Blue Skies For Black Hearts - Blue Skies For Black Hearts

Blue Skies For Black Hearts – Blue Skies For Black Hearts
2014, Blue Skies For Black Hearts

Blues Skies For Black Hearts are a Portland, Oregon quintet with serious pop sensibilities and power pop tendencies.  Blending heavy 1970s and 1980s influences with a modern AAA sound, the band has a consistently accessible sound that has carried them through 12 years, 5 albums and a number of lineup changes.  Their forthcoming self-titled album, due July 15, 2014, continues in the band’s tradition of working class, sweet sounding rock and roll.

Blue Skies For Black Hearts opens with "Keep On Keeping On", an easy going rocker with a memorable, easy to sing chorus. "It's Gone On Too Long" is a catchy Americana rocker with vibrant yet easy on the ears guitar work. Vocalist Pat Kearns has a down home sound that's appealing, and this song slips into your ears like butter on warm toast. "Nothing Came In The Mail" is a solid album cut that's accessible but doesn't call attention to itself.   "Love Songs" finds BSFBH reaching back into the 1950's for a mellow pop ballad sound. This works well, save for the messy backing vocals.  "You Gotta Quit Kickin' My Dog" has great energy and a decidedly low-fi aesthetic that will find it kicking around your head for hours.

"Waiting To Run" is a gentle pop rocker about the imminent failure of a commitment. The pop sensibility and guitar work here calls a resemblance to Blue Rodeo, with a lonely vocal flourish that can only be laid at the feet of Brian Wilson. "The Past" is a middle of the road rocker, a solid album cut. "Don't Look Back" is a catchy little rocker that sounds like it should be a cover tune. Various elements of the song will be highly familiar to fans of classic rock. BSFBH closes with "Back Home", a nondescript number that's more numbing than anything else. While sonically safe, the song doesn't do much to call listeners back again.

Blues Skies For Black Hearts succeeds in promulgating a sound that’s steeped in the past but ready for the moment.  The band’s sixth album is their smoothest and most appealing to date.  Blues Skies For Black Hearts spend most of their time hidden away in the Northwest, but do have some planned dates coming up in California this July.  Catch them if you can.

Rating: 3.5 Stars (Out of 5)

Learn more at www.blueskiesforblackhearts.com.  

The Nadas - Lovejoy Revival

The Nadas - Lovejoy Revival
2013, Authentic Records

Whoever knew that one of the (quietly) biggest juggernauts in Indie music would be based in Iowa?  It’s true, and you’ll understand once you get a listen to The Nadas.  The band has sold over 200,000 albums through their own Indie label, and consistently churns out some of the finest Americana rock and roll you’re likely to find.  The Nadas’ latest effort, Lovejoy Revival, finds the band at the peak of their musical powers, drawing on influences from country to classic rock and roll.  As always, The Nadas roll with a lyrical depth and musical grace that paces the Americana pack.

Lovejoy Revival kicks off with the edgy Americana/pop of "Star Crossed". The acapella opening is a nice touch, but the tale of love, ignominy and apocalypse has a certain charm. The full bodied arrangement is a perfect match, and Mike Butterworth's warm, calming vocal guides it all home. "Meant To Be" is a neo-classic wedding song, co-written with songwriter Tricia Martin. The Nadas sound more than a bit like Blue Rodeo here, with an almost melancholy arrangement contrasting lyrics full of love, hope and pragmatic dreams.

"Someone You've Never Known" has to qualify as some of the finest pieces of pop songwriting to cross this desk in some time. There's an irrepressible energy to this tune, and the prospective perspective on a relationship adds a refreshing perspective. "New Place To Hide" takes a down tempo look at a relationship as it falls apart. This is slow dance material, but a bit of a downer for the dance floor. It would fit nicely in a film soundtrack as a breakup song however. "Visitor" is a quietly ambling story song cut from the singer/songwriter tradition. The outcome here is as unknown as the song's terminus is unforeseen, but the listener is left with a palpable expectation that something is going to change.

"Love You To Pieces" is a quiet but persistent swoon that is memorable. Once again The Nadas appear to have hit on a sound that is perfect for a soundtrack. The Nadas dig out their electric guitars for "Honor". The intergenerational perspective on honor and military service is striking for its lack of political hyperbole and its personal feel. "Only Love Is Real" has a wonderfully unsettled sense of urgency that gets under your skin. This is a song with impact that you'll return to again and again. "I'll Wait Forever" is more settled, but impacts with a powerful sense of love and devotion. This is fairy tale love without the saccharine poetess of modern pop.  The Nadas' take on The Rolling Stones' "Beast Of Burden" is subtle and quiet, but manages to capture some of energy of the original. The closing track,  "Hard Rain" is powerful and emotive in its quite delivery.

Indie music encompasses the full range of musical experiences.  Nowadays you can find everything from abstract teens scratching out chords in their basement on a laptop to established stars, newly escaped from label shackles working the DIY lines.  Out of the menagerie a band will occasionally rise to the top.  The Nadas are one such band, and Lovejoy Revival is a reminder that they just seem to keep getting better with time.  The mix of utter professionalism and distinctive creativity on Lovejoy Revival is hard to find, and the album is a well polished gem that sparkles with its own inner light.

Rating: 4.5 Stars (Out of 5)

See also the Wildy’s World reviews of The Nadas’ Almanac (2009) and Ghosts Inside These Halls (2008).

Learn more about The Nadas at www.thenadas.com. 

Red Jacket Mine - Someone Else's Cake

Red Jacket Mine – Someone Else’s Cake
2013, Fin Records

Red Jacket Mine is a product of disparate influences.  The Seattle based quartet hails from a city known for Garage Rock, Grunge and Rap, but Red Jacket Mine is crafting their own Seattle Sound.  With lead vocalist and songwriter Lincoln Barr calling on his Memphis roots, Red Jacket Mine walks the line between blues, soul, country and good old classic rock and roll.  The result is familiar yet fresh, full of catchy pop hooks and a whole lot of charm.  Red Jacket Mine brings it all together on their fourth album, Someone Else’s Cake, due out February 13, 2013.

