Review: Dog Gods - I Am Large; I Contain Multitudes

Dog Gods - I Am Large; I Contain Multitudes
2008, Dog Gods

Arkadelphia, Arkansas is a small town of about 10,500 residents that has nonetheless produced no less than four NFL Football players. An old salt mining town, "The Arc Of Brotherly Love" has now produced an interesting musical conglomerate in the Dog Gods. This Folk/Americana band has a unique songwriting style and sound that is pure musical nirvana. Marck L. Beggs (vox, guitar, songwriter); Jason Chism (keys, production); Phillip Taylor (bass); Luke Pittman (lead guitar) and Craig Seager (drums) create lushly energetic and intelligent songs that are unlike anything you've heard in popular music. Dog Gods debut CD, I Am Large; I Contain Multitudes was self-released by the band in 2008. Its fifteen songs of quirky, catchy and unusual folk pop you don't want to miss.

The album opens with Another Day, a highly catchy and smartly cynical song. It's great Americana rhythm to it that makes you want to get up and two-step. Antarctica is my favorite song on I Am Large; I Contain Multitudes. Antarctica is 3:24 of Pop/Folk perfection, and reason enough to by the album on its own. The Man Who Mistook His Wife For A Hat borrows its title from a book by Oliver Sacks (Patch Adams) of the same name. It's a humorous story song that will leave you laughing and shaking your head in enjoyment. Ploughing The Moon has a great melody you're not likely to forget any time soon.

A second favorite here is Ireland Suite. Ireland Suite is very strong on Americana roots. This is destined to be a crowd favorite, and shows flashes of style similarities with Great Big Sea. Valentine For A Bi-Polar is a classic. The arrangement is wonderful and the lyrics alternative between ironic humor and straight forward suffering love song. Satellite Radio Blues has a Doors feel to it and is a very enjoyable listen. Other highlights include There's A Light At The End Of This Train; Disgrace - David's Lament and Blue Cats & UFO's.

The Dog Gods are certainly eclectic. Their mix of Rock, Americana and Folk is refreshingly new while being just familiar enough to be comfortable. I Am Large; I Contain Multitudes places Dog Gods firmly on the Folk/Americana map as a musical force to be reckoned with. I Am Large; I Contain Multitudes is a beautiful start.

Rating: 4 Stars (Out of 5)

You can learn more about Dog Gods at www.myspace.com/doggods. You can pick up a copy of I Am Large; I Contain Multitudes at www.cdbaby.com/cd/doggodsmusic or http://www.indierhythm.com/.

Review: The Singing Revolution

The Singing Revolution
2007/2009 New Video Group

If you ever needed proof that music can change the world, then you need to put aside a couple of hours to check out The Singing Revolution. The Singing Revolution is the story of Estonian Independence from The Soviet Union and the role that singing nationalist songs played in the counter-revolution. Directed by James and Maureen Castle Tusty (both of whom co-wrote with Mike Majoros, The Singing Revolution captures the raw power and emotion of song, the call of freedom and power of the human spirit against the bleak background of human oppression.

20th Century Estonia lived under the thumb of Russia for most of the Century, with a brief interregnum of German occupation during World War II. Soviet Rule began in 1939 at the beginning of World War II as Russia sought to create a buffer (The Iron Curtain) between itself and Europe. During World War II alone, approximately 1/4 of the population of Estonia was killed or removed by the Soviets. Nationalistic songs became a source of strength to Estonians and residents of other Baltic countries throughout the Soviet reign of dominance in Eastern Europe. In 1986 and 1991, Estonians came to Tallinn for the Estonian Song Festival. Songs of National Pride and freedom punctuated Estonia's campaign to be recognized as independent states by the Soviet Union.

Within Russia, Mikhail Gorbachev was pursuing a policy of Glasnost. It would appear that Gorbachev got more than he bargained for; empowered by fervent love of country and song, Estonians advocated before a watching and listening world for their own freedom. The Singing Revolution documents the growth of the Estonian independence movement between 1986 and 1991 and how it was empowered and enriched by the singing of these (banned) nationalist songs. This musical march to independence was accomplished without the loss of a single Estonian life.

