Tom Levin - Them Feet

Tom Levin - Them Feet
2014, Cut The Mustard

Tom Levin just keeps rolling.  After an accidental fall into a musical career that involves a shower concert and an exchange student program, Levin has led something of a charmed life.  His first band, Tennis, scored a top-10 single in his native Sweden in 1996 with “Shyway”.  Levin was just getting started however.  In the intervening years he has dropped six solo albums, showing steady growth as a songwriter and performer while continuing to refine his stage presence and his craft.  Levin’s latest effort, Them Buffalo is something of a companion album to his January, 2014 release, Them Feet.  Steeped in stripped down rock and Americana styling, Levin reveals himself to be a master story teller with a deep understanding of melodic nuance and rhyme.

Them Buffalo opens with “Thunder On”, something of a musical bridge from Them Feet.  The opener is a sharp and catchy rock and roll song with country flavor.  Levin’s voice is not a purist’s voice.  It’s full of rough edges and color and has an almost talk-sing sway to it at times, but he wields his voice like a finely tuned instrument, injecting personality and presence like a grand showman where the lines thin.  The result is a captivating sound that leaves fans and critics alike captivated and willing to listen long into the night.  “Mind’s Eye” opens in the style of an aboriginal tribal chant, and becomes a Utopian paean that’s catchy and well-written.    Wrapped up in the song’s core is an element of faith; a theme that recurs often through Them Buffalo in different forms.  “Everyday” is about finding your way by paying attention to the little things.  Questions of right and wrong swirl around the edges of this song; not in a judgmental way, but in the form of diving next steps.  The song has an earthy and urgent feel that is brilliantly understated and full of a primitive beauty.

“History, Beliefs and Bearded Men” takes on the concept of right and wrong between religious cultures from a very personal perspective.  The ancient argument between absolutism and relative truths wage quietly here, with Levin opting for an informed conscious to make out the difference in all of us.  In truth, there is a fatalism here that is appealing.  Levin doesn’t seem to be eschewing any side of the argument, in the end.  Opting for the sense that nobody really knows, so let’s all do the best we can.  This is a pensive number that’s prayerful in attitude and hopeful in heart.  It sets the stage well for “Different Drum”, a paean to being you no matter what.  The swaying rock anthem is typically understated but somehow more powerful for it. 

When it comes to love songs, the genre is thoroughly overdone.  Some overdo, some try to almost make fun of the genre.  Levin bypasses it entirely in recreating it for a new age.  In “More Than A Song”, Levin uses the ancient art form to decry its insufficiencies while delivering a message of deep love and intellect all at once.  It’s a thing of beauty that bypasses syrup but sticks to you nonetheless.  Levin engages in affectionately humorous misdirection on “Girl From Nova Scotia”, a tribute to Canadian songstress Mo Kenney.  If you’re not listening carefully (I honestly wasn’t the first time it played) you’ll think Levin’s engaging in vitriol, but there’s a deep admiration in the line “I hate you in a beautiful, beautiful, beautiful way.”  The underlying theme here is the mix of admiration and jealousy an artist might feel in hearing another artist create beauty.  It’s real and honest and powerfully alive.

Levin heads for home with “Schizo”, “Summered” and “Margaret’s House”.  The first delves into the push and pull of different parts of a personality.  There’s a bit of Randy Newman-style self-parody here, alongside Tom Wait’s biting poetry.  “Summered” is probably my least favorite track on the album; That is to say it’s really well-written, but perhaps just a bit out of place with this cycle of songs.  Levin bows with “Margaret’s House”, with the help of vocalist Aimee Bobruk, whose dulcet voice is a perfect blend to Levin’s understated drama.  This pensive duet is full of a quiet reverie, and is the perfect annotation for an album steeped in thought, wisdom and the slow wearing of time on memory.

Tom Levin continues to grow into his prodigious talent as a songwriter and performer.  It’s hard to say if he’s approaching a zenith or continuing a long slow build to something even more renowned, but the fact that he has hit new heights is inescapable.  In spite of several releases from artists I absolutely love in 2014, it is not stretching the point to say that Tom Levin’s Them Buffalo is the finest album I have heard in 2014.  You will be hard pressed to disagree.

