Hello all. I'm taking the first few days of vacation I've had in over two years and will return on Monday with reviews, refreshed, relaxed and renewed.
In the mean time, this came through my mailbox (courtesy of Mike Farley of Michael J Media) and I thought it appropriate to share. Please read the following post, and if you can help or know someone who can, please pitch in.
Discovering my inner hippie & what to actually do in a flood.
This rant/narrative is only a snapshot of what is happening around me at this moment. This was written 1am May 5th.
I’ll give you an ever so brief back story and then we’ll get to it.
I’m fine.
Now to the important stuff.
Bean (my wife Lisa) and I live in the Riverwalk community in the Bellevue area of Nashville. In our community alone, at least 150 homes “suffered significant structural damage”. The communities next to ours suffered loses of around 250 homes according to what our neighbors have told us.
Bean and I went to help people with whatever they needed this evening when we arrived back home from work. Full disclosure: I’ve never really done this sort of thing in my life. In helping, we discovered that all people affected by this flood throughout the state should undeniably have access to the following items a/k/a List Of Basic Items We Need Now:
Portable cell phone towers - Our community is in a valley between two cell repeaters. Both repeaters were knocked out; leaving cell service very spotty and unreliable. This service is absolutely essential so people affected by these floods can learn about meetings and get updates from friends and fellow community members regarding clean-up and updates regarding the availability of basic services. This applies to all affected areas. We did notice that the most consistent form of communication we had during this time was via text message. So I urge community leaders to start their text message lists and use that as one of the methods to spread information on a permanent basis.
Note to Mobile Service Providers: I’m going to humorously but wishfully declare that whoever makes it to the tops of these hills first can put up their logo next to the tower but only until the cleanup is over. You’ll probably have customers for life and have an incredibly loyal grassroots word-of-mouth campaign via the people you helped out. Again, just a thought. Oh yeah, had out your cheapest phones to people who need them. There are freakish amounts of them sitting around being unused.
Note to Community Leaders: Please assume people have no way to communicate with one another aside from postings at the entrances of the communities and via announcements from emergency personnel. Continually assuming people have the internet is continually pissing them off.
Generator Trucks - I go to concerts. I know they exist. This particular area needs about 8 of them immediately.
Flood Lights (to accompany the Generator Trucks) - At this moment, helicopters are flying overhead shining their spotlights on these communities. I know this is seen as an effective way to ward off potential looting and I’m sure it is somewhat effective. More effective however would be be the use of medium wattage flood lights (less than a night game at a baseball stadium, but more than a street light) on the street corners so the folks that have been working all day long to salvage their belongs can at least get a somewhat restful night sleep instead of feeling like their in a police state. A car or two patrolling the area and some flood lights will serve the same means and allow these folks to rest comfortably at night. It would also afford them extra time to clean up.
Mold Fungicides - People need to be made aware that they must immediately throw things away or at the very least, get all wet items out of your house, including carpets and drywall. We tried to research mold fungicides but nobody was laying claim to the best product for the job. I’m a bit shocked that Dow Chemical hasn’t figured this out. Maybe they have and we couldn’t find it.
FEMA, from now on, whenever there is a flood, this must be made perfectly clear. No excuses. This must be stressed repeatedly. Throw wet stuff away.
Portable showers - The Nashville area is and should absolutely continue to conserve water. HOWEVER, people that are in the process of cleaning their houses and have been exposed to the flood waters, which carry who knows what kinds of contaminants, should have immediate access to portable showers AND should be able to shower for at least 10 minutes. Not only will it allow these people to be clean but it will help prevent the spread of disease. A shower of that length uses less than 50 gallons of water. Here’s how it breaks down:
One 18-wheeler water truck can hold 30 tons of water which equals 8000 gallons. That works out to about 160 showers per truck.
We need 2 18-wheeler water trucks per day starting right now.
For the showers themselves: Royal Restrooms, Mobile Restroom Trailer Rentals, Mesa Waste Services, etc. if you are not underwater, come help us out and maybe the people smarter than I can figure out a way to take some of our community funds and pay you back. Get a sponsor of say Fructis or Head & Shoulders to provide supplies and help pick up the cost. Or FEMA will pay you back. It will be paid back, by us, one way or another.
