Marc Cohn and the Evils of Streaming

I am something of a dinosaur.  Let’s get that out front.  I refuse to pay for digital file licenses for music.  My CD collection is north of, well, it’s a lot.  I’ve even spurned releases from some of my favorite artists because they didn’t release hard copies (here’s looking at you, Ron Hawkins and Barenaked Ladies.)  I also have an aversion to vinyl, but that’s for another day.  Suffice it to say that from the standpoint of sound quality, ownership and longevity, nothing beats the CD for this music fan.

Of course, I do have teenagers, so things like Amazon Music and Spotify have made it into our way of life.  I don’t generally mess with either, although I will admit to spicing up my morning routine of feeding animals and checking glucose levels with a shuffle of songs from Amazon for whatever artist occurs to me that morning.  It’s often a frustrating experience, but easier than asking for a specific artist.  “Amazon, play music by Antje Duvekot.” “I wasn’t able to find songs by that artist, but here are songs by Two Cats.”

On this morning’s menu, besides a conglomeration of kibble (what the hell is kibble?) for the dogs and a split can of Friskies for the felines was Marc Cohn.  The first I heard of Marc Cohn was a quote from Billy Joel way back in 1991, where Billy prognosticated that Marc Cohn was next great American songwriter.  “Walking In Memphis” was just catching on at radio and you could hear the song six times an hour if you were switching radio stations.  He is an artist that has stayed with me through the years in spite of changes in musical taste because his songs have substance.

He popped into my head this morning and so I asked Amazon to play songs by Marc Cohn.  Seven songs in, and I had heard “True Companion”, “Strangers in a Car” and “Walking in Memphis.”  Wait, that’s only three songs, but “Walking in Memphis” had played four times.  FOUR!  Now I love “Walking in Memphis.”  It’s a brilliant piece of songwriting that captures a moment like an Ansel Adams photograph turned into song; and I don’t even mind listening to it four times in half an hour, but this is really a disservice to Marc Cohn, in a way.

If I were a new fan who stumbled across one of Cohn’s songs by accident and then looked to take a deeper dive on Amazon music, I would presume that he was a one-shot wonder (although “True Companion” is a pretty compelling piece of songwriting in its own right.)  Attention spans are short these days, and a potential fan probably moves on to something else (and even an established fan probably moves on somewhat quickly because of the repeats.)  The Algorithm, part computer programming and part Payola, defeats artists at almost every turn.  This is just another example.  The repeats of “Walking in Memphis” probably put another ha-penny in Cohn’s next residual check, but at the cost of the opportunity to expose people to a deeper catalog that is rich in well-crafted songs (His recent turn with the Blind Boys of Alabama, Work to Do, is utterly brilliant, and totally absent here.)

This is but one of the facets of the larger problem with streaming.  Great artists (like Cohn and Duvekot) get lost in the shuffle.  Compelling voices with something to say are not heard unless you know what to ask for (and if Alexa has cleaned her ears recently.)

Meanwhile, CDs and (for those who like media that deteriorates every time you play it) LPs are plentiful in the marketplace, from the grossly overpriced records at standard retail joints to thrift stores, garage sales and flea markets.  If you truly want to support an artist, go to their website, listen to song samples there that you enjoy, and if you like it, by an album/cd/download from them directly.  It puts more $ in their pockets and ensures that they have the resources to continue doing what you love them to do.

Barenaked Ladies live - UB Center for the Arts - November 6, 2013

Barenaked Ladies invaded the UB Center for the Arts (Amherst, NY) last night with a vigor and humor that has been a trademark of the band over their 25 year run.  With fourteen shows under my belt, this is the first time I had seen the band since the departure of co-founder Steven Page.  I wasn’t sure what to expect, but it’s as if Barenaked Ladies never missed a beat.  Front man Ed Robertson took the lion’s share of vocal duties, as you might expect, but turned over the mic to Kevin Hearn, Jim Creeggan (aka the tall, skinny red head) and even drummer Tyler Stewart for some great moments throughout the night.

The band took fans on a long and winding trip through favorites old and new, and even a couple of cover tunes in the 24 song, two hour set. Songs from their latest album, Grinning Streak, were greeted as enthusiastically as classic tunes from BNL’s early days.  Ed Robertson induced a crowd sing along on “Gonna Walk” that was impressive, and Kevin Hearn’s “All In Good Time” is one of the finest songs he’s ever written.  BNL even brought out opening act Whitehorse for “Keeping It Real”, turning the crunchy alt-rocker into an even darker, blues infused number with heavy muscle.

A brief acoustic set mid-show featured a doo-wop version of “The Sound Of Your Voice” with Kevin Hearn on vocals.  The band then moved on to “Smile” (Ed Robertson) and “Maybe Katie”, with Jim Creegan splitting vocals with Ed.  Fans were treated with blasts from the past in “Blame It On Me” and “Brian Wilson”.  This last had some longtime fans up and dancing until the Center for the Arts staff politely and firmly asked them to sit down do people behind them could see.

Just when you thought BNL were maybe starting to wind down they got their second wind.  “Easy” led into current hit “Odds Are” and then the theme from “Big Bang Theory”. The show wound up with “One Week”, “If I Had $1,000,000”, a medley of pop tunes old and new and finally, “The Old Apartment”.  BNL returned to the stage for one of the most memorable encores of their career.  Ed Robertson took a seat behind the drums, and Tyler Stewart informed the crowd that he was going to bring the rock.  He then launched into a very capable take on “Alcohol”, and then proceeded to lead the band through covers of The Violent Femmes’ “Blister In The Sun” and Led Zeppelin’s “Whole Lotta Love”.

Throughout the night BNL expressed their love and appreciation for Buffalo, a city that was like their second home in the early days of their career.  The band reminisced about their first show in Buffalo, which was also at UB.  Tyler referenced a power outage that occurred during that show in the middle of their set.  Sorry Tyler – the power outage was actually at a show at The Ikon a couple of months later (I was there).  The band’s first improv was an ode to Buffalo, of sorts.