Red Jacket Mine takes off with the delicious, synth-driven pop/rock of “Amy”.  Infectious hooks and s sneaky-catchy chorus make this one a charmer and a great opening track.  “Nickel & Dine” is a catchy Americana rocker that sounds like a cross between Elvis Costello and Blue Rodeo.  Red Jacket Mine builds a wonderfully catchy vibe here while discussing the human tendency to tear down anything that works and the clash between optimism and pessimism.  “Ron Nasty” is a bit generic, but “Engineer” rocks with a bluesy attitude.  This is one of those tunes you just can’t sit still for, and vocalist Lincoln Barr is in particularly fine form here.

“Skint City” has a more melancholy feel, and carries a vocal harmony that’s reminiscent of a 1970’s Eagles record.  It’s a solid album track with a quiet swing that’s easy on the ears.  “Listen Up (If the World Is Going to Hell)” pays homage to 1970’s R&B and pop styles.  Barr sounds a bit strained in small moments here, but it’s a solid effort overall.  “Novelty’s Gone” walks the line between gentle rock and country, relying on a metronomic rhythm to drive a maudlin number about the reality of a relationship setting in.  There’s a rote feel to this tune that carries over to the tacitly soulful “Better To Be Broken Than Blind”.  Both tunes are solid enough, but just don’t carry much energy or conviction.

Red Jacket Mine comes fully awake for “Someone Else’s Cake”, a catchy kiss-off song of sorts.  There’s a delicious edge to this number that underscores the Americana/Country sound.  “Have You Got A Permit To Preach On This Corner” has more of a classic country sound, and takes to task someone who professes their beliefs publicly.  Red Jacket Mine closes with the catchy rocker “Bellar & Bawl”.  An R&B backbeat drives the song, alongside an early rock & roll piano style and a band that is clicking on all eight cylinders.  This is the perfect close to the album, and a perfect song to close shows with as well.

Red Jacket Mine certainly knows how to kick things into high gear when they want to, but Someone Else’s Cake shows a supple understanding of song craft that while not always perfect in fruition, displays a distinctive understanding of melody, song structure and inspiration.  Someone Else’s Cake is a complex album that finds lead singer/songwriter Lincoln Barr negotiating with his own varied musical influences with varying degrees of success.  It’s an intriguing listen from a band who promises to keep growing and getting better with age.

Rating:  3.5 Stars (Out of 5)

Learn more at www.redjacketmine.net. 

Jodi Shaw - In Waterland

Jodi Shaw – In Waterland
2012, Jodi Shaw

Jodi Shaw has always been a bit off the beaten path.  The Canadian-born, self-taught singer songwriter transitioned to songs from poetry, finding that her aural and lexemic muse flowed freely together.  In 2009, Shaw teamed up with fellow Canadian Malcolm Burn (Daniel Lanois, Emmylou Harris, Patti Smith, Bob Dylan, Blue Rodeo) to record her latest album, In Waterland, her most accomplished work to date.  In Waterland (due May 5, 2012) took a long time to make it out into the world.  Partway through the creative process, Shaw discovered she was pregnant.  After the birth of twins, she took some time off from music, but returned to complete the album.  Shaw’s poetry and musical sensibilities intertwine to near perfect on In Waterland, a deeply personal and moving experience that is as subtle as the current, and as deep and unbending as the tide.

Kicking things off with “Swim”, Shaw sinks into a sparse and gorgeous musical medium that flows as freely as an ocean current.  Shaw’s voice is incredibly warm, falling somewhere between the edgy depths of Tori Amos and the enigma that is Leslie Feist, with a touch of Fiona Apple’s edge thrown in.  Shaw goes for shock and awe in “The Witch”, assaulting listeners’ preconceptions full on with deep and esoteric musings on the mutability of beauty.  This could be a message from mother to daughter, perhaps, but it explores the essence of beauty as opposed to the often bollixed perceptions of the world.  This is a wow moment for Jodi Shaw, both as a writer and a performer.

Shaw doesn’t waste time offering up another wow, digging deep for Jack & Jill with ruminations on imperfection and love, and how they interrelate.  Shaw builds offsets her vocal affect with a simple and sparse arrangement that draws equally on the twin beauties of the sonic and silence.  Down through these currents to a more carnal side of human nature, Shaw digs in to “Mystery Of Love”, an utterly poetic yet in your face come on.  There is more here than meets the eye/ear, however, as Shaw shows that even desire has many levels.

Shaw gives listeners a breather with “To The Country (We Go)”, a solid transition that sets up the fantasy/reality of “This Balloon/Ode To Zvezdochka”, a tribute to the last Russian dog cosmonaut, if you will.  Think of this as art deco philosophy, driven in time and place by thought that is not trapped by time frame it captures.  “Fortunate Prince” is once again solid, setting the stage for the utter beauty of the title track, “In Waterland”.  Here Shaw paints with a broad brush, in poetic and graceful strokes that go much deeper than the surface.  Shaw explores the connections we make, the loneliness we feel, and the occasional bits of magic we encounter along the way. You’ll find yourself playing this song again and again; plumbing its depths for deeper meaning that is always just out of reach.

In “Hell’s Bells”, Shaw explores the confusion and pain of being taken in romantically by someone whose intentions aren’t as pure or open as your own.  Shaw leaves no emotional stone unturned, exploring the depths and of personal disgrace in both lyrics and music.  In Waterland closes by turning the game around on those who would toy.  In “Fellas”, Shaw is the huntress and the boys are expendable.  You might expect a tongue in cheek nod here, but if there, it never quite becomes apparent.  It’s a powerful close, one that creates its own suspense without ever answering, or even asking, a question.

It’s a cliché, perhaps, but In Waterland is a revelation.  Jodi Shaw creates music like a master painter creates art, with each single stroke building to something beautiful, ear-catching and raw.  The album is nothing short of sublime, leaving rote ideas and musical schemes by the wayside, in favor of raw honesty, and a musical purity not often approached in popular music.  The same melodic magic that Sarah McLachlan is capable of is here, but in more subtle and vaguely darker tones.  At the same time, Shaw exudes the edge of Amos, Apple and Feist.  The album is nothing less than stunning, a Wildy’s World Certified Desert Island Disc for certain.