Paper Shredder Trucks - Even though most of the paperwork that people are throwing away is wet, it still contains important personal information that should be properly destroyed. Just a suggestion, sponsorship of these shredder trucks should be provided by any bank or credit issuer that received bailout funds from the government. The bank/credit issuer would be able to write down their potential fraudulent risk assessments (a completely made-up term. I know nothing about banking but I think I’m close.) and the customer (or future customer) could rest easily knowing their credit identity was safe.
Refrigeration Trucks - 6 trucks would be a good start (Budweiser, cough). People will need a place to store their food for the next few weeks because anyone that was affected by this flood probably does not have access to refrigeration and the ice in the cooler isn’t cutting it in 80+ degree heat.
Large Tents - It’s hot out here and people are going to suffer health problems if they stay in this heat without a cool place to recover. This tent will also be a great place to share information. The tents also need a designated area for people to charge their cell phones.
Gas Grills - Along with refrigerators, stoves are also no longer in working condition. If cleaning utensils are also provided; people can share gas grills if placed strategically throughout the community.
People - We need volunteers to help with the cleanup. We also need volunteers to check on people, help keep their spirits up and make sure they have as much support as possible. People supporting people goes a long way in the recovery process.
With all of that said, the overwhelming thing I heard tonight was not about the material items that people lost. All of that stuff was trivial to both the person throwing it away and the to person to which the items belonged. The most overwhelming thing I heard was “that because of this flood, I met my neighbors for the first time and I’ve lived here for ___ years”. Even if you’re not affected by these floods and you are reading this: know who your neighbors are. You don’t have to hang out with them all the time. Just meet them, and wave hello when you see them, you know, be a neighbor.
Rebuilding a community really has nothing to do with structures.
Here’s the video that partially inspired me to get out and help tonight.
http://www.youtube.com/watch?v=V74AxCqOTvg
Thanks,
Josh
—
Josh Preston
Me and the Machine Records
1001 Riverspring Drive
Nashville, TN 37221
Saturday, May 8, 2010
Tuesday, May 4, 2010
Year Of The Dragon - Blunt Force Karma
Year Of The Dragon - Blunt Force Karma
2010, The International Brotherhood Of Consequential Truth
When Fishbone disintegrated after a quarter century, Dirty Walt Kibby and guitarist Tracy Singleton (Spacey T) went in a new direction together. Focusing on a heavy punk/metal sound, the band soon pulled in Roderick Palmer (Rodcore) as a vocalist and began trading under the name Year Of The Dragon. With regular gigs in L.A. and a well-received EP in A Time To Love Is A Time To Bleed, Year Of The Dragon drew on their core base of Fishbone fans while adding new fans drawn to the aura of the new band. Year Of The Dragon is back in 2010 with their first full-length album, Blunt Force Karma. It's a return to the concept albums of the 1970's and early 1980's, with a kitschy back story involving space aliens locking up all of the attractive women on earth. Year Of The Dragon leads the fight to restore the right in an album where the brute intensity of the band's sound sometimes struggles with the corny subtext that parallels that of Styx' Kilroy Was Here.
Year Of The Dragon starts strong with “Ispo Facto”. Big, impressive guitar work and a rap-style vocal line and a chorus about the downfall of freedom and end of the world make this a winner. Rodcore and Dirty Walt keep this song vital, appealing to the populace to educate themselves and stand up for their rights against a government that takes but does not give back. “Poppin’” goes to the other extreme, seeming to be more a song about shock value than thought. On “Destroy Your Fear”, Year Of The Dragon goes for a 1970’s metal sound ripe with minor chords and vocal triads. This is the band at their finest, creating songs that are progressive in construction and diabolical in tone. “Jailbreak” is the party song on the album, a fun rocker in the best early metal tradition.
Year Of The Dragon strips things down for “After The Dawn”, an interesting spoken word approach with a sung chorus built around a highly intriguing riff. The bare-bones presentation is a solid change of pace but dissolves back into the big guitar sound of the title track. “Blunt Force Karma” is a great tune with a message wrapped around an infectious funk rhythm. “Who Will Save You Now” is a driven rocker with philosophical learns that serves as an ample appetizer to the closing track, “Walking Tall”. “Walking Tall” features a crazy guitar riff you’ll have to hear to believe. Year Of The Dragon walks the line between Body Count and Black Flag with shades of Dio-era Sabbath on the most vibrant track on the album.