The banter during the show was hilarious. The band had a running gag about Tyler’s knowledge of 1970’s and1980’s television shows and actors. Ed Robertson kept trying to stump the expert throughout the show, and finally got him with Squiggy from Laverne and Shirley.  For all of the goofiness, however, BNL remains all about the music. The four men on stage last night played and interacted like a family.  The dynamic and interaction is perhaps the most fluid I have seen out of them in over 20 years of live experiences. The crowd ate it up, and gave the energy right back.

Opening act Whitehorse was a new commodity to me. Husband and wife pairing of Luke Doucet and Melissa McClelland was a powerhouse presence, one of those rare opening acts with the talent and material to potentially steal the show. While there was no risk of that ultimately last night, Whitehorse certainly opened a lot of eyes.  Both are powerful singers and multi-instrumentalists. They used live percussive instruments and technology last night to create subtly structured yet powerful backgrounds for themselves, and tore through their songs like the world was on fire and it was their one chance to play.

I do not have a song list for Whitehorse as it was my first time hearing them.  But they were good enough that I walked away with two of their CDs from the swag stand at intermission. Keep an eye (and an ear) open for Whitehorse. They are the real deal.

Luck Be A Lady Tonight – Steven Page live at Canalside – June 20, 2013

 

Luck Be A Lady Tonight – Steven Page live at Canalside – June 20, 2013

A band is an organic unit made up of the sum of the members’ talents.  A band losing a primary member is sort of like a person losing a limb; it changes the entire tenor and tone of the band.  Fans of Barenaked Ladies have lamented the loss of Steven Page since he left the band a few years back.  Page has released two solo albums (one while still with BNL), as well as an intriguing collaboration with The Art Of Time Project.  This past Thursday he brought his new band to Canalside in Buffalo, NY.

Page began by alternating songs from his latest album, Page One, with BNL classics.  Opening with “A New Shore”, Page seemingly set the stage for a night of new material.  Early on, he alternated new songs such as “Indecision”, “She’s Trying To Save Me”, “Over Joy”, “Marry Me”, and “Entourage”.  The best performance of the night might have been reserved for Page’s non-album track “A Different Sort Of Solitude”.  This tune is a rocker seriously pop sensibility, and was an incredibly vibrant surprise.

 The biggest responses of the night, however, we for BNL classics such as “Jane”, “The Old Apartment”, “What A Good Boy” and “Enid”.  Beginning with “Enid”, Page went on a run of BNL tunes to close out the night.  I caught “Break Your Heart”, “It’s All Been Done” and “Brian Wilson”.  The little ones ran out of gas and so we had to leave, but one more song was forthcoming.  If anyone wants to add a note about that I’d be grateful.

The fact is that Page was engaging on stage, although not as wild and funny as in his BNL days.  Indeed, the suit he wore spoke more of a Vegas style stage show than a rock concert.  Nevertheless, Page used humor and reminiscences of more than 20 years of performances in Buffalo to connect with the crowd.  There’s no doubt that the old BNL material was what the crowd came for, and I have to admit that the songs Page played still sound best in his voice.

The show had two opening acts.  First up was Buffalo’s own Son Of The Sun, whom I’ve written about in the past.  Their set was very solid, and vocalist Zak Ward did an outstanding job of establishing himself in the big open space along the Erie Canal.  The band created a big wall of sound that helped get the early crowd in the mood for the night.

Pittsburgh rockers The Truth had the middle spot, and their set was eye opening.  Performing a mix of covers and original tunes, the band showed off some serious songwriting chops.  Much of their original material was co-written with legendary Nashville songwriter Bernie Nelson, and is very radio friendly with elements of classic rock and country woven throughout.  Co-lead vocalists Paul Michael Benson and Ayesha Scott make for a great vocal mix.  Benson is an accomplished vocalist and front man, but Ayesha Scott lit up the night with a voice that could stop a stampede.  Benson’s presence is key, but Ayesha Scott is a star in waiting.

The Waltons - Live In Buffalo - May 4, 2013

 

The first time I saw the Barenaked Ladies was in a truck garage-turned-bar called The Ikon, in Buffalo, NY.  With approximately 400 people crushed into a space that legally allowed about 250, it was quite a death defying experience.  Perhaps the biggest surprise of the night, however, was the opening act.  A four piece from Regina, Saskatchewan called The Waltons.  The Juno Award winning group had an independent album, Lik My Trakter, which was in the process of being optioned by WEA Records Canada, and brought their own inviolate energy to a catchy mix of acoustic folk and rock and roll.  Warner never really supported The Waltons, and in spite of placement on one of the Friends soundtrack collections the band never really took off in the states.  Nevertheless, the band was among the most talented to come out of the Toronto Indie scene of the early 1990’s.

The Waltons went their own ways in 2001.  Jason Plumb has gone on to become one of Canada’s most respected singer/songwriters, both independently and with his band The Willing.  By 2013, the band hadn’t been in the same room in about eight years, but on one mild spring night last weekend in North Buffalo, The Waltons were reunited in the living room of a friend.  For the stretch of thirteen songs, the Waltons were as vivacious and alive as ever they were.

This particular lineup included Jason Plumb on vocals and guitar; Keith Nakonechny on bass and vocals; Sean Bryson on drums; and Jeff McLeod (Jason Plumb and the Willing) filling in for Todd Lumley on keys.  In spite of not playing together in close to a decade, the Waltons were on.  Jason Plumb joked about not having the range he once had, but the appreciative crowd never took notice.  The set was heavy on tunes from the band’s first album, and in spite of years apart The Waltons didn’t miss a beat.  Fan favorites such as “The Middle Of Nowhere”, “Colder Than You”, “Michaelangelo’s Tummy” and “Beats The Hell Out Of Me” were well received, but the biggest reactions were for “Colder Than You” and “In The Meantime”.

