Alice Ripley - Daily Practice, Volume 1

Alice Ripley - Daily Practice, Volume 1
2011, Sh-K-Boom Records

TONY winner Alice Ripley has been acting on and off Broadway for twenty years, as well as recording albums and gigging with her band Ripley and creating works on canvas and in mixed media.  As an artist whose creative energies seem to have no end, Ripley often uses one art form to balance off another.  So it was in 2009, when Ripley played conjoined twin Diana in Next To Normal.  Aside from earning Ripley a TONY for best actress in a musical as well as a Helen Hayes award, Next To Normal left Ripley with another legacy.  Each night Ripley would return to her hotel room and recover from the emotional weight of her performance by singing some of her favorite songs while accompanying herself on acoustic guitar.   These impromptu therapy sessions were memorialized on the album Daily Practice, Volume 1, released earlier this year on Sh-K-Boom Records.

Daily Practice, Volume 1 is raw and unvarnished, featuring Alice Ripley in an almost manic performance state.  The result is unsettling at times, striking at others, and throughout is underscored by the emotional complexities and beauties of the human condition.  Ripley opens with Carole King's "It's Too Late".  This is one of the mellower offerings on the album, but Ripley's vocal performance is impassioned and full of emotion.   "Message In A Bottle" is halting and uncertain at times.  While the original version by the Police seems to focus more on the hope for salvation, Ripley's version seems more focused on the desolation and hopelessness of the narrator's position.  The performance is striking and raw, delivered in the uncomfortable tones of someone who doesn't know what to do next.

"I Still Haven't Found What I'm Looking For" is played straight to the letter, but misses the soaring feel of the original in a workman-like performance.  Alanis Morissette's "You Oughta Know" is slowed down a bit, with Alice Ripley all over the place vocally.  Ripley seems to relish the emotional outbursts of the song, articulating representatives of the FCC's seven deadly words with particular fervor.  "Essence" (Lucinda Williams) displays a particular vulnerability; the emotional charge in Ripley's voice is palpable and real. 

Ripley goes all out for Bruce Springsteen's "Thunder Road", capturing the gritty honesty of Springsteen's writing style perfectly.  The sense of hope and joy amidst a dreary world is compelling.  Nanci Griffith's "The Flyer" drips with the loneliness of the road, staying true to the original.  Ripley takes on The Eagles' "Take It Easy" in halting fashion.  It's a solid cover, but doesn't have the carefree feel of the original.  Ripley takes a fair shot at R.E.M.'s "Everybody Hurts", but sounds overwrought.  The whiney, self-involved nature of the song and the heaviness of Ripley's voice just don't make for a great mix.  Ripley closes on sound footing with a solid cover of Carly Simon's "Anticipation".

Cover albums are always fraught with difficulties for fans and critics alike, but Daily Practice, Volume 1 is not your typical cover album.  The ten songs collected here represent a daily process of catharsis that allowed Ripley to maintain her balance during one of the most trying roles of her career.  The unvarnished nature of the album will give some listeners pause.  This is Alice Ripley, warts and all.  Most artists would never have the audacity to release recording in such a raw state.  From a purely aesthetic standpoint, Daily Practice, Volume 1is raw and unsettling.  Put into perspective, it becomes a statement of freedom, and of that particular beauty that grows from human imperfection and perseverance.  Daily Practice, Volume 1 comes straight from the heart.

Rating: 3.5 Stars (Out of 5)

 Alice Ripley's web presence is fleeting and hard to find.  Her blog, aliceripleylinkup.blogspot.com has not been updated in a while, but you can pick up some good information about her there.  The site for her band, Ripley, www.myspace.com/ripleytheband has also not been updated in a while.  Luckily, Daily Practice, Volume 1 is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Gilli Moon - The Stillness

Gilli Moon - The Stillness
2010, Warrior Girl Music

Gilli Moon started down the Indie Path ten years ago, when few knew what that meant. The Italian Born, Australian-raised Los Angeles resident started her own label, Warrior Girl Music, and has made a career not only of her own music but by producing and releasing the music of other prominent young artists. Along the way, Moon has released a number of highly-lauded albums on her own. 2010 sees Moon return with her sixth, The Stillness, a highly personal and melodic set of tunes about learning to live with yourself and the world around you.

The Stillness opens with "A Conversation With Me", a son of self-assurance and perspective. The song reflects a realization that we have all the tools within ourselves to become what we want to be. Moon's voice is lovely, blending textures and colors with tremendous tone and a soulful feel. "Be" is an idealist pop love song about giving yourself completely. Moon's performance here is splendid, but the spoken word/rap added messes with the song's mojo and sounds horribly contrived. "Outside In" explores intertwining your life with another in trite terms and has an almost whiney feel that seems to run counter to its message.

