JD Eicher & The Goodnights - Into Place

JD Eicher & The Goodnights - Into Place
2013, Rock Ridge Music

You’re going to hear a lot of comparisons made in conversations about JD Eicher & The Goodnights.  Critics have tied the band to Coldplay, Keane, The Killers, Death Cab For Cutie and The Script.  These are great compliments in a game where name recognition is key, but none of these comparisons does the band justice.  JD Eicher is an original voice, both literally and figuratively. With a lyrical talent culled from the great tradition of American singer/songwriters, Eicher also brings the melodic sensibility of great British songwriters such as Paul McCartney and Elvis Costello.    JD Eicher & The Goodnights recently dropped their third album Into Place, the third part of a trilogy that began with The Shape Of Things and continued with Shifting.  Into Place is Eicher’s most accomplished writing to date.

Into Place launches with "Ode To The Underdog", a thematically and musically appealing lead track with a touch of identity crisis. The verses are edgy, the bridge is angst-filled, and the chorus is uplifting and bright. In spite of these apparent contradictions the piece works. By the time Eicher breaks into the 'D' section after the chorus you've bought in and willing to go along or the ride. "Give It Up" has the sort of simple, hook filled chorus of which hits are made. The positive vibe and message are without cliché, and Eicher sings it like the top notch front man he is. This has potential hit written all over it. "You've Got A Lot Of Growing Up To Do" finds Eicher calling out practically everyone, including himself, for misbehavior a great and small.   Once again the pop aesthetic is very much alive and well here, and Eicher sells the song like a pro. 

"People" is a contemplative look at expectations and people's tendency not to love up to them. This is a quiet moment of pragmatic melancholy that's beautiful in its simplicity. Jerry DePizzo of O.A.R.  sits in on "Lately Lady", while Joy Ike combines her rather in impressive voice with Eicher's in a rambunctious blues-influenced romp. "I'd Like To Get To Know You" is the sort of light hearted love song that occasionally takes of up the charts or gets selected for inclusion in a romantic comedy soundtrack. Things turn a little deeper on "The Last Love Song", a pensive love song that's more serious and serene, and full of the angst of an as yet unrequited love. 

"Edgar Green's Time Machine" is a brilliant story song with a gently rolling media that carries you along a tale of genius, madness and joy. "Aaron" is a brilliant story of man who can't escape his own demons, but who wrestles them over a piano after hours at a bar. This story/monologue is incredibly real, driven by an unforgettable honesty and a lyric fortitude that is surprising even for Eicher. "Oh My God" is a philosophical dissection of profundity and human imperfection set to a quiet but insistent piano-based arrangement. Eicher laments an inability to be perfect in light of basic human needs in a one-side recitative with the Almighty. "Into Place" is a song about growing up and finding yourself; the understanding of what's important that comes with finding your place in the world. There is a celebration in here that's complicated but full of joy. Eicher delivers are all of this In a four and a half minute performance to remember. The album closes with a brief reprisal of the final track that features just Eicher and his guitar. This ending seems appropriate for the story-based album, but is perhaps the only questionably conceived/executed moment on the album. The ending is simply too abrupt and too short to resonate, and does more to distract the listener from what came before than anything else. 

Into Place presents JD Eicher & The Goodnights as one of the finest new purveyors of the pop singer/songwriter tradition.  Make all the comparisons you want, but Eicher is an original.  Into Place will likely find itself crowd the top of many year-end lists, and is certainly worth of being a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.jdeicherandthegoodnights.com. 

Brian Larney - At The Starting Line

Brian Larney – At The Starting Line
2013, Nunya

 

Brian Larney has spent much of his musical career contributing to the efforts of bands.  All the while he was building up a significant catalog of songs.  Stepping out on his own, Larney revealed a refined songwriting style similar to Neil Finn and Andy Partridge.  Larney recently released his second album, At The Starting Line.  It is a quietly brilliant collection of observational songs with a distinctive 1970’s flair.

 

Larney opens with the catchy energy of "You Me and Allison".  The song is a moment of escapist fancy amidst strumming guitars and a melody line that won't quit. "Solace" is a quiet country-fueled number about a young lady who struggles to maintain faith in a world governed by Hobbesian actors. . Larney’s melody is catchy, and the arrangement wraps perfectly around it.  "Closed Door" stumbles along in uncomfortable fashion, relying on a memorable melody to pull a troubled and messy arrangement through. 

 

Larney digs into an early rock sound somewhere between The Beatles and Elvis Costello on "Whistling Past The Graveyard". Larney turns up the wattage on charm on a song you'll have difficulty getting out of your heart. Things take an angular turn on "The Plaintiff", with Larney laying down some deliciously discomfiting guitar licks. The transition into a catchy chorus is a brilliant turn.  "Before The Shadows Grow Too Long" is a pensive love song that underscores Larney's talent for sweet melodies. His writing style is reminiscent at times of James Taylor, and his sound would have sold a lot of records in the late 1970's. 

 

"Dogma (On A Leash)" has a bluesy feel that's accessible and fun. The "don't tread on me" message is delivered in low key fashion to the ups and downs of a dynamic and memorable melody. "Why God Why" is a gentle folk/pop anthem with a deceptively catchy chorus. Larney rises up into a sweet tenor voice here, gliding along on a melody that's as smooth as silk.  "Chain Of Words" lopes along at a fast walk, with Larney pacing the song with an accusatory but well voice vocal. The song intrigues based on its mix of musical lightness and emotional disturbance. "Chance" has an urgent feel, like an appeal not made but nonetheless hoped for. Larney rails against the unfairness of it all over a dynamic, guitar driven arrangement that's a real treat. Larney brings listeners back to Earth with "Never Argue With The Devil", a singer/songwriter ballad that dwells in melancholy. There's a baroque beauty to the arrangement that is teased out by the Larney's metronomic acoustic guitar. 

