Lexie Roth - Lexie Roth

Lexie Roth – Lexie Roth
2012, Lexie Roth

Musical legacy can be a heavy weight; it can also be a blessing.  Lexie Roth, daughter of famed guitarist Arlen Roth and visual artist Deborah Bussichio, comes from a line of artistically inclined folk.  Roth shows the same bent on her debut album, Lexie Roth.  While the apple does not fall far from the tree, so to speak, it’s clear that Roth is still growing into her own style and substance as a songwriter.

Roth opens with the vaguely surf-influenced mellow rock of “Lost Memory”.  There’s a pervading sense of melancholy that walks its way through the open arrangement, which serves as a platter on which Lexie Roth’s fine alto voice can play.  The subtle musical style used here is somewhat reminiscent of Sting’s post-jazz age.  “Stay Or Go” is a musical diary entry; wordy and self-absorbed.  The arrangement is solid, but the vocal line is overly repetitive and trapped in its own ambivalence.  “Forget All About Me” has a more ethereal melancholy at its core.  The sparse arrangement once again allows for Roth’s voice to be the star of the show, but the plodding melody doesn’t necessarily do her any favors. 

“Ghost Of Childhood” starts slowly and spins in place until Roth launches into an exceptional chorus.  “I Have To Leave You” keeps up the maudlin pace, with Roth perseverating on a failing relationship in a clockwork arrangement that lulls the listener to sleep.  Things pick up a bit on “Little One”, offering up a chorus that is full of quiet energy and a solid hook.  The song flutters and flails a bit on the verses, caught up in wordy style, but the chorus is right on the mark.  “I Wanna Run” considers a relationship she has given her all to, only to find out her beloved isn’t as committed as she.  Roth’s story telling here is solid enough, but the story is almost clinically told; there’s no real sense of emotion one way or the other.

“Call You My Hon” is a love song that’s awash in sound but once again leaves any distinct sense of emotion at the door. It’s a solid tune, but undersold.  Roth lays her heart bare on “I’ll Be”, a love song with an apocalyptic feel.  It’s unclear whether this number is written from beyond a relationship or beyond the grave, but Roth’s obsessively verbose style is a bit too much in spite of the compelling theme.  A mild swing informs the rhythm of “Windfield”, an expansive story in song that suffers from its own lack of energy and Roth’s prolixity.  The aural palate used here is actually quite enjoyable, and renews the earlier comparison to some of Sting’s work, but the song just folders under its own monotony.  Roth shakes off her doldrums with the snarky/sweet “Country Diddy”.  She keeps it simple here while wallowing in her own near-demise, recovery and short-sighted romantic failings.  It’s an interesting closer that is very much out of tone with the rest of the album.

Lexie Roth brings an intriguing voice on her self-titled debut album, but has yet to learn the economy of a seasoned singer/songwriter/storyteller.  The album suffers from a relentless inertia of low-key, plodding songs full of self-directed and overly populated lyrics.  These, alongside Roth’s low-key vocal style, do not serve her well.  Roth’s voice is sufficient to sustain the listener in spite of all this, but it’s hard not to think that there is more life in Roth as both a songwriter and performer.

Rating: 2.5 Stars (Out of 5)

Learn more at www.facebook.com/lexierothmusic. 

Antje Duvekot - New Siberia

Antje Duvekot - New Siberia
2012, Antje Duvekot

It might not surprise you to learn that some pretty talented musicians worked with Antje Duvekot on her third studio album, New Siberia.  Like talent draws like talent, and Duvekot’s band have played with the likes of Paul Simon, Rosanne Cash, Jewel, Chris Botti, Levon Helm and Jonatha Brooke.  The musicianship is indeed first class on New Siberia, but what’s surprising is that Duvekot enhances her already prodigious reputation as an outstanding songwriter and performer with an even more nuanced and mature cycle of songs than her previously critically acclaimed work.