Rating: 5 Stars (Out of 5)

Learn more about Jodi Shaw at www.JodiShaw.com or www.myspace.com/jodishaw.  In Waterland makes its way into the world on CD on May 5, 2012.  For those of you who prefer to rent your music, it's already available as a download through the etailers below, as well as through the Wildy's World Amazon Store.

    Amazon MP3          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.

Fun With Atoms - Smart

Fun With Atoms - Smart
2010, Blurb Records

Green Bay, Wisconsin's Fun With Atoms bring their edgy Americana pop sound wherever they go.  Inspired by their mid-western, working class roots, Fun With Atoms inject a pop sensibility into everything they touch.  Rick Smith (vox/guitars/keys); Dan Collins (vox/bass/keys) and Curt Lefevre (drums/percussion/vox) have crafted a sound that takes in a wealth of influences but matures as a sound that doesn't really sound like anyone.  There third album, Smart, captures the energy and angst have gained Fun With Atoms so much attention from their first two efforts.

Smart opens with "Walking The Razor's Edge", an Americana country/rock blend that is reminiscent of Blue Rodeo or Wilco with a Gin Blossoms chaser.  It's a catchy tune about the dangers of falling in love when your life keeps you on the road.  The lead vocals are serviceable, but sound better in the context of the vocal harmonies offered here.  "Really Happy" evokes Peter Case with a catchy, distinctive pop feel.  The chorus is highly memorable and the song is well-paced throughout.  It's a bit light in the lyrics department; more of a stream of conscious style than anything else, but solidly entertaining.  Things slow down significantly mid-album, but Fun With Atoms recovers in time to deliver some jangly country/rock on "Mystery".  This time it's as if the Gin Blossoms and The Beatles are battling it out, and for a change the bridge makes the song.  "Ringing In My Ears" sounds a bit more like garage Americana, as if the Skydiggers seriously electrified their sound.  It's entertaining, but serves as a sort of last gasp for Fun With Atoms and Smart.

Smart starts well, but Fun With Atoms seem to have had a hard time compiling enough material for a full length album.  The filler here, while not bad, doesn't measure up to the four or so songs that really make Smart worth checking out.  A four or five song EP may have been a wiser move, but Fun With Atoms show definite potential on Smart.

Rating: 2.5 Stars (Out of 5)

Learn more about Fun With Atoms at www.funwithatoms.com or www.myspace.com/funwithatoms.  Smart is available digitally from Amazon.com and iTunes.

Morning Fame - Blinded

Morning Fame – Blinded
2011, Morning Fame

Morning Fame is a Toronto-based Americana/rock quartet that sounds like a cross between Blue Rodeo and The Gin Blossoms.  Led by vocalist Vik Kapur and guitar Joe Liranzo, Morning Fame recently recorded their debut single, “Blinded”, at Metalworks Studio in Toronto.  “Blinded” has a vaguely spiritual feel to it.  The search that Kapur sings about might be a secular one, but the references to the creation of souls and sin offer clues to the intent.  Musically it’s a more-than-competent arrangement; a smooth sounding song with real commercial potential and strong guitar work.  This is the first offering from Morning Fame, but would seem to suggest a lot of promise.  It’s certainly enough to make us, and you, want to see what comes next from Morning Fame.

Rating: 4 Stars (Out of 5)

Learn more about Morning Fame at www.myspace.com/morningfame or www.morningfame.com, where you can stream or download “Blinded” for free.

Colin Gilmore - Goodnight Lane

Colin Gilmore - Goodnight Lane

2010, Colin Gilmore

Texas singer/songwriter Colin Gilmore isn't looking to trade on his dad's legacy, so while the comparisons to Jimmie Dale Gilmore are bound to be made, it is a decidedly distinct style and sound that Gilmore brings to his latest album, Goodnight Lane.  Gilmore's Texas roots are unmistakable, but Gilmore increasingly finds his own voice on Goodnight Lane.  Gilmore has shown flashes of what he might become on previous releases such as 4 Of No Kind and The Day The World Stopped and Spun The Other Way, but with Goodnight Lane Colin Gilmore has come fully into his own.

Goodnight Lane opens with “Circles In The Yard”, the story of someone with the dream of a life in music who goes to New York City and finds the Big Apple takes a bite of him.  The song is catchy and displays a distinct story-teller’s style.  Gilmore sounds a lot like Canada’s Luther Wright while displaying his own distinctive style.  “Goodnight Lane” displays classic country melancholy in a song of regret over love lost that shows the potential for beauty to grow even in the darkest of hours.  “Hand Close To Mine” is a charming country/rock love song from the perspective of the one in love with a wandering soul.  Think Blue Rodeo meets Wilco.  “Abigail” is a deep and nuanced love song about traveling together.  Uncertainty abounds but faith is essential in a profession of love and devotion that asks the same in return.

“Laughing Hard Or Crying” is catchy and danceable; a paean to living life in a space where spontaneity is the rule rather than the exception.  Gilmore captures a great dynamic here.  “Essene Eyes”  has a classic pop song feel; a light listen that’s a nice change of pace.  Gilmore digs into his instrumental side with the 1950’s rock-guitar style of “Teeth, Hair & Eyeballs”.  Gilmore takes the roots of rock n roll and infuses the birth notes of the surf style in a brilliant blend of sounds that’s at once classic and original.  Goodnight Lane closes with “Raindrops In July”, and affable blend of easy listening pop and country.  It’s a gentle close to a dynamic album that’s highly enjoyable, a sweet goodnight.

Colin Gilmore has always had his own distinctive style, but on Goodnight Lane he sets himself apart.  There’s a large constituency of artists out there practicing in the continuum of Americana music, but there’s little doubt that Goodnight Lane must be considered amongst the cream of the crop of Americana releases for 2010.  Colin Gilmore combines an impressive feel for melody and arrangement with a well-defined story-teller’s style.  Goodnight Lane is an entertaining affair that will keep you coming back again and again.  