 

Brian Larney is a pleasant surprise on At The Starting Line. He manages to write accessible songs with melodies you'll walk away humming. Larney misses once in a while, perhaps, and his occasional pitch issues are a distraction, but his charisma and voice are distinctive enough to pull off anything he wants to do. 

 

Rating: 4 Stars (Out of 5)

 

Learn more at www.brianlarney.com. 

Red Jacket Mine - Someone Else's Cake

Red Jacket Mine – Someone Else’s Cake
2013, Fin Records

Red Jacket Mine is a product of disparate influences.  The Seattle based quartet hails from a city known for Garage Rock, Grunge and Rap, but Red Jacket Mine is crafting their own Seattle Sound.  With lead vocalist and songwriter Lincoln Barr calling on his Memphis roots, Red Jacket Mine walks the line between blues, soul, country and good old classic rock and roll.  The result is familiar yet fresh, full of catchy pop hooks and a whole lot of charm.  Red Jacket Mine brings it all together on their fourth album, Someone Else’s Cake, due out February 13, 2013.

Red Jacket Mine takes off with the delicious, synth-driven pop/rock of “Amy”.  Infectious hooks and s sneaky-catchy chorus make this one a charmer and a great opening track.  “Nickel & Dine” is a catchy Americana rocker that sounds like a cross between Elvis Costello and Blue Rodeo.  Red Jacket Mine builds a wonderfully catchy vibe here while discussing the human tendency to tear down anything that works and the clash between optimism and pessimism.  “Ron Nasty” is a bit generic, but “Engineer” rocks with a bluesy attitude.  This is one of those tunes you just can’t sit still for, and vocalist Lincoln Barr is in particularly fine form here.

“Skint City” has a more melancholy feel, and carries a vocal harmony that’s reminiscent of a 1970’s Eagles record.  It’s a solid album track with a quiet swing that’s easy on the ears.  “Listen Up (If the World Is Going to Hell)” pays homage to 1970’s R&B and pop styles.  Barr sounds a bit strained in small moments here, but it’s a solid effort overall.  “Novelty’s Gone” walks the line between gentle rock and country, relying on a metronomic rhythm to drive a maudlin number about the reality of a relationship setting in.  There’s a rote feel to this tune that carries over to the tacitly soulful “Better To Be Broken Than Blind”.  Both tunes are solid enough, but just don’t carry much energy or conviction.

Red Jacket Mine comes fully awake for “Someone Else’s Cake”, a catchy kiss-off song of sorts.  There’s a delicious edge to this number that underscores the Americana/Country sound.  “Have You Got A Permit To Preach On This Corner” has more of a classic country sound, and takes to task someone who professes their beliefs publicly.  Red Jacket Mine closes with the catchy rocker “Bellar & Bawl”.  An R&B backbeat drives the song, alongside an early rock & roll piano style and a band that is clicking on all eight cylinders.  This is the perfect close to the album, and a perfect song to close shows with as well.

Red Jacket Mine certainly knows how to kick things into high gear when they want to, but Someone Else’s Cake shows a supple understanding of song craft that while not always perfect in fruition, displays a distinctive understanding of melody, song structure and inspiration.  Someone Else’s Cake is a complex album that finds lead singer/songwriter Lincoln Barr negotiating with his own varied musical influences with varying degrees of success.  It’s an intriguing listen from a band who promises to keep growing and getting better with age.

Rating:  3.5 Stars (Out of 5)

Learn more at www.redjacketmine.net. 

Ravishers - Ravishers

The Ravishers - The Ravishers

2011, Timber Carnival Records

Portland, Oregon rockers The Ravishers are about to invade your ear space. Catchy tunes, well-honed songwriting and an acute attention to detail help The Ravishers grab your attention; the energy of their lives shows maintains that attention and turns it into ardor. It's no surprise that some of that energy should carry over into The Ravishers, the band's full-length debut album. Comprised of writer/vocalist Dominic Castillo, guitarist Jonathan Barker and a rotating cast of characters, The Ravishers appear ready to turn the Pacific Northwest upside down and head out to conquer America.

The Ravishers set out with "I'm Him"; a song sounds like it could have been co-written by Lyle Lovett and Elvis Costello. Low key but catchy, the song mixes a vague Americana sound with distinctive pop sensibility. "You Have It" mixes a quiet, singer/songwriter style with wonderfully jangly guitar-rock sounds. Don't expect to escape this song for the rest of the day once it's entered your brain. "The Chase" gets caught up in its own repetition, while "Cruel Love" is a bedrock album track dealing with the cycle of being lost in unrequited love. "Underachievers" is an intriguing musical allegory of itself. The arrangement is almost haphazard and messy; not ambitious enough to be called Garage Rock but certainly showing the intent.

"Keep You Around" is a half-enthused love song, with an intriguing alto voice joining the mix. The mix of voices works well over the minimalist rock arrangement. "My Thoughts Of Killers" are a catchy, yet low-key bit of anti-pop madness. The guitar part becomes more and more disconnected as the song progresses, with the entire song deconstructing into disparate parts at the end. "Lesson In Leaving" features an anachronistic arrangement that intrigues with strong guitar work. The Ravishers plod their way through "How I Feel About You", but recover with the impressive pop song craft of "Nobody Falls In Love Anymore". The chorus here is absolutely amazing, and the melody of this hidden gem shines. The Ravishers close solidly with "Happening", an intensely driven yet reserved rocker that's big on energy but constrained in delivery.