The Waltons worked their way through ten songs, and were enticed into playing three more by the small but enthusiastic crowd.  “I Could Care Less” got everyone moving, but the band’s cover of Simon & Garfunkel’s “The Boxer” was a highlight of the night.  The words didn’t come to memory easy, but the performance had an impromptu and fun feel that was very laid back.  The detour into David Alan Coe’s “The Rodeo Song” in the middle might have had something to do with it.  The Waltons had one more hit in them before the night was through, bringing down the house with “The Naked Rain”; a long time fan favorite.

This year marks the 20^th Anniversary of Lik My Trakter, and The Waltons plan on playing a handful of club gigs to celebrate.  Regina, Toronto and Buffalo are sure to be on the agenda.  Dates will be limited because the band members all have families and careers these days, but if this house concert was any indication, The Waltons have still got it.

Jason Plumb and the Willing - All Is More Than Both

Jason Plumb and the Willing – All Is More Than Both
2012, Soccer Mom Records

Saskatchewan-based singer/songwriter Jason Plumb got his start in the early 1990’s as the front man for The Waltons.  Touring with Barenaked Ladies early in their career, The Waltons became a fan favorite across Canada and parts of the Northeast U.S, largely on the strength of Plumb’s songwriting and his voice.  The band waned with the 1990’s, and Plumb has gone on to become one of the most respect Indie songwriters in Canada.  Both as a solo artist and with his band The Willing, Plumb historically brings a quiet intensity and subtle melancholy to his songwriting that is compelling.  Plumb turns a corner on his latest album, All Is More Than Both, his third turn with The Willing.  With Canadian super-producer Michal Phillip Wojewoda at the helm, Plumb finds the anger and the joy embedded in his melancholy and lets it rip on what is his most vibrant album to date.

Recapturing a sonic vigor not seen since his earliest work with The Waltons, Plumb begins a full-on aural assault with “First Time”, a wondrous blend of 1980’s rock and Americana that recalls the glory days of a teenager and first love.  This is easily the most commercial single Plumb has produced in some time, but he does so without giving up a bit of quality in his songwriting.  The chorus is infectious and will inhabit your head for days; you won’t be able to help yourself from dancing and singing along.  “Losin’” has a much darker and heavier feel.  Co-written with Ed Robertson of Barenaked Ladies (who also contributes vocals here), there is a palpable anger to the song that may surprise longtime fans.

“What You Leave” is quite another matter altogether, a wonderfully melodic take on growing up, aging gracefully and coming to terms with what is important in life.  Former Barenaked Lady Steven Page lends his golden pipes in support of the most aurally appealing track on the album.  “Alone With You” is a catchy, mid-tempo anti-love song with a chorus that sounds like it belongs on 1970’s classic rock radio (Eagles, anyone?)  Plumb’s brilliance shines here in simple things, and you’ll find it hard to get this song out of your head.

Jason Plumb returns to gentle, melodic melancholy on “Hold On”, a gorgeous rumination on not being taken in again by love.  The vocals here are sublime, and Plumb builds the song in small measures to a chorus you simple cannot shake.  Listen for vocal support from Alexa Dirks, whose voice could light up a room.  “All By Myself” finds Jason Plumb and the Willing muscling up for a buoyant mid-tempo rocker full of the sort of hooks that make radio programmers drool.  Don’t be surprised if this song finds its way to the airwaves as we move into the summer months.

“On A Chain” blends pop and Americana in a brilliant reflection on not being able to break away from an old love.  The chorus is full of gorgeous vocal harmonies spread out around an edgy melody line; the contrast is appealing, and the mix of voices is pure magic.  Plumbs dips into romantic territory with “Falling Star”, which sounds as if it might have been left over from his Beauty In This World sessions.  It would, in fact, be surprising if this were a leftover, as the song is Plumb at his finest blend of poetry and melody.  It’s a beauty, and builds into a symphonic sounding chorus that leaves an impression on the listener.

"Under A Gun” finds Plumb sticking with his more lyric side, crafting a subtly beautiful melody line drenched in an ethereal, country-tinged arrangement that wraps you u and rocks you gently in its arms.  “Sweet Misery” starts with the simplest of piano lines and builds into an ode to the mix of suffering and joy that so often makes up love.  The twist here is that Plumb is looking back at someone from the past and realizing how good it was even if he couldn’t see it at the time.  Plumb reasserts his status as one of the finest working songwriters of his day right here.  You’ll have this song on continuous repeat.  Jason Plumb and the Willing close things out on a pragmatic note with the incredibly upbeat country/rock of “Naturally (Ain’t Up To Me)”. The chorus will invade your brain and refuse to leave as Plumb waxes poetic on a newfound acceptance of our ultimate place in life.

I’ll step outside the role of reviewer for a moment and offer a disclaimer: I have been a Jason Plumb fan for years.  I saw him with the Waltons back in the day when they opened for Barenaked Ladies in Ontario and small clubs in Buffalo.  I have followed his career as he has branched out; first on his own and later, with Jason Plumb and The Willing.  It’s not surprising that a fan is going to like the work of one of his favorite artists.  (Reviewer hat back on.)  What is surprising, however, is when a well-established songwriter who is respected by his peers remakes himself and raises the bar twenty-five years into a successful career.  Some credit has to be given to Michael Phillip Wojewoda for overseeing the same sort of transformation he has wrought with acts such as Barenaked Ladies, The Rheostatics, Spirit of the West and Ashley MacIsaac.  But the bulk of the credit goes to Jason Plumb and the Willing.  All Is More Than Both is brilliant from first note to last.  This is Prairie Music Award worthy, Juno Award worthy, and yes, GRAMMY Award worthy.  It’s also one of the easiest selections ever as a Wildy’s World Certified Desert Island Disc.