Rating:                  5 Stars (Out of 5)

Learn more at www.tomlevin.com.

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.

 

Madelein Peyroux - Changing All Those Changes (Video)

Madeleine Peyroux returns on March 5, 2013 with The Blue Room, an artistic rendering of a tribute to Ray Charles' ground breaking Modern Sounds In Country And Western Music.  The album is not a straight cover project, as Peyroux hand picks tracks from the Ray Charles classic to interpret in her own inimitable style.  She also includes takes on tunes by Randy Newman, Warren Zevon, John Hartford and Buddy Holly.

The lead single is Holly's "Changing All Those Changes", and Peyroux does more than just take the song for a walk; she makes it her own.  Check out the video below, and keep your eyes and ears open for a lot more of Madeleine Peyroux this spring!

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.

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.

Adam Sullivan - The Room Is Spinning Faster

Adam Sullivan - The Room Is Spinning Faster

2010, Dweeb Records

Adam Sullivan gets compared to Billy Joel and Ben Folds a lot, but his musical roots are in the darker melancholy of Randy Newman and REM.  With eleven albums/EPs under his belt and ambitious international touring schedule, Sullivan has paid his dues and developed a solid fan base the world over.  His latest album, The Room Is Spinning Faster, shows the polished artistry of a songwriter who knows his craft combined with the restless rambling urge of someone who needs the road even if he's started to question his place on it.  The Room Is Spinning Faster is due out in October 2010 on Dweeb Records, but is already available in digital formats.

Adam Sullivan starts out strong with "Nothing Like Being Alone", rumination on his place in the world, sanity, perspective and understanding.  It's a Ben Folds-style ballad that's highly introspective, a soaring melancholy ode to self-contemplation.  "But The Dinosaurs Were Dead" is edgy, smooth pop, once again reminiscent of Folds.  The instrumentation here is unique, making use of piano and string to create an off-balance sound that somehow stands on its own.  "Please Don't Fall In Love With Me" is great songwriting, a melancholy and thoughtful love song written from the depths of fear and confusion. 

Up to this point Adam Sullivan is setting the stage.  With "Rainy Morning In Amsterdam" he sets the tone for the rest of the album.  It's a song of morning and regret, a pool Sullivan wallows in the rest of the way utilizing a Hemmingway-styled symbolism for tragedy and defeat while singing in measured tones.  Sullivan is searching for he knows not what.  "Something To Lose" is rambling and melancholic but lacks real energy.  The melody and harmonic construction here are gorgeous, but the song teeters on the brink of an emotional vacuum that is disconcerting.  "These Are The Thoughts" is a long-winded, emotionally grinding experience built in this same dearth of emotional energy.  It's the thoughts that keep him awake at night, told from the perspective of one so numb it's more of a recitative than an experience.  "Let Go" shows a flash of life; pretty and dark with a modality reminiscent of Alan Parsons, "Let Go" reflects a sort of determined, reticent hope about what is to come.  The rest of the way is back to the flat, emotionally bereft energy that haunts the middle of the album, as Sullivan walks the listener back to the sleep from which he first emerged.

Adam Sullivan constructs some beautiful musical landscapes on The Room Is Spinning Faster, but against those landscapes he casts a character so lost in his own melancholy and emotional distance that the songs take on a sort of fractured personality.  Artistically challenging, but the combination can make The Room Is Spinning Faster a challenge to get through.  If the navel-gazing melancholy and passive anger of The Cure or The Smiths or even REM you find appealing, then Adam Sullivan will fit nicely in your music collection.  Sullivan may be a bit too distant for the mass market, but the talent here is unmistakable. 

Rating: 3 Stars (Out of 5)

Learn more about Adam Sullivan at www.adamsullivan.com or www.myspace.com/adamsullivan.  The Room Is Spinning Faster is due out in October 2010 on CD, but can be purchased now in digital formats through Amazon.com and iTunes.