Mainstream media and pop outlets tend to ignore Indie pop and rock acts in favor of the canned drivel that is often the result of major label recording contracts, but The Ravishers are going to be hard to ignore. The Ravishers put a bit of the fun back into rock and roll, and as musical talents they are definitely on the map. The Ravishers has its moments of musical pleasure and pain, but this is the sort of debut that builds anticipation for the future.

Rating: 4 Stars (Out of 5)

Learn more at www.ravisherstheband.com or www.myspace.com/ravishers. 

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Spectacle: Elvis Costello With... Season 2

Spectacle: Elvis Costello with... - Season Two
2011, MVD Entertainment Group

Music fans unaware of Spectacle: Elvis Costello with... are missing out on one of the best music oriented shows on television.  Currently shown in Canada, Spectacle has consistently drawn big name artists to the small screen for sit down chats and memorable performances, both solo and with Elvis Costello and the Imposters.  MVD Entertainment Group recently released Season Two of Spectacle in the form of a 2-DVD set.  Season Two features interviews with and performances by such artists as Bono and The Edge, Sheryl Crow, Bruce Springsteen, Lyle Lovett, Richard Thompson, Nick Lowe, Ray LaMontagne, Neko Case and Mary-Louise Parker.

Spectacle has been honored with an EMMY nomination and a Gemini award as the Best Talk Series, and it's no surprise.  The artists who appear on Spectacle let down their guard speaking with Costello in a way that rarely happens on traditional talk television, and the musical performances are a real treat for fans.  Season Two features a special double episode Bruce Springsteen.  Special features include a special behind the scenes feature entitled Elvis Costello With... Inside Notes, and four bonus performances from Elvis Costello and his guests.  Costello is an engaging host throughout season two, keeping the format fresh with offbeat conversations and some truly wonderful musical moments.  Costello has managed to create a near-perfect television forum for music makers and music fans.  This is the rare television series you might find yourself actually watching again and again.

Rating: 4 Stars (Out of 5)

Learn more about Spectacle at www.spectacletv.com.  Spectacle: Elvis Costello With...  Season 2 is available from Amazon.com on DVD and Blu-ray.

Zak Smith - Haunted Feet

Zak Smith - Haunted Feet
2010, Zak Smith

On one hand you could argue that there are few original voices in popular music anymore.  Everyone is influenced by one or more artists of the past, and with a mere 8 notes it is difficult to do something truly original.  Yet it is the blending of styles and sounds that marks originality; not the similarities but the choices of division.  In one of these finely honed musical crevices grew the art and creativity of Zak Smith.  Other writers have compared Smith to Elvis Costello, Leonard Cohen, Kings Of Leon and The Killers.  Fair comparisons all, but Smith's proclivities as a songwriter run a bit deeper.  Check out Smith's debut EP, Haunted Feet, and you'll understand.

Haunted Feet opens with "Under Your Possession", a catchy and affable blues/rock/Americana blend that grows a bit more infectious every time you hear it.  Smith's pleasantly raspy voice perhaps doesn't have a great deal of range, but Smith makes the most of what he has, pouring his personality into each vocal performance.  "Suffer Like A Ghost" is a solid pop/rock number full of layered sounds.  The unpolished sound here seems more an artistic choice than a liability.  "The Ones That Got Away Will Bury Me" is an intriguing number based on a somewhat morbid concept.  Smith sounds like a cross Tom Petty and Marc Cohn here.  "The House You Haunt" features an understated approach and a catchy, compact rock n roll number.  Smith's personality oozes out of this song in omnipresent waves.  The EP closes with "Faith But Waiting", a catchy number with great sonic atmosphere.  The keys/guitar mix here is righteous, fleshing out the songs hooks in lifelike fashion.

Zak Smith is the guy you don't see coming.  The music on Haunted Feet will seem nice and appealing to you the first time you hear it.  You might even be forgiven if you don't back to Smith right away; but the more you listen something interesting happens.  Zak Smith sucks you in to his songs slowly, over time.  Haunted Feet is a slow burn, but one well worth waiting for.

Rating: 4 Stars (Out of 5)

Learn more about Zak Smith at www.zaksmithband.com or www.facebook.com/zaksmithband.  Haunted Feet is available digitally from Amazon.com and iTunes.

Ron Sexsmith - Long Player Late Bloomer

Ron Sexsmith - Long Player Late Bloomer
2011, Ronboy Rhymes

Ron Sexsmith was known early in his career as a one-man jukebox due to his amazing inability to play most any song requested while playing out live.  But in 1984 Sexsmith turned his attention to writing his own material.  Sexsmith’s brand of melancholic pop with British style melodies has become a staple of Canadian content and has even seen Sexsmith gain serious attention south of the proverbial 54-40.  Sexsmith’s latest album, Long Player Late Bloomer continues his sonic maturation through songs of love and loss.

Long Player Late Bloomer opens with "Get In Line" a straightforward pop/rock tune with an almost McCartney-esque feel.  There's an upbeat brand of melancholy that's pervasive here, making for an intriguing start.  "The Reason Why" falls more into the Americana bucket with a sound that will appeal to fans of Blue Rodeo.  Aside from the pure sonic aesthetics of the tune, it's a great bit of songwriting.  "Believe It When I See It" opens with a piano-driven verse then falls into an ethereal, orchestral rock chorus.  Sexsmith has crafted a pretty melody that waxes and wanes with wave-like intensity while building into the chorus like an on-coming tide.  The song reflects hope for the future tempered with healthy doses of skepticism. 

