty at www.cdbaby.com/cd/semerdjian2, or you can download the album from iTunes.

Review: Paul Turner - Clear Blue

Paul Turner - Clear Blue
2008, White Lotus Records

Sydney, Australia's Paul Turner took the circuitous root to a music career. While backpacking across America, Turner happened to hear Mason Williams' Classical Gas while staying in a San Francisco hotel. Falling immediately in love, Turner vowed to learn to play the song on guitar (he'd not played before). Returning home to Australia, he started guitar lessons. Upon conquering Classical Gas, Turner realized he'd found an avenue of expression he'd not imagined before. Soon Turner was touring as an opening act for bands like Midnight Oil and getting airplay from outlets such as Philadelphia's WXPN. In October of 2008, Turner released his debut album, Clear Blue, in the United States. One word: Wow.

Listening to Turner play guitar is revelatory. He dresses his brand of singer/songwriter rock with incredibly intricate and complex guitar parts, constructing songs that are epic short stories set to amazing guitar-based arrangements. Clear Blue opens with City Lights in a gorgeous finger-pick arrangement. Turner's voice is strong and clear and soars over the music like a bird over the ever moving streets his music seems to portray. Be Happy is a love song of sorts. It’s not your typical romantic ballad but much deeper, expressing a much deeper meaning of love that tends more to the universal than the individual. Turner delves deep again on Angels Cry, a lushly arranged song with deep philosophical roots. This might be the loveliest arrangement on the album, although it kept making me think of Seal's Don't Cry for some reason.

Love Meteorite is a must hear. The complex guitar work, amazingly memorable medley and intelligent lyrics make this song an absolute keeper. This is mix-tape material, but there may also be a religious sub-text here that's quite deeply planted if intentional, or perhaps quite telling if it is not. Room is my personal favorite on Clear Blue. The vocal is haunting on a par with Chris Isaak's Lady In Red, and the guitar/cello/voice arrangement is perfectly conceived and delivered. Other highlights include Come With Me, Carcassonne and the instrumental, Clear Blue.

Paul Turner is a distinctive talent. His writing and guitar play may take a musical background to fully appreciate, but are accessible to anyone with the time and space to listen. Turner's voice is hauntingly beautiful and soars over his songs in unrepentant fashion. It's really hard to think of contemporaries for Turner, because there aren't many writers/performers with the level of virtuosity that Turner shows on Clear Blue. Names like Paul Simon and Sting come to mind, but Turner also calls up folks like William Ackerman for his out-of-the-box guitar style. However you choose to classify him, you'll be happy you listened. Clear Blue is a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

Learn more about Paul Turner at www.myspace.com/musicbypaulturner. You can purchase a copy of Clear Blue at Amazon.com.