Rating: 4.5 Stars (Out of 5)

Learn more about Colin Gilmore at www.colingilmore.com or www.myspace.com/colingilmore.  Goodnight Lane is available from Amazon.com as both a CD and Download.  The album is also available digitally from iTunes.

Stonehoney - The Cedar Creek Sessions

Stonehoney - The Cedar Creek Sessions
2010, Music Road Records

Austin, Texas bills itself as the live-music capital of the world. The more we see of artists such as Stonehoney, the more we believe the hype. Stonehoney is the coming together of four singer/songwriters (Shawn Davis, Phil Hurley, David Phenicie and Nick Randolph) who met at a songwriters round-table and found instant chemistry. Fans who attend their live shows feel it to, as Stonehoney has become one of the local favorites in Austin. In recording their debut album, The Cedar Creek Sessions, Stonehoney sought to capture that live vibe by recording the entire album live in-studio with the help of guests such as Earl "Poole" Ball (Johnny Cash) and Ken Coomer (Wilco). The result is an aural experience you have to hear to believe.

The Cedar Creek Sessions opens with "Two Years Down", an Eagles-style country rocker with distinctive pop sensibility and an unforgettable melody. It’s a song of longing written from afar; a great start to the album. "Headlight On A Midnight Train" is the absolutely brilliant second track; a song that should not be neglected from consideration as a single. This is one of those songs better heard than described as Stonehoney builds a sound here that approaches perfection. "Lucky One" is an upbeat love song with serious potential as single that sounds a bit like a Blue Rodeo outtake but with a soulful side. Stonehoney displays their best trait on "I Don't Wanna Go"; an ability to write commercial songs without trying to sound commercial. "I Don't Wanna Go Home" is a song about the desolation of being newly on your own. There's a definite Eagles feel here, but Stonehoney keeps the sound their own.

"White Knuckle Wind" finds listeners venturing into the honky tonk with Stonehoney in a turn you'll find it difficult not to dance to. "Good As Gone" takes a more serious tone, treating listeners to a story about the consequences of unintended events and reminding us that sometimes a mistake can change our lives. "Feels Like Home" shows off an organic sound that's a bit closer to traditional country that shows off Stonehoney's collective compositional skills. "Dance With You" is the mandatory schmaltzy love song; a surprisingly good pop-oriented country ballad with vocals that sound more than a bit like Bob Seger. "There Is A Light" is a pleasant little tune with an uplifting message and a melody you'll find yourself humming along to the first time you hear it. Stonehoney closes with "Feel Like I'm Gonna Die", a raucous honky tonk tune that seems like the perfect way to say goodnight.

Listening to The Cedar Creek Sessions is a revelatory experience. Not only do you get a clear picture of the songwriting and musical talent of the band, but you also get a sound that seems to closely approximate the band's live sound. If the experience of hearing The Cedar Creek Sessions doesn't end up with you searching the internet to see how close Stonehoney's next tour comes to your town then you weren't listening carefully. While the sound is a bit different, the last country band I heard come along that had their stuff so thoroughly together was Diamond Rio. Stonehoney is a creative force that will hopefully be making great albums for a long time to come. The Cedar Creek Sessions should be the first of many.

Rating: 4 Stars (Out of 5)

Learn more about Stonehoney at http://www.stonehoney.com/ or www.myspace.com/stonehoney.  The Cedar Creek Sessions is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Steve Dawson - I Will Miss The Trumpets And The Drums

Steve Dawson - I Will Miss The Trumpets And The Drums
2010, 2009 Kernel Sound Recordings/Undertow Music

As leader singer and songwriter of Dolly Varden, Steve Dawson has toured the world many times over. While continuing his association with Dolly Varden, Dawson has taken to a much more intimate style of performing as a solo artist in the past several years. Dawson's latest solo project, I Will Miss The Trumpets And Drums, reflects the roots of a life spent in music. You'll hear the bright rock/folk sounds of his native California, the country music of his Idaho youth and the soul, funk and R&B of his adult life in Chicago. The Berklee College Of Music graduate flies solo on much of I Will Miss The Trumpets And Drums, but features a crack band consisting of Frank Rosaly (drums); Jason Adasiewicz (vibraphone); Josh Berman (cornet); Joel Patterson (pedal steel) and Jason Roebke (bass).

I Will Miss The Trumpets And The Drums opens with “Obsidian” in a wonderfully full Americana arrangement filled with gorgeous vocal harmonies in a Blue Rodeo meets Crosby Stills & Nash effect. “Long Overdue” is a pensive, regretful tune that displays shades of Paul Simon’s early solo material. It’s a nice, low-key tune with a gorgeous melody line and a simple arrangement built around the acoustic guitar. “A Conversation With Myself” is a bit more mundane but still a pretty, pleasant tune. Things get a bit odd on “Mastodon”, a rambling story-song touching on dinosaurs, aliens and emotions that rise again. Intriguing in spite of its oddity, the song features an acoustic arrangement with spacey, ethereal airs. On “Today She Found The Way To Break My Heart” Dawson heads for the country with a solid Americana theme that nicely walks the line between roots rock and country.

It’s here that the wheels come off the wagon, so to speak. Up to this point I Will Miss The Trumpets And The Drums is a solid to plus album. Dawson manages to package the weakest material of the album over the next five tracks. The highlight in this stretch is the gospel-tinged “I Wish That I Could Believe In You Again”, but if Dawson had excised these songs he’d have a top notch album on his hands. Things pick up again by the time Dawson gets to “Waiting”, a pretty tune that explores the dichotomy of hope and hopelessness. It’s the best songwriting on the album and the sort of tune that will touch listeners deeply. “Goodbye” is a pleasant last call that leads into the contemplative night club number, “It’s Not What You Think”, a pleasant closer that eases you out the door like a seasoned bartender with a deft touch.

Steve Dawson has some very good moments on I Will Miss The Trumpets And The Drums. The album is probably five songs too long; a cut that would have turned the collection from a good one into a great one. Nevertheless, the material is here that makes Dawson’s opus a worthwhile destination for your ears. I Will Miss The Trumpets And The Drums is worth the trip.