"Miracles" continues the orchestral pop/rock flavor.  This one is subtle and sublime; a gorgeous arrangement that celebrates the small miracles of everyday existence.  "No Help At All" resurrects the McCartney melodic influence in a song that reflects either a winsome melancholy or a mildly upbeat brand of fatalism.  "Late Bloomer" can have more general applications, but at heart it's a quiet anthem for anyone who has ever picked up a musical instrument with the dream of making it big.  It's an underdog's theme with a positive ending, even if it's not the outcome one might have wished starting out.  "Heavenly" is a smooth and sweet country/folk/pop ballad.  Sexsmith is at his vocal best here, with a sound so smooth it's practically theoretical.

"Michael And His Dad" is a heartfelt story-song capturing a moment between father and son at the playground, as the complexities of the life outside dance on the edge of their enjoyment of the day.  It's an incredibly human and poetic portrayal of the perfect moments we discover amongst our imperfections.  "Middle Of Love" is a catchy, middle-of-the-road Adult Contemporary rock number celebrating the moment of falling/being in love.  "Everytime I Follow" continues the penchant for lush sound that Sexsmith has displayed throughout Long Player Late Bloomer, while "Eye Candy" brings a gently swaying cadence in the form of a healthy, energetic Americana arrangement.  "Love Shines" revives the McCartney comparisons once again in a tune that embraces the simple things in life.  It's a pretty tune with a muted pop sensibility that's infectious.  Sexsmith closes with "Nowadays", an acoustic ballad that's subtly beautiful; exploring the depths of love and how it wraps itself around our hearts when we're not looking.

 Ron Sexsmith is incredibly smooth throughout Long Player Late Bloomer, working in a vocal style that’s ultra cool.  His voice is wonderfully soft and warm, and he caresses each vocal line like he’s in love with the music.  Long Player Late Bloomer shows the continued maturation and growth of Sexsmith as a songwriter, and is among his best work to date.

Rating: 4 Stars (Out of 5)

Learn more about Ron Sexsmith at www.ronsexsmith.com or www.myspace.com/ronsexsmith.  Long Player Late Bloomer is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

John Shipe - Villain

John Shipe - Villain
2010, Involushun Records

Villain opens with "Lion", an interesting reflection on culpability, responsibility and choices.  Delivered in a folk style, Villain displays a story-teller's flair and an aurally pleasing voice that calls to mind thoughts of Paul Simon and Elvis Costello.  "Villain" finds Shipe exploring the human tendency to root for the bad guy, whether in romance, movies or real world events.  It's a cute bit of songwriting, displaying a sense of wit that will appeal to fans of Lyle Lovett and Randy Newman.  "Love Belongs To Everyone" invokes images of a melancholy Elvis Costello, as Shipe engages in a good old fashioned dose of mutual self-pity.

Shipe entertains guest, and 2010 Wildy's World Artist of the Year Halie Loren in a duet on "Hard To Believe", an intriguingly sad love song.  Shipe sticks to his easy-going vocal style, while Loren offers a gorgeous husky alto sound to the mix.  The best moments come when Shipe and Loren blend their voices in harmony; the dichotomy of their respective sounds blends almost in spite of their distinct differences.  "What Right Do We Have To Fall In Love?" finds Shipe exploring the dysfunctions of love from the other side of the looking glass.  It's a unique perspective that works well.  Shipe deeps dig into romantic dysfunction with "Another Disaster", creating an incredibly catchy pop song in the process.  The comparisons to Costello are never stronger than they are here, and never more well deserved.  You'll be hearing this one in your head at inopportune times for days.

"No Use Crying Over A Spilt Life" blends apt, intelligent, lyrical prose with a thoughtful singer/songwriter arrangement that waxes and wanes with the emotional angst of the song.  This might be Shipe's finest songwriting to date.  "Dead Kite" is an emotional still life, a musical monologue written from the edge of a relationship's abyss.  Shipe examines the carnage from outside for the first time, waxing poetic on what drew him and what finally drove him away.  Villain closes with "Feel Good Song", a subtly cynical exploration of humanity's ability to make themselves feel better by burying themselves in ideas and reminiscences of the past and using them as an excuse for inaction in the present.  Shipe's focus here is religion, but may not be an outright attack on faith so much as an attack on people's desire to hide behind it.

John Shipe attacks social constructs with shadows and light on Villain, exploring the human weaknesses that drive mankind to do bad things rather than berating humanity for being anything other than it's cut out to be.  Shipe mixes cynicism and hope in unlikely measures while invoking thoughts of Paul Simon, Randy Newman, Lyle Lovett and Elvis Costello across the eleven songs presented on Villain.  The album is somehow more than the sum of its parts.  While Shipe's songwriting and musicianship are worthy of note, he possesses a quiet cult of personality that occasionally raises his performances to sublime.  There are certainly some quiet moments on Villain, but those quiet moments fade with successive listens.  This is one Villain that will grow on you.

Rating: 4 Stars (Out of 5)

Learn more about John Shipe at www.johnshipe.com or www.myspace.com/johnshipemusic.  Villain is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Skyler - Long Gone

Skyler - Long Gone

2010, SkyHi Records

In a day and age where celebrity seems to be the most desirable goal for many, the world abounds with self-proclaimed prodigies.  Nevertheless you'll occasionally come across a young artist who doesn't need the label.  York, Maine's Skyler is a prime example; as early as third grade kids were clamoring in the playground to hear Skyler play.  By 6th grade he'd mastered multiple instruments and a year later the recording studio in his bedroom reduced Skyler to sleeping on the couch.  Four albums, twenty professional and repertory theatre productions and several hundred gigs later, Skyler has a year at Berklee College of Music under his belt and a loyal following that's admirable.  With the release of his fifth album/EP, Long Gone, Skyler brings together the distinctive pop sensibility that's been drawing crowds since grammar school with a highly refined but non-constricting polish that's rare. 

