Jamie Block - Whitecaps On The Hudson

Jamie Block – Whitecaps On The Hudson
2013, Jamie Block

Music is as real as the wind, and as ineffable as time.  Why one person can sit at a piano on their first try and pick out a tune, while others spend their lives looking at one as a foreign object is unknown.  But it is clear that some people just have a natural talent for making music.  What’s more, those individuals can’t escape the gravity of their own talents.  Like moths to a flame they return again and again.  Yes, we’re speaking allegorically of Jamie Block.  Block, who was an Indie darling gone major label during the 1990’s who opened for the likes of The Brian Setzer Orchestra, They Might Be Giants and Bob Mould.  His debut album Lead Me Not Into Penn Station garnered critical praise from Alternative Press, and let to his signing with Glenn Ballard’s then nascent Java Records.  Block eventually traded the musical life for a pinstripe suit and a seat at the Wall Street table, but came back by demand of DJ Claudia Marshall.  Cut to 2013, and Block offers up his most personal and enigmatic work to date, Whitecaps On The Hudson.

There is much to be said for Block’s songwriting.  It’s witty, clever and insightful.  There is a sort of maniacal aesthetic to Block’s songwriting, as if he were the real life incarnation of Prak, a character from Douglas Adams’ Hitchhikers series who must tell the whole Truth in its absolute form.  Block’s songs read in much the same way, he is giving insight into a life (perhaps his own) that runs much deeper than the usual confessional songwriter gig.  He warms up slowly with “Black Eyed Susan”, but by the time Block engages “Henry” he is in full story-teller mode.  The subtle guitar, including some stunning slide work, frames this perfectly.  “Kate” has an interestingly detached air to it, as if the narrator is trying hard not to care about the subject of the song.  The presentation works as authentic, but no one will believe the air is true.

“B.A. Man” has an elemental blues/folk feel.  Sparse and on edge, the arrangement is the perfect balance to Block’s more whimsical lyrics.  “Somebody Beat The Wiz” is an odd, eclectic story about desolation and growing past one’s prime.  It’s intriguing and brings about a strong songwriting comparison to Randy Newman.  Like Newman, Block seems to spend much of his time writing in character.  Also like Newman, Block does it very well.  They have similar approaches, allowing the quirks of the song’s character to shape the song.  “Can’t Sleep” represents what Paul Simon might sound like if he were clinically depressed.  The stumbling arrangement here is intriguing; with a compelling melody and song structure despite it’s slightly disorganized feel.

“Whitecaps On The Hudson” is an internal monologue that is difficult to follow.  Reflection, escapism and luck all come into play here in the thoughts of a social hermetic nomad who touches lives as he needs to but never stays.  Block memorializes ill-fated dare devil Sam Patch in a song of the same name.  The quasi-spoken word verses and sparse rock sound is reminiscent of 1990’s indie rockers The Men.  It’s an entertaining listen.  Block seems to get a bit more serious on “I’ll Keep It With Mine”, which is very well written with a memorable melody.  Block keeps this aesthetic with “Show You Mind”, a solid love song, of sorts that carries some of the neurotic tendencies of a Randy Newman or Lyle Lovett tune.

“1993” is a mid-life crisis song, pure and simple.  The spoken word joint reflects on a sense of being stuck while everyone around you moves on.  Block handles this in entertaining fashion, stating that, “I’ll stumble through the Middle Passage” before launching into a musical bridge.  The self-deprecating humor here gives light to a dark time, and it’s probably one of Block’s finest pieces of self-satire.  Block works his way through “My Head”, and then heads out the door with the sweet, rolling country ballad “Far Away”.  Led by a forlorn guitar, Block tries to make sense out emotions he seems to understand on an elemental level but perhaps never fully grasps.  It’s an entirely human and wonderfully artistic moment.

Jamie Block continues to be one of the best under-the-radar singer/songwriters working today, akin to folks such as Rob Morsberger and Ron Hawkins, but also sharing characteristics with Lovett and Newman.  It’s hard to imagine Block staying under the radar, but his kind have always had a talent for carving out their niche just out of sight, where their songs can be heard by all who want to listen.

Rating: 4 Stars (Out of 5)

Learn more at www.jamieblock.com.

 

Seth Glier - Things I Should Let You Know

Seth Glier - Things I Should Let You Know
2012, MPress Records

Two-time Independent Music Award winner and GRAMMY nominee (2011’s The Next Right Thing) Seth Glier is back with his most impressive work to date.  Things I Should Let You Know tackles adulthood; from the shoreline to wading in.  The 24-year old Glier shows a story-teller’s presence and sense of subtlety that speak of talent gilded longer than his tender years.