Joshua Panda - Joshua Panda

Joshua Panda - Joshua Panda
2010, Joshua Panda

You'd never guess it, but Joshua Panda is all of twenty-five years old. Keep that in mind as you listen to his self-titled album, a recent independent release. Panda sounds like a seasoned story-teller and songwriter in the vein of Randy Newman. With influences as diverse as Van Morrison, Tom Waits, Sam Cook, Townes Van Zandt, Kris Kristofferson and Otis Redding, Panda has a brilliant performing persona that's too good to be anything other than genuine. Joshua Panda is proof positive; encompassing twelve original songs and one cover that leave no doubt about Panda's talent, durability and essence as a songwriter or performer.

Joshua Panda opens with "Masquerade", a devilishly good bit of Americana songwriting that would seem more at home amidst the great singer/songwriters of the 1970's. Panda shows a lyrical depth and sense of melody that are rare in combination. "Rosie" is a rousing number straight out of New Orleans. You'll want to dance along as Panda spins a fun tale in an irresistible arrangement. "It's All Relative" has a dually melancholy/hopeful feel in a lover's lament about the world outside and the saving grace of love. Panda tackles "Are You Hurting At All" with a classic country flare that would sound at home in Nashville in the 1950's or early 1960's. It's a highly stylish and realistic bit of songwriting that should sit well across generations of listeners.

"Pastor" is a mildly raucous bluegrass tune sung from the perspective of a father who fends off a wolf from his daughter. The wolf just happens to be the local pastor. It's a great tune; very well written and Panda is in perfect voice here. "Tattle Tales" is the most purely entertaining track on the album. Panda will remind listeners of Randy Newman with his wit and lyrical touch as well as his musical versatility and tendency to write songs "in character", and "Tattle Tales" is a perfect example of these qualities. "Lemonhead Wine" documents an unfortunate stay in South Dakota involving government work and the narrator's preferred method for passing time. All of this is offered in an entertaining country/zydeco blend that's thoroughly infectious.

"Weight In Gold" is a utilitarian love song, singing the praises of a good woman in classic country overtones. "I-77 Blues" is more early rock and rhythm n blues. Panda is very convincing through the rapid-fire lyrics and vibrant arrangement that features some of the hottest piano playing this side of Jerry Lee Lewis. "Mama's Song" is a loving tribute of sorts, to a mom who clung to her son when her husband left, only to lose that son to music. It's a sweet number that uses gentle humor to describe an entirely human situation. Panda closes with a wild version of Tom Waits' "Come On Up To The House", a party-time song done in the zydeco style. Just try to sit still.

Joshua Panda runs through much of the American songbook stylistically. Country, zydeco, rock n roll, rhythm and blues and even hints of gospel and soul can be found on Panda's self-titled album. What's abundantly clear is that Joshua Panda is an entertainer with a capital E. Panda's versatility and depth as a performer is matched by raw musical talent. Panda walks you through vignettes drawn from the lives of persons both imagined and real in much the same fashion as Randy Newman. Even if you're lukewarm on the music on Joshua Panda, the energy will draw you in. Don't miss this guy.

Rating: 4.5 Stars (Out of 5)

Learn more about Joshua Panda at http://www.joshuapanda.com/ or www.myspace.com/joshuapanda.  Joshua Panda was originally due for an August release but appears to have been delayed.  You can preorder the CD from Panda's website.  Expect digital availability from iTunes and Amazon.

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.

Rain Perry - Internal Combustion

Rain Perry - Internal Combustion
2010, Precipitous Records

Rain Perry grew up in a Bohemian lifestyle that involved 20-something moves by high school. Born to free-spirited parents in California, Perry had the room to choose her own path as she grew, and particular with the development of her musical talents. Immersing herself early in the songwriting of Joni Mitchell, Randy Newman, Bob Dylan and Carole King, Perry has developed her own flair for a well-told story and well-constructed song. These tendencies have led to Perry winning the grand Prize at the 2000 John Lennon Songwriting competition in the folk category as well as having her song "Beautiful Tree" selected as the title track of the CW's Life Unexpected. Perry continues her confessional style on the folk/rock extravaganza Internal Combustion, due out September 21, 2010. Produced by Mark Hallman (Ani DiFranco, Carole King, Eliza Gilkyson), Internal Combustion finds Perry ruminating on inner motivations and how the force us to relate to the world around us.