Rating:  5 Stars (Out of 5)

Learn more about Jason Plumb at www.jasonplumb.com or www.myspace.com/jasonplumbandthewilling.  All Is More Than Both is a Canadian release.  If you need a CD, you'll have to go MapleMusic.  Digital versions are available from the e-tailers below.

     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.

Barenaked Ladies - Hits From Yesterday & The Day Before

Barenaked Ladies – Hits From Yesterday And The Day Before
2011, Rhino Records

It takes some moxie to last in the music business for twenty years.  It takes real chutzpah to not only survive chart-topping single and still be making music more than a dozen years later in spite of losing a principal songwriter and vocalist, But above all it takes talent; something the four remaining members of Barenaked Ladies have never run short of.  On September 27, 2011, Rhino Records will release Hits From Yesterday And The Day Before, Barenaked Ladies second greatest hits collection.  This career-spanning collection will seem mostly redundant if you already own Disc One: All Their Greatest Hits, but will be an ideal starting place for new fans.

Cited by no less than Sir Paul McCartney as one of the most interesting bands in rock and roll today, Barenaked Ladies have long blended a singular musical talent with a nerd-rock aura and boundless energy.  The divorce of co-founder Steven Page from the band in 2009 might have meant the end for some bands, but Ed Robertson (vocals/guitar), Kevin Hearn (vocals/keys), Jim Creeggan (bass/vocals) and Tyler Stewart (drums/vocals) set their eyes upon the future and have refused to look back.  Hits From Yesterday And The Day Before closes the book on the first two decades of Barenaked Ladies, and shows a marked development of sound, style and maturity over the years.

Classic Barenaked Ladies hits are featured mostly in their original, recorded forms.  Songs such as “If I Had $1,000,000, “Brian Wilson (live)”, “The Old Apartment” and “One Week”, as well as moderately successful radio singles such as “Pinch Me”. “Another Postcard” and “It’s All Been Done”.  Very little representation is given to the last three BNL Albums (Barenaked Ladies Are Me, Barenaked Ladies Are Men, All In Good Time), most likely due to these albums being released independently by the band, whereas Rhino owns the rights to much of the material presented here.  The only track here not previously available on CD is the full version of the “Big Bang Theory Theme”, which mixes Robertson’s sometimes frenetic talk/sing style and classic BNL kitsch. 

If you’re a dyed-in-the-wool Barenaked Ladies fan, then Hits From Yesterday And The Day Before isn’t likely to hold much appeal.  You’re going to have all of the tracks here already.  But for new fans just acquainting themselves with the band, it’s a tremendous collection-as-introduction.  What’s more intriguing, and somehow still secretive, is the deluxe edition of the greatest hits collection, also supposedly due on September 27, 2011.  Stop Us If You’ve Heard This One Before is rumored to be a two-disc set that includes the greatest hits disc plus a second disc of never before heard songs.  No track list has been published to date, and no listing has yet to appear on major retailers such as Amazon, Target, Walmart, FYE, CDPlus or CDUniverse.  This is the collection that will cause long time fans to open their wallets. 

In the end, Hits From Yesterday And The Day Before is a solid collection for beginners, but probably not worth shelling out the money for if you already own several BNL albums.  The “Big Bang Theory Theme” is certainly worth hearing, but isn’t enough of an upgrade, in itself, over Disc One to make it essential.  Stop Us If You’ve Heard This One Before, if it makes it to market, will be a must have for all the die-hard fans out there.

Rating: 3.5 Stars (Out of 5)

(Note: In this case, the rating is more of the collection than the music thereon.  There just wasn’t enough new material here to justify a second greatest hits package, but the music itself is fabulous.)

Learn more about Barenaked Ladies at www.barenakedladies.com or www.myspace.com/barenakedladies.  Hits From Yesterday And The Day Before is available for pre-order via Amazon.com both on CD and as a Download.  Preorders are also available via iTunes.

Be sure to check out the new video for the "Big Bang Theory Theme", featuring members of the cast of the show!

Jason Plumb & The Willing - Alive And Willing

Jason Plumb & The Willing - Alive & Willing
2011, Soccermom Records

Jason Plumb rose to prominence as songwriter and lead vocalist of Saskatchewan folk-rockers The Waltons in the early 1990's, touring with bands such as Barenaked Ladies and Junkhouse.  Darlings of the Toronto indie rock scene fueled by the then vibrant radio station CFNY, The Waltons enjoyed considerable success across Canada but never quite caught on in the US.  The Waltons were essentially done by the turn of the millennium, but Jason Plumb continued to write songs and has built a successful and highly respected body of work both on his own and with The Willing.  Early this year, Jason Plumb & The Willing released a DVD set entitled Alive & Willing, memorializing a show recorded live in Plumb's hometown of Regina, Saskatchewan, and featuring the Broken Heart Strings, an offshoot of the Regina Symphony Orchestra.

Alive & Willing finds Plumb culling material from across his career in a dynamic live set that aptly shows off his brilliance as a lyricist, composer and performer.  Relying heavily on material from his album Beauty In This World, the show also features songs from Under And Over and some highlights from his career with The Waltons.  The main concert is a real treat, but the big surprise is something called The Neighborhood Dog Episode, a bonus movie featuring a series of home concert performances and anecdotes.  The set also includes a live CD covering most of the audio from the main concert.  Highlights include “Beauty In This World”, “Drive”, “Protest Song/Colder Than You”, “The Water Well & The Farmer’s Hand”  and “Lolita”.  The latter is only on the DVD and not on the companion audio CD. 

The video and audio quality throughout the set is superb.  Jason Plumb & The Willing are everything you could ask for musically.  Plumb sings from the heart; without affectation, and his songs as accessible and timeless.  Alive & Willing is a don’t miss release.