Duvekot opens with the whispering, silky cadences of "Into The City", a song of impending, preventable heartache. Duvekot's voice is absolutely entrancing, smoothly caressing the melody while placing her melancholy assessment of the facts in literate, flowing imagery. "Ballad Of Fred Noonan" recounts the Amelia Earhart tragedy from the perspective of her navigator. Duvekot proves her credentials as a songwriter and story teller in an incredibly nuanced performance. "The Life Of A Princess" is a straight forward and moving statement of being from a young woman who will not be trapped within the boundaries of a fairy tale. The simple approach is affecting, powerful and ultimately beautiful.

"Phoenix" is a plaintive and lovely song about what might have been. Duvekot has a gentle touch here, traversing the gulf between heartache and strength with surprisingly subtle grace. "New Siberia" is best described as atmospheric folk; Duvekot meanders through this song of searching almost aimlessly in a rare miss. "Glamorous Girls" speaks to all those who feel marginalized because they aren't the popular girls. Wisdom and perspective predicts that each will find their time to share in a sentimental little ballad that's sweet and well-written. "Noah's Titanic" is a quietly frenetic story song that's disturbingly wordy. The stream of conscious Duvekot utilizes here is intriguing and almost frantic at times.

"Four Stitches" is a beautiful, imagery driven piece of songwriting that is impossible to shake. New and innocent love is the theme here, and Duvekot sketches her memory here in gently flowing poetry and gorgeous melody. On "Sleepy Sea Of Indigo And Blue", Duvekot invites love from a gentle hand. This is a lovely piece of songwriting that's full of quiet beauty.

If you need affirmation of Duvekot's songwriting finesse make sure you stick around for "The Perfect Date", where everything goes wrong on the way to going write. The light pop arrangement is note-perfect, and Duvekot delivers the story and melody like they were written for her by the universe itself. New Siberia winds down with the quietly lovely "Juliet"; a moment between friends etched in time and song.

Antje Duvekot is a name I have heard over the years spoken in reverence and awe, both for her unerring sense of melody and her sense of timing as a storyteller. It's good to report that New Siberia is strong affirmation that Duvekot has not been oversold. Listeners may not connect with every song on the album, but there is consistent quality and subtle grace in Duvekot's songwriting that is impossible to ignore. New Siberia doesn't bowl you over, but it is the sort of album you'll find yourself returning to again and again. Don't miss this one.

Rating: 4.5 Stars (out of 5)\

Learn more at www.antjeduvekot.com. 

Joe Marson - Joe Marson

Joe Marson - Joe Marson
2010, Joe Marson

San Diego-based singer/songwriter Joe Marson has made both the geographic and musical rounds to broaden his horizons and perfect his craft. Oregon, Boston, New York and Arizona are on his past itinerary, as are hip-hop, jazz, folk, bluegrass and gospel. Back home, Marson has settled fully into an Americana sound that draws strength from all the influences Marson has immersed himself in. Marson recently released his debut album, Joe Marson.

Marson opens with "Postcards From Siren City"; an interesting exploration of running away from home. The song is well-written and enjoyable. Marson is a bit off the beaten track here, and the diversion is welcome. "Mindf#ckedd" is a bluesy rock number that finds Marson singing with the attitude and sound of a young Billy Joel. It's an entertaining but dark tune you're likely to hit replay on several times over. "What I'm Sayin'" is a highly entertaining blues-based tune in pure singer/songwriter pastiche. Marson scores points with his cover of Cat Stevens' "Trouble"; a pensive performance that will appeal to fans of Stevens while putting his own stamp on it. "White Boy Blues" sounds like it may have been recovered live in-studio in one take. It's just Marson and his guitar and works very well, showing off Marson's voice in excellent light. Marson closes with a cover of Alicia Keys' "No One", a mildly soul rendition done with a reggae beat. It's a solid tune, and Marson does it justice.