Long Gone opens with "Hold My Hand", an incredibly catchy pop/rock number in the style of Elvis Costello.  "Hold My Hand" has the sort of melody that lives in your brain for years and continues to surface long after you've forgotten where it came from.  This tune has hit written all over it.  "This Dream (Nashville)" is irresistibly danceable rock n roll about coming home to his baby after time on the road.  Most any musician whose spent time on the road with a love at home has written some form of this song, but few have done it as well as Skyler has here.  "Stephanie" is a song of infatuation that's cute and catchy with serious vocal harmonies.  The acoustic country arrangement is a pleasant listen, but electrify it and polish it up and it's as close to a sure-fire hit as you can get.  "Any Stupid Thing" is a catchy love song, brilliant as in Beatles brilliant.  By the way, it's probably the weakest overall song on the EP.  Long Gone closes with "It's Just The Night", a true rock n roll 'wow' moment.  You'll have a hard time remembering the last time an album or EP was this much pure joy to listen to. 

Skyler practices the KISS principle as a songwriter, keeping the constructions simple with amazing melodies, strong harmonies, dynamic vocals and an ingenious pop sensibility.  In a perfect world Skyler would already own the pop charts.  In the real world, if there is one artist you need to turn your attention to in 2010, it's Skyler.  Long Gone is pure pop/rock that's not snarky, contrived or cynical in any way.  Skyler appears to be making music for the simple joy of it, and that energy is abundantly contagious on Long Gone.  If there is any justice in the world of music, Skyler will be the breakout artist of 2010/2011.  Long Gone is a Wildy’s World Certified Desert Island Disc.  Don't miss it.

Rating: 5 Stars (Out of 5)

Learn more about Skyler at www.facebook.com/skylertunes or www.myspace.com/skylertunes.    Long Gone is available from Amazon.com as a CD or Download.  Digital versions are also available via iTunes. 

Redstone Hall - Elephant [EP]

Redstone Hall - Elephant [EP]

2010, Redstone Hall

Los Angeles quartet Redstone Hall debut today with their debut EP, Elephant, a six-song effort ensconced in the sort of fuzzy 1960’s pop/rock that grew into the garage rock movement.  Steven Rothstein (vocals/keys/rhythm guitar); Zack Hall (guitar/vox); Mac Hadar (bass/vox) and Mike Nussbaum (drums) have developed a reputation for their jam-filled live shows as well as for a distinctive pop sensibility.  Redstone Hall opens a national tour to support Elephant in November of 2010.

Elephant opens with “Rain”, a splendid example of 1960’s pop/rock.  There’s some serious instrumental work going on behind the scenes here, and the songwriting’s none too shabby either.  “Allison” sounds like something Elvis Costello might have written if he’d started out in the 1960’s.  Even the messy garage-rock sound fails to disguise the distinct melodicism inherent in the song.  “Get Back Jack” is catchy; a decent turn before Redstone Hall launches into the Moody Blues-like “Ready Set Go”.  This classical/pop/new age blend is catchy synth pop, early 1970’s style, and has a melody you won’t be able to shake. “Cold Black Cloud” is soulful, repetitive and desperate.  This is one of those songs where a lot of good elements are involved but as a whole it doesn’t mesh well.  Elephant closes with “Oh, Celia”, a catchy bit of 1960’s-style folk/pop that seems likely to be licensed for the movies or television.  It’s a great close to the album, a catchy but somewhat refined pop tune with a life of its own.

Elephant displays a young band with serious intentions toward the future even while having roots firmly entrenched in the history of rock n roll.  Retro enough to cross generations but fresh enough to catch the ear of modern radio programmers, Redstone Hall has the tools to do big things.  There’s a primitive nature to the songs presented on Elephant, a quality that will bear out well live, yet serves here to give the album a live and un-retouched feel.  There’s a lot to like about Redstone Hall.

Rating: 3.5 Stars (Out of 5)

Learn more about Redstone Hall at www.redstonehall.com or www.myspace.com/redstonehall.  Elephant is available digitally from Amazon.com or iTunes.

JP Den Tex - American Tune

JP Den Tex - American Tune
2009, Commes Les Chansons

JP Den Tex is Dutch born and sings like an Englishman, but some part of his heart has always been reserved for America. Den Tex took his own American odyssey and documented it in song on American Tune. Steeped in the deep richness of Americana, Den Tex sings and writes in the vein of Elvis Costello and Nick Lowe but finds a voice that’s uniquely his own.

American Tune opens with "The Dreamer", a solid Americana composition informed by blues, country and rock influences. Den Tex' guitar style is a mix of Knopfler's quiet intricacy and Clapton's innate mellowness. The song has a solid melody that's catchy but not ostentatious; a great opener. "Love So Helpless" is about the futility we feel at times when tragedy befalls those we love and occasionally the unseen consequences. "When I'm Down" is danceable and catchy with a chorus you'll be humming for days; truly one of the highlights of the album. "Mon Desir Noir" is a continuation of the story begun in "Love So Helpless", exploring how the shock and shame of tragedy can drive people who otherwise love each other apart. "Down And Out In Phoenix" examines the aftermath of such a relationship, where broken dreams abound and the future looks as barren as the desert that surrounds the narrator.