Glier sets sail with the eerie atmospherics of the title track. Glier's voice shares sonic real estate with former American Idol finalist Paul McDonald, but this opening track sets a pallid tone for the album. Glier finds a solid pop/rock groove on "The Man I Used To Be". The regretful depression of the story song is wonderfully at odds with the catchy arrangement and memorable melody.  A slow but solid beginning jumps into overdrive with "New World I See", a celebratory love song about a northern man who falls in love with a southern girl. Glier finds that personal, self-deprecating humor that drives the songwriting of folks such as Randy Newman and Lyle Lovett while weaving a story that engages you. All of this is done in a wonderfully salty New Orleans style arrangement that is full of life.

"Plastic Soldiers" is a heartbreaking story song that follows one man's journey from playing with plastic soldiers as a child to serving and being wounded in war to watching his son play with the same soldiers. Glier avoids preaching, rather allowing listeners to form their own ideas about the progression. Either way it’s a beautifully sad and moving moment. "The Stars And Glitter" is a cutting indictment to consumer culture and humanity's seeming willingness to enslave themselves for more stuff. The stark arrangement is compelling, and Glier's voice is amazing in this context.

"Down To The Wire" is an infectiously ambivalent rocker about falling in love. This leads into sonic resting space of "Interlude", a moment of quiet musical repose. Up next is "Good Man", which continues the love story from "Down To The Wire". Here the relationship is on, and he is surprised at the feelings in his heart. It's a mea culpa of sorts, an acknowledgement that he doesn't know what he is a doing with a promise to do right. Glier shifts gears with "Avery", a middle of the road pop rocker about a less than ideal friend. The story is well told here, but this track lacks the sort of spark Glier is capable of.

"Too Hard To Hold The Moon" is a touching love song with an unusual object. Glier mixes metaphors here, turning from the image to reality and back at irregular intervals. The song is touching and powerful and ultimately bathed in a sad beauty. "Poppies On The Table" explores a single moment that turns two worlds upside down. Glier offers a dynamic monologue in a catchy, vibrant arrangement while exploring long term mistakes and having the courage to change.  Glier gets contemplative while exploring truths about love and human imperfection on "Everything Beautiful". It's a beautiful, stripped down moment that is deep yet accessible. Glier closes with moral of the story in "I Am Only As Loved As I Am Open". The simple truth sweeps over him on his wedding day in the song, and it will connect with listeners who listen with their hearts.

Seth Glier shows that the sophomore slump is a myth with Things I Should Let You Know. Glier is a musical storyteller on a par with a young Randy Newman or Lyle Lovett. This cycle confirms that Glier's period Grammy nomination was no fluke. Don't be surprised if Glier hasn't shown us everything he's got. This guy just seems to be getting better as he goes.  Things I Should Let You Know is required listening, and a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.sethglier.com. 

Nelson Wright - Still Burning

Nelson Wright – Still Burning
2012, Nelson Wright

What can you say about a folk singer whose photo appears on the cover of the classic Woodstock album and whose inventions are in the Smithsonian?  You’re certain to think of much to say about Nelson Wright as you listen to his album Still Burning.  The northeast U.S. native and northwest émigré is thriving in Seattle’s nouveau art-folk music scene.  Wright trades on the currency of well-written songs and artfully delivered stories that bring people, places and moments to life with flashes of intelligence and wit. 

Wright kicks off with “Worse Things”, a deliciously bluesy folk love song that recounts all the ways his life could be worse than being with the one he loves.  Wright’s rough hewn voice fits perfectly amidst his rather prodigious guitar riffs, and his sense of humor is somewhere between Lyle Lovett and Randy Newman.  Wright paints a picture of a roadhouse and a young lady looking for a way out in “Five Feet Under”.  If the name implies that something doesn’t quite measure up, the story confirms this as fact.  It’s a tale youth escaping from desolation and pain through music.  The resolution is, perhaps, a continuing story, but there are sufficient tension and potential plot lines to turn the song into a movie.

Nelson Wright displays a unique ability to spin tales in song.  “Time To Choose” takes a slightly different tack, laying out the story of a relationship on the edge in one-sided dialogue.  The vocal lines are accompanied and occasionally broken by some heartbreaking electric blues riffs on guitar.  Angst, anger and pain are wrapped up in each tremulous note as they crash upon the shore of indecision.  “No Second Chances” follows a more traditional folk route, exploring with melancholy air the transitive nature of relationships and the fact that those lost rarely come back.  Wright mixes melancholy and regret here with an almost clinical nature; a knowing observation in song.

In “Red Wing”, Wright recalls a brief liaison from his younger days with sadness: “there are tricks that time can play; the cruelest one is called regret.”  The image of a white sun dress becomes the icon of a magic moment that can never be recovered, but will always live in his mind.  “Burnin’” explores heartbreak from a gritty, dysfunctional perspective.  He’s trying to shake her and knows she’s nothing but heartbreak, but can’t put out the fire inside.  There’s a sense of urgency here that’s palpable, drawn out in the edgy blues/folk guitar work, and little resolution in the end.  It’s a well-written tune that leaves the listener on the edge that the singer seems to feel.