Joe Marson has talent. His is a voice people will pay to listen to and he's more than just competent with a guitar in his hand. Marson shows flashes of real songwriting ability on his self-titled debut. There are rough spots along the way, but more often than not Marson comes out ahead. The occasional vocal similarities to Billy Joel and the Hendrix-style riffs that Marson sprinkles throughout his songs may make it easier for Marson to transition to an older demographic of fans as well. As a whole, Joe Marson is a solid effort.

Rating: 3 Stars (Out of 5)

Learn more about Joe Marson at http://www.joemarson.com/ or www.myspace.com/fakinggeniusmusic.  Joe Marson is available digitally from Amazon.com and iTunes.

Review: Carrie Rodriguez - Love And Circumstances

Carrie Rodriguez - Love And Circumstances
2010, Ninth Street Opus

Over the past decade Carrie Rodriquez has gone from being a top notch session violinist to one of the most talented and sought after performers of Country music; the main reason being that Rodriguez eschews the plastic tendencies of commercial country radio for a sound that's true to her own tastes and history. We first became familiar with Rodriguez because of 2008's She Ain't Me, an album that sounded good at the time and simply gets better with age. Rodriguez's 2009 release, Live In Louisville, was so good it wound up in our Top-20 albums of 2009. After eight albums in as many years, Rodriguez returns in 2010 with Love And Circumstances, a cover album featuring songs from some of the best country and folk singer/songwriters of the past forty years.

Love And Circumstances opens with "Big Love" (Ry Cooder/John Hiatt/Nick Lowe/Jim Keltner), a song of hope and yearning that's full of a pragmatic beauty. The song has a rootsy Americana feel that should make it a commercial success. On "Wide River To Cross" (Julie & Buddy Miller) Rodriguez uses her warm voice to invoke the determination of someone making the long journey home after a long time away. It's a gorgeous melody that's moving in its simplicity and grace. "Eyes On The Prize" (M. Ward) has a classic country story song feel that jibes well with Rodriguez's easy vocal style perfectly. Rodriguez captures a sense of tragic hopefulness on "Waltzing's For Dreamers" (Richard Thompson), adding her distinctively mournful violin into the mix as well.

"I'm Not For Love" (Sandrine Daniels) is a heartbreaker, written from the perspective of one who's been burned too many times. Rodriguez highlights the song with a voice that emotes tragic beauty and a world-weary mien, and Bill Frisell's guitar work completes the sound. Rodriguez hits gold with her take on Merle Haggard's "(Today) I Started Loving You Again". The dark textures of her voice wrap around the melancholy feel of the medley in this song, creating a sense of time and place that is palpable. One of the highlights of the album is Townes Van Zandt's "Rex's Blues". Aside from her voice, Rodriguez has an inspired energy in this song that shines through every nook and cranny. Whatever the inspiration, it burns beneath the surface but you can't fail to hear it. The most moving song on Love And Circumstances is Rodriguez's interpretation of the Hank Williams classic "I'm So Lonesome I Could Cry". Rodriguez invests the song with a believable sense of loss, and the bluesy guitar interplay is a nice touch. Rodriguez closes with "La Punalada Trapera" (Sosa Tomas Mendez). It's a gorgeous tune, and the weight of the story is meted out in the deliberate guitar work that fills out the song.

Carrie Rodriguez always produces compelling listening experiences when she steps into the studio. Love And Circumstances is no exception. The choice to immerse herself in classic songs and hidden gems from the pens of others is a brave one, forcing Rodriguez to find chemistry with the voices of the creator of each song. Carrie Rodriguez manages to make each song on Love And Circumstances her own without abandoning the character of each song. The musicianship is top-notch as always, and it would be hard to say that Rodriguez has ever been in finer voice. Love And Circumstances is a keeper.

Rating: 4 Stars (Out of 5)

Learn more about Carrie Rodriguez at http://www.carrierodriguez.com/ or www.myspace.com/carrielrodriguez. Love And Circumstances is available as either a CD or Download from Amazon.com.