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.

Christine Marie - Christine Marie [EP]

Christine Marie - Christine Marie [EP]

2009, Christine Marie

Christine Marie is a California girl with southern intentions.  A singer/songwriter not yet out of her teens, Christine Marie is already a member of the Nashville Songwriters Association International and BMI, and is planning to move to Nashville as she starts college in 2011.  In 2009, Christine Marie released her self-titled debut EP, a 3-song collection of pop country inspired by the likes of Garth Brooks, Leanne Rimes and Keith Urban. 

Christine Marie opens with delicious pop/country of "Boy Behind The Radio", tracking the dreams of a young girl with a crush on a singer making her own dreams come true by becoming the girl behind the radio and someday meeting the voice.  Incredibly catchy, Christine Marie works the song for all its worth.  The song is universally appealing as there isn't a person out there who hasn't entertained a similar dream at least once in their life.  "Let's Do Somethin' About It" comes from the same country/pop lineage.  Christine Marie offers up a dynamic vocal performance, singing lead and harmony vocals on the EP.  There's a bit of a Jackson Browne-meets-Shania Twain aesthetic here that's hard to ignore.  Christine Marie closes with "It Starts Today", a musical resolution to go out and grab life by the horns and take what the world has to offer.  Once again a highly catchy turn, all the more appealing as the song (and the rest of the EP) hasn't been glossed over with the sort of high production values that steal life from the music. 

There's so much to consider in thoughts of who will "make it" and who will not.  Who you know and luck are big components of bridging the gap between being great and being famous, and such things cannot be predicted.  From a talent standpoint, from voice to sound to affability, Christine Marie displays the tools it takes to become a household name.  The songs offers on Christine Marie are catchy and accessible, with the sort of energy that tends to light up the request lines at country radio.  It might not happen right now, but don't be surprised if Christine Marie makes it big someday.

Rating: 4 Stars (Out of 5)

Learn more about Christine Marie at http://www.christinemariesings.com/ or www.myspace.com/christinemariesings.  Christine Marie is available digitally through Amazon.com and iTunes.

Kathryn Williams - Relations

Kathryn Williams - Relations
2010, One Little Indian

Not too long ago we received Kathryn Williams' The Quickening, a charming album that showed a deep sense of songwriting acumen and a highly focused performance style that digs deep into the moment of each song. On October 12, 2010, Williams returns with Relations, a collection of thirteen cover songs that finds Williams channeling her performing energies into the muse of others. In the process, Williams seems to get in touch with the inspiration of each songwriter and song while bending and blending each tune to make it uniquely here own.

Relations opens with "In A Broken Dream" (David Bently), with Williams delving into human emotions with a clinician’s eye. Her delivery is both feeling and clinical at the same time in a lyric, melancholy arrangement that captures and lulls the listener. "Birds" (Neil Young) is given a lovely reading here. Williams sticks with a simple arrangement of guitar with just a breath of strings now and again. It's a beautiful moment where the Young's poetry and the poetry on the instruments converge and intermingle as equals. Williams lights up the night with a cover of Big Star's "Thirteen", culling the innocence, angst and loneliness of a teenager in both Alex Chilton's lyrics and her own voice.

Williams takes Leonard Cohen's "Hallelujah" to another level, interpreting it as a reverent, secular prayer that's both carnal and at peace. Williams has already shown a talent for playing on dichotomies, and excels here in a remembrance of events both violent and tragic; human and divine. Williams throws listeners a delightful curve with Ralph Rainger's "A Guy What Takes His Time", teasing with gentle innuendo and the subtle delivery of an ingénue in a blues/folk arrangement that's absolutely memorable. Williams transforms Lou Reed's "Candy Says" into a dreamy art house ballad, surfing the musical seams of the song with a grace and strength that is impressive.