Year Of The Dragon hits a couple of small rough patches on Blunt Force Karma, but in general manages to match powerful messages with powerful sounds. Blunt Force Karma is one of the more convincing rock/rap hybrid albums of the new year thus far. Rodcore and Dirty Walt find a distinct brand of musical chemistry on Blunt Force Karma. It’s a chemistry that could be infectious, perhaps enough so to make a big splash in 2010.
Rating: 3.5 Stars (Out of 5)
Learn more about Year Of The Dragon at www.mysoace.com/yotd. Purchase Blunt Force Karma either on CD or digitally from Amazon.com. Digital copies are also availble from iTunes.
2010, The International Brotherhood Of Consequential Truth
When Fishbone disintegrated after a quarter century, Dirty Walt Kibby and guitarist Tracy Singleton (Spacey T) went in a new direction together. Focusing on a heavy punk/metal sound, the band soon pulled in Roderick Palmer (Rodcore) as a vocalist and began trading under the name Year Of The Dragon. With regular gigs in L.A. and a well-received EP in A Time To Love Is A Time To Bleed, Year Of The Dragon drew on their core base of Fishbone fans while adding new fans drawn to the aura of the new band. Year Of The Dragon is back in 2010 with their first full-length album, Blunt Force Karma. It's a return to the concept albums of the 1970's and early 1980's, with a kitschy back story involving space aliens locking up all of the attractive women on earth. Year Of The Dragon leads the fight to restore the right in an album where the brute intensity of the band's sound sometimes struggles with the corny subtext that parallels that of Styx' Kilroy Was Here.
Year Of The Dragon starts strong with “Ispo Facto”. Big, impressive guitar work and a rap-style vocal line and a chorus about the downfall of freedom and end of the world make this a winner. Rodcore and Dirty Walt keep this song vital, appealing to the populace to educate themselves and stand up for their rights against a government that takes but does not give back. “Poppin’” goes to the other extreme, seeming to be more a song about shock value than thought. On “Destroy Your Fear”, Year Of The Dragon goes for a 1970’s metal sound ripe with minor chords and vocal triads. This is the band at their finest, creating songs that are progressive in construction and diabolical in tone. “Jailbreak” is the party song on the album, a fun rocker in the best early metal tradition.
Year Of The Dragon strips things down for “After The Dawn”, an interesting spoken word approach with a sung chorus built around a highly intriguing riff. The bare-bones presentation is a solid change of pace but dissolves back into the big guitar sound of the title track. “Blunt Force Karma” is a great tune with a message wrapped around an infectious funk rhythm. “Who Will Save You Now” is a driven rocker with philosophical learns that serves as an ample appetizer to the closing track, “Walking Tall”. “Walking Tall” features a crazy guitar riff you’ll have to hear to believe. Year Of The Dragon walks the line between Body Count and Black Flag with shades of Dio-era Sabbath on the most vibrant track on the album.
Year Of The Dragon hits a couple of small rough patches on Blunt Force Karma, but in general manages to match powerful messages with powerful sounds. Blunt Force Karma is one of the more convincing rock/rap hybrid albums of the new year thus far. Rodcore and Dirty Walt find a distinct brand of musical chemistry on Blunt Force Karma. It’s a chemistry that could be infectious, perhaps enough so to make a big splash in 2010.
Rating: 3.5 Stars (Out of 5)
Learn more about Year Of The Dragon at www.mysoace.com/yotd. Purchase Blunt Force Karma either on CD or digitally from Amazon.com. Digital copies are also availble from iTunes.
Monday, May 3, 2010
Absinthe Junk - Living Ghosts
Absinthe Junk - Living Ghosts
2010, Severe Records
Nashville singer/songwriter/guitarist Blair Bretreiter Smart (who works mononymously as simply "Blair") gets compared to singers such as Amy Lee or Shirley Manson on a regular basis, but the profundity and progressive nature of her songwriting separates her from the pack. Together with Patrick Himes (guitar/keys/backing vox) and Matt Clarke (bass), Blair formed Absinthe Junk in mid-2009. Absinthe Junk also appears as Pink Floyd tribute band Eclipse, playing over 50 dates on the East Coast and Midwest in 2009. On Absinthe Junk's debut album, Living Ghosts, you'll hear flashes of the dreamy Psychedelia of Pink Floyd, as well as the smash and grab progressive and alt metal that serves as the other horizon of the band's range. All of this will be delivered with instrumentation and construction that's anything but typical in rock n roll. Absinthe Junk leaves all options on the table.