Rating: 3 Stars (Out of 5)

Learn: website

Buy: Amazon, Amazon.MP3, iTunes

Review: The Coal Porters - Durango

The Coal Porters - Durango (April 17 - April 30)
2010, Prima Records

London's The Coal Porters have an ace up their sleeve in Kentuckian (and former Long Ryder) Sid Griffin, but their brand of alt-Bluegrass and Folk has made them fan favorites both east and West of the Atlantic Ocean. With the release of their fourth album, Durango (April 17 - April 30), The Coal Porters look to build on the critical and commercial success of 2007's Turn The Water On, Boy! The Coal Porters are coming up on their 20th anniversary as a band, and just seem to be getting better with time. Durango was born of pure inspiration following two killer shows near Durango, Colorado. The album was produced by Ed Strasium (Mick Jagger, Phil Spector, Belinda Carlisle, Jeff Healey).

Durango opens with Let's Say Goodbye (Like We Said Hello); a delicious bit of bluegrass picking around a sadly humorous tune about ending a relationship with the same smiles it started with. The lyrics here are particularly sharp: "I feel like a beer and she's craving vermouth" isn't about drink preference. Moonlight Midnight featuring Peter Rowan on guitar, and Carly Frye’s sultry alto on lead vocal. I'm Not Going Away is reminiscent of Blue Rodeo, with Sid Griffin sounding a bit like Jim Cuddy. The banjo work here is dizzying and the vocal harmonies top notch. The Squeaky Wheel Gets The Oil is a funny and funny tune that will make you want to dance.

Like A Hurricane is structured in gorgeous melancholy; a song about not being able to stand your ground in a relationship because the other won't stand still. Permanent Twilight may be the best writing on the song; the valedictory from a veteran who's paid the cost of war and would do so again if he were able. The song serves as a reminder that regardless of politics or belief, there are people in the world who sacrifice themselves every day for our ability to think and speak freely. The Coal Porters show off their immense instrumental skills on Roadkill Breakdown with Tim O'Brien sitting in on guitar. Two violins play off of the banjo here, delivering some killer riffs and delightful interplay. Carly Frye returns for the closing track, Sail Away, Ladies! It's a strong, entertaining tune and the instrumental work is simply over the top.

The Coal Porters offer up a solid brand of Newgrass Americana on Durango. Instrumentally the band has few peers, and both Griffin and Frey have their upside as vocalists. The songwriting on Durango is solid but generally not exciting. Humor and intelligence are woven through the songs on Durango, but the special spark that turns solid material into great material either isn't here or isn't utilized. Almost as if in the process of writing The Coal Porters make a lot of safe choices. It's a solid, enjoyable listen, but you can't but wonder if it couldn't be more.

Rating: 3 Stars (Out of 5)

You can learn more about The Coal Porters at www.myspace.com/thecoalporters. You can purchase Durango (April 17 - April 30) as either a CD or Download from Amazon.com.

Review: Scattergun - Life At Fantasy Lounge

Scattergun - Life At Fantasy Lounge
2010, Mile Long Records

It really has all been done. History and art repeat because humanity has reached a nadir of expression, and everyone else that come along is destined to sound like somebody who came before. That's how a band from Chicago can come along, eschew any pretense of sounding like anyone else, write and play songs solely based on what they like and end up sounding so much like another band it's a little disturbing at times. The band in question is Scattergun, an original (and seemingly therefore thoroughly derivate) Americana/Rock band with its feet firmly on the ground and a sound that should fare them well. Fans of Blue Rodeo pay attention, because if you ever chance across Scattergun your first reaction will be to wonder what Blue Rodeo album that song was on. Upon closer listen, Scattergun and Blue Rodeo won't really sound that much alike, but stylistically they are soul mates. This is increasingly evident on Scattergun's debut album, Life At Fantasy Lounge, due January 29, 2010 on Mile Long Records.

Life At Fantasy Lounge begins, fittingly, with The Lie, a roiling Country/Rocker about falling in love with an idea that proves to be more desirable than reality. Vocalist Jeff Falk has an earthy, every-man sound that's comforting in songs about real life and real emotions, with Doug Jensen pacing the song nicely on bass. Duluth is full of the angst of breaking up with someone and moving on, draped in mournful guitar with Falk's plaintive vocals driving the action. Morning Star is an upbeat song about the necessity of ending a bad relationship that was done without edits. Morning Star tracks the impending end of a relationship that never ends, and how the conflict of affection can interfere with doing what we know needs be done.

On Pieces Of You, Scattergun offers up an aural painting of hitting bottom, where hopelessness trumps hope and light is scattered illusion. The song takes on a warped energy that's highly appealing with the dark subtext and passively angry guitar. Killing The Cure is an edgy rocker that allows Falk to stretch his vocal chords a bit. Killing The Cure is very catchy in its slightly repressed Americana arrangement and might serve as a viable single. Tom Waits Boots was inspired by the cover of the Rain Dogs album, and parallels the boots Waits wears on the cover to the singer's own emotional state in the shadow of a relationship that's been much less than perfect.

Battery Acid Debutante is buoyed by a strong arrangement but is essentially scraps of lyrics thrown together to form a not-cohesive non-narrative. Hotel Pillow revives a theme that seems to sit loosely on the shoulder of Scattergun on Life At Fantasy Lounge. It's all about doing something you think you like only to find out it isn't worth doing but having to follow through and tough it out. Matchstick Renoir is another "scraps" song and suffers from a similar lack of cohesion as found in Battery Acid Debutante. Runway 4-22 reflects another level of songwriting that Mike and Jeff seem able to reach for, stripping away any pretense at all for emotional honesty combined with a sympathetic poetry that borders on magical. Runway 4-22 describes the attraction of New York City and how it can feel like home right away, but also recognizes for many visitors a need to go home. Michael Paeth offers a perhaps unwitting justification to his son for this dichotomy, "as long as you know you're my finest hour, then it's alright". Scattergun closes with Dimestore Judas, an allegorical song about being alone that uses a Biblical reference for non-religious purposes. The song is utterly brilliant, highlighting an indifference that leads to greater loneliness in real world terms.