Stephen Malkmus' "Spit On A Stranger" is surprisingly charming and well-performed; you can almost hear Williams straining at the bit to break out and give this song a more solid airing out - the sort that can really only happen on stage. But the energy and the tension in this song are significant, making for an enjoyable listen. The most surprising, and gratifying performance on Relations is Williams' take on Nirvana's "All Apologies", a baroque lamentation on the pointlessness of life and human institutions that's even more stark and affecting that the original. While Nirvana's version was angry and wracked with social guilt, Williams makes it a sonic diagnostic with personal implications, both of the moment and outside of it. "Beautiful Cosmos" (Ivor Cutler) explores the atmosphere and comfort of knowing you are loved; a pleasant but somewhat awkward transition to the closing track, "These Days". Williams makes the most of the Jackson Browne tune in a love cover that amplifies out fear of change and our tendency to build shelves around our lives. Williams shows a British detachment and grace here that's both charming and distinctive.

Kathryn Williams makes friends on Relations with some under-represented nuggets from an impressive list of singers/songwriters. Perhaps the strongest quality Williams possesses with regard to covers is her ability to pay tribute to the original while crafting interpretations that are distinctly her own. Some of the songs here you might be hearing for the first time, and if so you'd never guess they didn't come from Williams' heart. For the songs you know, Kathryn Williams offers you an opportunity to re-imagine what you've heard and see it in a different light.

Rating: 3.5 Stars (Out of 5)

Learn more about Kathryn Williams at http://www.kathrynwilliams.net/ or www.myspace.com/kathrynwilliams.  Relations will be released in the US on October 12, 2010 on CD, but the album was originally released in 2004 in the UK.  You can pre-order the CD from  Amazon.com, but the import version is actually a dollar cheaper than the US pre-order.  Digital is available from both Amazon.com and iTunes.

Kerry Patrick Clark - On The Road To Human Being

Kerry Patrick Clark - On The Road To Human Being
2010, Studio 234

Kerry Patrick Clark is difficult to classify, drawing from a musical well that samples the waters of folk, rock, country and Americana without giving in to a specific stylistic conceit. It is this musical malleability that allows Clark to pursue such subtle and varied arrangements as background to his songs about the ins and outs of the human condition. The winner of multiple songwriting and performance awards recently released his fifth studio album, On The Road To Human Being, displaying a nearly magical touch as a storyteller in song.

Clark opens with "Brighton Boulevard", a reminiscence of youth that treads the waters of growing pains, love and regrets. The song has a Jackson Browne feel, and Clark sounds more than a little like The Waterboys' Mike Scott on vocals at times. "Row" has great energy; a song about making the most out of life that's very catchy. In a more rock-oriented arrangement this may have serious potential as a rock single. As is it's a tremendous bit of songwriting. "On The Road To Human Being" shows off Clark's ability to subtly serve up slices of the human condition in song with maximum effect. "Pass It On" ruminates on the knowledge we pass on from generation to generation in the casual interactions of parent to child. It's a moving testament to the power of love and the spoken word.

Clark will leave your head spinning with the simply beautiful "Lullaby". It's an amazing tune that you'll want to sing to your own children. "Be The Change" takes one of Mahatma Gandhi's most repeated quotes and turns it into a song about changing the world in small steps. Clark's arrangement is superb and the message is both timely and universal. "Time" returns to the concept of making the most of each moment as Clark ponders how quickly time passes. "How Could Anyone" is your basic, old-fashioned gooey love song, but Clark keeps it from sounding cliché with an honest, heartfelt vocal. It's back to the human condition for "Little Red Riding Hood", where Clark turns the classic nursery rhyme into a parable for modern life that reaches far beyond the basinet. Clark takes another shot at a love song with "This Is Love", a mature take on the subject that has enough heart to connect with a lot of people. You could imagine this tune showing up on charts on both the country and pop side of the wall. "You" is an incredibly touching celebration of a splendid life. You'll find yourself wanting to know the person this was written about. Clark says goodnight with one final message about living in the moment in the form of "I Just Danced". It's a modest epilogue that summarizes the message of On The Road To Human Being.