Absinthe Junk hits the heavy funk hard on “Commercialized Waste” in a wide-open arrangement that show’s off lead vocalist Blair’s dynamic voice. The song is highly enjoyable and a bit out of the box, with a tremendous amount of energy and complexity in the instrumentation underneath. “Road To Damnation” makes great use of Blair’s violin in a hard rock instrumental that will leave you shaking your head. “Dragonflies In Hurricanes” has one of the nicer melody lines on the album, and the vocals are solid, but there’s a distracted, disconnected feel to the song. “Sweet Vaccine” is a big, mid-tempo rocker. The energy level here is flat, and the spark is missing that existed in songs such as “Commercialized Waste” and “Road To Dementia”, proving that volume alone can’t represent emotion. “Assassin” features Blair in her best voice. While the arrangement is interesting, and Blair’s voice is a great listen, the bigger than life presentation that she’s capable of (and the song calls for) isn’t here. Blair belts, but the theatricality gets left at the door.
Absinthe Junk is a big band with a big sound that’s a bit off the beaten path. When on their game, Absinthe Junk is capable of some pretty impressive things. Living Ghosts finds Absinthe Junk traversing the highs and lows. The moments when Living Ghosts misses the bar are when Absinthe Junk fails to match the requisite passion and theatrics to the individual songs. Living Ghosts is a solid start.
Rating: 3 Stars (Out of 5)
Learn more about Absinthe Junk at http://www.mypieceofjunk.com/ or www.myspace.com/absinthejunk. Living Ghosts is available as either a CD or Download from Amazon.com. Digital copies are also available via iTunes.
2010, Severe Records
Nashville singer/songwriter/guitarist Blair Bretreiter Smart (who works mononymously as simply "Blair") gets compared to singers such as Amy Lee or Shirley Manson on a regular basis, but the profundity and progressive nature of her songwriting separates her from the pack. Together with Patrick Himes (guitar/keys/backing vox) and Matt Clarke (bass), Blair formed Absinthe Junk in mid-2009. Absinthe Junk also appears as Pink Floyd tribute band Eclipse, playing over 50 dates on the East Coast and Midwest in 2009. On Absinthe Junk's debut album, Living Ghosts, you'll hear flashes of the dreamy Psychedelia of Pink Floyd, as well as the smash and grab progressive and alt metal that serves as the other horizon of the band's range. All of this will be delivered with instrumentation and construction that's anything but typical in rock n roll. Absinthe Junk leaves all options on the table.
Absinthe Junk hits the heavy funk hard on “Commercialized Waste” in a wide-open arrangement that show’s off lead vocalist Blair’s dynamic voice. The song is highly enjoyable and a bit out of the box, with a tremendous amount of energy and complexity in the instrumentation underneath. “Road To Damnation” makes great use of Blair’s violin in a hard rock instrumental that will leave you shaking your head. “Dragonflies In Hurricanes” has one of the nicer melody lines on the album, and the vocals are solid, but there’s a distracted, disconnected feel to the song. “Sweet Vaccine” is a big, mid-tempo rocker. The energy level here is flat, and the spark is missing that existed in songs such as “Commercialized Waste” and “Road To Dementia”, proving that volume alone can’t represent emotion. “Assassin” features Blair in her best voice. While the arrangement is interesting, and Blair’s voice is a great listen, the bigger than life presentation that she’s capable of (and the song calls for) isn’t here. Blair belts, but the theatricality gets left at the door.
Absinthe Junk is a big band with a big sound that’s a bit off the beaten path. When on their game, Absinthe Junk is capable of some pretty impressive things. Living Ghosts finds Absinthe Junk traversing the highs and lows. The moments when Living Ghosts misses the bar are when Absinthe Junk fails to match the requisite passion and theatrics to the individual songs. Living Ghosts is a solid start.
Rating: 3 Stars (Out of 5)
Learn more about Absinthe Junk at http://www.mypieceofjunk.com/ or www.myspace.com/absinthejunk. Living Ghosts is available as either a CD or Download from Amazon.com. Digital copies are also available via iTunes.