Internal Combustion opens with the clinically personal anthem "The Compartmentalized Thing". It's a self-assessment on the ability to put your heart on your sleeve as a performer and then walk away and have a life away from the stage. Perry's voice is warm and wiry, having both a gentle quality that draws you in and a wiry strength that holds onto you once drawn. "Til It Shines" (Bob Seger) is a great read of a classic tune. Perry's rendition is subtle and full of quiet emotion, perhaps one-upping the original with a warmth and sweetness that Seger's rough-edged voice could just never convey. "Red Green White Blue" is all about seeking solace in your surroundings; in nature. It's offered up in a gentle arrangement that's poignant and sweet. Perry is in fine voice for "So You're The Muse". This is a song you might not take to on first listen, but it will grow on you with its searching needfulness and minimalist arrangement.

"Next Big Thing" is sort of a sociological observation on the primal draw of a young preacher wrapped in a gospel/blues arrangement. Focusing more on physical than spiritual "salvation", the song is spot-on in digging at humanity's yang and yin of corruption and rebirth. Perry's sense of humor comes fully out in the open on "Keanuville", an obsessive rumination on Keanu Reeves and his band Dogstar written from the perspective of his biggest fan. One of the true highlights of Internal Combustion is Perry's cover of Paul Simon's "Rene & Georgette Magritte With Their Dog After The War". Perry gives the song a lyric reading and is at her vocal best. Simon fans may find the arrangement of the background vocalists a bit jarring, and this is actually something of a distraction. Stripping this number down to just Rain Perry and piano without the backing vocalists would simply highlight how stellar a performance this is.

"A Perfect Storm" is an amazing ode to an old sea captain who's lost at sea and those he left behind, with a parallel drawn between the endless flow of the sea and of life. This is the best outright songwriting on the album. "Ambulance Song" plays like random thoughts reaching out to the survivors of an accident when coming upon an ambulance on the roadside. It's a great moment; warm and heartfelt and thoroughly uncharacteristic of your typical rock/pop album. Perry closes with a cover of Marvin Gaye's "Let's Get It On", singing it as more of a pure love song but still with the carnal intent. It's a highly appealing cover that could certainly garner Perry some licensing placements and perhaps even a place on the charts.

Rain Perry is exquisitely human on Internal Combustion, establishing an almost personal link with the listener while running the gamut of human emotion and imperfection. As debut albums go, this one is stellar. You might not see any big hits out of Perry this time around, but Internal Combustion is the sort of album that builds serious expectations for next time. And Perry might just have the goods to deliver.

Rating: 4 Stars (Out of 5)

Learn more about Rain Perry at http://www.rainperry.com/ or www.myspace.com/rainperry.  Internal Combustion drops on September 21, 2010.  Keep checking Perry's site for availability.

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: Allison Moorer - Crows

Allison Moorer - Crows
2010, Rykodisc

It would be ingenuous to categorize Allison Moorer as lesser known given her Academy and Grammy Award nominations, six albums, movie and stage appearances and collegial respect she receives in the music industry, but the kid-sister of Shelby Lynne carries herself quietly for one of her accomplishments. On February 9, 2010, Moorer will release her seventh album, Crows, on Rykodisc Records. That sense of quiet is joined by a humble confidence and sense of self-exploration on Crows, Moorer's most personal and weighty album to date.