Kerry Patrick Clark is a songwriters' songwriter. Nowhere near as well known as he should be, this is an artist that other songwriters and performers listen to and learn from. Clark has a deft lyrical touch, and crafts pleasing arrangements around melodies that are catchy and memorable. Perhaps the greatest asset in Clark's repertoire is the inherent honesty and affability that he projects. Clark is a guy you'd have a beer with and gladly listen while he wove his stories. On The Road To Human Being plays like just such a conversation.

Rating: 4 Stars (Out of 5)

Learn more about Kerry Patrick Clark at http://www.kerryclark.net/ or www.facebook.com/kerrypatrickclark.  On The Road To Human Being is available as a download from Amazon.com and iTunes.  CDs are available directly from Clark via the merchandise page on his website.

Monica Mancini - I've Loved These Days

Monica Mancini - I've Loved These Days
2010, Concord Records

Even if you're talented in your own right, it never hurts to have a famous mom or dad. Monica Mancini has long since escaped the filial shadow, amassing an impressive body of work over the years between studio work and appearances on countless movie scores over the years, but she got her start in her dad's The Henry Mancini Chorus. Over the years Mancini has recorded with artists such as Quincy Jones, Michael Jackson and Placido Domingo, and she has sung with symphonies the world over. Mancini's latest studio effort, I've Loved These Days is a collection of highly refined cover songs and features guest appearances from Brian Wilson, Jackson Browne, Take 6, Stevie Wonder and Felix Cavaliere. With production by none other than Phil Ramone and Gregg Field, I've Loved These Days greets the world steeped in impeccable sound and taste.

I've Loved These Days opens with Jackson Browne's "These Days", with Browne sitting in on vocals and guitar. Mancini offers up an interpretation that is both honest and reserved, like a quiet conversation with an old friend. Mancini's is one of those voices that wraps itself around you and welcomes you like family; not flashy but warm and full of life. Brian Wilson and Take 6 sit in on the Beach Boys' classic "God Only Knows". Mancini is superb, but the true highlight is when all of the voices merge in harmony, creating some heavenly atmospherics in the process. Mancini's take on Paul Simon's "American Tune" (the first of two Simon tunes on the album) is inspired; her mildly understated delivery dovetailing perfectly with the highly thoughtful poetry Simon provides.

Stevie Wonder sits in on harmonica for "Blame It On The Sun", a song he wrote and originally performed with Syreeta Wright. Mancini's take here is genuine and fresh, full of a wistfulness that is palpable. "Without Him" (Harry Nilsson) finds Mancini opening up the dynamic range a tad, showing flashes of the performer she is on stage. Felix Cavaliere sits in on Hammond B-3 for his "How Can I Be Sure", a song full of trepidation and a solid mix of love and on-going heartbreak. Mancini shows more of her dramatic side here, getting inside of the song like it came from her own heart. The Beatles classic "I'll Follow The Sun" is presented in Muzak format, and Mancini does justice to the vocal line, but Shelly Berg's arrangement is just too passive to match the song's heart.

On "Ballad Of The Sad Young Men", Mancini sounds more like a classic chanteuse, offering up a sleepy but heartfelt lullaby for all who have seen better days. "Something So Right" (Paul Simon) finds Mancini at her best; quiet and reserved but with real energy that speaks of emotion and intellect. You might guess that Mancini connects with Simon's work on a personal level from the two selections offered here. Mancini's take on Billy Joel's "I've Loved These Days" comes off sounding like a quiet soliloquy from a Broadway show. Where Joel's original is a reminiscence from someone who started at the bottom and made it to the top, Mancini's is a bit too refined to be believable in the same context. Nevertheless, Mancini quietly bowls you over with her vocal performance, and the song works in spite of the dichotomy. Mancini closes with Janis Ian's "Joy", a thoroughly heartfelt rendition that even the most severe Ian fan would approve of.

