JD Pederson – It Seems Like Only Yesterday

JD Pederson – It Seems Like Only Yesterday
2010, JD Pederson

Every singer/songwriter is a sum of his or her influences.  For JD Pederson those influences are solid ones.  Whether it’s the San Francisco sound of Boz Scaggs and Tower Of Power, or the style of artists such as The Eagles, Jackson Browne and Van Morrison, Pederson has developed a strong personal style based in classic sounds.  What makes Pederson special is that he’s taken these roots and catalyzed them into something new and unpredictable.  It’s there in Pederson’s live shows; you never know what he might come up with next.    You’ll find the same feel to Pederson’s debut album, It Seems Like Only Yesterday.

Pederson opens with “We Go Way Back”, inhabiting the space between country and rock n roll with an easy-listening mien.  It’s a song of reminiscence with a nice melody, and shows off Pederson’s easy-going voice in style.  “My Favorite Sunset” is a vaguely saccharine ballad that captures a moment in song.  Pederson injects an island feel into the song, and in spite of the slightly trite feel you’ll leave with the impression that such things are born of true emotion rather than a cynical attempt to inspire feeling.  “Learn The Dance” is all about growing up and taking responsibility for yourself.  Pederson exhorts listeners to dig into life and take what it has to offer; an anthem to personal responsibility with a dose of carpe diem thrown in.

“Call Me” finds Pederson sounding a lot like Ezra Idlet of Trout Fishing In America.  It’s a down tempo love ballad that’s sorrowful, yet still somehow motivated by hope.  “Kiss & Tell” shows more energy; a catchy tune with a sense of mystery and remorse.  This is a sharp, clean arrangement with great guitar work that shows a slightly different dimension to Pederson’s songwriting.  “Welcome To The Party” is a musical dissertation on graft, politics, and the internal machinery that keeps the political process out of the hands of the people it represents.  The observational style of songwriting shown here displays sharp and incisive lyrics with plenty of wit in a funky, blues-rock arrangement.  “No Good For You” is a dirty blend of rock and blues that’s highly enjoyable.  It’s a classic story in the first person about a friend waiting in the wings for his friend’s girlfriend to her eyes his way.  More than that, he’s actively working to put himself into position to steal her away.  The guitar work here is as filthy-good as the premise, and the song is full of delicious piano licks and fills.

“Peace Of Mind” is a bit simplistic and plain, but features some great guitar work and a decent melody.  The sound here is a bit too inside of itself; wanting to explode and be larger than life, but never quite gets there.  “The Sound Of Goodbye” is a flat, Adult/Contemporary Ballad.  The song itself is decent, but the production here misses the boat.  The vocals are too low, the piano too high, and the guitar solo is too far out in front.  This sounds more like a patchwork of musical parts thrown together in a slipshod manner than a cohesive piece of songwriting.  Pederson closes with “Headed Home”, once again involving a mismatch in the production booth.  Pederson’s pleasant but soft-spoken voice gets lost in the mix. 

JD Pederson’s It Seems Like Only Yesterday lives up to the classic singer/songwriter mantle it bears across the first seven songs.  Pederson shows a competency in lyrics and arranging that places him above the pack.  His gift for melody and creating a story environment in his songs is notable, and at times he rises to the crest of brilliance.  The last three tracks seem more like filler, and are a disappointing epilogue to what is otherwise a very strong effort.  It Seems Like Only Yesterday certainly will give listeners motivation to see what JD Pederson does next.

Rating: 4 Stars (Out of 5)

Learn more about J.D. Pederson at http://www.jdpederson.com/.  It Seems Like Only Yesterday is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Review: Westerly - This Lonesome Town

Westerly - This Lonesome Town

2009, Westerly Music LLC

Westerly is a band, appropriately enough, with roots in the Western United States. Finding a common meeting point in Seattle, Joshua Schramm (vox/guitar/harmonica); Kory Nagler (vox/guitars/harmonica/keys); Bob Hyde (bass) and Andrew Squire (drums/percussion) have created a blend of Country, Rock and Folk that’s as accessible to fans of 60’s and 70’s icons Buffalo Springfield, Bob Dylan and Tom Petty as it is to fans of Ryan Adams, Wilco and Drive-By Truckers. Driven by ambivalence between life on the road and putting down roots, Westerly bridges the gap between genres by being all and none at the same time. Westerly’s sophomore album, This Lonesome Town, was released in March of 2009.

This Lonesome Town opens with Pour The Wine, a gentle and overly generic country tune. The sound here is pleasant but the song doesn't make much of an impression. Every Word has a California Country sound reminiscent of The Eagles. It's a decent tune in a fairly predictable arrangement. This Lonesome Town is a pleasant composition and well arranged, although the lyrics are highly repetitive. The song has a quiet sway that gives it a lullaby-like feel. Westerly breaks out with the high energy Third Wheel, perhaps the best song on the disc. This song could go straight to Country radio as-is. Memphis and Holding On plod their way through to Weightless, a moderate tempo Country/Rocker with an infectious nature and some excellent vocal harmonies. Black Hat and Slow Trail follow a somnolent path, musically. Before You Came picks up the energy a bit in what might be the best song on the disc. Westerly performs and inspired rendition of The Rolling Stones' Wild Horses before closing out with 30 Seconds, the most ambitious composition on the disc.