The transformative power of music is captured by Mr. Tusty and Mrs. Castle Tusty through the use of archival footage from the Soviet occupation in contrast with interviews of movement leaders and residents of Estonia. And of course, there’s the singing. The film runs 94 minutes and is narrated by Linda Hunt with music by John Kusiak. If you are not moved by this film then you are not watching or listening. The subject matter may be a little dry for some, but the powerful emotions inspired by the non-violent fight for freedom in Estonia is overpowering at times. For those of you who make music, this is the ultimate sign that music can change hearts, minds, and even the world. The Singing Revolution is a rousing documentary.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Singing Revolution at http://www.singingrevolution.com/. The Singing Revolution will be released on February 3, 2009. You can pre-order a copy through Amazon.com.

Review: Toubab Krewe - Live At The Orange Peel

Toubab Krewe - Live At The Orange Peel

2008, Upstream Records

Appalachia. Home to scenic vistas, simple living, squirrel dinners and African-rooted folk music. What? Back up. Asheville, North Carolina is home to Toubab Krewe, a band that mixes traditional West-African music with a pop/Americana mix to create one of the most unusual combinations you've likely ever heard. Toubab Krewe was born in 2005, the partnership of five childhood friends: Teal Brown (drums), Drew Heller (guitar), Justin Perkins (kamel ngoni, kora, guitar), David Pransky (bass) and Luke Quaranta (percussion). Toubab Krewe has travelled extensively, studying with music masters in places such as Guinea, Mali and the Ivory Coast. Toubab Krewe has wowed crowds at Bonnaroo and the Festival Of The Desert in Essakane, Mali. Their latest release, Live At The Orange Peel (available January 6, 2009 on Upstream Records) captures their live presence in intimate detail.

Disbelief quickly turns to musical joy while listening to Live At The Orange Peel. I expected kind of a Paul Simon Graceland redux; instead I heard a brilliantly original and vibrant set of recordings that exceeded my imagination by leaps and bounds. The opening track, Autorail fell about where I expected musically, but Toubab Krewe weren't about to stand still. Lamines Tune seemed an interesting conglomeration of roots rock and northern and western African sounds. This is the catchiest of the tunes here and almost descends into honky-tonk at times (but not quite). Roy Forester features Justin Perkins on the kamel ngoni and special guest Umar Bin Hassan (The Last Poets) on the spoken word passages. Kaira is exceedingly beautiful from the opening, with Perkins creating sounds on the kora that sound like they may have been from and old Yes album.

51 Ft Ladder is more rock song than anything else, with the kamel ngoni sounding at times almost like a banjo. This is a great jam tune that could go on a lot longer than it does. Maliba carries an almost Caribbean sound -- all its missing is the steel drums. Toubab Krewe kicks out the jams on Moose, just to prove they can. This big, guitar-driven rock song has an almost Celtic feel to it and should appeal to fans across diverse boundaries. Live At The Orange Peel closes with Buncombe To Badala, which has a definite Dick Dale/Surfaris feel to it.

Toubab Krewe is one of the most unique bands I've come across. Their music is infectious and fun. You'll find yourself hooked from the first listen. Live At The Orange Peel captures Toubab Krewe in their best light - live on stage. Musically talented, Toubab Krewe adds to their performance by maintaining an ultra-high energy level. This energy comes across well on the CD, and likely only offers a hint of what there is to experience at a show. On the whole and excellent recording.

Rating: 4 Stars (Out of 5)

You can learn more about Toubab Krewe at www.myspace.com/toubabkrewe or http://www.toubabkrewe.com/, where you can purchase a copy of Live At The Orange Peel.

Review: Ben Folds - Way To Normal

Ben Folds - Way To Normal

2008, Sony Records

Ben Folds has walked the outer edge of pop stardom ever since the release of his first band's eponymous debut in 1995. Ben Folds Five reminded the rock world that pianos can rock, and also reminded rock and roll that its roots were in irreverence and true rebellion against the norm (not surveyed, pre-prepackaged rebellion at $18.98 per CD). Ben Folds has always told you exactly what he thinks, and has not mellowed (much) with success. Politically, fashionably and (sometimes) socially incorrect, Folds just tells stories his own way. Sometimes they're tongue in cheek and sometimes they're deadly serious -- you're never entirely sure which is which, but Folds is always brutally honest. Folds' eighth full-length release, Way To Normal, continues the brutal honesty, wit, intelligence and cutting edge pop/rock/punk style that Folds has become widely known for.