From the airbrushed cover photo right down to the last meticulously crafted and produced note, I've Loved These Days has been perfected and polished to immaculate proportions. This turns out to be the one complaint about the album. Everything here is so finely crafted that you lose sight of what a great performer Mancini really is. I've Loved These Days is exceptional, most likely a Grammy nominee before all is said and done, but it would be nice to have heard Mancini tackle these songs in a less scripted recording environment. Considering some of the people involved in this project, and the wonderful textures and nuances of Mancini's voice, what is highly refined and polished might have become magical.

Rating: 4.5 Stars (Out of 5)

Learn more about Monica Mancini at http://www.monicamancini.com/. I've Loved These Days drops on June 15, 2010. You can pre-order a copy through Amazon.

Catherine Russell - Inside This Heart Of Mine

Catherine Russell - Inside This Heart Of Mine
2010, World Village/Harmonia Mundi S.A.

Catherine Russell has a voice you’ve heard many times even if you don’t know who she is. The New York City born daughter of Luis Russell (Louis Armstrong’s musical director) and Carline Ray (bassist and vocalist), Russell has performed or recorded with the likes of Paul Simon, David Bowie, Steely Dan, Cyndi Lauper, Jackson Browne and Rosanne Cash. In April of this year, Russell released her third studio album, Inside This Heart Of Mine, cementing her reputation as one of the most original voices in Jazz.

Russell opens with the title track. "Inside This Heart Of Mine" juxtaposes a regretful vocal line with a jaunty bass line, and Russell makes the most of this happy accident with a smooth voice you could listen to all day. The backing band is nothing to sneeze at either. On "All The Cats Join In" Russell gives us a healthy dose of gentle swing in a song about both the benefits and potential bedevilment of a good party. Russell does a splendid job with "We The People", but her band nearly steals the show with absolutely inspired play, layering solos one over the other in a way that should sound crowded but manages not to. Pianist Mark Shane is particularly impressive whether taking a solo lead or filling in and around Russell's angelic voice.

Russell shows her bluesy side on "Troubled Waters", lamenting the power of gossip to ruin a life, but returns to lighter fare with the classic-sounding love song "As Long As I Live". Russell's temperate alto inhabits this song and brings forth a sound so lovely and warm you'll be moved. The Sarah Vaughan comparisons are going to be made, particularly after this song. Hints of Reinhardt & Venuti can be heard in "Just Because You Can", with Russell taking vocal but sharing the stage equally with guitarist Matt Munisteri and violinist Sara Caswell. Russell is at her sharpest here, making the instruments step-for-step.

Russell excels at the upbeat "Close Your Eyes", and proceeds to start a musical party with "Quiet Whiskey", displaying the wit and enthusiasm the song calls for many times over. Once again, pianist Shane tries to steal the show with absolutely inspired play. You'll hear the sounds and strains of New Orleans on "Slow As Molasses" before Russell launches into the closing number, "Struttin' With Some Barbecue", a magical Dixieland number that will get you dancing.

Catherine Russell could suddenly appear in any era of American Jazz music and be a star. Her voice could fit comfortably amidst those of Holliday, Vaughan and Fitzgerald. Just as good is her backing band, which lights up the soundboard behind her. Inside This Heart Of Mine is destined for critics' year end lists.

Rating: 4 Stars (Out of 5)

Learn more about Catherine Russell at http://www.catherinerussell.net/ or www.myspace.com/catrussell. Inside This Heart Of Mine is available from Amazon as either a CD or Download. Digital copies are also available via iTunes.