Moon takes on an R&B vibe on "The Stillness", a song of distinctive melancholy that revolves around a highly repetitive chorus. "Moon" goes for an ethereal air, recalling artists such as Enya or Maryen Cairns. Things get a bit surreal on "Days In November", a song of remembrance built in layered electronic instrumentation. While expecting some emotional content, the listener is greeted with a flat, low-energy recitation that is hard to square with the lyrics. "Moon" gets it right on "Cling On", stripping the arrangement down to herself and her guitar in one of the best performances on the album. Moon's style here is unaffected; pure communication in song via a simple and pretty melody line.

"Secret Of My Heart" shows a balladeer's touch in a song seeking truth and love. This sounds like the sort of song Celine Dion likes to claim for her own. "Silent Prophet" seeks the counsel of that still quiet voice that dwells in each of us, whatever you may choose to call it. This quiet moment of introspection opens into the final tune "I Can Touch The Sun". Moon closes on the same positive plane she opened with, emphasizing the melody line and vocal harmonies amidst scant instrumentation.

Gilli Moon has a very enjoyable voice what works best in open arrangements. When she sticks to this approach The Stillness shines. Moon appears to have embraced the post-genre ethic however, and some of the musical sidebars she takes here are less than optimal for her voice. On the whole, The Stillness is worth spending some time on. There may be an occasional song to skip, but her voice alone is worth the trip.

Rating: 3 Stars (Out of 5)

Learn more about Gilli Moon at http://www.warriorgirlmusic.com/ or www.myspace.com/gillimoon. The Stillness is available on CD from Warrior Girl Music.  Amazon.com has the album as both a CD and Download.  Digital copies are available through iTunes.

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: 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.

Review: Carrie Rodriguez - Live In Louisville

Carrie Rodriguez - Live In Louisville
2009 Luz Music/Mood Indigo Entertainment

Carrie Rodriguez garnered quite a reputation as a fiddle player, but the woman can sing like an angel; as we learned when we reviewed She Ain't Me last year. We liked it, and it appears that we weren't along. She Ain't Me peaked at #2 on the Americana charts and #18 on the AAA non-commercial charts in the US. She Ain't Me also garnered Rodriguez a "Songwriter Of The Year Award" in the Folk category from The Roots Music Association. Rodriguez appeared on Austin City Limits in the Fall of 2008 and again in July of 2009. On November 24, 2009 Luz Music in conjunction with Mood Indigo Entertainment will release Live In Louisville, a live performance recorded in April of 2007 while touring with Lucinda Williams. Live In Louisville features Rodriguez at her most elemental and includes two songs that have not appeared on CD previously.

The show opens with Dirty Leather, a dark story song that could be mistaken as a come-on song at first but turns into something entirely different. Rodriguez' dark, sultry alto may mislead listeners on first blush, but that same voice adds gravity to a story of illness and death. The song is amazing and even more powerful live than from the studio. 7 Angels On A Bicycle is a story of love, lost and infidelity wrapped in an arrangement that throws its arms around you and insists you come along for the ride. Rodriguez makes a personal plea on Before You Say Another Word. The instrumentation comes alive around her plaintive vocal; I was honestly blown away by the simple honesty of the song. Rodriguez may have a classic on her hands in I Don't Want To Play House Anymore. Don't be surprised if a generation or two from now this is one of the most covered Country/Roots songs there is. Rodriguez is powerful on the mic with a song that could become anthemic, and the backing band is superlative.

The fiddle comes to the fore on the instrumental Blackberry Blossom; a concert favorite you won't find anywhere else. Names like Allison Krauss and Natalie MacMaster come to mind here. Mask Of Moses makes a powerful statement about deception and trust; a firm Americana arrangement devolves into a jam with jazz structure before returning to it's most simple form. Rodriguez takes on Bill Monroe's You Won't Be Satisfied (That Way), bringing power and sex appeal that Monroe perhaps never imagined in one of many highlights on the album. If there was any question of sex appeal on You Won't Be Satisfied (That Way), 50's French Movie blows any questions right out the window with hurricane force. Rodriguez bulls through the song with the same sultry alto she's had the entire show. From desire to rejection we go with Never Gonna Be Your Bride, a barn-burner that'll have you two-stepping in spite of yourself. Rodriguez says goodnight with St. Peter's, a gorgeous tune that could be about unrequited love or about missing someone who's far away. Either way it's a powerful tune you won't soon forget.