Folds has always been the bastard son of Billy Joel, embracing honesty and irreverence in the same fashion as many of Joel's classic recordings. Folds definitely has his own voice as a piano player and composer, but you can clearly see the lineage on Way To Normal. The album opens with Hiroshima (B B B Benny Hit His Head) details Fold's fall off of a stage in Japan. It's a funny story told in Folds' distinctive style with a sing-along chorus and memorable melody. Dr. Yang is the sort of frenetic composition that Folds' fans have loved since his Ben Folds Five days. The song would appear to mock all that we will put ourselves through in order feel our best. Folds teams up with the eccentric Regina Spektor on You Don't Know Me. You Don't Know Me has a metronomic quality to it and has actually become one of my favorite songs on the album. Spektor's voice is heavenly and wraps around Folds' voice like a snug undergarment.

Before Cologne is like a piano suite that introduces Cologne, which is one of Fold's most beautiful compositions to date. The serene melody and lush musical landscape created by Folds here stands in stark counterpoint to the storyline held within. Errant Dog is typical Folds. The song is funny and rough-hewn with the classic piano/bass/drums arrangement that seems to mark Folds at his best. Free Coffee allows Folds to turn his piano into the headwinds of funk, and also serves as the repository of the introduction to The Bitch Went Nuts. This is the most outlandishly funny moment on the album, continuing the tradition of tongue-in-cheek misogyny that Folds engages in from time to time. It's tongue in cheek because Folds is as much a misogynist as Randy Newman is racist. Both Folds and Newman have a little fun with fans and critics alike by creating true to life caricatures and giving them life in musical soliloquies that don't comply with the PC standards of the day. The song is well written and highly entertaining.

Brainwascht is a straight forward pop song done Folds-style with a little not-so-gentle irony thrown in for good measure. Effington starts out with a glee-club style chorus, complete with mixolydian harmonies. Effington is a vast word-play steeped in double-entendre and an almost Pleasantville-like vision. This may be Folds at his most musically creative. The song is stunning in it breadth of its vision and scope. I found myself in awe the first time Effington played, particularly because Folds is confident enough to marry what may be his boldest composition with a subject that is something of a humorous anecdote. Folds closes out Way To Normal with a return to his most personal and serious songwriting with Kylie From Connecticut. Once again we have a beautiful composition and lyrics that are based in a fractured relationship.

Folds may write about heartbreak better than anyone in the popular music sphere. When he writes about it in serious terms he avoids cliché and musical perseveration by drilling right to the heart of matter and speaking in unusually bold and honest terms. When he's writing from anger or humor (they're often the same), there's not a songwriter in Rock N Roll who's more entertaining. Way To Normal continues Fold's progression from punk rock pianist to consummate Rock N Roll composer. Folds embodies the near virtuosic composer status of Elton John and the irreverent rock toughness of Billy Joel, with a health dose of Generation-X awkwardness thrown in. Way To Normal is an embodiment of all these things, and proves once again that Folds is one of the most innovative and exciting performers in popular music. Way To Normal is a Wildy's World Certified Desert Island Disc. Make sure you give this one a spin.

Rating: 5 Stars (Out of 5)

You can learn more about Ben Folds at http://www.benfolds.com/. You can purchase a copy of Way To Normal at Amazon.com or wherever music is sold. Way To Normal is also available as a limited edition CD/DVD combo, and an even more limited CD/DVD/Vinyl combo that retails for $100. (What's Sony thinking?)

Review: Fresh & Ivan Ives - Juice To Get Loose To

Fresh & Ivan Ives - Juice To Get Loose To

2008 No Threshold Records

Fresh & Ivan Ives run the gamut of the best and worst things about Rap & Hip-Hop music on Juice To Get Loose To. Fresh & Ivan Ives draw from classic funk and soul influences to construct their musical accompaniment, creating highly listenable beats and music. Lyrically, Ives & Fresh are immersed in the same sort of sophomoric crudity that informs gangster rap and other similar forms. Fresh & Ivan Ives show strong lyric potential, but get caught up in highly limiting and gratuitous lyrical choices that show how able they are to kowtow to the lowest common social denominator but fails to further their ideas. This is unfortunate because Fresh & Ivan Ives show real flashes of lyrical ability. Don't get me wrong, I have nothing against the use of "crude" language or harsh lyrical imagery for artistic purpose or to further ideas, but Juice To Get Loose To just doesn't have that feel, and therefore the lyrical content here ends up sounding gratuitous at best and highly immature at worst.