Mark Radcliffe - The Sea Before Us

Mark Radcliffe - The Sea Before Us
2009 Mark Radcliffe/Denzer Productions

Mark Radcliffe didn’t follow the usual path to becoming a singer/songwriter. He didn’t even pick up a guitar until he was 17; he spent much of his Maine childhood playing sports instead. Even then, the guitar was more of a hobby than a calling. Radcliffe spent ten years between stings as a teacher and traveling writer. These experiences allowed Radcliffe to finally enter the singer/songwriter stage of his life more seasoned than your typical wannabe pop star. This might explain the smooth, wizened feel of the songs on The Sea Before Us, Radcliffe’s sophomore album. With nods to acts like The Eagles and Jackson Browne, Radcliffe spins tails of love and loss in easy, cultured pop arrangements that are hard not to like.

The Sea Before Us opens with the easy strains of "In The Sun", a gentle daydream of a song about escaping the things that trouble you. It's a solid arrangement that's easy on the ears. "Other Side Of The Pillow" is a rueful lamentation on love lost. It carries with it a tune that will stick out in your mind. "Blow It All Away" is a catchy tune about tending what you have (because you never know when it could be stripped away). It's a solid premise and well-delivered with touches of light pop and singer/songwriter pastiche.

"Miss Hard To Forget" is pure pop gold; a song about chance meetings that happen in line that often result in a smile but nothing more. Radcliffe imagines what would happen if he actually ventured forth for more than that smile. It's an entertaining tune that will wrap itself up inside your mind and not leave for days. "One Foot Out The Door" bemoans a relationship where one partner isn't fully invested; a decent light pop tune that's a little bit deeper than your typical "this relationship isn't working" song.

"Breaking Up The Band" is the document of a watershed moment in life: the moment when you realize it's okay to let go of your current association(s) and look for something new. This song is put in the context of a band, but could easily be a metaphor for a relationship. Solid pop songwriting lies at the base of this tune, with great hooks and an upbeat chorus that stays with you. Radcliffe winds up The Sea Before Us with "No Time To Lose", a song about the small chances we can take that make huge differences in our lives. In this case the protagonist sees a beautiful girl every day on the train, and after many close encounters makes an attempt to reach out. It's not a happy ever after song; the most that we learn is that they're having dinner, but the song exhorts listeners to take chances; to reach out, because you never know what will happen.

The Sea Before Us is intriguing. Mark Radcliffe invests a lot of positive energy in the album, but it doesn't become the sort of hokey posi-pop that you see pushed by some artists. Radcliffe writes intelligent, nuanced pop songs that range from mellow story-songs to reserved rockers you can just about dance to. Radcliffe's sense of melody and composition are both highly developed, and he's able to express himself in lyrics that are both poetic and accessible. The Sea Before Us is a very solid listening experience.

Rating: 3.5 Stars (Out of 5)

Learn more about Mark Radcliffe at http://www.markradcliffe.net/ or www.myspace.com/markradcliffe. The Sea Before Us is available as either a CD or Download from CDBaby. Digital copies are also available through iTunes.

Review: Sharif - Kisses And Lies

Sharif - Kisses And Lies
2008, Cursing Furniture Publishing

Los Angeles-based singer/songwriter Sharif certainly has significant presence in the music industry. Rave reviews for both his recording and live performances are an indication, but for the real story just take a look at the sort of people pitching in on Sharif’s latest album, Kisses And Lies. His backing band includes Tim Bradshaw (John Mayer, David Gray), Jon Graboff (Ryan Adams), Mark Goldenberg (Jackson Browne, Ringo Starr), Stewart Miles (Jason Mraz, Lifehouse, Shawn Colvin) and Brian Jones (Mandy Moore, Liz Phair). Additionally, appearances by Rhett Miller (The Old 97’s) and Robb MacLean (Limbeck) bring added interest. Kisses And Lies is self-produced and should serve to open a lot of eyes and ears to the talent of Sharif.