Golden Hours - Pioneering/Wash The Night Eyes
Golden Hours - Pioneering/Wash The Night Eyes
2010, Golden Hours
2010, Golden Hours
I recently received a note from fellow blogger Matthew Crist regarding Golden Hours, refugees from Reading, England band The Wookies. With a strong DIY work ethic and an outside-the-box approach to songwriting blending influences such as Arcade Fire, Muse and Pink Floyd, Golden Hours have generated a lot of Buzz. The band has even caught the attention of BBC Radio and Germany's POPSCENE (no small feat for an Indie band). Crist also included a two-song CD featuring Golden Hours' latest singles, “Pioneering” and “Wash The Night Eyes”. “Pioneering” is mildly catchy, angular pop with a nice sound. The song is highly enjoyable and not at all heavy in sound. “Wash The Night Eyes” is a ballad with mildly crunchy guitar and an almost zen-like aesthetic. The writing on this tune is somewhat awkward, and “Wash The Night Eyes” just doesn’t play as well as “Pioneering”.
It’s difficult to say from just two songs, but Golden Hours appears to have at least a little bit of potential. “Pioneering” is a solid single; not a chart burner but a tune strong enough to get the band some attention. “Wash The Night Eyes” is much weaker as a single, but the instrumentation and musicianship are very solid as the sound becomes more angular and full of muscle.
Rating: 3 Stars (Out of 5)
Learn more about Golden Hours at http://www.thegoldenhours.co.uk/ or www.myspace.com/goldenhoursuk. The singles "Pioneering" and "Wash The Night Eyes" can be streamed on the band's website.
It’s difficult to say from just two songs, but Golden Hours appears to have at least a little bit of potential. “Pioneering” is a solid single; not a chart burner but a tune strong enough to get the band some attention. “Wash The Night Eyes” is much weaker as a single, but the instrumentation and musicianship are very solid as the sound becomes more angular and full of muscle.
Rating: 3 Stars (Out of 5)
Learn more about Golden Hours at http://www.thegoldenhours.co.uk/ or www.myspace.com/goldenhoursuk. The singles "Pioneering" and "Wash The Night Eyes" can be streamed on the band's website.
Sunday, May 2, 2010
Bill Kirchen - Word To The Wise
Bill Kirchen - Word To The Wise
2010, Proper American
Bill Kirchen is best known for contributing dazzling guitar work in support of Commander Cody, most notably on the 1973 hit “Hot Rod Lincoln”. Kirchen has become one of the elder statesmen of Americana music. On May 25, 2010, Kirchen returns with his ninth album, Word To The Wise, dancing down the lane between good old fashioned rock n roll and country.
Word To The Wise opens with “Bump Wood”, a delightful early rock piece you won’t be able to resist based on an old joke about mortality. The song is highly danceable and likely to have appeal across generations and genres. “Shelley Winter’s Love” is a rueful country affair full of wordplay, and features guest appearances by Nick Lowe and Paul Carrack. “Man In The Bottom Of The Well” has a brilliant guest vocal from Elvis Costello; the song is dark with hints of blues in its lineage, and is inspired by the sort of energy that can only occur when the artists were having fun recording/playing the song.
Commander Cody sits in on “I Don’t Work That Cheap”, a fun tune that takes some liberties with history (ala Forrest Gump), but does so with pre-meditation rather than happenstance. This song is pure rock n roll, great for a party. Kirchen takes a turn towards classic country of Roger Miller on “Husbands And Wives” with Chris O’Connell sitting in. Kirchen keeps the classic feel of the song, sounding like his version might have danced right off the stage of the Grand ‘Ol Opry. Kevin “Blackie” Farrell sits in on the cowboy tune “Open Range”. The song it solid, but the vocal here is perhaps the most contrived sounding performance on the album.
“Arkansas Diamond” is a fun and catchy tune about finding the right girl; an amusing bit of rockabilly. Vaudeville and jazz meet on “Word To The Wise”, with Dan Hicks sharing vocals on this classic reminder that sometimes our own business is the only business. The song is funny and socially apt while remaining eminently tuneful. Maria Muldaur sits in on “Ain’t Got Time For The Blues” with the most dynamic vocal performance on the album, a slinky and sultry number that simply blows the roof off. Word To The Wise closes with “Value Of The Moon”, a wonderfully entertaining and catchy tune; whimsical but full of serious, vibrant musicianship.