“It Ends With My Longing For You” may well be a continuation of the same story written with the perspective of time.  Where “Burnin’” is in the immediate aftermath and is full of the urgent longing of heartbreak, “It Ends With My Longing For You” is written perhaps years later from a depth of melancholy and understanding.  The contrast of the two songs is appealing, and Wright particularly nails the melody on the latter song. 

“February Thaw” is an intriguing little song about unrequited love.  The songwriter falls in love with someone whose heart has been made cold by experience and is simply waiting for the weather to change.  This song is a thing of beauty, written in the plaintive but determined tones of a man who intends to wait out the winter no matter how long it takes.  “Trouble In Mind” tells a story of young love against the backdrop of a vibrant Zydeco-fueled arrangement.  The song is catchy and vibrant, and the dueling guitar and violin solos threaten to rip the roof off of wherever they are played.  After spending much of “Still Burnin’” exploring stories of love lost or faded, Wright finishes off with a story about today.  “Unfinished Business” finds Wright headed out with nothing but a picture of the woman he loves.  His intent; to find her and finished what they once left behind.  It’s a carpe diem song, of sorts, but with a very personal investment.  The song is well-written and full of heart.

Nelson Wright crafts songs born from experience, deep thought, and ultimately, from the heart.  There isn’t a moment on “Still Burnin’” that isn’t somehow tinged with personal experiences.  Wright eschews cynicism and theatrics, focusing on the truths each moment brings as he sees them, occasionally moving around in time to offer different perspectives on the same theme.  The conclusion is that permanence is what we make of it, or as Wright sings, “there ain’t no forever, there’s only never lettin’ go.”  These simple truths are delivered in a mix of arrangements simple and complex, but full of the simple beauty of pure heart.

Rating:  4 Stars (Out of 5)

Learn more at www.nelsonwright.org. 

 

Lyle Lovett - Release Me

Lyle Lovett – Release Me
2012, Lost Highway

In modern American music there are few singer/songwriter/musicians in a class with Lyle Lovett.  A jack-of-all trades musically, Lovett’s muse runs through the fertile grounds of rock, country, blues, gospel, jazz, bluegrass and folk, sometimes all within one song.  The four time GRAMMY award winner has had his share of chart success, but if you look at the list of people he’s collaborated with over the years you’ll have an idea of the sort of respect he has from his peers.  Names such as Randy Newman, Keb ‘Mo and Allison Krauss are but a few of the folks Lovett has worked with over the years.  This week Lovett released his 15^th album, Release Me, and continues to show why he is one of the finest working songwriters in the U.S., as well as one of the most nuanced interpreters or classic country music as well as standards.

Lovett kicks things off with delicious bluegrass instrumental ‘Garfield’s Blackberry Blossom”, showing off not only his chops a musician but also the deep talent of his backing band.   Lovett has never been afraid of letting his backing band shine for their own individual and collective talents.  “Release Me”, featuring K.D. Lang in a duet, will bend your ears a bit at first, but once you get accustomed to the harmonic scheme of the song you’ll never want to hear it any other way.  “White Boy Lost In The Blues” is a catchy, blues-tinged early rock n roll style number that you won’t be able to get out of your head.  The eminently listenable Kat Edmonson joins Lovett for a sparkling rendition of “Baby Its Cold Outside”.  The chemistry and blending of voices here is striking in intensity even amidst the tongue-in-cheek playfulness of the track.

“Understand You” is a moment of pure brilliance.  Lovett has a distinctive talent for translating these quiet, nuanced ballads and creating moments that transcend both music and the human heart.  “Brown Eyed Handsome Man” blends country, blues and rock in a somewhat mysterious take on the classic Chuck Berry-penned tune.  “Keep It Clean” is a wonderfully entertaining bit of ragtime country that will get stuck in your head and stay there.  “One Way Gal” is a working class paean to a good woman.  Lovett imbues this song with wonderful energy, driven by a guitar part that simply will not quit.  “Dress Of Laces” is a classic murder ballad with a twist; written by Saylor White and originally performed by Nanci Griffith.  Lovett breathes new life into a classic, if underappreciated song with a performance you won’t soon forget.

“The Girl With The Holiday Smile”, one of two Lovett originals, is a swinging country number that combines prostitution with the holiday season in entertaining fashion.  This is classic Lovett; well-written and musically superb, with that wonderfully warped wit of his in full effect.  The other original, “Night’s Lullaby” is an amazing country ballad; one that seemingly stops time while it unfurls.  “White Freightliner Blues”, on the other hand is raucous and fun – an instant party.  Lovett’s band is at the very top of their collective game here.  If you can sit/stand still through this number you’d better have someone check your pulse.