A new chapter opens in American Tune with "Un Amour Fou A San Francisco", a french/English take on new beginnings, new cities and new love. "Bowbow" turns out to be one of the most enjoyable turns on the album; very entertaining with a dirty blues feel. "Bowbow" is extremely catchy even if the meaning is at times opaque. Den Tex shows deep insight into the creation process with "True Art Is Lonely", portraying the striving for perfection as a solitary pursuit. "Vagabond Heart" is an acoustic, early-rock arrangement complete with doo-wop style backing vocals. Catchy and fun, it’s an ode to all of those who don't quite fit in. Answers come on "Hero" with the realization that victory often comes in the form of facing up to our own baggage, and the rewards seem to come quickly once we face ourselves. Den Tex closes with a brilliant cover of "We'll Sweep Out The Ashes", a Joyce Allsup-penned tune recorded by Gram Parsons and Emmylou Harris among others. Den Tex duets with Vera van den Poel providing a unique aperture into the camaraderie of loneliness and the moments when its boundaries are shared.

JP Den Tex spins a tale of love, loss, grief and renewal on American Tune. The fall from grace is hard, but rebirth the more difficult task in a quietly competent collection of songs that won't wash over you but quietly insinuate themselves into your mind. Den Tex is a deft story-teller, changing pace and perspective enough to keep the story vibrant. In an age where concept albums have lost their luster, Den Tex offers a shining example of what's right with the form.

Rating: 3.5 Stars (Out of 5)

Learn more about JP Den Tex at http://www.jp-den-tex.com/ or www.myspace.com/jpdentex.  American Tune is available from Amazon.com as both a CD and Download.  The album is also available through iTunes.

Horse Opera - Sounds Of The Desert

Horse Opera - Sounds Of The Desert
2010, Telewreck Records

Horse Opera formed in Austin, Texas in 2005 behind front man Jimmy Deveny. Built of graduates of the schools of rock, punk and rockabilly, Horse Opera draw their influences from Hank Williams Sr., Johnny Cash, Waylon Jennings and Elvis Costello and The Beatles. Sounds Of The Desert, Horse Opera's debut studio album reflects a band steeped in the traditions of 1950's and 1960's country music while exploring the dark underbelly of human behavior.

Sounds Of The Desert opens with "Save My Tears", a delicious bit of classic country with an early rock feel. It's an incredibly catchy tune with solid instrumental work in the background. Deveny has a highly pleasant voice and his delivery is nice and easy. "East Bound Train" is a mid-tempo instant classic about running away from heartbreak. "3 To Closing" is a catchy tune about liquid courage and good intentions mixed with a lack of motivation; the diatribe of a big talker that's done with cute touches of humor. "Devil You Love Best" is a catchy and danceable number that will stick with you.

Horse Opera takes on classic western theme song styles with "Spaghetti Mess", a fun tribute that lives up to its name in fine style. "Sorry" could have come off the AM Country airwaves of the 1950's; a reluctant love song that could be a small hit in most any generation. "2 AM" is a song about friends whose elbows rest on the same bar; a song of shared delusions, pain and efforts to get by. The song has a classic sound and feel. Horse Opera closes with "Best Day", bringing in a rock n roll feel to mix with classic country sound.

Sounds Of The Desert is one of those albums that sounds great and will not fail to please while you're listening to it. It's not a standout album; not the sort you seek out but which you're happy to listen to if it happens to be playing. Fans of 1950's and 1960's country music may be a bit more enthusiastic, but modern country fans will probably miss this one. It's a shame, because the instrumental work on Sounds Of The Desert is first class, and Deveny is an affable front man. Horse Opera is good; good enough to keep you listening, but this album isn't quite the wow it could have been.

Rating: 3.5 Stars (Out of 5)

Learn more about Horse Opera at http://www.horseopramusic.com/ or www.myspace.com/horseoperatx.  Sounds Of The Desert is available as both a CD and Download through Horse Opera's webstore.

Kevin Beadles - You Can't Argue With Water

Kevin Beadles - You Can't Argue With Water
2010, Ripple Music

Kevin Beadles is a singer/songwriter from Berkeley, California who mixes strains of pop/rock, folk and Americana in a fashion that calls to mind Elvis Costello, Lucinda Williams and Ryan Adams. An Award-winning songwriter, Beadles has built a solid regional following in the Western US. On July 13, 2010, Beadles releases his debut album, You Can't Argue With Water, a collection of eleven tunes that shows off the highs and lows of Beadles' songwriting ability.

Beadles opens with "Shine", which might be one of the best pop/rock tunes to cross this desk this year. It's an optimistic number about love staying fresh and standing the test of time with a sing-along chorus that is likely to move into your cranium and set up for a long stay. "Shine" has huge commercial potential, both as a single and in the licensing realm. "Mrs. Jones Cadillac" is a morality tale about the way people hold on to negative emotions and the effect they can have. It's a solid, well-written tune with a country flavor. "High" shows off Beadles' dashing falsetto voice in a story of unrequited love. If you're like most people you've lived the story Beadles tells in "High" at least once; the song is a charming representation of the hopeful hopelessness involved.

"You Can't Argue With Water" is all about going with the flow in relationships and in life; a sense that there's a natural flow to things and that it's foolhardy to fight fate. The clothes make the man in "Sharkskin", an entertaining number about humanity's ability to fool itself into being stronger than we are. "Where We Came From" is a declaration of collective self from the band, and an acknowledgement of the need to be true to yourself. Things get slow for a couple of songs, but Beadles recovers nicely with "A Love Sublime". It's a catchy early rock n roll tune with a great vocal line and a low-key but snappy feel. You Can't Argue With Water closes with the sweet remembrance of "Indian Summer", a well-meant but cliché look back at an old love affair.

Kevin Beadles shows an ability to craft fine pop songs in various setting on You Can't Argue With Water. The occasional diversion into the musically mundane realms occurs, but on balance You Can't Argue With Water is a great listening experience. Beadles has a highly pleasant voice, and instrumentally his band is excellent. Some of the material here gets a bit too caught up in the sound to remember that energy lay at the heart of even quiet music, but after hearing Beadles at his best you'll be willing to forgive the occasional lapse.