Word To The Wise has all of the elements needed to be highly successful. The musicianship is brilliant, the song selection is entertaining and Kirchen and his guests project personality plus throughout. It is difficult to know what goes through the minds of GRAMMY voters, but it’s hard to imagine Kirchen and Word To The Wise not receiving at least due consideration. Word To The Wise is that good.
2010, Proper American
Bill Kirchen is best known for contributing dazzling guitar work in support of Commander Cody, most notably on the 1973 hit “Hot Rod Lincoln”. Kirchen has become one of the elder statesmen of Americana music. On May 25, 2010, Kirchen returns with his ninth album, Word To The Wise, dancing down the lane between good old fashioned rock n roll and country.
Word To The Wise opens with “Bump Wood”, a delightful early rock piece you won’t be able to resist based on an old joke about mortality. The song is highly danceable and likely to have appeal across generations and genres. “Shelley Winter’s Love” is a rueful country affair full of wordplay, and features guest appearances by Nick Lowe and Paul Carrack. “Man In The Bottom Of The Well” has a brilliant guest vocal from Elvis Costello; the song is dark with hints of blues in its lineage, and is inspired by the sort of energy that can only occur when the artists were having fun recording/playing the song.
Commander Cody sits in on “I Don’t Work That Cheap”, a fun tune that takes some liberties with history (ala Forrest Gump), but does so with pre-meditation rather than happenstance. This song is pure rock n roll, great for a party. Kirchen takes a turn towards classic country of Roger Miller on “Husbands And Wives” with Chris O’Connell sitting in. Kirchen keeps the classic feel of the song, sounding like his version might have danced right off the stage of the Grand ‘Ol Opry. Kevin “Blackie” Farrell sits in on the cowboy tune “Open Range”. The song it solid, but the vocal here is perhaps the most contrived sounding performance on the album.
“Arkansas Diamond” is a fun and catchy tune about finding the right girl; an amusing bit of rockabilly. Vaudeville and jazz meet on “Word To The Wise”, with Dan Hicks sharing vocals on this classic reminder that sometimes our own business is the only business. The song is funny and socially apt while remaining eminently tuneful. Maria Muldaur sits in on “Ain’t Got Time For The Blues” with the most dynamic vocal performance on the album, a slinky and sultry number that simply blows the roof off. Word To The Wise closes with “Value Of The Moon”, a wonderfully entertaining and catchy tune; whimsical but full of serious, vibrant musicianship.
Word To The Wise has all of the elements needed to be highly successful. The musicianship is brilliant, the song selection is entertaining and Kirchen and his guests project personality plus throughout. It is difficult to know what goes through the minds of GRAMMY voters, but it’s hard to imagine Kirchen and Word To The Wise not receiving at least due consideration. Word To The Wise is that good.
Rating: 4.5 Stars (Out of 5)
Learn more about Bill Kirchen at http://www.billkirchen.com/ or www.myspace.com/billkirchen. Word To The Wise drops on May 25, 2010. You can pre-order copies on CD from Amazon.com.
Saturday, May 1, 2010
Rachael Sage - Delancey Street
Rachael Sage - Delancey Street
2010, MPress Records
Rachael Sage has always been something of a renaissance woman. She was good enough of a dancer in junior high to gain entrance to the School Of American Ballet in junior high. Switching to acting, Sage studied at Stanford University and the Actors Studio MFA program. In spite of all of this, it’s music that has always allowed Sage to shine brightest. Sage has built her career as an Indie artist, releasing all eight of her albums to date on her own MPress Records. Sage’s ninth, Delancey Street, is due on May 4, 2010, may be her most personal work to date, and her best.
Delancey Street opens with “Hope’s Outpost”, a quiet admonishment full of power and grace. The song is a thing of beauty written not so much from anger as from quiet disbelief about watching the one person you could count on walk away. “There Is Passion” marks the autumn of a relationship, when things just aren’t as they once were even if love still survives. The song is full of longing for a return of the warmth of spring and mournful over where it has gone. On “Brave Mistake”, Sage explores love as a dance, using strong imagery to portray not so much the pleasure and plain but the twists and turns that we all fall into. Sage sees the pattern as a way of working things out, allowing us to see when things work out right clearly (“He was at home in every line of her face. It was like ice breaking…”).