“Keep Us Steadfast” is a country/gospel hymn written in mixolydian style.  Lovett’s plaintive vocal line is perfect against the stripped-down beauty of the guitar-driven arrangement.  Kat Edmonson returns for “Christmas Time Is Here”, a quiet calm before the tempest of closing number. “Isn’t That So” finds Lovett up to his old tricks, creating a wonderfully blues-tinged country/pop take that is sure to become a fan favorite.

Release Me is one of those albums it takes a few listens to really dig into, but the time and effort are worthwhile.  Lyle Lovett is a consummate professional as a songwriter and performer, and Release Me is evidence of an artist who is thoroughly in his element.  While the album might run a bit short on original tunes, it once again shows that when it comes to interpreting and performing songs from the American songbook, there are those in the field with similar talents, but nobody puts it all together the way Lyle Lovett does.  Release Me is utterly brilliant.

Rating: 5 Stars (Out of 5)

Learn more about Lyle Lovett at www.lylelovett.com.  You can purchase Release Me there, or through the links below.

            CD                          MP3                       Vinyl                       iTunes

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Ravishers - Ravishers

The Ravishers - The Ravishers

2011, Timber Carnival Records

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

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

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

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

Rating: 4 Stars (Out of 5)

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

            CD                   Download            iTunes


Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Spectacle: Elvis Costello With... Season 2

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

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

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

Rating: 4 Stars (Out of 5)

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

John Shipe - Villain

John Shipe - Villain
2010, Involushun Records

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

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

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

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

Rating: 4 Stars (Out of 5)

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

Bradford Monk & The Foggy Hogtown Boys – Bradford Monk & The Foggy Hogtown Boys

Bradford Monk & The Foggy Hogtown Boys – Bradford Monk & The Foggy Hogtown Boys
2011, Bradford Monk & The Foggy Hogtown Boys

Bradford Monk is a Canadian-born singer/songwriter known for his depth and honesty.  Monk has three albums under his belt, playing in the realm of Americana (rock, traditional country and occasionally gospel).  Like many who travel this path, it’s only a matter of time before they stumble into bluegrass.  Monk doesn’t so much stumble as dance through the door in early 2011, teaming up with Toronto’s The Foggy Hogtown Boys to release the appropriately named Bradford Monk & The Foggy Hogtown Boys. 

Monk opens with the solid country/bluegrass tune”Suzanne”, an attempt to ply a lady away from her beau.  The song is sweet in its approach to a love unrequited.  “Maybe Baby” is a charming love song with a melody that will sneak up on you and get stuck in your grille.  The gentle country arrangement and backing vocals are all perfect touches.  “Hold On Darling” will get people out of their seats.  Monk explores a relationship that continually falls apart because he’s in love with the girl but doesn’t know how to be in love.  The picking and fiddle work here are dizzying.  “Rosie” is a touching number from a man who has seen his wife pass on.  It’s a love song and a prayer asking to join his one true love even it means passing beyond the veil.  This is an amazing bit of songwriting; emotionally moving and insightful beyond words.

“I’m Alright” is raucous bluegrass that’s danceable and even mixes in a bit of gospel feel in the process.  The song is about getting back to the simple and important things in life.  Fiddler John Showman and banjo player Chris Collins turn the world upside down on this tune.  “Bringing Coal” is a story-song about love, allegiances and even adultery.  The vocal harmonies show a touch of high lonesome sound in a more modern setting; the sound is stunning.  “The Cowboy And Pearl” is the story of a rodeo rider and his second love; the one who becomes the most important in his life after his career is ended by a tragic injury.  Chris Coole’s guitar work adds a mournful that’s starkly beautiful.  “Titanic (When The Great Ship Goes Down)” is a classic shipwreck tune done in traditional bluegrass/gospel style.  The song is a fun listen in spite of the dark subject matter, and sits well alongside traditional bluegrass material. 

“Love And War” sticks to a simple form that allows The Foggy Hogtown Boys show off their instrumental genius around and between Monk’s lyrics.  This is one of those tunes you simply can’t still for.  “Remember Everyday” is a down-home love song about the deepest of devotion.  Don’t be surprised to hear “Remember Everyday” used as a country wedding song, whether in movies or in real life.  “Sweet Mary” is a minimalist love song; an outstanding bit of songwriting laced with hints of innuendo.  Monk may remind you a bit of Lyle Lovett here; and it’s a comparison that will hit home with real weight.  While Monk’s sense of humor isn’t, perhaps, quite as bizarre as Lovett’s; there are certainly parallels in their ability to craft a story or bring a character to life in their songs.  Monk closes with a live take on “Too Much Talkin’ Not Enough Drinkin’”, a song that explores being with a girl who talks too much.  A pure blend of honky-tonk and bluegrass, “Too Much Talkin’ And Not Enough Drinkin’” is pure fun, and The Foggy Hogtown Boys go to town on this one in support of Monk.