Kisses And Lies opens with Far From You, a vibrant and catchy tune about moving on after a relationship. Sharif has a pleasant voice that soars in this setting. Rhett Miller (The Old 97's) sits in on Dark Side Of The Dawn, a great bit of easy Americana about one way to cope with loss. This one will definitely get your toes tapping, and finds Sharif sounding a bit like Jason Plumb playing with Blue Rodeo. Another Wasted Rose is a brilliant bit of songwriting; it's not your typical country song of heartbreak. Very well written, Another Wasted Rose is full of strong imagery and an absolutely unforgettable chorus. There's nothing flashy here, just amazing songwriting. Worth The Fall represents the realization that even a relationship that ended badly was worth the time he had. The song is melancholy and a bit lost in a mix of sorrow and reverie.

By Your Side casts a mid-tempo devotion of expression; it's the classic "I'll Be There For You" statement in song and leads into Oceans Of Trouble. Oceans Of Trouble finds Sharif still mired in his loss; it's all he can think/write/sing about at this point in the album. Sharif goes off the beaten path a bit with The District Sleeps Alone Tonight, a vaguely off but highly enjoyable song. Sharif celebrates the joy of love on Deeper In Her Arms. The upbeat Americana arrangement has a great sound, border on early Rock N Roll with an R&B backbeat. Sharif seems to struggle a bit for much of the rest of the album, which songs such as Memories Like A Melody, The Price You Pay, Do I Want You Enough and Moment Of Trust having a marginal impression on the public at large. Sharif recovers in time for the last track, however. I Won't Need Your Kisses Anymore is a great closer. The energy that was lost for much of the second half of the album returns in a Blues-flavored, old school Country tune you won't soon forget.

Sharif turns in both great songwriting and performance efforts on Kisses And Liars. The first half of the album is absolutely brilliant while the second half gets mired in itself. It's as if all of the strongest material was placed on the album first and then weaker tracks were added later on. Don't get me wrong, the weaker tracks here don't necessarily equate to a problem, they just don't stand up well against the superior quality songwriting evident on the first half of the album. Either way, Kisses And Liars is worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Sharif at http://www.sharifmusic.com/ or www.myspace.com/sharif. You can purchase Kisses And Lies as either a CD or download from CDBaby.com.

Review: Gerry Wall - Winter Grass / Ex Patriot's Day

Gerry Wall – Winter Grass/Ex Patriot’s Day

2006/2007, Catfish Rapids Music

Gerry Wall is a prairie boy who made good. The Saskatoon, Saskatchewan, Canada native eventually made his way to Toronto, squandering top-notch foosball skills on the way to a doctorate degree, but found his calling making music. A chance childhood encounter with Joni Mitchell aside, Wall falls into the school of songwriting sometimes inhabited by folks such as Jackson Browne, Josh Rouse, Bob Dylan and even, yes, Joni Mitchell. Today we’ll be checking out two of Wall’s albums, Winter Grass and Ex Patriot’s Day.

Winter Grass opens with the title track, a plaintive country rocker with shades of Blue Rodeo woven in. Willow Bluff has a minimalist blues element to it. It's a fun song about the impact of priorities on relationships. Light The Match has this wonderfully dark, seedy quality to it that gets into your brain. Lyrically the song doesn't stadn out, but the arrangement and construction of the song is brilliant. Poor Man’s Train is particularly memorable with its period vocal style and insistent blues feel.

Ex Patriot's Day opens with Cheticamp, a sort of declaration of independence set against the backdrop of quaint fishing village on the Western edge of Cape Breton. The song is wonderfully tuneful and very well constructed. Ex Patriot's Day deals with the joy of living in a place like New York City while still missing home. Wall's songwriting has a strong Country/Americana feel that is undeniably smooth. Hello Amsterdam is an upbeat Country/Rocker that sounds like perhaps Jackson Browne and Bruce Hornsby jamming together. This highly commercial song has real chart potential and is one of the most pleasant listens on the disc. Home By Sunday takes a bit of a jazz turn (a la K.D. Lang) in a very tight arrangement that accents Wall's voice perfectly. Are You Making Any Friends? keeps the jazz vibe going with an 1970's AM radio feel. Other highlights include Lost At Home, Willow Bluff V2 and Tiny Letters.