“Everything Was Red” is a highly personal account of the difficulties of being the family black sheep and being a good sister; full of a hope for things to be as they should be, Sage acknowledges how difficult it is to put the past aside, even if the past is of her own creation. This highly honest and human perspective is raw and powerful, and beautiful in its angst. Any of you out there looking to try to make it in the music business should listen to Sage’s “Big Star”, a musical treatise on what it takes to make it, particularly for a female artist. It’s a very perky take on the wondrous feeling of the pursuit of stardom that takes into account the darker sides of that pursuit. “Wasn’t It You” finds Sage exploring the rich history of a relationship where all may not be perfect, but her lyrics are still steeped in immense love.
Sage’s cover of Hall & Oates’ “Rich Girl” is both amusing and surprising; a gentle diversion in the midst of a rich emotional tapestry. Sage undertakes a bit of escapism in “Meet Me In Vegas”, inviting another to come along. It’s a scintillating moment of vulnerability. If you’re looking for a prime example of Sage’s lyrical brilliance, make sure to check out “How I Got By”. Sage sparkles with lines like “I’ve seen the moon sigh for mercy, I’ve seen solitude break down like some old forgotten junkie I’ve been wandering this town” and “Sometimes it’s hard to ameliorate imaginary sin when you’re still stuck inside the distance between nothing and everything.”
“Back To Earth” is deeply introspective, a gorgeous song of regret over a relationship mistake that Sage wishes she could take back. On “Arrow” Sage takes a look around at her life only to realize that she is happy, and questions all of those who have told her over the years that she must suffer for her art. On “Delancey Street”, Sage references a friendship past in a song full of an ill-defined emotion that isn’t exactly regret but touches on its lonely shores. Sage closes things out with a cover of Irene Cara’s “Fame” in an elegant cover that takes the exuberance of the original and fills it with a more mature emotion as seen from the other side of fame.
Time and happiness may have softened the edges a bit on Rachael Sage, but it’s inarguable that Sage is creating some of the richest art of her career right now. Delancey Street is musically complete and rich with personal emotion and insight. It’s a brilliant album from an artist who has always danced around the edges brilliance and has now moved fully into its light. One can’t predict where Delancey Street will stand in relation to Sage’s future work twenty years from now, but for the time being it is a peak; like watching the arc of creation as it continues to rise. Delancey Street is a Wildy’s World Certified Desert Island Disc. Don’t miss it.
Rating: 5 Stars (Out of 5)
Learn more about Rachael Sage at http://www.rachaelsage.com/ or www.myspace.com/rachaelsage. Delancey Street drops on May 4, 2010. You can pre-order the album from Aamazon.com as either a CD or Download.
2010, MPress Records
Rachael Sage has always been something of a renaissance woman. She was good enough of a dancer in junior high to gain entrance to the School Of American Ballet in junior high. Switching to acting, Sage studied at Stanford University and the Actors Studio MFA program. In spite of all of this, it’s music that has always allowed Sage to shine brightest. Sage has built her career as an Indie artist, releasing all eight of her albums to date on her own MPress Records. Sage’s ninth, Delancey Street, is due on May 4, 2010, may be her most personal work to date, and her best.
Delancey Street opens with “Hope’s Outpost”, a quiet admonishment full of power and grace. The song is a thing of beauty written not so much from anger as from quiet disbelief about watching the one person you could count on walk away. “There Is Passion” marks the autumn of a relationship, when things just aren’t as they once were even if love still survives. The song is full of longing for a return of the warmth of spring and mournful over where it has gone. On “Brave Mistake”, Sage explores love as a dance, using strong imagery to portray not so much the pleasure and plain but the twists and turns that we all fall into. Sage sees the pattern as a way of working things out, allowing us to see when things work out right clearly (“He was at home in every line of her face. It was like ice breaking…”).