Scattergun really has something special brewing, although I personally find the inability to let even a scrap of interesting lyric go unused a bit frustrating at times. These "mash-ups" are generally the weakest songs on the album. That being said, the rest of the album is no less than brilliant. Scattergun, as a collective, can write and they play their hearts out. The comparison to Blue Rodeo (and to a lesser degree Wilco) is unavoidable, but Scattergun arrives at the sound honestly as their own. Life At Fantasy Lounge is an engaging debut album that's deserving of high praise. Make sure you check it out.

Rating: 4.5 Stars (Out of 5)

You can learn more about Scattergun at http://www.scattergunrocks.com/ or www.myspace.com/scattergunmusic. Life At Fantasy Lounge drops on January 29, 2010. You can order a copy on CD from the band through from Mile Long Records. Downloads are available through iTunes, Amazon and other retailers.

Review: Norah Jones - The Fall

Norah Jones - The Fall
2009, Blue Note Records

Norah Jones is back with her latest effort, The Fall. The album has been hailed as a departure for Jones from her usual smooth sound, but they may be more sound and fury than reality. The Fall does find Jones with a bit more edge to her than in the past, but it's not so much a departure as a progression in sound. The smooth feel and gorgeous melodies that have always driven Jones' music are still there, but there's a more worldly sense about the artist that comes through.

The Fall opens with Chasing Pirates, a mildly funky tune Pop tune that announces a new, more complex sound from the mistress of smooth Jazz/Pop. Jones delivers this sound with the same cool, sultry voice she introduced the world to on Come Away With Me, but with a bit more texture and outward energy than in the past. Light As A Feather has a slightly edgy sound hidden beneath the surface, but plays as a potential single. It's one of the more intriguing songs on the album, playing in a slightly darker light than we've come to expect from Jones. Young Blood is a catchy-yet-mellow tune that will make you think a bit. Jones is charming in her sense of urgency here, mining a different set of emotions than in the past.

I Wouldn't Need You is an in-your-face love song; a Mix-Tape tune that leaves little to imagination. It offers enough of what we might consider classic Norah Jones to appeal to long-time fans but enough of the new spunk to widen her face base prodigiously. Jones stays with her mellow appeal on Waiting, a stark and beautiful melody built on the classic image of the one who keeps the lights lit for the one out there on the road. Jones goes for broke on It's Gonna Be, the edgiest rocker on the album. We're still talking a fairly mellow sound, but the energy and urgency in It's Gonna Be are unprecedented on a Jones album. This is a potential chart hit, although it's more likely to show up in a soundtrack somewhere due to the putrid state of Pop radio.

Jones goes a bit off the beaten track to create one of the best love songs of the year in You've Ruined Me. The message sounds a bit negative on first brush, but the more you listen you realize that this state of ruination is all about the sort of love that leaves us powerless. The melody is gorgeous and the arrangement in general is unforgettable. December finds Jones at her most basic place as a singer/songwriter, reminding us that despite the branching out of sound she can still draw us in the a near-lullaby wrapped around a simple, gorgeous melody with her dulcet voice. Tell Yer Mama brings in a hint of country flavor on perhaps her best vocal performance on the album. Tell Yer Mama certainly carries a bit of attitude with it, almost a sort of grit, if you can imagine it. Jones closes out with Man Of The Hour, a love song written to a (Wo-)Man's best friend. It's a comical turn but sung with such commitment you might be fooled at first.

And of course, if you're lucky enough to score The Deluxe Edition from Target, you get a bonus disc called Live At The Bottom Line, a 6-song EP that's very much worth forking over the extra $3. Jones opens the set with It's Gonna Be, a delicious tune full of more than a little attitude that shows off her piano playing, her voice, and Jones' crack band. The live version certainly illuminates the song in a way that the album version does not. The same can be said for Waiting, which has a much more raw, needful feel than the studio cut. You've Ruined Me likewise comes alive on stage, although the gap between here and the studio isn't nearly as wide. Jones' cover of Wilco's Jesus Etc. is definitely worth hearing, as is her cover of The Kinks' Strangers, but it's the cover of Johnny Cash's Cry, Cry, Cry that will have you trying to track this edition down. Jones wades in like she was born to sing country music, bringing a soulful element to the song that The Man In Black himself would have appreciated.

Norah Jones has a stack of Grammy Awards, Gold and Platinum Record Awards and millions in both album and ticket sales, but she may have offered up her finest work to date on The Fall. The sound isn't such a big jump from where Jones started, reflecting more of a development of sound as an artist than a departure. The songwriting is subtle, occasionally lush and always en Pointe. Jones herself has an easy style that will surprise you, and as the bonus EP shows she's a killer on stage. Make sure you check out The Fall, even if you're not a huge fan of her past work. And try to track down the Deluxe Edition if you can; this is one of those times when that bonus disc is essential.

Rating: 4 Stars (Out of 5)

You can learn more about Norah Jones at http://www.norahjones.com/ or www.myspace.com/norahjones. You can purchase The Fall from Amazon.com as either a CD or Download. If you want the Deluxe edition with the Live At The Living Room CD, you can order it here.

Review: Atomic Solace - Left To Lead

Atomic Solace - Left To Lead
2008, Atomic Solace

Central Kentucky is the place for Atomic Solace. What started out as a jam session among four bored friends has turned into juggernaut. Atomic Solace (formerly named Solace) has built quite a buzz in the past year or so, culminating in a lights out performance at SXSW 2009. The band continues to tour in support of their 2008 debut album, Left To Lead, while beginning the writing process a new project. Joe Ryan lends his impassioned vocals to the instrumental core of Kyle Moon (bass, vox); Brandon Coots (guitar, vox) and Ben Williamson (drums), dialing up the creative and musical tension to eleven.