Rating: 3.5 Stars (Out of 5)

Learn more about Kevin Beadles at http://www.kevinbeadles.com/ or http://www.myspace.com.kevinbeadles/.  You Can't Argue With Water is available as either a CD or Download from Amazon.com.  Digital copies are also available from iTunes.

Review: Shady Cats - Love Callin’

Shady Cats - Love Callin’
2006, Grady Crumpler

Raleigh, North Carolina’s Shady Cats has been a long time in the making. Singer/songwriter Grady Crumpler started playing a regular gig near his home back in 1995. After being invited to play a private party, he hooked up with drummer Bill Eagen, who provides the rhythmic core for Crumpler’s songwriting. Together with a revolving committee of musicians, they became known as Grady Crumpler & Last Call, and eventually Shady Cats. Shady Cats began recording songs and demos nearly a decade ago. This piecemeal approach led to a focus on the songs rather than a specific sound for the band. Crumpler shopped songs to various producers. Consequently Shady Cats’ debut album, Love Callin’, has three producers of note involved. John Plymale (The Pressure Boys, Squirrel Nut Zippers, Superchunk, Meat Puppets); Dick Hodgin (Hootie & The Blowfish) and John Custer (Corrosion Of Conformity, Cry Of Love) all bring their masterful hands to bear on Shady Cats’ work. The result is an uneven but promising album that makes up in creativity what it sometimes sacrifices in continuity.

Love Callin’ opens with the uber-catchy title track. Vocalist Grady Crumpler has an enigmatic and enjoyable voice that's occasionally reminiscent of Elvis Costello. "Love Callin’" is a great start; if this song had been released circa-1986 the members of Shady Cats could have bought mansions with the proceeds. "Lost Myself" marches the line of demarcation between 1970's classic rock and 1980's pop; a territory that Shady Cats tread throughout much of Love Callin’. "Lost Myself" has one of those melodies that stay with you and recur at the oddest moments. Crumpler shows a deft lyrical touch on "She Kisses Me With Her Eyes". The song is virulent, catchy enough to knock "Lost Myself" out of the catbird seat in your brain, and the imagery is just off the beaten path enough to catch your attention.

Shady Cats have a special guest on "In The Moment", with legendary producer and performer Don Dixon (REM, Guadalcanal Diary, Hootie & The Blowfish, Moxy Fruvous) sitting in on vocals. Dixon's vocals are top notch, but the song gets a bit too wrapped up in its soul-searching feel. "You Got A Way" finds Shady Cats back in the early 1970's sonically, featuring big guitar riffs and barre chords as rock and jazz mix in uneasy but pleasing measures. On "Lines", Shady Cats head for a solid rock arrangement with country accents (primarily in the guitar line). "Lines" is a highly enjoyable song that stands out in spite of not being ostentatious. Shady Cats show serious chutzpah on "I Want Independence", with Crumpler laying down the most serious guitar solo on the album. Shady Cats find pop magic on "Take Me", a high-speed rocker with R&B roots that could be a hit in any decade in the rock era. If "Love Callin’" would have enabled the members of Shady Cats to buy mansions back in the 1980's, "Take Me" would have bought the entire town.

Shady Cats dig in with a positive message on "All The Way", but message falls a bit flat in a lounge arrangement that sounds contrived and very much out of context with the rest of Love Callin’. "Till The Rain Comes" sticks with the positive thinking, pointing out that sometimes even the rain is a good thing. The sound here is a cross between Elvis Costello and Fleetwood Mac (particularly in the harmony vocals); a retro sound that sounds amazingly relevant for the music scene of today. Shady Cats wind down with the theatrical rock aria "Desperation", among the most enjoyable tracks on the disc. The Cats taken listeners on an interesting turn at the albums close, dangling another side of the band as they walk out the door that is likely to bring listeners back the next time around.

Shady Cats put their best foot forward on Love Callin’, blending 1970's classic rock and 1980's pop and in the process serving up a highly palatable brand of rock 'n roll that's highly palatable for today. Grady Crumpler is a solid lead on vocals, and accents the songs on Love Callin’ with mildly adventurous guitar work that will please the ears of casual listeners while seeming a bit too tame of fans of classic rock. Love Callin’ is a safe album, but some of the songs here are so catchy they might need to be quarantined.

Rating: 3 Stars (Out of 5)

You can learn more about Shady Cats at www.shadycats.com. You can purchase Love Callin' as either a CD or Download from CDBaby.com.

Review: Kevin Barker - You & Me

Kevin Barker - You & Me
2009, Gnomosong

Kevin Barker may be new to many, but he's been deep in the Indie music scene for some time now. A guitarist with the band Vetiver, Barker has also played/toured with Joanna Newsom, Devendra Barnhart, Antony And The Johnsons, The Espers and Vashti Bunyan. The Washington, D.C. native has been immersed in the Indie scene since his teens, and has covered all aspects of the music business (from playing to promotions to owning his own record label). Barker is also a filmmaker educated at Columbia University in New York City. Barker broke out on his own in January of 2010 with his debut solo album, You & Me. On his own, but not alone, Barker called on some of his close friends to make You & Me happen. Contributors include Pat Sansone (Wilco); Joanna Newsom, Jonathan Wilson (Elvis Costello, Jenny Lewis); Eric Johnson (Shins, Fruit Bats) and Otto Hauser (Vetiver, Espers).

