Celeste Friedman - Single 101

Celeste Friedman - Single 101

2010, Celeste Friedman

Celeste Friedman is a highly lauded singer/songwriter/composer whose work has been featured on Live! With Regis And Kelly; The Ghost Hunter; A Prairie Home Companion; National Public Radio; Music Choice and ESPN.  A 2005 GRAMMY nominee, Friedman can lay claim to a #1 album, a GrIndie Award, Indie Track Of The Year Award, and a nomination for Artist of the Year in the Netherlands.  Friedman is also a prolific author, with her most recent book, Single 101: 101 Reasons To Celebrate Being Single raising the curtain on her own life and the joys of going it alone.  Concurrently, Friedman has written a collection of songs, also entitled Single 101, which serve as a musical companion to the book.  Friedman digs deep into the emotions of joy and loss, using humor and insight to parse emotions and get to the simple truths that lay underneath. 

Single 101 opens with "The Dribble On My Pillow", an amusing little ode to night drool done in a cute, classic pop style complete with hand claps.  There's a certain cheese factor, but it's all tongue in cheek and entertaining.  "Gotta Get It Right, Gotta Get It Straight" is all about trying to get your bearings, even taking time out from a relationship to find your true north.  This is the proverbial foot out the door whose status as a relationship cliché doesn't mitigate its occasional truth.  Friedman celebrates reclaiming her bed as her own in the wake of a relationship with "Mattress, Sweet Mattress”, a bit of hokey fun that will hit home with most anyone newly single.  “The Fairytale” is a theoretical love song about what might be.  The song is full of sweet sentiment but the performance comes off a bit flat. 

“I’m Allergic To Ya Baby” is a slinky, jazz-styled number that sounds like something you might have heard on the old Dr. Demento show.  Friedman gives it a good run vocally, but her voice just can’t quite carry this one off effectively.  “I Can Change My Mind” underlines the classic line about a woman’s prerogative with a funky bass line and some of the best piano work you’ll hear in one of the best all-around tracks on the album.  “Garlic Onions And Beans” is a seemingly melancholy and dark song about the classic wards against vampires.  What could be funny comes off almost listless, bereft of energy.  “My Bra And His Underwear” is a humorous take on the comingling of a couple’s undies in light of their fading shared libido.  It’s a cute and funny bit of commentary in song that has the advantage of being informed by truth.

“Batteries Not Included” is an ode to the sort of products that make living on your own more bearable.  In this funny little tune, Friedman explores the purchase of one such item from the internet, right down to getting dressed up for the delivery and the knowing grin from the UPS man.  Everything comes together for Friedman on this number, from the vaguely nervous, almost Christine-Lavin style sense of humor to the musical arrangement.  Friedman tackles such subjects are emotional eating (“I’m Pudding On Weight”) and the unintended side effects of garments from Victoria’s Secret (“Suddenly We’re All French”) before settling into a surprisingly serious love ballad entitled “This Time”.  Here Friedman shows a bit of 1980’s pop/R&B pastiche in a tune that sounds like it should have charted twenty-five years ago. 

“Three Little Words” is a bluesy number about a partner who just can’t say the right things, and leads into the woeful melancholy of “Taken Away”.  It’s hard to discern exactly what Friedman’s intent is with this tune, but the musical approach is a bit off the beaten path and intriguing.  Friedman slips her funny shoes back on with “Barbie’s Got The Blues”, projecting relationship troubles onto America’s favorite anatomically unlikely plaything.  “Flying Solo” is a song of independence that throws off the shackles of expectation.  Stylistically jazzy and fun, Friedman channels her inner Nellie McKay for one of the best turns on the album.  Friedman closes with “Every Day Is Independence Day”, a song that touts the opportunities and possibilities made available by being single, delivered in a semi-big band style arrangement.  It’s a nice closer that supports Friedman’s sense of celebration of singlehood. 

Celeste Friedman mixes funny and serious moments on Single 101.  As a stand-alone album Single 101 has enough light and dark to give a full reflection to the ups and downs of relationships and also of choosing to be on your own.  As a soundtrack for Friedman’s book of the same name it is a sublime companion.  Not every song here works on its own in much the same fashion that not every moment or phase of life works on its own.  The musical ups and downs on Single 101 are quite comparable to those found in life, and so the album’s imperfections become an almost perfect reflection of the subject matter.  If by design this is pure genius.  If by accident then it is the sort of socio-musical accident that is the by-product of artistry.  Either way, Single 101 is an entertaining farce that pauses to uncover some of the more serious truths that lay beneath its comical face.