Moorer opens with the haunting Abalone Sky; rife with melancholy and remembrance, this is an emotionally powerful song, even if the true force is always deep beneath the surface. Just Another Fool is an admonition; an indication that the object of the subject's affection is entirely out of reach. This could be a conversation from one good friend to another done in song. It's fairly well done, although perhaps a dichotomy exists between the urgency of the words and that in which it’s voiced. The Broken Girl is a decent Country/Rock tune, generic enough to have mild chart aspirations in both genres, but probably not the breakout single you'd hope for. Should I Be Concerned sounds as if may have started out as a classic Country heartbreaker, but somewhere along the way turned into a deliciously Progressive Cabaret Rocker. Moorer's voice is incredible through, velvety smooth and full of emotion, but it's never better than in the diva performance she gives on Should I Be Concerned.

Moorer explores a childhood memory on Easy In The Summertime with such simmering grace in her imagery it's as if you're standing there by her side. The arrangement is a bit repetitive with a hint of a dream-like quality, but the story-telling is priceless. On The Stars & I (Mama's Song), Moorer offers up a memoriam to her mom through the eyes of herself and her sister. The song is a brilliant tribute to mothers and the power of their love to bind and protect us even once they've passed beyond. Still This Side Of Gone is written from the depths of heartache, exploring the landscape to find a way to begin the process of hurting and trying to replace the "love sized hole" left by the loss. It's not a torch song, but Moorer shows some of the same emotive qualities and ability to craft a performance that marked the best of that era.

Sorrow (Don't Come Around) has a classic feel to it; an update on what would be a classic country sound. You could almost hear Loretta or Dolly trying on this song for size. It's Gonna Feel Good (When It Stops Hurtin') starts out as an innocuous number but transitions into a soulful tune that can only be described as fun melancholy. Moorer winds up Crows with the title track, which on first blush sounds like a paean to superstition and paranoia. But listen closer and you're likely to become as excited as I was. Crows is one of those rare moments when a songwriter transcends song and character and creates a living moment in song. In a Randy Newman-esque stroke, Moorer takes us away for a moment into a mind that is riven with fear over the commonest of occurrences, a crow in the yard. Moorer infuses life and humor into the song and just might catch you napping with an incredibly brilliant song.

Allison Moorer exudes that quiet confidence that turns good performers into great ones, and great performers into legends. I'm not willing to give her that last title yet, but if she writes a few more transcending songs like Crows and she'll take it up all on her own. Crows is an exclamation point in a career full of quiet highlights. Make sure you check it out.

Rating: 4.5 Stars (Out of 5)

You can learn more about Allison Moorer at http://www.allisonmoorer.com/ or www.myspace.com/allisonmoorer. Crows drops on February 9, 2010. You can pre-order copies from Amazon.com. Expect wide distribution via bricks and mortar, e-tail and digital download sites such as iTunes and Amazon MP3.

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.

Review: Lyle Lovett - Natural Forces

Lyle Lovett - Natural Forces
2009, Lost Highway Records

Singer; songwriter; actor; composer; the guy who married Julia Roberts. Most anyone with any sense of American Pop Culture over the last generation has come across Lyle Lovett at least once. Lovett is, in simple terms, one of the finest songwriters of his generation. Intense musical and creative talent sprinkled with the wit and wisdom of a native Texan are the trademarks of Lovett’s music over the years. Lyle Lovett released his fourteenth album recently, Natural Forces. It’s an album about loneliness and basic human need, although that theme is subtle and suggests itself slowly.

Natural Forces opens with the title track, a song about the primal rhythms that move migrating animals and people; those tied to the road/trail/sky to fulfill a deep-seated need for consistency. Rodeo riders seems to be the primary focus of the song, but truckers, musicians and anyone else who makes their life and living on the road will find something of themselves here. Lovett marries Country and Big Band/Bee Bop on Farmer Brown/Chicken Reel in a format so comfortable for Lovett it's practically a trademark by now. The musicianship is, as always, world class, and Lovett delivers a fun story song full of double entendre and wit with a wink and a smile. Pantry is based on the old adage that the way to someone's heart is through their stomach. The narrator is going away and essentially asks his wife/partner not to cook/eat until he gets back. Innuendo and clever word play fill the chorus against an arrangement that will set up shop in your psyche and refuse to leave without a court order. Empty Blue Shoes is a classic country song about the inevitability of heartbreak. With touches of The Blues thrown in, Lovett has created a song in Empty Blues Shoes that is destined to be covered time and time again.