Left To Lead opens with Over You, revealing an unusual and intriguing sound that seems to combine the Southwestern rock of The Refreshments and the Americana smooth of Blue Rodeo or even Wilco. Atomic Solace isn’t your typical Americana/Rock band, winning over listeners here with a subtly catchy tune that will stick with you. Summer Breeze continues the display of strong songwriting on a thoroughly enjoyable transition to the Latin Lounge-cum-Rock N Roll of Devil In Disguise. I really like the writing choices these guys are making thus far, and the execution is spot-on. Brandon Coots' guitar work is especially enjoyable. Atomic Solace hits a bump on Hold On, a fairly stereotypical rock ballad that finds the band losing their energy just a tad, but they rebound nicely on Left Behind. This might just be Ryan's perfect song as a vocalist, and the band rises up for their best all-around performance on the disc.

Oh, if they'd only stopped there. Don't get me wrong, there's nothing really wrong with the rest of the disc; the songs are decent and listenable, but won't light up radio dials or listener's ears to any great measure. Just Believe is a heartfelt love song, and Demon has some great vocal harmony work going on, but the songs in between just don't register much energy or interest from the band. Perhaps that's not the way it played out in the studio, but on CD it sounds like they lost direction. Atomic Solace rebounds a bit on the catchy West Coast, but it's just not up to the level that Atomic Solace established over the first six songs.

Left To Lead isn't a bad album by any measure, but it is a study in contrasts. Atomic Solace blows in like a lion and goes out like a lamb, nearly sounding like two difference bands in the process. This is one of those occasions when an EP might have been the right first step instead of pushing for enough songs to complete a full-length album. Either way, however, Atomic Solace establishes themselves as a band capable of big things on Left To Lead. They should definitely be on your radar.

Rating: 3 Stars (Out of 5)

You can learn more about Atomic Solace at www.myspace.com/atomicsolace or http://www.solacemusic.net/. You can purchase a copy of Left To Lead from CDBaby.com.

Review: Sharif - Kisses And Lies

Sharif - Kisses And Lies
2008, Cursing Furniture Publishing

Los Angeles-based singer/songwriter Sharif certainly has significant presence in the music industry. Rave reviews for both his recording and live performances are an indication, but for the real story just take a look at the sort of people pitching in on Sharif’s latest album, Kisses And Lies. His backing band includes Tim Bradshaw (John Mayer, David Gray), Jon Graboff (Ryan Adams), Mark Goldenberg (Jackson Browne, Ringo Starr), Stewart Miles (Jason Mraz, Lifehouse, Shawn Colvin) and Brian Jones (Mandy Moore, Liz Phair). Additionally, appearances by Rhett Miller (The Old 97’s) and Robb MacLean (Limbeck) bring added interest. Kisses And Lies is self-produced and should serve to open a lot of eyes and ears to the talent of Sharif.

Kisses And Lies opens with Far From You, a vibrant and catchy tune about moving on after a relationship. Sharif has a pleasant voice that soars in this setting. Rhett Miller (The Old 97's) sits in on Dark Side Of The Dawn, a great bit of easy Americana about one way to cope with loss. This one will definitely get your toes tapping, and finds Sharif sounding a bit like Jason Plumb playing with Blue Rodeo. Another Wasted Rose is a brilliant bit of songwriting; it's not your typical country song of heartbreak. Very well written, Another Wasted Rose is full of strong imagery and an absolutely unforgettable chorus. There's nothing flashy here, just amazing songwriting. Worth The Fall represents the realization that even a relationship that ended badly was worth the time he had. The song is melancholy and a bit lost in a mix of sorrow and reverie.

By Your Side casts a mid-tempo devotion of expression; it's the classic "I'll Be There For You" statement in song and leads into Oceans Of Trouble. Oceans Of Trouble finds Sharif still mired in his loss; it's all he can think/write/sing about at this point in the album. Sharif goes off the beaten path a bit with The District Sleeps Alone Tonight, a vaguely off but highly enjoyable song. Sharif celebrates the joy of love on Deeper In Her Arms. The upbeat Americana arrangement has a great sound, border on early Rock N Roll with an R&B backbeat. Sharif seems to struggle a bit for much of the rest of the album, which songs such as Memories Like A Melody, The Price You Pay, Do I Want You Enough and Moment Of Trust having a marginal impression on the public at large. Sharif recovers in time for the last track, however. I Won't Need Your Kisses Anymore is a great closer. The energy that was lost for much of the second half of the album returns in a Blues-flavored, old school Country tune you won't soon forget.

Sharif turns in both great songwriting and performance efforts on Kisses And Liars. The first half of the album is absolutely brilliant while the second half gets mired in itself. It's as if all of the strongest material was placed on the album first and then weaker tracks were added later on. Don't get me wrong, the weaker tracks here don't necessarily equate to a problem, they just don't stand up well against the superior quality songwriting evident on the first half of the album. Either way, Kisses And Liars is worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Sharif at http://www.sharifmusic.com/ or www.myspace.com/sharif. You can purchase Kisses And Lies as either a CD or download from CDBaby.com.

Review: Lee Alexander & Co. - Mayhaw Vaudeville

Lee Alexander & Co. - Mayhaw Vaudeville
2009, Lee Alexander & Co.

Houston, Texas’ Lee Alexander writes from the heart of Texas in his heart. Using the same wit, intelligence and rustic flavor as folks such as Steve Earle and Lyle Lovett, Alexander has a reputation for crafting masterful musical stories. With a 2007 Independent Music Award for his debut album, Out Of Place, Alexander follows up with his sophomore effort, Mayhaw Vaudeville.

After the brief prologue of Ballnese Room (Overture), Alexander gets things rolling with Miles Between; a Folk/Pop gem with a big, pretty chorus. Reminiscent of later Great Big Sea and Pat McGee Band, Miles Between deals with the dissatisfaction of being in a relationship with someone who just doesn't not live up to expectations. Mayhaw Wine mixes early Rock N Roll and R&B elements in an acoustic Folk setting. The song has a definite sway and plays like an instant classic. These Days has one of the best melody lines on the disc, sounding a bit like Blue Rodeo meets The Cash Brothers in a highly enjoyable turn. My favorite song on the disc is Wheel; a paean to the pursuit of dreams and ambitions that recognizes that life is a gamble. The roulette wheel is used to illustrate the point here in poetic, intelligent and melodic bit of acoustic Blues and Folk.