Carrie Rodriguez is a presence on CD, as we learned previously; but on stage she blossoms into a performer the likes of who is not often seen. Not flashy or garish, Rodriguez performs with a humility and grace that belies her talent, seeming to take nothing for granted from the crowd and giving her all on every song. What's most impressive is that all of this is readily apparent even on a live recording on CD. Live In Louisville may just be one of the best live recordings I've heard (and I've heard many, official or otherwise, over the years). If you're a fan of Carrie Rodriguez and don't own it yet, plunk down the cash for Live In Louisville. If you're not familiar with Carrie Rodriguez, you're in for a treat. Start here.

Rating: 4.5 Stars (Out of 5)

You can learn more about Carrie Rodriguez at http://www.carrierodriguez.com/ or www.myspace.com/carrierodriguez. Live In Louisville goes into national release on November 24, 2009, but if you just can’t wait you can buy it now through Rodriguez’ web store.

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: Kate Redgate - Nothing Tragic

Kate Redgate - Nothing Tragic
2009, Kate Redgate Music

Kate Redgate has never let a life less than easy stand in the way of her creative process; indeed her choices and the results have fueled her songwriting for the better part of 20 years. Redgate was adopted from Scott Air Force Base in 1970 and spent much of the first 16 years of her life on a farm in Southern Illinois. A stint in Foster Care at the age of 16 before several years of street life ensued where Redgate learned the craft of music hanging out in clubs and getting to know musicians. Children and single motherhood kept Redgate from performing a great deal for a number of years, although she began to reconnect with performing in 2001 following the recording of a self-titled demo CD. In 2005, Redgate shattered her arm in an accident and faced the possibility she might never play again. Things worked out for the better, and Redgate comes back in 2009 with Nothing Tragic; a reflection on all that's come before and a personal attitude that drives Redgate on toward the future.

Sitting down listening to Nothing Tragic isn't something you take lightly. It's like catching up with an old friend who's had a lot go under the bridge since last you spoke. With a dark and plain-spoken manner that speaks of Bonnie Raitt, Kate Redgate spins autobiographical musical yarns about a life that hasn't always been kind but has born good fruit. Last To Know underlines this spirit, with Redgate coming to the realization that mistakes are nothing to fear and that failure and freedom are co-equal partners in making choices. The Country/Rocker Into The Blues puts world-weary wisdom into an upbeat arrangement that's full of a cautious optimism and faith in tomorrow. The song is an "I'm alright" declaration with strong commercial punch. The Palace is a sonic painting of Redgate's time as a bartender, giving musical lift to at least one of the characters she encountered during that time.

Nothing Tragic speaks to Redgate's recovery from a serious injury that occurred at a point where she felt like she was getting her life together. It's a recognition that we all have our trials and that the cliché "whatever doesn't kill you makes you stronger" is true. Believe is about coming to a point where you're ready to put yourself out there again after having been hurt. It's potential mix-tape material for the broken-hearted and is couched in a great Country arrangement. Walkin' A Fine Line is another fine Country arrangement that finds Redgate further exploring the territory she enters in Believe; having graduated from a willingness to put herself out there to a committed interest. Cold November sounds like an allegory for putting your life back together after a loss; the song is honest without sounding bitter but also full of resolve. Written in strong-but-vulnerable language, Cold November is the sort of song I would expect to see licensed for a movie down the line. Redgate closes out with Roxy's, an ode to those who sell themselves, or at least an image of themselves to put food in their children's bellies and a roof over their heads. It's about the resolve to survive and give your kids a life even if no one ever gave you one.

Kate Redgate has walked a hard road and survived and has come back to a place where dreams are more than possible; they're in reach. Nothing Tragic lets go of the past and embraces a future full of hope and possibilities; told from the well of wisdom the hard road has won her. Musically the album is strong with great musicianship and a sense of melody that's pleasing to the ear, but it's as a story-teller that Redgate excels, wrapping listeners in her true-to-life tales and not letting go until the last notes fade from hearing. Make sure Nothing Tragic finds its way into your collection.

Rating: 4 Stars (Out of 5)

You can learn more about Kate Redgate at www.myspace.com/kateredgate or http://www.kateredgate.com/. You can purchase Nothing Tragic as either a CD or download at www.cdbaby.com/cd/kateredgate.

Review: Davie Gayle - Amber In The Clay

Davie Gayle - Amber In The Clay
2009, Claydirt Music/Remba Records

Los Angeles-based Davie Gayle grew up on country music in New Jersey, where her father was a guitarist in a country band. Her entire family was musical, and Gayle eventually formed a duo with her brother (The Gayles). After moving to LA, Michael began his own label and went into production while Davie threw herself into songwriting and performing. Davie Gayle’s debut solo album, Amber In The Clay, is a distinct and poignant collection of songs drawn from her own life experiences. Comparisons to Emmylou Harris, Patty Loveless and Lucinda Williams are understandable, but Gayle’s point of view as a songwriter is practically unique.