Rating: 4.5 Stars (Out of 5)

Learn more about Jason Plumb & The Willing at http://www.jasonplumb.com/ or www.myspace.com/jasonplumbandthewilling.  Alive And Willing is a limited edition release, and is available from MapleMusic.com.

Tally Hall - Good & Evil

Tally Hall - Good & Evil
2011, Quack! Media

Tally Hall had it all in 2008.  A major record deal to release their 2005 Indie smash, Marvin's Marvelous Mechanical Museum had been signed with Atlantic Records.  Expectations were for Tally Hall to catch fire throughout the Western Hemisphere the way they had in the Upper Midwest of the United States.   Atlantic seemingly signed Tally Hall with the expectation of quick profit from a regional powerhouse with a ready fan base and a proven album.  Consequently, little or no push ever materialized, and the major label release essentially tanked.  This is no reflection on the album, which remains one of the most creative and original musical creations of its decade. Tally Hall recently emerged with their second full-length album, Good & Evil.  Produced by Tony Hoffer (Beck, Depeche Mode, Belle & Sebastian) and originally funded by Atlantic Records, Good & Evil finds Tally Hall stepping back into the Indie world.

Tally Hall's mix of Beatles-esque melodies and arrangements, humor, and unusual perspective enhanced their distinctive blend of pop, classic rock and rap and helped make them one of the best known bands in Middle America over the past five years.  Those elements remain on Good & Evil, but with a bit more subtlety and maturity than in the past.  "Never Meant To Know" opens Good & Evil with a quasi-spiritual perspective on the wider world.  It's an acknowledgement of place for humanity, trimmed in a wonderfully compact pop/rock arrangement built on melody that will stay with you.  "&" is classic Tally Hall, a story song that starts somewhere in the middle and challenges the listener to catch up.  Big vocal harmonies and a quietly irresistible melody will grab and hold your attention across multiple repeats. 

The first single from Good & Evil, "You & Me", builds its chorus piece by piece, into a deliciously catchy and simple construction with 1970's AM pop influences.  This has real commercial potential, particularly in the licensing realm, and serves as a solid reminder that for Tally Hall, melody is always a distinct consideration.  "Cannibal" uses melody and harmony as a weapon, buttressing one of the catchiest tunes to cross this desk in 2011.  Release this as a single, and you'll have a moderate hit at the very least.  Given the right timing and backup, "Cannibal" could garner Tally Hall all of the recognition they deserve.

"Sacred Beast" is a catchy, off-the-wall pop tune with an infectious melody.  The combination of quirky pop structure, gentle humor and a tune you simply can't get out of your head might deceive you into thinking this is pure fluff, but there's actually some fairly insightful allusions to human behavior and imperfection woven deep within.  "A Hymn For A Scarecrow" has an almost epic pop feel to it, exploring a quirky spiritualistic embodiment of the song's subject in a beautifully constructed number that takes liberties with traditional pop song structure ala The Beatles.  "The Trap" is a meandering musical exploration of the powerful nature of expectations to hem us in.  Playing almost like a run-on thought, Tally Hall builds in sonic surprises along the way to keep it fresh.

"Turn The Lights Off" is a driven, quirky pop number with an unforgettable chorus.  Kudos if you can sit/stand still through this number, which gives "Cannibal" a run for its money, and fits in sonically with latter day Barenaked Ladies material.  "Misery Fell" is built on the sort of melody and simple pop arrangement that made McCartney such a success with the Beatles and afterward.  After all that, it's also a song that will make you think, particularly in light of the difficulties the world faces in the present day.  "Out In The Twilight" would have been a major hit in the late 1970's or early 1980's, showing a bit of Alan Parsons influence in the songwriting and sound.  The vocal triads layered over the arrangement create a glorious sound that is an aural treat.  "You" shows the band's contemplative side, an almost melancholy song of devotion that stands out for its utter singularity on the album.  "Fate Of The Stars" is a sonically gorgeous song written in non-traditional structure.  This is Tally Hall at their most creative, stitching together musical ideas into a sonic quilt that is both surprising and refreshing in its originality and continuity.

Good & Evil took six years to make, and shows both the distinctive musical and compositional talents Tally Hall showed on Marvin's Marvelous Mechanical Museum and a growing maturity and subtlety that is the sign of artists growing in the confidence of their craft.  Both more and less than their previous work, Good & Evil will continue to build the Tally Hall mystique, on a road that seems destined to have Tally Hall one day headlining tours in major amphitheatres and stadiums across the country.  While perhaps a reflection of the current state of Tally Hall's collective muse, the rap components infused in their prior work served to broaden the band's sonic appeal, and the absence here is notable.  Nevertheless, Good & Evil shows that Tally Hall has managed to bypass the dreaded sophomore slump.

Rating: 4 Stars (Out of 5)

Learn more about Tally Hall at www.tallyhall.com, where you can also watch all ten episodes of  Tally Hall's Internet Show.  Good & Evil is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

The Grownup Noise - This Time With Feeling

The Grownup Noise - This Time With Feeling
2011, The Grownup Noise

The Grownup Noise has been a work in progress for several years now.  Percolating their Indie Power Folk sound in the musical cauldron of Boston, the band made a distinctive impression with their self-titled debut album in 2007.  Four years and five coast-to-coast tours later, The Grownup Noise continues to evolve their eclectic brand of avant-garde folk and pop, offering up a plethora of sounds and styles on their sophomore album, This Time With Feeling.  The four Berklee College of music grads who make up The Grownup Noise, Paul Hansen (vox/guitar/keys); Adam Sankowski (bass/keys/vox); Katie Franich (cello/keys/vox) and Aine Fujioka (drums/vox) continue to surprise with outlooks and arrangements that are atypical yet surprisingly gratifying.