Rating: 3 Stars (Out of 5) 

Learn more about Celeste Friedman at http://www.songsforcharliemusic.com/ or www.myspace.com/celestefriedman.  Single 101 is available as a CD or Download from CDBaby.com.  The album is also available digitally from Amazon.com.

Susan Anders - Swimmer

Susan Anders - Swimmer

2010, Zanna Discs

Berkeley, California native Susan Anders grew up on the grounds of musical revolution.  It was never a question of whether Anders would be a performer but more of when and where.  As a songwriter, Anders' songs have been recorded by the Four Bitchin’ Babes, Jordan Carter and The Irrationals, among others.  As the front woman for Susan's Room, Anders releases five albums in the last decade of the twentieth century.  In 2002, Anders moved to Nashville with husband/guitarist/producer Tom Manche, and released her debut solo album Release in 2005.  In the mean time she's done work as a vocal coach, working with Rose MacGowan, Joey Heatherton and Lady Antebellum's Hillary Scott.  On October 26, 2010, Anders releases her sophomore solo effort, Swimmer.

Swimmer opens with "Thirsty", a brilliant bit of pop songwriting laced with a soulful vocal line.  Susan Anders' voice is untrained and full of character; esoteric and interesting.  Anders sounds like she's riding right on the edge of going off key at times but never stumbles, but it all works incredibly well on "Thirsty".  This is a song that in the right hands would be climbing the pop charts.  "I Want I Want" documents Anders' insatiable nature in a straightforward tune with a nice melody that is nice but feels a bit cliché.  "Love Beats Time" is a solid love song that's aurally pleasing but doesn't really stand out.  Anders dips into the well of brilliance again for "Always A Beginner", an edgy tune with both jazz and blues in its roots.  It's about a lost soul who's always getting tossed about by the waves of life. 

"I Can't Fix You" is a song of realization sung with a loving melancholy and resignation.  Anders offers some sweet country accents in a solid arrangement that is sure to please.  "Get To You" is highly emotive; the utter weight of the tune weighs it down despite some indications of pop sensibility in the arrangement.  "Box Of Mom" is a great memorial/ode to mom and the ways she made life special; the song is catchy and sweet and could become a favorite for mother's day.  Anders closes with "Forgiveness", a bluesy tune that's more about composition than story-telling.  Anders' melody is memorable, and it's a solid bow for Swimmer.

Susan Anders offers up a solid effort on Swimmer.  There are definitely some down moments on the album, but then Anders shows occasional flashes of utter brilliance as a songwriter.  As a vocalist Anders may be an acquired taste, but she gives solid and impassioned readings of her song that are charming and appealing in their own right

Rating: 3 Stars (Out of 5)

Learn more about Susan Anders at www.myspace.com/susananders or at Zanna Discs or Amazon.com.  Swimmer drops on October 26, 2010.  You can order the CD from Zanna Discs.  Digital versions available from Amazon and iTunes.

Sabrina & Craig - One Home... One Heart

Sabrina & Craig - One Home... One Heart
2010, Bronze Metal Music/SESAC
What you get when you take a Bronze Medal winning Olympic diver and an in-demand holistic dog trainer? In this case, you get one of the more exciting folk music duos you’re likely to stumble across. Sabrina Schneppat has been singing and act acting for years, earning her membership into SAG along the way and becoming one of L.A.’s most sought after dog (and owner) trainers. Craig Lincoln won a Bronze Medal in the 1972 Olympics, as well as silver in that year’s Pan Am Games. Meeting at a business seminar several years ago, the two began a musical odyssey that can be breathtakingly beautiful one moment and decidedly comical the next. Sabrina & Craig documented the trip so far with their charming debut album, One Home… One Heart.

One Home... On Heart opens with Spanish Guitar and southern European flavor of "Make You Mine". It's a song about continually getting sucked into a bad situation because the narrator is convinced she can make the perpetrator her own. The song implies the use of personal charms as a weapon amidst moderate innuendo and humor. "Cats & Dogs" sets up a humorous parallel between cats and dogs and the tendency for opposites to attract in relationships. Amusing and sweet, Sabrina & Craig infuse the song with gorgeous harmony vocals and strong guitar work. "Help Wanted" is both a want-ad and love advice for the male listeners out there. Full of good humor, Sabrina winks her way through this one while providing a lesson on the economics of love. The piano work in "Help Wanted" is amazing.