Gerry Wall sets an example on Wintergrass, while on Ex Patriot's Day he lives it. Both albums show strong songwriting and a promising musical touch. Ex Patriots Day finds the artist a year old than on Wintergrass; By the time Ex Patriots Day rolled around, Wall had grown as a songwriter from above average to excellent.

Ratings:

Wintergrass – 3 Stars (Out of 5)
Ex Patriots Day – 4 Stars (Out of 5)

You can learn more about Gerry Wall at http://www.gerrywall.com/. You can purchase a copy of Winter Grass at www.cdbaby.com/cd/gerrywall2. Ex Patriot’s Day can be purchase at www.cdbaby.com/cd/gerrywall3. Both albums can be purchased as downloads through iTunes.

Review: Garry Jackson - Something's Got A Hold On Me

Garry Jackson – Something’s Got A Hold On Me
2007, Wild Oats Records
Garry Jackson is a Toronto native who splits his time between Schomberg, Ontario and Nashville, Tennessee. Jackson has several recordings under his belt, and for the past few years has been recording for Wild Oats Records in Nashville. His most recent effort, Something’s Got A Hold On Me was produced by Steve Haggard and release in 2007. Jackson writes classic country/folk/Americana singer/songwriter material in the tradition of John Prine, Neil Young and Jackson Browne. Jackson has a pleasant, easy-going voice that fits perfectly into the web of his songs; dynamic without overwhelming the music. What is most impressive is the music itself, which is flawless and tight and full of movement. This isn’t cookie cutter folk by any means, Jackson and his band are top flight musicians

Something’s Got A Hold On Me opens with Fair Belfast Town, a Celtic flavored ode to that great city. It is a sweet tribute. Mixed Up Crazy is a musical extravaganza with amazing harmonies and some very intriguing pick work on the guitar. Its A Crying Shame is one of my favorites on the disc. It’s an upbeat song about hidden sins that is thought provoking. Mourn For Me No More is one of those songs where I love the arrangement but just didn’t like the song all that much. It’s done as a classic story song but just moves too slowly; great instrumentation though. The best song on the album is No More Are We To Paint This Town. It’s a song of heartache and sorrow that is well-written and well-delivered.

Garry Jackson starts with the songwriting style of Neil Young and John Prine and fills it in with Celtic and Appalachian influences on Something’s Got A Hold On Me. Jackson has an easy vocal style and is surrounded by some outstanding musicians, and most of the time this is enough to carry the album. The material is a little uneven, but generally quite good. Something’s Got A Hold On Me is a definite must for Folk and Singer/Songwriter fans.

Rating: 3 Stars (Out of 5)

You can learn more about Garry Jackson at http://www.garryjackson.ca/ or www.myspace.com/garryjacksonmusic. You can purchase a copy of Something’s Got A Hold On Me at www.cdbaby.com/cd/garryjackson2.

Review: Anne Weiss - Concrete World And The Lover's Dream

Anne Weiss – Concrete World And The Lover’s Dream
2008, Potter Street Records

Anne Weiss is the consummate professional. From recording with such luminaries as Shawn Colvin and Patty Larkin to performing with the likes of Ani DiFranco and Cephas & Wiggins, Weiss is a performer that other musicians look to with respect. She’s also an Allen Ginsburg Award winning poet, a former street gang member and political organizer. Weiss’ fourth CD, Concrete World And The Lover’s Dream is a collection of pop, country, blues and rock and roll that will surprise and delight listeners with Weiss’ ability to change character and presentation without losing the essential sense of her self. Let’s check it out!

