Escaping Pavement - UpRooted

Escaping Pavement – UpRooted
2013, Escaping Pavement

Escaping Pavement co-lead vocalists Emily Burns and Adam Markowitz met as teenagers at a blues open mic night, and they have not been apart in the ten years since then.  Over time the pair has added Niall Sullivan (bass/backing vox) and Evan Profant (drums/backing vox) to become one of the most dynamic Americana/rock bands out of Detroit, Michigan.  Burns and Markowitz split lead vocal and lead guitar duties, opening up a realm of possibilities with their mix of personal styles.  Escaping Pavement’s debut album, UpRooted, shows a delicious mix of Americana, country and classic rock styles, with two dynamic vocalists giving it all they’ve got.

UpRooted opens with "Burn This Bridge", a solid opening rocker with a bit of muted attitude. Vocalist Emily Burns has glorious pipes, but the vocals are mixed way too high here, giving the ensemble an unbalanced sound.  "Daydream's Haze" is a gently rolling rocker that gets your toes tapping. It's a solid album track that's a comfortable listen. "Here Again" finds Adam Markowitz taking over in a definite 1970's groove ala The Doobie Brothers. The southern rock flavor continues on "Smoke Filled Existence", a guitar driven anthem that would be right at home on an old school AOR format radio station. 

Burns takes the lead on "Part of Goodbye", sounding more than a little like singer Jess Klein.   There's a delicious energy to this blues-infused rocker that will get your toes tapping. "On The Wind" is built around a catchy, extended guitar riff. The path to freedom here is flight in one of the more melodically intriguing songs on the album. Markowitz is out front this time around, and his understated delivery is ideal for the song. "Drive Me to Sadness" finds Markowitz at his best, with a soulful Americana sound ala Darius Rucker. This is the catchiest song on the album, and the one most like to breach the crystal tower of commercial radio. Markowitz and Burns share vocals on "Winter Homecoming", a folk rocker with a Celtic inspired riff at its core.  It feels as if Escaping Pavement is really hiring their stride as the album progresses. The band closes with "4th of July", with Burns out front for a languorous blues rocker that clocks in at nearly five-and-a-half minutes. Burns is on top of her game, and Escaping Pavement is as tight as a band can be. 

Emily Burns and Adam Markowitz make the most of their talents, as well as those of their dynamic rhythm section on UpRooted.  Escaping Pavement really hits their stride about mid-album and never looks back.  The band manages to capture a live aesthetic on UpRooted, giving listeners an insight into the Escaping Pavement’s elemental on-stage feel.  Despite some early production issues, UpRooted will be remembered as one of the best Americana debuts of 2013.

Rating: 4 Stars (Out of 5)

Learn more at www.escapingpavement.com. 

Morgan Bracy - The End Of Cinderella

Morgan Bracy - The End Of Cinderella
2011, Morgan Bracy

Morgan Bracy grew up in a small town in Tennessee, singing in church and writing songs from a young age.  It wasn’t until she left home for Middle Tennessee State University that Bracy truly bloomed as an artist, however.  Working with the group Broken Pottery, Bracy found her own voice as a songwriter.  She released her debut album, Dirty Laundry, in 2007, and was introduced to producer John Merchant (Barbra Streisand, The Bee Gees, Celine Dion).   Merchant liked what he heard, and wanted to help Bracy find the full potential of her sound.  The two began working on the album The End Of Cinderella, a song cycle centering on tales of fairy tales gone awry.  It is in this emotional wellspring where Bracy shines brightest, portraying each story and character as if it were somehow her own.

"The End Of Cinderella" is a coming of age song; a heartbreaking realization that real life is not a fairytale. Bracy's performance here is fully committed, and here powerful, sometimes tinny voice (ala Susanna Hoffs or Jess Klein) is compelling. "She Believes" is a middle of the road pop/country number about domestic violence, and how the belief in fairytales can keep someone in a bad relationship. Bracy concocts a solid melody and a memorable chorus here, in a song with moderate commercial appeal. "Silence" decries someone who is absent even when he is there. It's a self-realization that things aren't going to change, wrapped up in an edgy pop arrangement that gets your toes tapping. Bracy's lyrics flow like water, and her voice punches the melody line with conviction.

"The Looking Glass" examines self worth and insecurity in a powerful, musically dense ballad that walks the line between pop and country in style and sound. Bracy continues to show vocal power, but also shows a subtlety of phrasing that contrasts well with her pure force as a singer. Bracy's interpretation of Randy Newman's "When She Loved Me" (from Toy Story #?) is lovely and lush, full of strings and a wonderful counter-melody in the piano part. Bracy ventures into full soprano range at one point in the song, and it sounds, at first, if things might fall apart, but she holds it together and turns in a nice performance. "When The Spell Is Broken" has a more soulful feel, with Bracy's soulful alto getting more exposure. The verses are solid, but the chorus is very memorable - the type you don't shake right away.