"Call Your Mom" is the first of two loving maternal tributes. Craig takes the microphone for this one, injecting the song with a personal feel that's endearing. "One Home, One Heart" might just be the perfect wedding song; a lovely tribute to love with a mature outlook that's destined for many-a-mix tape. Sabrina & Craig offer up a light and entertaining call out song in "Little White Lies", an instant classic full of gorgeous vocal harmonies. "Mama's Hand's" is the other song that pays tribute to Moms, this time from a daughter's perspective. It's a gorgeous tune, and fully alive with emotion in Sabrina's hands.

"Same Old Song & Dance" has a slight European feel to its gentle jazz arrangement, caressing the sweet and simple melody. Sabrina takes lead vocal on this one and offers up the best overall vocal performance on the album. "Mine All Mine" is a Beach Boys-esque song about the car of your dreams. The acoustic arrangement has a strong early rock feel and is an enjoyable listen. Sabrina & Craig close with the wonderful instrumental "Uncle Harold", which delivers a surprising Scott Joplin feel on guitar. The song incorporates "You Are My Sunshine" along the way, and serves as a surprisingly apt closer for One Home... One Heart.

Sabrina & Craig weaves thoughtful stories, people and moments into their songs, sprinkling each observation with intelligence and wit while wrapping them in the cloak of gorgeous, memorable melodies. One Home... On Heart is a definite keeper. This is an album you'll come back to time and time again. Both Sabrina & Craig are solid performers, but together they take on a chemistry that draws you in. One Home... One Heart is poised to make Sabrina & Craig highly desirable on the folk circuit if they aren't already.

Rating: 4.5 Stars (Out of 5)

Learn more about Sabrina & Craig at http://www.sabrinaandcraig.com/ or www.myspace.com/sabrinaandcraig. No online outlet seems to be available for One Home... One Heart, but if you contact Sabrina & Craig directly through either their website or MySpace page I am certain they'll be happy to help you out.

Review: Bill Bachmann - Big World Out There

Bill Bachmann - Big World Out There
2009, Flight Of The BumBillB Records
Then along came Bill, just an ordinary guy... might be the perfect epitaph for Bill Bachmann when the time comes. The quiet, unassuming singer/songwriter originally from Buffalo, NY is an affable everyman until he straps on a six-string, when he becomes a magician. The ironic part is that guitar might be Bachmann's second talent, as there are few in the Folk world or out of it who can tell a story with quite the same zest, wit and intelligence without compromising the inherent musicality of a song. Bachmann's recordings have been preserved by the Smithsonian, and he has been covered by folks such as Christine Lavin, Shawn Colvin and Lucy Kaplansky. Bachmann graduated from opening for acts such as Dave Van Ronk and Steve Goodman to being an active member of New York City's Greenwich Village folk scene, playing with artists such as Paul Siebel, David Massengill and George Gerdes and His All-Male Vegetarian Orchestra. Bachmann's latest effort, Big World Out There, is a master class in marrying storytelling to song craft.

Bachmann opens Big World Out There with the title track, a devotional to his calling that could easily be heard as a simile metaphor for humanity. Bachman discusses music with grace, injecting a touch of humor "Some (notes) have volume as their forte" here and there. Bachmann shows off some serious slide-guitar work on Just Shoot Me I Hate My Life I Wish I'd Never Been Born Blues. Dark humor and serious Blues chops mix here to create a virtuosic performance. If puns make you laugh (or at least groan in mild discomfort), Closet Closet will be a fun adventure. On Upstate Towns, Bachmann offers up a view of small town/suburban life that isn't really complimentary on its surface, but serves more a descriptive than defamatory purpose. The arrangement is dark and vaguely disturbing, like a painting that's slightly out-of-focus. This Band Was Your Band takes Woody Guthrie's This Land Is Your Land and turns it into a Beatles tribute. There's a certain corniness here that will cause listeners to either immediately love or hate the song without a lot of middle ground. Bachmann fills the song with historical facts and viewpoints about the Beatles, sewn together with his trademark turns of phrase and puns.