Without Fail has a strong 1970's/disco vibe, bringing in samples/instrumentation referencing classic Motown sounds. The song also shows Fresh & Ivan Ives’ sense of humor in a self-deprecating fashion. At the same time it is hard to ignore the influence Eminem has had on Fresh & Ivan Ives’ rapping, particularly on the first track. Rock Precise is a prime example of the gratuitous nature of some of the music here. The language and imagery undermines the flow of the song. Time For Juice continues in this vein. It's unfortunate because Time For Juice has tremendous commercial potential. The beats and rhythm here are unique, but Fresh & Ivan Ives have made the song unmarketable with their lyric choices.

Came Into My Life is a tribute to both to themselves as well as to the broad influences Ivan Ives & Fresh bring into their collaborations. Came Into My Life is very well written and performed. August In L.A. incorporates elements of Hip-Hop, Funk/Rock and Jazz in one of the more entertaining listens of Juice To Get Loose To. Other highlights include Haterade, Truth Be Told and 18 Million Gallons Of Juice.

Fresh & Ivan Ives are strong rappers who occasionally make bad lyrical choices. There is, at times, too much striving to fit a commercial style rather on just letting the artist bring forth their sound as it comes. Juice To Get Loose To is a mixed blessing, with moments of musical brilliance stacked up alongside moments that seem to last forever. A strong effort with some evident flaws, but still a worthwhile listen.

Rating: 3 Stars (Out of 5)

You can learn more about Ivan Ives at www.myspace.com/ivanives or http://www.nothresholdrecords.com/, where you can purchase a copy of Juice To Get Loose To. You can also download the album at Amazon.com.

Review: Peter Maybarduk - No Hay Pueblo Vencido

Peter Maybarduk - No Hay Pueblo Vencido
2009, Peter Maybarduk

Peter Maybarduk was born to an American Diplomat and a social worker in Mexico City, and has lived in several Latin American countries as well as in various places across the United States since then. His worldview is strongly influenced by his upbringing, and that worldview comes through loud and clear in Maybarduk's music. His second album, No Hay Pueblo Vencido (No Defeated People), will be self-released on January 20, 2009, and offers a glimpse of that worldview set against varying musical styles, ranging from singer-songwriter style story-songs to electronic/organic rock to punk.

No Hay Pueblo Vencido opens with the poignant Darker Days. Darker Days explores Maybarduk's difficulty living amongst people who's real problems are as superficial as their happiness after living among people who truly struggle to live. The song is a subtle framing of his time in California against his background in Central America and is quite ingeniously written. The musical arrangement has a searching quality to it, as if Maybarduk is trying to find a way to balance the two worlds he knows on his shoulders. Maybarduk explores sampling mixed with organic music on Siddartha, a catchy pop tune with real potential as a dance mix.

To Make A Rebel Behave is a lovely guitar ballad that subtly explains the methods a fascist state might use to enforce what it considers to be appropriate behavior amongst its own people. Dom Helder opens with an urgent energy that turns into an almost early Police-style punk tune. Throughout all of these songs Maybarduk explores the world around him with an eye for how he might change things, or perhaps how he has already tried. There is a confidence in his writing that borders on grandiosity at times. Whether is the sort of grandiosity that is necessary to dream of and exact change or the sort that gets in the way of it is a matter of time and observation, but it does weigh down the album a bit at times.

Hey Washington is perhaps the gem of the album, a smart and inquisitive commentary about government and its failings (and potential). Right behind it (both figuratively and literally) is Caught In A Lie, a frenetically performed soliloquy that could be a man speaking to his potential beloved or a politician speaking to the government or office (s)he seeks. The sense of good will entering in here is similar regardless of the scenario, and Maybarduk doesn't fully clear up the question in the course of the song. Other highlights include Capital For Guns, Sundays and Vencido.

Peter Maybarduk is a talented songwriter. His way with words is notable and allows Maybarduk to explore subject matter than most songwriters may never pursue. Because of his experiences and upbringing, Maybarduk views his role in the world as being larger than one might expect. Whether this is reality or youthful idealism and ego remains to be seen, but there is no doubt that Maybarduk works through his music to spread a message about the interconnectedness of life and societies that should be considered by thinking people. No Hay Pueblo Vencido is a stand-out release with something for most everybody. Even if you filter out the messages the music is very entertaining.

Rating: 4 Stars (Out of 5)

You can learn more about Peter Maybarduk at http://www.petermaybarduk.com/ or www.myspace.com/maybarduk. No Hay Pueblo Vencido will be release January 20, 2009. Keep checking Maybarduk’s website for details!