Amber In The Clay opens with the title track, a story song paralleling a scientist who finds the building blocks of life stored in the earth and a person of significance who helps a broken or lost person rebuild their life. The song has a classic country tragic sound while moving toward a positive message. Get Me is a great roadhouse country tune that sounds like it should be a hit on the country charts. If Shania or someone of that ilk recorded this song you'd hear it everywhere, and Gayle is a much better vocalist. 3:09 finds Gayle giving a classic country performance in a voice that mixes her sweet tone and just the right dose of bittersweet sorrow. Channel To You takes more to the pop side of the scale with some R&B and Gospel influence in one of the more daring tracks on the disc.

Roundabout is one of the best story songs I've heard in some time, culminating in a positive message that parallels Robert Frost's Stopping By Woods On A Snowy Evening. Gayle's sweet, honest voice is the perfect instrument to deliver this song, and she deserves real attention for this one. You Don't Say is a country flavored blues rocker ala Bonnie Raitt with an innate pop sensibility that will turn a lot of heads. Doghouse Flowers lets Gayle rip it up a little; this one will be a particular favorite of the ladies. Rockabilly Bug will have you reaching for your dancing shoes and cowboy hats.

Amber In The Clay is a pleasant surprise, hitting the high points of country music without succumbing to the Top-20 Country milieu that pervades commercial radio. Davie Gayle has a tremendous voice mixing sweetness with just a hint of mischief, and the arrangements here are out of sight. Amber In The Clay is music you need to hear; a potential breakout disc.

Rating: 4.5 Stars (Out of 5)

You can learn more about Davie Gayle at http://www.daviegayle.com/ or www.myspace.com/daviegayle. You can purchase a copy of Amber In The Clay at www.cdbaby.com/cd/daviegayle.

Nicky Swann – Burning Bright E.P.
2008, Nicky Swann

Hailing from Kingsteignton, Devon, England, Nicky Swann has deep roots both in the country and in the brand of acoustic folk music she writes and plays. Long of a successful cover duo, Swann became a songwriter quite by accident. Left without a guitarist and unhappy with potential replacements after her duo dissolved, Swann took it upon herself to broaden her guitar skills from the three chords she knew. In no time at all Swann was back on the circuit and writing her own material. The time since has been full of local awards and recognition, and Swann has begun to set her sights on a larger audience. Nicky Swann recorded and released her debut CD, Burning Bright (EP) in 2008. Without distinct popular flair, Nicky Swann offers up honest, from the heart folk music in the spirit of Lucinda Williams and at time Bonnie Raitt.

Burning Bright opens with Good Advice, an incredibly poignant story song about the daughter of a highwayman who warns her away from his ultimately fatal lifestyle. It’s a Greek tragedy set to music in a melancholy Country/Americana arrangement that is sonically gorgeous. Wheels Keep Turning is a song of hopeful melancholy about second or new chances and the passage of time. One Step Away is a little more upbeat, played in a more traditional Country arrangement. It’s a song about the dynamics of a relationship that is very intelligent and tuneful. This is not your typical Country/Folk fare, but a classic song that would be welcome in Nashville in almost any age of Country music. Time Stands Still is a passionate plea for a relationship not to end. It is one of the most heartfelt and personal performances I’ve heard on CD in some time.

Nicky Swann is a lesson in accidents and fate. If you do what you love and do it well you’ll be given what you love to do. The fact that the latter isn’t always exactly what you might have expected is irrelevant; or maybe it’s the point. Nicky Swann cocooned herself after the breakup of her old due, and emerged from that hibernation as an amazing songwriter. Burning Bright is a thing of beauty; a Wildy’s World Certified Desert Island Disc, and an instant classic.

Rating: 5 Stars (Out of 5)

You can learn more about Nicky Swann at http://www.myspace.com.nickyswann/. You can pick up a copy of Burning Bright (EP) at www.cdbaby.com/cd/nickyswann2.

Review: Babe Gurr - Chocolate Lilly

Babe Gurr - Chocolate Lilly
2008, Elan Records Canada

Babe Gurr. What a name. The folk/rock singer-songwriter from Vancouver Island, British Columbia has been turning heads for years with her blend of roots/blues/pop. Shaped by intelligent, sometimes funny lyrics, memorable melodies and strong arrangements, Gurr lights up her songs with an engaging presence and a sandy and sultry voice you won't forget. Gurr's latest release, Chocolate Lilly, continues in the vein of her earlier works. It's a stunningly beautiful and poignant musical experience.