"Real Life Fairytale" is a buoyant little love song with distinct pop sensibilities. When Bracy sings about the quiet ecstasy of falling in love, it's as if she's experiencing it all right in the moment. This is a brilliant tune. "Between The Covers" is about the anticipation of what is to come in life and the transformation from looking ahead to living in the moment. Bracy closes with "Love, Believe In Me" is a song of longing from one who sees love all around here but hasn't found it herself. The simple, guitar-based arrangement is simple and lovely, playing the perfect complement to Bracy’s voice and to that of her vocal counterpart.

The End Of Cinderella is the musical portrait of an artist who deserves much more exposure than she's gained to date. Bracy's songwriting is compact and polished, but full of heart. She performs each song as if the ideas and emotions within are occurring at that very moment.  If Bracy carries this kind of presence to the stage, then concert goers will never want her shows to end. Morgan Bracy is the real deal, and The End Of Cinderella is an essential album

Rating: 4 Stars (Out of 5)

Learn more at www.morganbracy.com or www.myspace.com/morganbracy. 

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Review: Alejandra O'Leary - Nothing Out Loud

Alejandra O'Leary - Nothing Out Loud
2009, Alejandra O’Leary Music

Alejandra O’Leary doesn’t sit still. Born on a small island off the Southern Coast of Maine, O’Leary worked her way all the way to Yale, forming two original rock bands (The Tourettes And The Masses) while studying English and Spanish literature. Moving to New York City in 2006, O’Leary immersed herself in the local music scene. On September 1, 2009, O’Leary released her debut album, Nothing Out Loud. Between the time O’Leary recorded the album and the release date she picked up and moved to Ann Arbor Michigan, but continues to tour consistently.

Nothing Out Loud opens with Ever After, a kiss off song to a one-sided relationship done in solid Pop/Rock terms. The song is decent enough, and O'Leary presents with a vocal style reminiscent of 1950's girl pop. There's enough vibrato in her voice to make it sound like she's eternally on the verge of going out of key, although it never quite happens. The effect is a bit disturbing until you get used to it. Tremor is an upbeat, piano and drum driven track with a dance beat and a simple arrangement that allows for a highly homogenized acoustic dance tune to develop. The pitch alarm finally goes off here, with O'Leary's breath control giving away on the longer passages at times. O'Leary slows things down significantly on the Folky December.

Moving somewhat into her higher vocal range, O'Leary appears to have a better relationship with the key she's singing in. Lyrically, the song is a bit simplistic but conveys her thoughts, ideas and emotions clearly. Rally comes back to the 1950's pop feel, urging a former flame to try again. It's a well-written pop tune with a catchy beat and a melody that you can sing along to.
O'Leary stays fairly steady across Powerhouse, I Love Your Tone and You Gotta Love Me Sometimes; all songs that are decent but don't really stick with the listener. There's a very young sense to O'Leary lyrically, like she has big emotional expressions to make here but hasn't quite developed the words to say all that's in her head. Thinkin' Straight hits the nail on the head by keeping things simple. It's not artful or elegant but does present a straight up look at what's going on inside in a sweet love song that's part cliché and part confession. Nothing Out Loud closes out with People Like Me, perhaps the best songwriting on the disc. There's an honesty and edge here that O'Leary seems to nail after trying to get there for much of the album.

This is one of those albums and reviews where I have my misgivings. I am not 100% sure if I just didn't get the point or if O'Leary never really made it clearly. Either way, Nothing Out Loud is something of a musical mess, but a good mess if you understand my meaning. O'Leary has a strong Pop sensibility built into her Alt-Folk presentation. She seems like she's still growing into her own as a songwriter, but the seeds of success are definitely here. Nothing Out Loud doesn't shine like it might, but it promises good things for the future.

Rating: 3 Stars (Out of 5)

You can learn more about Alejandra O’Leary at www.myspace.com/alejandraoleary. You can purchase Nothing Out Loud as either a CD or download on CDBaby.com.

Review: Jessie Torrisi - Brûler Brûler

Jessie Torrisi - Brûler Brûler
2009, Wild Curls

Jessie Torrisi is a drummer/journalist turned Singer/Songwriter who moved from New York City to Austin, Texas for a different perspective on the world. Torrisi served as a drummer for several NYC bands; including Les Fleurs Tragiques, Laptop and Unisex Salon before making the switch to front woman (she’s vowed to never go back). Torrisi’s debut solo album, Brûler Brûler, drops October 28, 2009, and is a musical breath of fresh air that never forgets its musical past but looks stridently forward.

Brûler Brûler opens with Hungry Like Me, a musical wish list of the qualities of a perfect man in Torrisi's terms. The easy Americana arrangement is the perfect setting for a song full of longing and desire. As you get further into the song you realize Torrisi's not just casting a wish list but speaking to someone she hopes fits the bill. There's an ambivalence between hope and melancholy here, like a world-weary woman who hopes he's the right one but who's been burned a few too many times to believe it. X In Texas, on the other hand, is a breakup song of epic proportions. Mature and quiet in its tenor, Torrisi tells him why it's over, sounding like she has cause to be angry, but forgives him and wishes him well. She just asks to be left alone, even though it's clear she still cares. Cannonball is pure desire in song; it's the queen of come-on songs, like a cross between Patsy Cline, Chrissie Hynde and Martina Sorbara.