Whooping Crane is a deep and elegantly written song about the impact that mankind has on the world. Some might take it as a purely conservationist message, but it seems even more pointed; a diatribe against the willingness of man to wipe out anything that gets in his way. The examples used here are unique to Texas and the American West (Whooping Cranes, First Nations) but the message is powerful and clear. Bayou Song displays one of Lovett's greatest talents as a songwriter. He has an ability to paint pictures with words and notes that transcend time and place like the ethereal movies that make up dreams. Bohemia celebrates a lifestyle where life itself is appreciated because the folks living it often have little else than their lives, talents and experiences. The song mixes Rock, Country and Jazz and a bit of Funk in a delicious musical confection you really need to hear.

Sun And Moon And Stars is a gorgeous tune about the loneliness that eventually comes to those who go through life alone. Even the most steadfast loner reaches a point where friendships gone by are missed. It's a powerful tune about the urge to return to your roots and not really being sure about what those are anymore. Loretta is a non-traditional love song about a barmaid and man who can't commit but can't stay away. It's a cute country store that fits in with the loneliness theme that seems to have worked its way into Natural Forces. Its Rock And Roll is an honest-to-goodness Rock tune about the here-today, gone-tomorrow life of Rock Stars. It's a great tune and a fantastic bit of social commentary from one who knows the ropes. Lovett closes out with an acoustic version of Pantry that might just be better than the amped up version earlier on the album.

Lyle Lovett waxes brilliant on Natural Forces, providing a listening experience that’s high quality for performance, songwriting and musicianship. Natural Forces is Lovett’s best work since The Road To Ensenada and seems likely to create some award buzz this year. Lovett continues to succeed because he’s never tried to be anything he’s not; bringing humor, warmth and a deep understanding of how to bring people, places and events alive in song. Natural Forces shows all of these traits, and looks well on the way to being one of the top albums of 2009 from a quality perspective. Natural Forces is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Lyle Lovett at http://www.lylelovett.com/. You can purchase Natural Forces from Amazon.com, or download it from iTunes!

Review: Michel Ackermann - Kite

Michel Ackermann - Kite
2008, Michael Ackermann

Michel Ackermann was a professional pianist who had never really considered singing and songwriting. He had studied with no less than Virginia Zimberlin and had played with trombonist Jiggs Wigham, as well as many other ensembles and groups in and around his native Berlin. One night Ackermann had a dream that he was performing (with singing) songs in front of a large concert crowd in Cologne, and used that as motivation to begin writing and singing. With influences ranging from Randy Newman and David Gray to Van Morrison and Joe Henry, Ackermann has a quirky songwriting style than can be both frustrating and refreshing, depending on the song. Ackermann's debut EP, Kite, was released in 2008.

Kite opens with the title track, a pensive piece of down-tempo Piano/Synth Pop. Kite is a pleasant listen that harkens back to 1970's Adult Contemporary AM Radio material. Back On The Road takes on a little more life, working in a funky beat and some jazz colorings particularly in the piano part. I'd Rather Be With You, a highly cyclic and mildly soulful love song that has a strong foundation in the writing but relies too heavily on a one line chorus that repeats way too many times for listening comfort. Ackermann leaves listeners with Our Love, the funkiest and most lively track on the CD.

Michel Ackerman scores big with Our Love, but the rest of the EP falls a little bit flat in energy and songwriting. Ackerman is obviously quite an accomplished pianist; as a lyricist he's decent but seems to run into awkward moments he can't seem to overcome. The instrumental breakdowns tend to be the highlights of the songs. Based on what I heard on Kite, I'll be curious to see where Ackermann goes next musically.

Rating: 2.5 Stars (Out of 5)

You can learn more about Michel Ackermann at www.myspace.com/michelackermann. You can purchase a copy of Kite through CDBaby.com.