This Time With Feeling opens with "The Strawmen", a socio-political commentary on a rudderless society with clueless or worse individuals in charge.  Delivered in a conversational melodic style reminiscent of Kevin Hearn (Barenaked Ladies); the stark chorus and streaming verses are a nice touch to open with.  "Anthem For Second Place" is mildly catchy but too mono-thematic to really maintain the listener's attention.  There's a lack of dynamics here that is disappointing.  "Flower" suffers from the same malady, although the instrumentation could be magical with a bit more range involved.  The lack of dynamic change gives this one a droning sound it doesn't deserve to bear.

"Carnival" documents the intriguing tug and weave of relationships, needs and preconceptions.  The Grownup Noise hit the ground running with a memorable melody that grows into an even better chorus.  While a bit obscure stylistically, the song weaves a straight ahead story-telling style into an enigmatic arrangement that will have you hitting repeat.  "Six Foot Solemn Oath" delivers a power-folk sound that's full and layered under a constant lyrical barrage.  Franich offers superb depth with her backing vocal here.  The band achieves a quasi-new wave feel on "The Artist Type", juxtaposing a sense of manic excess with an understated style that works better than you might expect.  The fact that the melody is virulently catchy helps the process along.

"So It Goes" offers some of the most impressive instrumentation on the album, giving a glimpse of the depth of musical talent in the band.  "Just So You Know" builds a solid hook into a great chorus that will set up shop in your noggin and stay awhile.  The Grownup Noise build a pretty shell of instrumentation that's peppy, while the lyrics convey a hopelessness that is simultaneously in conflict with and complementary to the arrangement.  "Attention" documents the fleeting nature of time and the freedom of youth.  It's a great, atypical number and is among the best work The Grownup Noise has done to date.  On "Gone Is A Four Letter Word", the band takes listeners through eight minutes of musical reflections on a relationship lost and hanging on to whatever scraps may present themselves.  Written in two distinctive song parts, the song just hangs on too long.  This Time With Feeling closes with the anti-climactic and mundane "Somehow We Escaped".  The song bookends the album well from a content perspective, but together with "Gone Is A Four Letter Word" forms a clumsy closing duo that seem inconsistent with the vibe The Grownup Noise has spent nearly forty-five minutes building.

This Time With Feeling represents a number of interesting choices by The Grownup Noise.  It appears to be an album about decline, whether in the wider world or in a particular relationship.  It's interesting because there are clear signs that the band has taken significant steps forward since the release of The Grownup Noise in 2007.  Nevertheless, there are also signs that the band is stuck in some of their own pre-conceptions about what their sound should be.  At times it almost appears that they are fighting against their own natural musical tendencies to create an intended sound rather than to simply create.  It is a mark of each respective member's inherent musical talents that This Time With Feeling turned out as good as it did; and it is quite good.  There's just a sense of conflict and uncertainty here that could become The Grownup Noise's Achilles heel, or be the catalyst that drives them on to greater things.  Here's hoping for the latter.

Rating: 3 Stars (Out of 5) 

Learn more about The Grownup Noise at www.thegrownupnoise.com or www.reverbnation.com/thegrownupnoise.  This Time With Feeling is available on CD from Amazon.com.  The album is available digitally via iTunes.

Bruce Cockburn – Small Source Of Comfort

Bruce Cockburn – Small Source Of Comfort
2011, True North Records

Bruce Cockburn has based his life on deep experience.  Over the years, Cockburn has travelled to the world’s trouble points, to see the truths of human existence for himself.  Cockburn has documented these experiences on thirty albums over the years, with a sense of subtlety and musicality that is rare in rock n roll.  An Officer of the Order of Canada and a member of the Canadian Music Hall Of Fame, Bruce Cockburn’s music has been covered by such artists are Barenaked Ladies, Anne Murray, Ani DiFranco, Dan Fogelberg, Judy Collins and Jimmy Buffett.  On March 8, 2011, Cockburn releases his 31^st album, Small Source Of Comfort.

Small Source Of Comfort opens with “Iris Of The World”, commenting on the tendency of humanity to grab onto meaningless things while overlooking things that matter.  Semi-autographical, the song finds Cockburn perhaps sharing his own role in the human play; recognizing the beauty of a moment and sharing it with others.  This is classic Cockburn, finding the subtle depths of an experience and exposing them in a complex, highly rhythmic and oddly beautiful arrangement.  “Call Me Rose” is a tongue in cheek story song about Richard Nixon reincarnated as a single mother of two kids living in the projects.  It’s something of a Great Reversal concept (“the last will be first and the first will be last”) born of Judeo-Christian theology, but is very amusing and is written from a very human perspective.  In Cockburn’s musical daydream Nixon sees himself for who he was and is a better person for it, even if he continues to long for the old days.  Cockburn sticks to a fairly straight-forward folk-rock arrangement this time around in order to let the story shine through.

“Bohemian 3-Step” is a pretty instrumental that plays like a slow waltz, relying on cross-rhythms, or a variant, to create an intriguing sense of rhythm.  The piece has great energy, and is beautifully crafted.  “Radiance” is a musical meditation on beauty, both in lyrics and music.  Cockburn impresses with unusually beautiful guitar work, capturing an abject loneliness in both his instrument and voice as he looks on from afar.  The cello is a nice touch, completing the tragic displacement of the vocal line in dark and dulcet tones.  This is a musical ‘wow’ moment; a song that’s both heart-breaking and uplifting in its beauty.  “Five Fifty-One” is an edgy story song that plays on the edges of folk, rock and blues.   The story here is a bit disjointed, a calculated effect given the state of mind of the story teller.  The cops show up at his house in the wee hours of the morning and we’re never entirely certain why, but the overall impression is of someone who is dancing on the edge of madness.  Cockburn creates a highly rhythmic arrangement that leaves ample room for acoustic guitar-driven sidebars that will make the most of the would-be guitarists out there wish they could play like that.