Bradford Monk continues to develop as an artist; broadening the scope of his songwriting without losing the essential character of his music.  Bradford Monk & The Foggy Hogtown Boys is inspirational, keeping a traditional bluegrass sound alive in modern songs that sit well in any area.  After hearing Bradford Monk And The Foggy Hogtown Boys for the first time you’ll run to your computer and check to see if they’re coming to your town.  If you’re lucky, they will be.  Bradford Monk is the sort of songwriter we’ll still be talking about twenty years from now, and The Foggy Hogtown Boys are one of the finest bluegrass outfits in North America.  This album is a match made in heaven.

Rating: 5 Stars (Out of 5)

Learn more about Bradford Monk at http://www.bradfordmonk.blogspot.com/ or http://www.bradfordmonk.com/.  Bradford Monk & The Foggy Hogtown Boys is available digitally from both Amazon.com and iTunes.

Jason D. Williams - Killer Instincts

Jason D. Williams - Killer Instincts

2010, Rockabilly Records

Jason D. Williams has been making hit records out of other people's songs for fifteen years.  Going into the studio with producer Todd Snider in early 2010, Williams was initially content with the same old approach.  When he and Snider got together something magical happened.  Snider was so impressed with Williams' ability to create spontaneous songs and poetry that this ability became the central focus of their time together.  It wasn't long before the covers were out the window and an album of nearly-improvised original work was in the works.  Joined by The Georgia Satellites' Dan Baird and Keith Christopher, Jason D. Williams has turned out the most inspired work of his career.  The resulting album, Killer Instincts, drops on October 26, 2010.

Whoever knew Jason D. Williams would sound like Lyle Lovett with a mean streak?  Williams touches on early rock n roll, rockabilly, rhythm and blues and gospel in one of the most surprising and original releases of the year.  Killer Instincts opens with "Just Like Jerry Lee", casting aspersions on rumors about Williams' being Jerry Lee's son.  It's a humorous rhythm and blues/early rock turn that plays off of Lewis' signature piano style.  "Big Red Green One" was inspired by a random phrase written on tape in the studio and finds reality and fantasy blending in Williams' off-center recounting of his touring life.  It's great songwriting that plays on the edge of madness, taunting the tendrils of insanity with each leap and bound.  "If You Ever Saw A Baby With It's Pud" was written on a dare from Snider that challenged Williams to write entirely freestyle (like in rap music).  The tune is fragmented and funny, mixing irreverence and respect in head-spinning fashion.

"You Look Like I Could Use A Drink" is snarky and fun; an entertaining and danceable bit of rowdy, barrelhouse rock n roll.  "Wine Spo-Dee-O-Dee" is a drinking tune done in an old-school rock n roll style that's perfect for last call.  "Daddy's Lil Punkin" is a cute riff on a dysfunctional father-daughter relationship that leads into the entertaining caricature "White Trash Wife".  Williams slips into his boogie-woogie shoes for "What Am I Gonna Do", a love song that will have you wishing you knew how to jitterbug.  It's a great tune, virulently catchy and certain to get stuck in your noggin.  "Really Really Pretty" is pure braggadocio, with Williams mooning/boasting over his girlfriend.

"Sanctified" blends gospel and rock, a crazy song of irreverent reverence with a classic-style call-and-response chorus.  It's highly entertaining and very above-board on the face, but there's a rebellious undertone here that becomes more glaring on "Mr. Jesus".  Here Williams offers an irreverent-bordering-on-blasphemous prayer from a sinner who is down to his last straw.  Williams takes listeners on a neo-classical excursion on "Yes I Can", an inspiring and magical solo-piano rant that will remind you (in case you forgot) just how talented the man is on the keys.  Killer Instincts closes with "To Hell With You", a love song to drinking buddies and reminder that the road to depravity is a slippery slope best enjoyed with friends.  It's a great closer, certain to be repeated at bars and clubs all over the map.

John Steinbeck said "the best laid plans of mice and man sometimes run amok"; sometimes it's these moments that create the greatest flashes of inspiration and magic.  Jason D. Williams proves the point on Killer Instincts, his most impressive and noteworthy album to date.   In spite of the novel approach and Williams ever-present sense of irony, Killer Instincts is anything but a novelty record.  This is rock n roll, raw and pure, with the energy that early purveyors of the genre found and a modern irreverence and sensibility that thumbs its nose in the face of expectations.  Williams mixes up styles, sounds and expectations with Killer Instincts, but in the process, at least for a short time, Jason D. Williams is rock and roll.  Killer Instincts is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about Jason D. Williams at http://www.rockinjasondwilliams.com/ or www.myspace.com/rockinjdw.  Killer Instincts drops October 26, 2010.  You can-preorder the CD from Amazon.com.