Bachmann pays tribute to Major League Baseball's Cincinnati Reds on Reds That Cincinnati Came To see. The song is based on the melody from Blues My Naughty Sweetie Gave To Me and is quite entertaining, although it may fall a bit flat with folks who aren't baseball fans. Bachmann continues to impress with his guitar work. Vacation is something of an instant classic; a trip through the alphabet in song that has been preserved for the Smithsonian's Folk Archives. Vacation is inventive and fun, done in a talk-sing style complete with kazoo solo. A More Perfect Union was written on the night President Barack Obama was elected and is a tribute to that fact. The song is a paean to hopes and dreams realized and has a sweet melody

Fans of venues Towne Crier (Pawling, Massachusetts) or Caffe Lena (Saratoga Springs, New York) will have both a historical and musical interest in The Ballad Of Townes Van Crier and Pasqualina. Van Crier started was a patron of the arts, and Pasqualina Nagri, better known as Lena Spencer, ran Caffe Lena until her death in 1989. The song includes not-so-obscure references to the Kingston Trio and Don McLean, but is really something of an off-the-cuff tragedy told in humorous terms (ala Shakespeare).

Bachmann ratchets up the humor on Giant Can Of Paint, an entertaining Bluegrass romp that might be irresistible even if you're not much of a Bluegrass fan. It Won't Be Long takes on end of the world prophecies such as Armageddon and the Aztec end-of-world predictions for 2012. The song is written from the brink of the end of the world, referencing the Biblical prophecy of the drying up of the Euphrates river as a precursor to the final battle between God and Satan (Geopolitical concerns combined with drought have had the net effect of essentially drying up much of the Euphrates). The song is serious and slightly uncomfortable, abandoning Bachmann's sense of humor for a sobering moment. Bachmann is back to his usual high-jinx on This Song Is Called This Song Is Called, a Bluegrass barnburner that's a vicious tongue twister to boot. Bachmann winds down with One Great Date, a quirky love song that looks back over years together through the use of clever word play and probably an inside joke or two. It's a sweet love song that might be a bit too obscure (or specific if you're in the know) to be a Mix Tape pick, but certainly qualifies as one of the more romantic silly love songs I've heard in a while.

Bill Bachmann is a throwback, of sorts, mixing the storytelling and musicality of Woody and the mischievous nature of Arlo. There's a reason the Boston Phoenix once opined that Bachmann was "grossly under-recorded". Listen to Big World Out There and you'll understand the sentiment. Bachmann isn't a flashy performer, but he can hold a crowd in thrall with his down-home folksy wit and intelligence; not to mention a musical touch that's almost magical. Big World Out There got to us a bit late to be considered amongst our top albums of 2009, but don't be surprised if it inhabits a number of critic’s lists for last year.

Rating: 4.5 Stars (Out of 5)

You can learn more about Bill Bachmann at http://www.billbachmannmusic.com/. You can purchase Big World Out There as either a CD or Download from CDBaby.com.

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: Tamara Lewis - Living Down River

Tamara Lewis – Living Down River
2008, Tamara Lewis

Seattle’s Tamara Lewis is a singer/songwriter whose writing is informed by twenty years as a psychotherapist as well as her own struggle with a decade-long serious illness. Writing primarily in a folk style with country and blues influences, Lewis opens her heart to listeners with no quarter asked. Supported by Max Cohen (Dar Williams), Pat Donohue (Prairie Home Companion), Murl Sanders and a cast of extremely talented musicians, Lewis delivers ten songs of passionate folk on her second CD, Living Down River. You’ll hear hints of influences such as Alison Krauss, Patsy Cline and Nanci Griffith, but Lewis’ distinctive voice and lyrical style will leave a marked impression on listeners from opening note to last.

Living Down River opens with I’ll Come Home, a song about being able to find and stay in your center even when darkness descends on your life. Lewis’ voice is strong and soothing; the perfect complement to the lyrics when you realize that she’s singing as much to herself as to you. Better Day is a country lullaby for a bad day; full of the vulnerability of someone who has lost control of their life, it is one of the most poignant songs you’re likely to come across. There’s a sad yet hopeful beauty here that is magical. Don’t Look At The Mountain is in a southern gospel style that infuses bluegrass instrumentation. It’s an incredibly enjoyable listen.