“Lois On The Autobahn” is an energetic instrumental that plays off Cockburn’s guitar against a dancing dervish of a violin, capturing a sound not dissimilar from that of Django Reinhardt and Stéphane Grappelli.  “Boundless” is a spiritual exploration in song; exploring the similarities between the boundlessness of space and of belief.  Cockburn creates an ethereal feel at the opening with a multitude of bells, but moves quickly into an urgent vocal line over (for Cockburn) a relatively simple arrangement.  The imagery used here has many levels; delivered in poetic prose that is laced deep with references both cultural and theological.  Wit takes over on “Called Me Back”, a humorous take on a call that never comes, and the resulting anxiety over what might have happened to a close friend.  It’s an entertaining turn; a well-placed moment of levity that both highlights Cockburn’s depth as a songwriter and works in much the same fashion as a comic song placed in the middle of a big Broadway musical. 

“Comets Of Kandahar” is a dark instrumental that again pairs Cockburn’s guitar with violin; this time the result is dark with a disturbed energy.  The composition itself is amazing, and was inspired by Cockburn’s trip to Afghanistan to play for Canadian troops in theater.  “Each One Lost”, inspired by the same trip, is a somber tribute to those who have given their lives.  The song is full of heartbreak and plays like a lonely hymn, punctuated by a lonely accordion.  “Parnassus And The Fog” finds Cockburn’s guitar once again paired with violin in a lilting instrumental ballad that plays like a love song.  “Ancestors” is a gorgeous, haunting instrumental full of staccato guitar against a dreamlike background of musical ether.  The affect of the piece is subtle and compelling, as Cockburn builds a story into the rhythm of the song.  Small Source Of Comfort closes with “Gifts”, a quiet celebration of the moments in life that illuminate an emotion, person or place and define meaning for us.    It’s a gorgeous, quiet arrangement that whispers quietly to you about the truth of what’s important in the world.

Bruce Cockburn is a rare gem in the world of singers and songwriters.  His depth and subtlety as both a musician and lyricist puts him in rarefied air.  Small Source Of Comfort is an album that, if not at peace with the world around it, has certainly found the peace that comes with understanding hard truths.  A decade or two ago Cockburn would have railed at government and political machines in a mad frenzy, driving the intricate beauty of his music into exile under the constant barrage of verbal artillery aimed at the injustices of the world.  Small Source Of Comfort takes deadly aim at the same sort of social inconsistencies, but with a subtle grace and veracity that cuts far deeper that some of his past efforts.  Where a younger Bruce Cockburn would have imbued his message with the power of righteous indignation, the songwriter now allows the simple power of truth to blend with the intricate beauty of his musical creations to reach beyond the defenses of even the most politically hardened psyche.  Small Source Of Comfort stands amongst Cockburn’s finest works, and is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Bruce Cockburn at www.brucecockburn.com or www.myspace.com/officialbrucecockburn.  Small Source Of Comfort drops in the US on March 8, 2011.  You can order the CD or Digital album through Amazon.com.  The album is also available digitally from iTunes.

Former Barenaked Ladies vocalist engaged...

Steven Page, the former co-lead vocalist for rock band Barenaked Ladies tweeted in the early hours of this morning that he is now engaged to his girlfriend of four years, Christine Benedicto.  The pair have registered for Crate & Barrel's Ultimate Wedding Contest and are seeking votes.  You can check out their entry here.

Page is one of the co-founders of Canadian rock quintet (now quartet) Barenaked Ladies.  Page and Ed Robertson wrote/sang many of the band's signature hits from its inception in 1988 until Page's departure in 2009 for a solo career.  Page released his second solo album of original material in the Fall of 2010.  You can check out our review of Page One here.

Wildy's World Top 60 Albums of 2010: 20-11

 Today we work ourselves down to the brink of the top-10.  The great music keeps rolling!  I know we're all excited to get to 2011, but this is one last chance to remember the great albums we talked about in the past year.  Let's roll...

20. Social Code – Rock N Roll
The Edmonton rockers pack a punch while retaining a distinct pop sense in their US debut, a big rock album that manages to be commercial without sounding like that was the point.

19. Steven Page – Page One
The former Barenaked Ladies co-front man proves he can make it on his own, bring his own special blend of darkness and pop sensibility to Page One.

18. Sami.The.Great – Nothing Left To See
Sami.The.Great is going to be a star someday.  Nothing Left To See is perhaps a reference to Sami's heart, which she wears on her sleeve.  It's certainly not representative of her songwriting.  You'll want a long musical relationship with Sami.The.Great.

17. Alexis Foxe – To Have And Want More
Alexis Foxe is over the top, ala Lady Gaga and Madonna.  Luckily she has the singing and songwriting talent to back up her musical hubris.  To Have And Want More is a brilliant start that will appeal to music fans of all ilks.

16. JD Eicher & The Goodnights – The Shape Of Things
Perhaps one of the most understated pop efforts of 2010, The Shape Of Things sneaks up on you, settles into your brain and takes you on a ride you won't soon forget.

15. Barenaked Ladies – All In Good Time
No one knew what to expect from Barenaked Ladies after the departure of co-founder Steven Page, but it's safe to say that the band surprised fans and critics alike with their most mature and musically satisfying album to date.

14. Scarlitt – Hope Unseen
Scarlitt avoids the comic-book character quality of many new pop/metal bands to deliver an old-school, wall shaking collection of songs so well constructed musically you won't quite believe what you're hearing.

13. Laura Roppé – I’m Still Here
Roppé  is the comeback kid; not only kicking cancer to the curb but remaking herself as an artist in one of the most brilliant and emotionally naked artistic turns of 2010.  Roppé jettison's the glitz and polish of her debut album for a depth of emotional honesty that is startling and welcome.