David Silva - Moorpark Oasis

David Silva - Moorpark Oasis

2010, Moorpark Song

David Silva was on a path to a career in music in 1985 when he became a father and his priorities changed.  Living in New York City at the time, Silva returned to his native California with his burgeoning family and pursued the American dream.  Twenty years later Silva heard the call, and pulled his guitar out to play.  He hasn't looked back, playing at numerous venues in northern California over the past five years.  Now comes Moorpark Oasis; Silva's debut album is a collection of songs he's written over the years.  Silva's songwriting style and smooth delivery have garnered him comparisons to artists such as John Prine, Lyle Lovett and Loudon Wainwright III. 

Moorpark Oasis opens with “Guitars & Shady Ladies”, Silva’s take on the good life.  The song is entertaining, autobiographical and funny; a look at how he got to where he is in life.  The song is catchy with a great melody.  “Garlic” looks back on a relationship past with longing and regret.  It’s a paean to the little things we carry away from us, and the things that can touch our lives even years later.  “Coffee Shop” is a love song full of deep experience and emotion.  Silva’s arrangement is haunting and lovely.  “September Bride” is a wonderfully descriptive vignette, almost a Rockwellian perspective in music.  Silva’s words craft images that live in your mind.  “Blessing” is a song about the gifts that fill our lives, many of which we never realize.  “It Will All Be Perfect” offers the stark perspective of one in an abusive relationship.  The song is a bit unsettling in its honesty and well written.  Silva closes with “Life Is Good”, the celebration of the end of a relationship where she tried to change him. The song is funny and entertaining, turning anger into comedic commentary.

David Silva combines humor and honesty on Moorpark Oasis, wrapping them up in catchy and memorable folk arrangements.  Silva entertains without histrionics or flash; just a guy and his guitar and a wealth of life experience delivered with a twist of wit and a mischievous grin. Moorpark Oasis comes with high recommendations.

Rating: 4 Stars (Out of 5)

Learn more about David Silva at www.daveworldonline.com

dave@daveworldonline.com.  Moorpark Oasis is available as a CD or Download from Amazon.com.  A digital version 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.

D.B. Rielly - Love Potions And Snake Oil

D.B. Rielly - Love Potions And Snake Oil
2009, Shut Up And Play!

D.B. Rielly is a standout singer, songwriter and composer, but he's also a brilliant multi-instrumentalist who has appeared on 40 independent recordings and films. Rielly also has a wicked sense of humor that shows up in his songwriting. Treading the machismo line between alt-country and Americana, D.B. Rielly serves up ten memorable tracks on his latest album, Love Potions And Snake Oil. Rielly's instrumental work has previously been featured on recordings by B.B. King, Chubby Checker, Paul Schaffer and The Boston Pops.

Love Potions And Snake Oil opens with "One Of These Days (You're Gonna Realize)", a charming song to someone who's wasting their chance at love. Rielly's zydeco arrangement is highly danceable and fun; you won't be able to sit still. "Don't Give Up On Me" plays on old school country song, veiled in a melancholy that's tangible as you listen along. Rielly's voice that of a melodious everyman, full of emotion and texture (ala Lyle Lovett). "Save All Your Kisses" is a piano ballad; a classic love song that should be a mix-tape favorite for the country/folk set. It's a brilliant bit of songwriting, showing the depth of Rielly's talent as a craftsman of word and song.

"I Got A Girlfriend" blends country and zydeco in a disturbingly funny tune about picking out the right girl and bringing her home by force. The lyrics here would be disturbing if it weren't so obviously meant to be funny. Rielly takes listeners to the edge of good taste and beyond with a reference to 'fava beans and a nice chianti' as a counterpoint to his actions. "Loving You Again" is a delicious little tune about recidivism of the heart in a catchy country/rock arrangement over a galloping drum beat. Just try to get this song out of your head. Rielly digs into some delta blues on "Changed My Mind", a highly entertaining all-acoustic affair that makes Rielly sound like he was born of the blues. Rielly sticks with the sound on "Got A Mind", a song of vengeance born of love where justice fails before justice is done.

Zydeco, honky-tonk style is the order of the day on "We're All Going Straight To Hell"; a song about a preacher who makes his career out of condemnation. Rielly's band is as taut as a wire as he questions the real motivations (and eventual destination) of the clergyman in question. Love Portions And Snake Oil closes with "Love Me Today", a melancholy love song born of loneliness and desire. Rielly is at his best here; emoting in an entirely believable and fragmented musical monologue the depth of human need. It's a gorgeous song; a classic.

D.B. Rielly will surprise you. His blend of humor, musicality and subtle songwriting puts him on a path to be compared to folks like Lyle Lovett and Randy Newman. You're never entirely sure whether Rielly is being serious or joshing you until the song is done, but the music he crafts along the way is exceedingly pleasing to the ear, and sometimes that restless anticipation of where he'll go next is as much of the experience as the songs themselves. If he continues writing songs like the ones on Love Potions & Snake Oil Rielly should want for little for the rest of his career. Love Potions And Snake Oil is breathtaking, a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about D.B. Rielly at http://www.dbrielly.com/ or www.myspace.com/dbrielly.  Love Potions And Snake Oil is available both on CD and as a Download from CDBaby.com.  You can also pick up digital versions of the album from Amazon.com and iTunes.