Weiss opens with Ain’t Got No Reason To Lie in a deceptively bluegrass tinged rendition that is amazingly straight forward when compared to what comes later. It’s a refreshingly uncomplicated take on the song that is startlingly apropos. The Song About The Affair That I Am Not Having finds Weiss moving a little more in the Soul sound she is comfortable with, but still staying with a somewhat light, pop sound. It’s as if with the first two songs Weiss is leaving herself open to multiple genres (Country, Americana, Pop) whereas she later moves more solidly into a Soul/R&B sound. Special Delivery is built around a beat box core that ties everything else together. This is one of the more intriguing songs on the album as we get to see the real shading of Weiss’ voice here for the first time.

Anne Weiss drops any and all pretenses on Concrete World And The Lover’s Dream, bringing out every ounce of soul she possesses in a performance not to be missed. It just keeps coming on Robert Johnson’s Come On In My Kitchen, The Blues/Soul sound here is as thick as cream cheese. Weiss reminds me distinctly of one of my favorite female blues vocalists, Pamela Betti. There’s a Janis Joplin vibe here as well as Weiss opens up the throttle on a voice that has transformed from a vaguely sweet pop voice to a husky and worldly blues/rock sound in the course of five songs. Write Me A Few Of Your Lines is the highlight of the album. The classic tune from Mississippi Fred McDowell sounds like it was written for Weiss, and she does it full justice. Other highlights include Fall, Shadow Of Doubt and the cover of Jackson Browne’s These Days.

Anne Weiss fits equally well into the Country, Blues and Rock genres that she dances across on Concrete World And The Lover’s Dream. Her voice is a diamond in the rough. Not smooth or pretty, but hewn by life and effort and full of a natural beauty that can’t be crafted. Weiss owns the songs she sings and wears them like a favorite dress. The real Weiss is millimeters from the surface in each song, striving to break through and touch the listener like a breeze. Concrete World And The Lover’s Dream is a fine album.

Rating: 3.5 Stars (Out of 5)

You can learn more about Anne Weiss or purchase a copy of Concrete World And The Lover’s Dream at http://www.anneweiss.com/.

Review: Beija Flor - The American

Beija Flor - The American
2008, Beija Flor

Beija Flor is something unusual. Crafting a sound that is decidedly not like anything else is one thing, but to do so with the mix of aurally aesthetic lyrics and complicated and organic composition, Beija Flor approaches the sort of musical experience that is palpably moving. Beija Flor’s second full-length release, The American brings a more evolved and intricate sound to the fore and establishes this Vancouver based band as one to watch.

The American opens with Life Of A Salesman, a meandering tune that could be mistaken for Willie Loman's life story. The song is an interesting and eclectic collection of musical passages and sounds that borders on the edge of a wonderfully depressed madness. Way Of Living is a classic call and response song that has a strong Lo-Fi sound. Orange Lights continues down the highly eclectic and slightly disorganized path that Beija Flor has set thus far. The song has song wonderful harmonic resolutions within the chorus, but the verses seem to go nowhere in particular.

One of my favorite songs on The American is The Birds. There's a bit more coherence here than on the first few songs, and the arrangement is highly interesting listening. Sunny Boy is a delightful song, with guitar work reminiscent of later-career Paul Simon. The melody here is the key however; it will stick with you long after the disc stops spinning. Other highlights include Dear Jon, We Grew Tough, Poor Man Rich City and The American.

Beija Flor is kind of like Americana music played in a funhouse. There are moments throughout the album where the songs are held together only by sheer determination. Beija Flor has a talent for arrangements that don't sound like they'll work until you suddenly realize they did. There are elements of Pink Floyd and Jackson Brown here (both on Fire House). The American is niche music; an acquired taste. You'll have to given this one a few listens to see whether you like it or not. I'm still deciding, but it certainly is different and unusual.

Rating: 3 Stars (Out of 5)

You can learn more about Beija Flor at http://www.beijaflormusic.com/. You can purchase a copy of The American at www.cdbaby.com/beijaflormusic.