Gurr starts with great songs and one of the tightest backing bands south of the arctic circle. Chocolate Lilly opens with Hard To Get Over Me, a soulful warning that's part Lucinda Williams and part Bonnie Raitt. If you ever want to court Gurr or a woman like her, listen closely to Love Is Tough. It's a statement of terms for a relationship, and probably one of the most commercial songs on the album. I Give Myself To You is destined for weddings, mix-tapes and scenes involving young men with box radios below the windows of ladies they adore. This is one of those classic love songs that with the right bit of commercial exposure would become the wedding theme of a generation. It avoids cliché while making an honest and forthright statement of devotion. The melody is memorable and won't leave you anytime soon. Gurr also pulls back a little back here vocally, sounding more like Shawn Colvin than Bonnie Raitt.

Babe Gurr is absolutely inspired on her cover of Ray Charles' Unchain My Heart. The song drips with soul and desire driven by Gurr's sultry voice. Larger Than Life frames a philosophy centered on taking life by the horns and having no regrets. It's a great Americana arrangement with real pop hooks. Make sure also to check out Understanding, a poignant look at inequality and the ultimate remedy. Other highlights include the title track, Chocolate Lilly, Now You're Gone and Break Thru.

Babe Gurr is the sort of talent who doesn't come along all that often, and her star is on the rise. Her music has already been tapped for the US television show Higher Ground, as well as being a guest on Canadian shows Canada AM and The Jim Byrnes Show. It's only a matter of time before Gurr's star rises above the Canadian Content Rule and she truly becomes an International artist. Chocolate Lilly is the clearest sign that she is ready, taking everything Gurr has done so well to this point in her career and raising her game another notch. It's an inspired performance.

Rating: 4.5 Stars (Out of 5)

You can learn more about Babe Gurr at http://www.babegurr.com/. You can purchase a copy of Chocolate Lilly at www.cdbaby.com/cd/babegurr3.

Review: Chrissy Coughlin - Look Ahead

Chrissy Coughlin - Look Ahead
2008, Chrissy Coughlin

Chrissy Coughlin calls wherever she happens to be her hometown. Having moved around a great deal as a child, Coughlin became adept at meeting new people and finding how situations work for her. This ease in transition comes across on her 2nd album, Look Ahead. Coughlin presents a musical traveling soul, with sounds/influences ranging from Sheryl Crow to Natalie Merchant to Lucinda Williams to Sarah McLachlan.

Look Ahead opens with Back To You, a delightful country rock tune built on a strong guitar hook and a snappy melody. From there Coughlin slides into Watch Your Step, a rootsy song born in dark tones that resolves into an airy melody and bright message. This one sounds like something Tom Petty and Sarah McLachlan might have written together if they were so inclined. Look Ahead is the mix-tape song on the disc, although it does get a little bogged down in itself. Big Log is a real treat, featuring Robert Cray style guitar playing and soulful vocals from Coughlin. Coughlin sounds very at home here, and her voice opens up with more color and nuance than we've heard to this point on the album.

Perfect Time may be the most commercial song on the album in spite of itself. It's a very straight forward rock tune with a clean melody line that sticks in your head. Wait For You is probably the most well-written song on Look Ahead. The juxtaposition of guitar, piano and voice here is quite striking, their mutual tension creates something greater than the sum of the parts. Coughlin is very courageous to take on Carlos Antonio Jobim's Quiet Nights Of Quiet Stars (Corcovado). Not only courageous but successful. The tune is stylistically out of place here, but nonetheless a brilliant rendition, and makes you wonder if Coughlin might have a history (or future) singing jazz. The album closes out with Honestly, a pop confection that marks another divergence for Coughlin. It's a pleasant song that highlights the durability and reach of Chrissy Coughlin more than anything else.

Chrissy Coughlin brings a mixed and varied pallet of singing styles and vocal textures on Look Ahead. She appears to be able to sing most anything (well), and also displays a great sense of melody in her songwriting. A couple of songs on Look Ahead get a little bogged down in themselves, but on the whole it is a very solid album. It's a great rainy afternoon, snuggling on the couch music. It will fit well into your ears whether you like adult contemporary, country, light pop or rock. A strong effort.

Rating: 3.5 Stars (Out of 5)

You can learn more about Chrissy Coughlin at http://www.chrissymusic.com/. You can purchase a copy of Look Ahead at www.cdbaby.com/cd/chrissycoughlin2.