Review: Shayna Zaid & The Catch - Shayna Zaid & The Catch EP

Shayna Zaid & The Catch - Shayna Zaid & The Catch EP
2009, Shayna Zaid & The Catch

Shayna Zaid has been a television personality and recording artist since the age of twelve, and has developed a stage presence that can't be taught. Her smoky voice and enigmatic style mix with an extreme talent for writing lyrics and a sense of melody and arrangement that are far above the norm. We reviewed Zaid's debut EP, Au Fait, in 2008, and were wowed by her songwriting and persona, but Zaid continues to develop her craft. Her latest effort, Shayna Zaid & The Catch [EP] features band mates Joel Dean (guitarist/producer); Christopher Heinz (drums), Danny Stone (bass) and Yan Izquierdo (violin) in a wonderfully coherent and Pop-influenced post-genre album you have to hear to believe.

Zaid opens with Morning Sun, a bright, airy Americana tune offered up in acoustic format. Zaid's complicated, sultry alto is full of texture and personality that leaps out of your speakers. You can't help but move to this music; a celebration of each and every new day. Just Because, one of three carry-overs from Zaid's Au Fait EP, is pure infatuation in song. Zaid proves herself a master lyricist, putting thoughts into words that slip into your brain as if they were your own. This is a song that mooning teenagers (and none too few adults) will name their mix tapes after. Closer is a fluid love ballad written to one who is far away. It's buoyed by a gorgeous melody and lyrics that flow like water; written in sweet and sensuous phrases without becoming cloying or cliché.

The highlight of the album, perhaps of the century (thus far), is Fireflies. If Zaid's purpose was to attain Pop perfection, she can quit now and go home. Fireflies is Brilliant (note the capital B). You can't teach a moment like this, but anyone out there who has ever written a song or dreamed of written one needs to listen to Fireflies and take it in. Fireflies is the view of a new love as seen through the eyes of your best girlfriend and practically bubbles over with exuberance. Zaid captures a moment in words with the fluid grace of Johnny Mercer, pairs it with a melody that simply won't leave you alone and wraps it all in arrangement that frames the song in perfect light. Pure poetry in music is what you'll hear "when his name slips through your smile wider than the river Nile, then it's love... bet he'd drive a million miles just to see you for a while, then it's love. Fireflies... light up the night."

It's You is another bit of Mix Tape Magic; a devotional written with nothing held back. Zaid sounds like a cross between Norah Jones and Tina Turner here; the combination is gripping and the song is as emotionally raw as you could imagine. Bonita could be a song of love or support; sweet and loving either way. It's a light and airy arrangement that's very danceable. Zaid closes with Blow, a powerful, driven acoustic arrangement about the perils of cocaine laced with gypsy violin ala Joe Venuti. It's more of a character sketch in song, a brilliant take that sounds like it might have come from a Tarantino film (or perhaps a song he might choose to write a film about).

When I reviewed Shayna Zaid's Au Fait EP I knew she was a formidable talent, but she's upped the ante seriously in the mean time. I don't think it's any kind of stretch to start including Zaid in discussions of the best songwriters working in Indie Music. If it were just Fireflies you could make the argument that any songwriter can strike brilliance once, but there are no less than three songs here that are exuberant ten out of tens, and there's not a smidgen of mediocrity in the bunch. If Zaid has any shortcomings commercially it will be that she doesn't fit into a neat marketable package, but will fit nicely into a lot of niches, similar to artists such as Lyle Lovett, Randy Newman, Jeff Tweedy and the still rising Marian Call. Shayna Zaid & The Catch have magic in a bottle; magic of their own making. Shayna Zaid & The Catch [EP] is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Shayna Zaid at http://www.shaynazaid.com/ or www.myspace.com/shaynazaid. Shayna Zaid & The Catch [EP] is available digitally through both iTunes and Amazon.com. It should be noted that the digital versions of the EP have only five tracks. Just Because and It’s You do not appear on the digital download versions available on either iTunes of Amazon.com, but are available on the wonderful Au Fait EP. And hey, if you dig Shayna Zaid & The Catch, why not give them a hand? Shayna Zaid & The Catch are up for band of the month from Deli Magazine. Voting closes tomorrow, February 15, 2010. Just go to Deli Magazine and look for the “Band Of The Month” poll that starts three quarters of the way down on the right on the page as it opens and vote for Shayna Zaid & The Catch. (Of course, you can vote for anyone else too, if that’s your preference!)