12. Trout Fishing In America – Lookin’ At Lucky
Trout Fishing In America returned in 2010 with their first album for adults in more than a decade, an amazing collection of songs that show maturity and nuance blended with an ear for melody that is incomparable.

11. Gunnar Madsen – Two Hands
While you might not think of Madsen as a piano virtuoso from his work with The Bobs, Two Hands is by far the most impressive instrumental album of 2010.

Steven Page - Page One

Steven Page - Page One

2010, Anthem/Zoe/Rounder Records

The past eighteen months have been a real-life roller coaster for Steven Page.  The former Barenaked Ladies co-founder, vocalist and songwriter has lived through legal troubles, relationship upheavals and well-publicized schism with his former band mates.  Longtime fans of Steven Page and Barenaked Ladies tend to have highly polarized thoughts on the matter, but there's little doubt that Page's voice is one of the most distinctive in pop music over the past two decades.  Page has done well for himself in the days since the breakup, reinventing himself as an artist and recapturing his love of songwriting and performing with the newfound freedom and lack of a safety net implicit in being a solo artist.  Earlier this year Page released The Art Of Time Project, a collection of classic cover tunes done with classical instrumentation and Page's iconic vocals, but you just knew it wouldn't be long until Page came back with original material.  This week Page released his third solo album, Page One, leaving behind some of the cynical darkness that marked his later work with Barenaked Ladies.

Page One opens with “A New Shore”, a bright and airy tune about starting over.  Page brings the same pop sensibility that characterizes his previous work but with a more orchestral feel.  Page explores hope as a new concept after coming through dark times and finding life and love again in a solid and promising opener.  “Indecision” is delicious pop; sounding like the Beatles if they’d broken out two decades later.  The song has a classic bachelor theme: the inability to commit or decide.  Page takes a brave step in acknowledging his legal issues from 2009 in oblique terms, capturing the larger picture that may have been missed in the press at the time.  Page manages to turn lemons into pop lemonade with subtly pointed self-commentary.

“Entourage” takes on the societal obsession with celebrity culture in biting and satiric terms.  This is classic page, sounding purely reverent on the surface while ripping and shredding in the seams.  It’s a great song.  “Marry Me” is a new wave love song with a classic chorus right down to the sha-la-la’s in the backing vocals.  Page takes on the conundrum of two individuals who march to their own drummer yet find themselves in love just like everyone else in a wondrous pop arrangement.  “All The Young Monogamists” could either be a prologue or epilogue to “Marry Me”.  Opening in baroque musical stylings, “All The Young Monogamists” illuminates the love story of two jaded souls who have been around the block and made their mistakes, promising to be true while acknowledging that it’s not in their nature.  Page again hits multiple levels in song, expressing the intent to love forever while acknowledging the underlying imperfection of humanity that sends best intentions awry.  The arrangement here is nothing short of brilliant.

“She’s Trying To Save Me” gets into the sort of zany darkness seen in Page’s best material with Barenaked Ladies.  Page gets a songwriting assist from Stephen Duffy here, and the pop sensibility is through the roof.  This one is ripe picking for a soundtrack, as the theme might be very appealing for a motion picture, and the song might be the most radio-ready on the album.  Page explores depression and self-destructive tendencies within a relationship in “Over Joy”, telling his beloved to let him go as she’ll be better off.  It’s a remarkably mature bit of songwriting; something Page has shown a touch for in the past but perhaps never quite so cogently as here.  The melody is memorable and the hook in the chorus will keep you coming back.  Page has a great sense of theater as well, completely changing Page One’s tone with the snarky dance tune “If You Love Me”.  The theme here is ignoring all of the damage and destruction in an individual or relationship and simply being in a moment.  It’s a fun, emotionally dysfunctional tune that’s either extremely tongue-in-cheek or an outward expression of sociopathology in song.

“Leave Her Alone” finds Page intersecting two generations of music and ideals while exploring the clash of an older generation who grew up by getting out of home as soon as they could and contrasting it with today when kids return home after school and stay.  The big band jazz opening cedes to rock n roll in the bridge and chorus with a transition that happens so fast and so clean you might not notice it right away.  “Leave Her Alone” takes a laissez-fair attitude, a sort of “everyone finds their own path in their own time” concept drenched in a brilliant melody and arrangement.  Page vamps like a Vegas pro and gets a big assist from Prince’s NPG horn section.  “Queen Of America” feels a bit like an incomplete thought, but manages to convey the importance of breaking out of conformity and being yourself.  The song is delivered in 1960’s pop style with a mild techno beat.  Page One closes with “The Chorus Girl”, a bit of mellow musical détente about dreams and directions to come in a dreamy pop moment that shows off Page’s more lyric side. 

Stephen Page rediscovers his love of making music on Page One.  There is fluidity to the songwriting here that will be recognizable to fans of his early work with Barenaked Ladies.  Page has grown up both personally and musically over the years, but the sense of musical spontaneity that makes Page great is back.  The over-arching sense of darkness in Page’s later BNL work has been tempered here with humor and grand melodicism; the result is more balanced songwriting that is mature, reflective and laced with wit. The voice that makes Steven Page instantly recognizable is still here and still as dynamic and wonderful as ever.  Page gets songwriting assists from Stephen Duffy and Craig Northey (The Odds).  Musical assists come from Will Owsley, Esthero, Glen Phillips (Toad The Wet Sprocket), Dorian Crozier (The Rembrandts, Pink, Miley Cyrus, Celine Dion) and others. Page One is a declaration of independence and a brilliant step forward for Steven Page.

Rating: 4.5 Stars (Out of 5)

Learn more about Steven Page at http://www.stevenpage.com/, thestevenpages.blogspot.com or www.myspace.com/stevenpagemusic.  You can order multiple formats of Page One from http://www.stevenpage.com/.  The album is available as a CD or Download from Amazon.com.  A digital version is also available from iTunes.