Breeze In Carolina is an amazing tune. Torrisi is singing to someone who's trying to run away, telling him that no matter how far he runs he's going to miss her. This is one of those rare songs that come along with the potential to be a classic. I could hear this being the melancholy keynote tune for a character in a musical or a movie. It's not your typical Country/Americana tune. The song is substantial in both content and emotion. Runaway Train is another song of longing, this time in an unrequited or inattentive love. Torrisi's vocals are on fire here, full of heart and a sultry country sound that's unlike anyone on Country or Pop radio.

Storm Clouds takes on a pop sway that's highly appealing. The melody here is highly memorable, and Torrisi gives a vocal performance not to be forgotten. It's yet another song of loss, but this time Torrisi decides she's had enough. There's a hopeful ending this time, with Torrisi looking to the skies and what is coming rather than behind. So Many Miles takes on an almost 1980's AM Radio R&B sound mixing with the Americana feel. I didn't enjoy this tune quite as much as the rest of the album, but it's still decent. Brûler Brûler closes out with The Brighter Side, a piano-based tune about the hope and outlook love can bring. It's a gorgeous tune, highly personal in presentation and heartfelt in delivery. It's the perfect ending to the album.

Jessie Torrisi is a bit out of the ordinary. She's a Country/Americana singer with an Alt-Rock sound mixed in with her Country Twang. Her lyrics are intelligent and nuanced; full of sensuality and a personal voraciousness for life that can be startling and then endearing. Torrisi's voice isn't what you'd call classically pretty, but you know you'll stay and listen as long as she keeps singing. The songs themselves are off the beaten track, full of a beauty and singular personality that could become a trademark. Brûler Brûler is a thrilling introduction for us here at Wildy's World, and we are excited to see what Torrisi does next.

Rating: 4 Stars (Out of 5)

You can learn more about Jessie Torrisi at http://www.jessietorrisi.com/ or www.myspace.com/jessietorrisi. Brûler Brûler drops on October 28, 2009, but you can get is now as a download from Amazon MP3.

Review: Leah Pritchard - Finally The Weekend

Leah Pritchard - Finally The Weekend
2009, Leah Pritchard

Alabama's Leah Pritchard is a country singer/songwriter with a Rock N Roll sensibility about her. A finalist in CMT.com's "Music City Madness" contest, she is also a competitor in the Colgate Country Showdown contest that helped launch the careers of Garth Brooks, Martina McBride, Toby Keith and others. Pritchard's first CD, Finally The Weekend is a production-quality demo that likely holds the seeds for a full debut CD.

The first thing that stood out to me about Pritchard is that even though she claims a strong affinity to Country Music, there appears to be an equally avid love of Rock N Roll that shines through in her music. Pritchard's voice isn't pretty, having a brassy quality that makes for a very interesting and unusual sound. Pritchard does appear to have some breath control issues both with phrasing and occasionally pitch, but reminds me heavily (in sound) of folk rocker Jess Klein. Finally The Weekend opens with Something Went Wrong, a Rockin' Country tune about the aftermath of a bar fight. The song is a bit sophomoric with awkward lyric construction. The arrangement is very simplistic and probably is more Rock than Country. Mason Jar is a bit more nuanced but retains the same lyrically awkward bearing of Something Went Wrong. The last line of the chorus is a classic, but just doesn't fit with the rest of the song. Finally The Weekend is a song for blowing off steam after a hard week. The song is very upbeat yet shows off some of the pitch and breath control issues I referenced in stark examples. Boston is offered up in a great country arrangement. This is my favorite song on the CD. Finally The Weekend closes out with Home Kowaliga Home, an ode to Pritchard's hometown that sounds pleasant but just doesn't seem to carry the conviction you might expect from such a song.

Finally The Weekend was a tough CD to review because there are some very good elements here and there are some unsavory ones as well. Pritchard has a great band (The Dirt Road Band) around her and a distinctive vocal sound that may work in her favor, but the quality of songwriting is just too young and unpolished to be truly viable in the commercial realm. Add to this pitch issues that surface at random times throughout the CD and you have a recording that's just not ready for prime time. Pritchard's press materials talk about her passion and high energy, and I have no reason to disbelieve that these things are there, but they do not come through on Finally The Weekend. Pritchard has potential, and collaborating with a more mature and accomplished songwriter would probably have critical and long-lasting benefits on Pritchard's development. Formal training with a coach focusing specifically on breath control would also be of benefit. The sound is intriguing enough to make us want to wait and see on Pritchard. The issues noted here are all fixable and may work themselves out in time.

Rating: 1.5 Stars (Out of 5)

You can learn more about Leah Pritchard at http://www.leahpritchardcountry.com/, where you can purchase a copy of Finally The Weekend.