Barker opens with Little Picture Of You, an eccentric little Pop tune with a down-home feel that's relaxing for a change. You could almost picture Barker playing this sitting around on the back porch with some friends on a Saturday night. The guitar play does seem a little out of synch at times but it seems this is stylistic rather than inconsistent. Barker adopts a classic singer/songwriter style for You & Me, and the approach fares him moderately well. The song comes across bland, and Barker's energy level does little to break out of that shell. Mountain & Bear suffers from similar issues. Barker picks things up just a tad for Amber, getting more of a classic Americana/Country feel to the song. The energy level is still just a few notches above torpor, but Barker's voice and tuneful melodies will inspire you to keep listening and see if he can break through.

Listeners are at least partially rewarded on Walking Along. Barker shows a bit more commitment to this song, and the arrangement itself is charged with a bit more energy than the tracks that came before. Barker reminds me of Barenaked Ladies' Kevin Hearn because of the quirky nature of his songwriting, although Hearn, even at his quietest moments is always a ball of energy musically. My Lady finds Barker truly rounding into his own. The energy here is real, running through ever line and note of the song. It's also among the best songwriting on the album, as Barker's heartfelt lyrics ring true. Barker closes quickly on Bless You On Your Way, a gorgeously constructed and orchestrated tune full of symbolism and nuance.

You & Me is a solid effort, with Kevin Barker comporting himself very well. The album has its ups and downs, but Bless You On Your Way would make almost anything worth listening to. Barker has a sublime sense of melody and a quirky, not-according-to-Hoyle songwriting style that catches your attention, but at times the energy level that comes through on You & Me kills the individual songs before they even get started. When Barker is on his game, the results are wonderful. As it is, You & Me is solid, off-the-beaten path singer/songwriter fare that will at least have some nuggets worth checking out for most listeners.

Rating: 3 Stars (Out of 5)

You can learn more about Kevin Barker at www.myspace.com/krkbarker. You can purchase You & Me as either a CD or Download from Amazon.com.

Review: Jeff Litman - Postscript

Jeff Litman - Postscript
2009, Born Enormous Music

New York City singer/songwriter Jeff Litman was born in Minneapolis, and was devouring hard rock and metal songbooks by the age of ten. Litman went from Bon Jovi and Motley Crue to Metallica, Guns N Roses and Nirvana before becoming ensnared in the melodic Pop of acts such as Elvis Costello, The Beach Boys and The Beatles. Litman's next step was into classical music, entering a doctoral program before realizing that his true love lay in Rock and Pop. Litman began writing almost immediately for his debut album. The result, Postscript, promises Indie-Pop with big hooks, infectious melodies and a classic sense that universal themes of love and heartbreak always bring. Postscript is a breakup album, and Litman's refreshing honesty places the listener not so much in the role of observer but directly into reverie.

Postscript is a story within an album, following the rise and fall of a relationship, including the aftermath. It is written at a distance from the events that perhaps allow more perspective, but the raw emotional content is very real, if tempered by time. Postscript opens with Anna, a catchy song about unrequited love that will definitely get your toes tapping. A Beatles influence is very clear here and the backing vocals are superb. This is a complete song; a classic. Complicate digs into the emotional consequences of a breakup. It's a sunny tune full of regret and melancholy. Wife is a song that could put Litman on the Popular Music map; a marriage proposal in song. The gorgeous arrangement, including strings centers on acoustic guitar and Litman's voice. Don't be surprised if Wife gets licensed and recorded by other artists down the line. Either way the song is destined to become a wedding song of choice and is also likely to be co-opted for individual proposals over time.

From that emotional high Litman dips down to the emotional low of Everything You're Not; an upbeat, Beatles-inspired song of hopeful spite. Litman then shifts gears into full-on Rock N Roll in Detroit Layover. If you've ever been stuck someplace out of your control and just wanted to get home then this song will speak to you. It's very upbeat and danceable and has a classic sound that will appeal across genre lines. Postscript is one of those albums where it becomes difficult to pick a favorite song, but one of the contenders has to be Maine. Litman sings a duet with Kelly Jones on another song about going home. This is one of those songs that simply sounds perfect in presentation, and Jones has an amazing voice that complements Litman's perfectly.

Knock Me Down will get you up and moving. This active-rock song is presented in a brilliant arrangement with amazing vocal harmonies and a melody that won't quit on you. Postscript is another candidate for favorite song; it's a theatrical tune about the end and aftermath of a relationship. Postscript is stark and melancholy without being whiny, and is one of the better Pop songs written/released in 2009. Open Arms represents the bargaining phase of grief. He's willing to take her back temporarily for the joy of it even it means she'll rip his world apart all over again. Litman never begs during Open Arms but that's only a semantic justification. Open Arms shows a tremendous balance of lyrics, melody and arrangement in a wonderful pop tune that isn't far behind Postscript. Let You Go chronicles the Acceptance phase of loss with a song that sounds like it was heavily influenced by Elvis Costello. Litman closes out with It Wasn't Me. This epilogue is stark and honest and unfettered by sorrow. Litman sees everything from the distance and perspective of time with his healing mostly done; it's a fitting close.

There are albums you see coming from a mile away; the artist reputation, the cover art, the buzz all combine to create an understanding of what you're getting into. But every once in a while an album takes you by surprise. Jeff Litman's Postscript is in this latter category. Postscript is a brilliant display of songwriting and performance. The songs are subtle, nuanced and intelligently written and the album is an absolute pleasure from beginning to end. There isn't a poor song on the album, and Litman delivers each with an aplomb that grows from the intersection of artfulness and grace. Postscript is brilliant; a Wildy's World Certified Desert Island Disc. Make the time.

Rating: 5 Stars (Out of 5)

You can learn more about Jeff Litman at http://www.jefflitmanmusic.com/ or www.myspace.com/jefflitman. You can purchase Postscript as either a CD or download from CDBaby.com.