That Leavin’ Sound is a class country song of heartbreak sung in intelligent and vibrant terms. Tamara Lewis sings this song as if she’s feeling every wrench of her heart. Try not to be moved. Big City Blues goes to the other end of the spectrum. It’s a smart look at city life and is probably the most fun song on the album. With My Eyes is a special moment. It addresses fidelity and attraction in an honest and bare fashion that is refreshing. Cold Coffee, Warm Beer is a humorous look at how to handle running into an ex-boyfriend written in the spirit/style of Christine Lavin. Key Of Lonely is the keynote song on Living Down River; a gorgeous piano-based ballad about a relationship that doesn’t work despite best intentions by both involved. The album closes out with Living Down River, a haunting song full of home style wisdom and haunting harmonica.

The talent of Tamara Lewis is abundantly clear. In songwriting she is able to drop the filters that we live with every day and just stand alone in her songs. Steeped in an honesty that is almost unsettling, Lewis finds human insights in her songs like a prospector looking for gemstones. The listener is enriched in the process, but one gets the impression that is Lewis who is most healed by her search. Living Down River is a sonically gorgeous album that is smart, occasionally witty and just plain good. Spend an hour with Tamara Lewis. You’ll be happy you did, and you’ll go back again.

Rating: 5 Stars (Out of 5)

You can learn more about Tamara Lewis at http://www.tlewismusic.com/ or www.myspace.com/tamaralewis. You can purchase a copy of Living Down River at www.cdbaby.com/cd/tamaralewis2.

Review: Tamara Hey - Miserably Happy

Tamara Hey - Miserably Happy
2008, Miserably Happy Records

Tamara Hey is a product of New York City. All the humor, intelligence, sarcasm and soul searching that goes with being a New Yorker is reflected perfectly on her latest album, Miserably Happy. Her press materials site influences such as The Beatles, Fleetwood Mac, The Rolling Stones, Suzanne Vega and Aimee Mann, and you can hear shades of each within her songwriting, but Tamara Hey would appear to have a musical progenitor in Christine Lavin. Hey is a bit edgier than Lavin perhaps, but carries that same sense of intelligent wit and mischief that infuses the best of Lavin's material. The subtle essence of wit is ever-presented on Hey's most recent album, Miserably Happy. No subject is devoid of opportunity in Hey's capable hands.

Miserably Happy opens with You Wear Me Out, a reflection on a boyfriend whose amorous intent is based more in his own insecurities than affection. The arrangement is peppy pop sweetness that encapsulates the quiet angst that runs through the song. Round Peg is contrasts the distaste or discomfort some people feel with regards to an acquaintance or friend with a real weight issue, and yet it contrasts this feeling against the feelings of inadequacy engendered by the struggle for the perfect body. The narrator ends up deciding the less than perfect body and fun life are more desirable than the pursuit of elusive perfection. Umbrella is a humorous song that residents of any large pedestrian metropolis will understand. It's cute and understatedly funny.

Somebody's Girl reflects an almost neurotic sense of hope or knowledge that the perfect person it out there somewhere. It's a sweet song with a great pop arrangement. Isabelle incorporates subtly beautiful Spanish guitar licks into a song about how friends sometimes change once they get married or seriously involved. It's as much a lamentation of friendship lost as it is a passive or internal exhortation for the friend to see the truth about her choice. Drive is probably my favorite song on the record, nailing the angry urgency with which New Yorkers live every single day. Drive is about the need to get away from time to time to refresh yourself, and is delivered with a wink of wit. Other highlights include David #3, Long Dog Day and Miserably Happy. Tamara Hey closes out with October Sun, a musical painting of images and understandings drawn from the sun in decline. This is the prettiest and most poignant song on Miserably Happy.

Tamara Hey is quite the songwriter. Intelligent and funny lyrics back up against strong country/folk/rock arrangements that serve as perfect vehicles for Hey's sweet voice. Tamara Hey is just quirky enough to be instantly memorable/recognizable. Once you've heard her sing you'll always know Hey's voice right away. That is a quality most singers would die for. Add to that the obvious talent and you have quite a package. Miserably Happy is well-written and well-performed, and an indication that Tamara Hey should be a viable force in folk and rock for some time to come.

Rating: 4 Stars (Out of 5)

You can learn more about Tamara Hey at www.myspace.com/tamarahey or http://www.tamarahey.com/, where you can purchase a copy of Miserably Happy. You can also pick up a copy at www.cdbaby.com/cd/tamaramusic3.