Artist Feature: Spirit Of The West

Spirit Of The West is the Wildy’s World Artist Of The Month for January of 2009. They’ve been making great music for 25 years, starting out in 1983 as a Vancouver folk trio named Evesdropper. Original members Geoffrey Kelly, John Mann and J. Knutson built a sound steeped in Celtic musical traditions that defined Spirit Of The West's early years and is evident on the first two albums, Spirit Of The West (self-released, 1984) and Tripping Up The Stairs (Stony Plain Records, 1986). Knutson left after Tripping Up The Stairs to be replaced by Linda McRae and current member Hugh McMillan. The band's third release, Labour Day (Stony Plain, 1988) contained the hit single Political. This commercial splash led to the band signing with Warner Canada and releasing Save This House, which spawned two popular singles (Save This House and Home For A Rest)

As Spirit Of The West faced the onset of the 1990's, there was a desire in the band to expand their sound. They were inspired to branch out while touring England with The Wonder Stuff; wanting to fill concert halls with sound the way The Wonder Stuff did. Consequently Vince Ditrich was pressed into service. With a new drummer and a new sound, Spirit Of The West marched forward with Go Figure in 1991. Go Figure saw both a broadening of Spirit Of The West's popular appeal as well as the estrangement of some longtime fans that were unhappy with the move from folk to rock. A prime point of comparison is offered on Go Figure, as Spirit Of The West's first hit single, Political was reinterpreted here as a rock song. Disgruntled fans actually went so far as to present the band with a petition at one point during the tour supporting Go Figure demanding Spirit Of The West play the original version of Political.


1993 was a commercial plateau for Spirit Of The West. It began with the selection of Canadian super-producer Michael Phillip Wojewoda (also responsible for the Barenaked Ladies' Gordon). The resulting album, Faithlift completed the transition from folk band to mainstream rock band and sparked the band's biggest single, And If Venice Is Sinking. Spirit Of The West had other radio singles from Faithlift, including Sadness Grows and 5 Free Minutes. The marriage of Spirit Of The West with Wojewoda brought out the best in both.

Spirit Of The West returned in 1995 with Two-Headed, a darker, more mature effort that succeeded in artistry but failed to have the commercial legs of Faithlift. In 1996, Spirit Of The West released Open Heart Symphony with the Vancouver Symphony Orchestra. Perhaps the most stunning and courageous recording of their career, Open Heart Symphony was a collection of original songs written for the symphony performance, rather than a recapitulation of hits with orchestral arrangements. If fans and critics weren't aware of it before then, it became rapidly clear that Spirit Of The West had something special going for them in the song craft department.

1997 saw Spirit Of The West transplant themselves to England, and Martin Barre's personal studio for the recording of Weights & Measures. Guests included Barre (Jethro Tull); Karen Matheson and Donald Shaw (Capercaille); Ric Sanders (Fairport Convention); Martin Bell (The Wonderstuff) and Duncan Moss (Page & Plant, Shave The Monkey). Weights and Measures revived some of the Celtic roots of Spirit Of The West while continuing the development of their sound that began with Go Figure. Production was again handled by Michael Phillip Wojewoda.

A seven year hiatus saw band members pursue other musical projects, acting gigs and just living semi-normal lives, but Spirit Of The West returned in 2004 with Star Trails, a well written and performed album that received positive critical response but unfortunately just did not have significant commercial presence.

Along the way there have been three compilations of Spirit Of The West Material. 1989's Old Material: 1984-1986 captures live performances of songs from the ill-fated indie debut (which is long out of print) as well as early concert favorites. 1999's Hit Parade is your proto-typical Best Of collection featuring three unreleased songs from the Open Heart Symphony recordings. In 2008, Rhino Records Canada released Spirituality: A Consummate Compendium (1983-2008). This two-disc set captures highlights of the band's twenty-five year collective history, including rare tracks and two new songs produced by the aforementioned Michael Phillip Wojewoda. Not unsurprisingly the album peaked at #10 on the iTunes Canadian charts.

Spirit Of The West was inducted into the Western Canadian Music Association Hall of Fame in 2008, recognition of twenty-five years of ground breaking music as one of the pre-eminent alt-rock acts in Canada. For 2009, big things are planned, including a new studio album, a live DVD, and a recasting of the Open Heart Symphony shows. We are working on getting a review of Spirituality up this month, and hopefully a review of the new album (and maybe even the live DVD) as they are released this year. On a personal note, Spirit Of The West have long been one of my favorite bands, and it is with great pleasure that we present them as our January 2009 Artist Of The Month.

You can learn more about Spirit of The West at http://www.sotw.ca/ or www.myspace.com/spiritothewest.