Westerly makes a decent impression with This Lonesome Town. Instrumentally the band is excellent. From a songwriting perspective there are highs and lows, but generally the results are above average. This Lonesome Town is a pleasant listen that grows at the intersection of Rock, Country and Folk. There are a couple of weeds in the grass, but on the whole it's a good listen.

Rating: 3 Stars (Out of 5)

You can learn more about Westerly at http://www.westerlymusic.com/ or www.myspace.com/westerlyseattle. You can purchase This Lonesome Town directly from the band as either a CD or download, where the download option allows you to choose your own price.

Review: Aaron Barnhart - Missing Pieces

Aaron Barnhart - Missing Pieces

2009, Bonded Records/Fontana Records/Universal Music Group

Aaron Barnhart is on a track for big things. His debut album, Missing Pieces, came out in May on “Indie” label Bonded Records. Indie is in quotes because Bonded is owned by UMG, but that’s an article for another day. Barnhart is being put out there as the next teen dream, and he may well be. With production by Stuart Brawley (Michael Jackson, Don Henley, Celine Dion, Josh Groban), it’s clear that the folks at Universal Music are betting heavily on Barnhart’s success.

Missing Pieces opens with Day In Day Out, featuring a hook-filled, alt-pop melody that will stay with you. Barnhart has a voice you want to listen to and has a very radio-friendly writing style based in piano-fueled Rock and ballads. Missing Pieces is a song of angst; a passive generational missive on all that isn't happening. Barnhart sounds a bit like John Ondrasik of Five For Fighting here. Painkiller is a non-traditional love song written in a Southern Rock style that you won't soon forget. One More Second Chance is fairly typical as a ballad except that it sounds like it might have been originally written as a country tune.

The Water's Edge is my favorite song on Missing Pieces, an impassioned tune that longs for redemption in the revival of a failed relationship. The Water's Edge is a beautiful piano-based ballad that misses the syrup boat and may gain a lot of attention for Barnhart. Another Day is a close second for favorite song; a 1970's style rock tune with orchestral aspirations where Queen meets Chicago. The vocals here show Barnhart as his most dynamic.

Aaron Barnhart has an ability to connect with the listener even though a medium as cold and distant as a CD. His voice, at his best, is highly memorable, particularly as he moves into his upper range. Missing Pieces is aptly titled. When songs work they're amazing, but there are a few songs here that just don't. Barnhart's sound has distinct commercial potential, and his continued development as an artist will give him great opportunities to realize that potential. Missing Pieces is a strong start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Aaron Barnhart at www.myspace.com/aaronbarnhart or http://www.aaronbarnhart.com/. You can purchase Missing Pieces at Amazon.com, or download the album through iTunes.

Review: Jackdawg - Jackdawg

Jackdawg - Jackdawg
2009, Sonic Past Music

The long awaited and much discussed CD Jackdawg is due for release on March 17, 2009. This near-legendary album was recorded in 1990 and features John McFee and Keith Knudsen of the Doobie Brothers along with Creedence Clearwater Revival's Stu Cook. The band was an outgrowth of Southern Pacific and was recorded at McFee's Lizard Rock Studio in Solvage, Ca. The Jackdawg recordings stayed hidden in a vault until after Knudsen's death in 2005. The eponymous album includes thirteen original tracks plus covers of Roky Erickson's Cold Night For Alligators and Van Morrison's Wild Night.

Jackdawg opens with Bayou Rebel, an ode of sorts to Creedence Clearwater Revival. Bayou Rebel sounds like something that might have come out of CCR in their heyday but updated for the early 1990's when it was originally recorded. When The Sun Don't Shine is a tasty bit of modern rock with southern rock ancestors. The guitar work here is excellent, and the melody is quite memorable. The Men Who Would Be King was inspired by The Beatles, hinted at the by the harmonies at the end of each refrain and the occasional musical reference.

Hunger is a big stadium rocker that sounds like top-40 gold circa 1985. Ghost Dance has no pretensions about it, sounding more like something you'd expect to hear out of Lou Gramm than a conjunction of ex-Doobie and CCR guys. It's quite good, just a bit of a sonic surprise you might not have expected. Jackdawg returns to familiar territory with the old school R&B rocker Take It Off. Kisses In The Rain is another one of those songs that would have been a huge hit in a different era. This one sounds like a cross between Don Henley, The Beach Boys and Huey Lewis' backup band, The News.

Other highlights here include I Couldn't Help Myself, the big guitar rocker Quicksand, the Hagar-era Van Halen sounding Lookin' For Trouble, Young Ones, and The Girl From Oz. The Girl From Oz was inspired by the lead singer from The Divinyls, and sounds like someone took a variance on the bass line from Styx' Too Much Time On My Hands; added some Alex Liefson (Rush) style guitar work and a big 1980's rock chorus to create the perfect pop/rock song. The covers of Cold Night For Alligators and Wild Night are quite well done. They fit with the character of the rest of the album, but don't quite blend in the way the rest of the tracks do.
Jackdawg is a brilliant album. It's too bad this has been hidden away for almost two decades. If released back in 1990 it might have been a major hit for Cook, McFee and Knudsen. Today it will be appreciated by those in the know, but probably doesn't have the commercial reach it might once have had. Expect to hear a handful of tracks from this one show up on soundtracks, commercials or wherever else the marketing folks can find a spot. The music is excellent, and worthy of the resumes Jackdawg brought into the project.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jackdawg at http://www.jackdawg.net/. You can order a copy of Jackdawg at Amazon.com.