“Everything Was Red” is a highly personal account of the difficulties of being the family black sheep and being a good sister; full of a hope for things to be as they should be, Sage acknowledges how difficult it is to put the past aside, even if the past is of her own creation. This highly honest and human perspective is raw and powerful, and beautiful in its angst. Any of you out there looking to try to make it in the music business should listen to Sage’s “Big Star”, a musical treatise on what it takes to make it, particularly for a female artist. It’s a very perky take on the wondrous feeling of the pursuit of stardom that takes into account the darker sides of that pursuit. “Wasn’t It You” finds Sage exploring the rich history of a relationship where all may not be perfect, but her lyrics are still steeped in immense love.
Sage’s cover of Hall & Oates’ “Rich Girl” is both amusing and surprising; a gentle diversion in the midst of a rich emotional tapestry. Sage undertakes a bit of escapism in “Meet Me In Vegas”, inviting another to come along. It’s a scintillating moment of vulnerability. If you’re looking for a prime example of Sage’s lyrical brilliance, make sure to check out “How I Got By”. Sage sparkles with lines like “I’ve seen the moon sigh for mercy, I’ve seen solitude break down like some old forgotten junkie I’ve been wandering this town” and “Sometimes it’s hard to ameliorate imaginary sin when you’re still stuck inside the distance between nothing and everything.”
“Back To Earth” is deeply introspective, a gorgeous song of regret over a relationship mistake that Sage wishes she could take back. On “Arrow” Sage takes a look around at her life only to realize that she is happy, and questions all of those who have told her over the years that she must suffer for her art. On “Delancey Street”, Sage references a friendship past in a song full of an ill-defined emotion that isn’t exactly regret but touches on its lonely shores. Sage closes things out with a cover of Irene Cara’s “Fame” in an elegant cover that takes the exuberance of the original and fills it with a more mature emotion as seen from the other side of fame.
Time and happiness may have softened the edges a bit on Rachael Sage, but it’s inarguable that Sage is creating some of the richest art of her career right now. Delancey Street is musically complete and rich with personal emotion and insight. It’s a brilliant album from an artist who has always danced around the edges brilliance and has now moved fully into its light. One can’t predict where Delancey Street will stand in relation to Sage’s future work twenty years from now, but for the time being it is a peak; like watching the arc of creation as it continues to rise. Delancey Street is a Wildy’s World Certified Desert Island Disc. Don’t miss it.
Rating: 5 Stars (Out of 5)
Learn more about Rachael Sage at http://www.rachaelsage.com/ or www.myspace.com/rachaelsage. Delancey Street drops on May 4, 2010. You can pre-order the album from Aamazon.com as either a CD or Download.
Blackmarket - St. Vincent Décor
Blackmarket - St. Vincent Décor
2010, The Militia Group
Lake Havasu, Arizona rockers Blackmarket return with their sophomore album, St. Vincent Décor, a chronicle of angst and intensity that runs all over the map stylistically. From the catchy garage pop of the first single, “Tongue Twister Days” to the intriguing fingerstyle guitar work of “Catch And Release”, Blackmarket exploits the full range of their musical talents on St. Vincent Décor. The middle stretch of the album is a bit weak, but songs such as “Nearsighted”, “The One I Know You’re Not” and “Dot To Dot” show off the band’s unusual mix of garage rock, angst-filled songwriting and pop sensibility. Fans of The Tragically Hip will be mildly intrigued.
Rating: 3 Stars (Out of 5)
Learn more about Blackmarket at http://www.blackmarketaz.com/ or www.myspace.com/blackmarketaz. St. Vincent Décor is available digitally from both Amazon.com and iTunes.
2010, The Militia Group
Lake Havasu, Arizona rockers Blackmarket return with their sophomore album, St. Vincent Décor, a chronicle of angst and intensity that runs all over the map stylistically. From the catchy garage pop of the first single, “Tongue Twister Days” to the intriguing fingerstyle guitar work of “Catch And Release”, Blackmarket exploits the full range of their musical talents on St. Vincent Décor. The middle stretch of the album is a bit weak, but songs such as “Nearsighted”, “The One I Know You’re Not” and “Dot To Dot” show off the band’s unusual mix of garage rock, angst-filled songwriting and pop sensibility. Fans of The Tragically Hip will be mildly intrigued.
Rating: 3 Stars (Out of 5)
Learn more about Blackmarket at http://www.blackmarketaz.com/ or www.myspace.com/blackmarketaz. St. Vincent Décor is available digitally from both Amazon.com and iTunes.
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