Review: Cosmo Jarvis - HumAsYouHitch/SonOfAB!tch

Cosmo Jarvis - HumAsYouHitch/SonOfAB!tch
2009, Cosmo Jarvis

19 year old Briton Cosmo Jarvis is an unusual talent, accomplishing more in the music business than many years his senior. Last year we reviewed a sampler sent to us from his double album HumAsYouHitch/SonOfAB!tch. We must have said something nice, as recently the whole album showed up in our mailbox. The writing on HumAsYouHitch/SonOfAB!tch is young but written from the perspective of an old soul, displaying both the artful storytelling of a veteran singer/songwriter and the biting cynicism that is the hallmark of youth.

HumAsYouHitch is an album of discovery, written about the time in Jarvis' life when he was discovering girls and his place in the world. It opens with You Got Your Head, a song about how easy it is to get your priorities misaligned during this time of life. The chorus is incredibly infectious, as you'll find when trying to expunge it from your mind once the album is done playing. Mel's Song is a clumsily inappropriate teenage love song that may be closer to the truth for a fifteen year old boy than anyone wants to admit. She's Got You admonishes a friend for disappearing into a new relationship. The song is part jealousy and part friendly warning to a comrade blinded by love or lust. Jarvis unloads another highly catchy chorus on listeners in a delirious aural assault you'll want to be a part of.

Wild Humans talks about how society works to normalize all of us into expected roles and ways of being, and the negative effect this can have for those who don't fit in (represented as a tongue-in-cheek reference to cannibalism). The song is highly entertaining, sonically enmeshing and very original in presentation. Jarvis explores his own teenage covergirl fantasies in Jessica Alba's Number, counting out the celebrities with whom he'd love to spend some time. Things turn a bit more serious on Get Happy, a musical examination on the stressors that haunt adolescent life right into adulthood. The Caribbean-style chorus may offer a second intention to the lyrics therein, but even without such subtleties the song is a great listen. HumAsYouHitch bows with Crazy Screwed Up Lady, a high-speed, high-energy ode to someone who's just a little bit lost.

SonOfAB!tch is a bit more pensive, showing a slightly older perspective that's more focused on understanding than discovery. Jarvis opens with Clean My Room, a song about recognizing the difference between a relationship that is beneficial and one that is simply comfortable. Clean My Room is a wonderful metaphor that takes a disastrous (or at least highly illegal) turn part way through. Either way, its brilliant songwriting and highly entertaining. Mummy's Been Drinking is a call out to a mom who's absolving her own parental responsibilities in a bottle. It's not even so much an indictment as it as a call for the mother in question to get her stuff together and start living her life. The guitar work here is impressive as well.

Sunshine And Dandelions covers some of the darker aspects of human relations; the seeds of murderous intent sown among non-committal smiles. Luckily most such seeds never are nurtured to fruition, but the fact that the human mind considers such things even for a fraction of a second is telling of how fragile the barriers of civility can be. Problems Of Our Own takes divorce and the angst it infuses into parents relationships with their children and lays out a study in song. Jarvis chooses this moment to pull out another wonderful sing-along chorus; he seems to save the best hooks for the darkest songs. This song is, in part, autobiographical, which may help listeners understand a bit more about where Jarvis is coming from.

Sort Yourself Out is about the displacement that most feel as some point growing up when your perspective leaps ahead but your life stays the same. There's an inevitability to the human condition that's implied here, and a need for each of us to come to our own terms with our unwilling participation in humanity/society. The songwriting is wonderfully insightful and catchy. He Only Goes Out On Tuesdays is a nearly-seven minute long macabre spoken word tale set to music about a child enslaved by his father for less than parental acts. The incredibly dark story is told in pulp-fiction style spoken word streams and underlines the powerlessness of young victims of physical abuse in stark terms. The song is unsettling and provocative; successful as both social message and art. Lonely Stroll is presented live-in-studio, most likely done in one take and gives the listener an idea of what you might hear on stage. If this is it, people should be beating down the doors to get into Jarvis' shows, as he has this compelling charisma that will make you want to sit and listen as long he keeps singing. Jarvis closes out the album with about a minute of harmonic vocalizing that Brian Wilson would enjoy.

Cosmo Jarvis is going to be around for a long, long time. His talent as a songwriter and performer is nearly singular. I can't think of anyone in the popular arena quite like him, although if pressed I might say he's something of a guitar-playing Ben Folds. Jarvis' ability to craft stories and narratives in songs is extremely advanced for the tender age of nineteen, and over time he may find himself mentioned in the same circles as Randy Newman, Lyle Lovett, Ron Hawkins, Bruce Springsteen and others. For now, he's an incredibly dynamic performer with an unusually broad coalition of youth and wisdom on his side. HumAsYouHitch/SonOfAB!tch is brilliant, a Wildy's World Certified Desert Island Disc!

Rating: 5 Stars (Out of 5)

You can learn more about Cosmo Jarvis at www.myspace.com/cosmojarvis or http://www.cosmojarvis.com/. HumAsYouHitch/SonOfAB!tch is a UK only release at present. In North America, the cheapest outlet I found was CDUniverse.com.