Okemah Moon sounds about as classic country as you can get. It's a story about forbidden love and the almost certain conclusion it will come to. Somewhere, the spirit of George Jones smiles down on this song. Alexander lets us eavesdrop on one side of a conversation about escaping small town life in Carol Ann, a poignant tune full of ugly truths. The song needs a companion piece, however, as this is a sliver of a very good story that could stand telling. Alexander proceeds to cover the traditional Liverpool, England anthem Maggie Mae (not the Rod Stewart song). A favorite of sailors for better than a century, Maggie Mae tells the story of a prostitute and was long the unofficial theme song of Liverpool. Alexander's version is compelling and reserved; very well done. Union Street heads right for the Mix-Tape Magic pile in a touching performance where Alexander is in his absolute best and most velvety voice. Alexander sounds a bit like the Beatles on Mr. Walker's Epilogue, creating a near-perfect Pop tune with great vocal harmonies and a sound that could only be inspired by The Fab 4. Green Room Mirror (Curtain Call) is a great example of melodic and melancholy Pop. The story-line is benign compared to the beauty of the melody. Alexander closes out with an untitled track of a Tin Pan Alley jazz tune that might be called Paradise For Me. It's a brief epilogue but done perfectly to era and very entertaining.

Lee Alexander & Company display serious musical chops on Mayhaw Vaudeville. There's intense love for the sounds of bygone eras evident here, but also a fresh energy that enervates both the songs and the listener. Alexander has one of those voices you simply don't want to stop, and the arrangements are both pleasurable and challenging. Make sure you spend some time with Lee Alexander & Co. and Mayhaw Vaudeville. It's a bit off the beaten track but worth every step.

Rating: 4 Stars (Out of 5)

You can learn more about Lee Alexander & Co. http://www.alexandersongs.com/ or www.myspace.com/alexanderlee. Mayhaw Vaudeville is available through Noisetrade on a pay-what-you-wish arrangement for download, or you can get the download for free by providing the email address of five friends! CD copies are available at shows, but if you contact the band through their MySpace page I'm sure they'll be happy to help you out.

Review: The Dimes - The King Can Drink The Harbor Dry

The Dimes - The King Can Drink The Harbor Dry
2009, Pet Marmoset Records

Last year I reviewed a recording from Canadian singer/songwriter Mike Ford, Canada Needs You, Volume 2. The album was essentially a lesson in Canadian history set to music. At the time I remember thinking that it would be great if somebody would do something similar with American History. And along come The Dimes. Their sophomore album, The King Can Drink The Harbor Dry, is due for release on December 1, 2009, and features amazingly polished songwriting, memorable melodies, divine harmonies, top-notch instrumentation and yes, a steady dose of obscure American history with Boston as the center of it all. Engineering for the album was handled by Jeff Stuart Saltzman (Death Cab For Cutie, Decemberists, Sleater-Kinney).

The Dimes open with Damrell's Fire, a tale about The Great Boston Fire of 1872. The Folk/Americana arrangement is perfect accompaniment to the autobiographical account of one fireman who would not survive. The song is artfully written and beautiful in melody and harmony. The Liberator recalls the abolitionist newspaper published by William Lloyd Garrison between 1831 and 1866. The Boston-based paper was very controversial, particularly in the South. The instrumentation provided by The Dimes wraps around the narrative like a comfortable cardigan; these guys can play. The Dimes pay tribute to Clara Barton, founder of The American Red Cross on Save Me, Clara. The missive is from a dying soldier. Make sure you listen to the lyrics on this one in particular. Aside from being a fine vocalist, Johnny Clay is pretty amazing as a word smith as well.

The inspiration for Celia's Garden came from a painting by Impressionist Childe Hassam of Celia Thaxter in her garden. The song is done in a glorious Pop/Americana arrangement with Crosby Stills & Nash-style vocal harmonies and a melody that attaches itself to your brain and won't let go. The Ballad Of Winslow Homer is a gorgeous Folk song where each verse is based on a painting of Homer's. This might be the best all-around songwriting on the album, and the vocal harmonies are exquisite.

Webster Thayer was written about the judge in the infamous Sacco And Vanzetti trials, accused of forcing the trial toward conviction. Critics at the time (and posthumously) decried Thayer's handling of the trial. This tune is a Folk/Rock offering that details one perspective on Thayer's state of mind during the trial. The tune is well-written; the ideas clearly communicated. Perhaps not as dynamic as the rest of the album, but a strong song nonetheless. Charles Street serves as something of an epilogue to Webster Thayer, a paean to the infamous Boston jail that held Sacco & Vanzetti and later, Malcolm X. This song has a straight-forward Folk/Rock feel with an intriguing chorus that's both upbeat and dark.

Lovely Mary Dyer gives a strong picture of one of the "Boston Martyrs. Mary Dyer was a Quaker living in Colonial Massachussets. Massachussets law forbid Quakers from living within its bounds. Dyer continued to do so in spite of a previous arrest and knowledge of what would happen to her if caught again. Dyer was hanged for beliefs, and became a symbol to remind the Puritans of the reason they had come to New World: religious freedom. The song is a loving tribute in a lush arrangement with simple but elegant harmonies. Abigail, Don't Be Long pays homage to Abigail Adams, wife of John Adams and mother of John Quincy Adams. This Beatles-esque ballad has an upbeat pleasant arrangement and is a great fit as the penultimate track. The Dimes close out with Boston (Trimountaine), a musical geography lesson of the city of Boston with attention paid to historical sites.

The Dimes take a risk by steeping their songwriting in so much history, but the risk pays off with a collection of songs that are beautifully written, artfully described lyrically and full of a love of both history and music that's hard not to catch. The King Can Drink The Harbor Dry is brilliant and inspired; a Wildy's World Certified Desert Island Disc. Don't miss it!

Rating: 5 Stars (Out of 5)

You can learn more about The Dimes at www.myspace.com/thedimes or http://www.thedimes.com/. The King Can Drink The Harbor Dry drops on December 1, 2009. Keep an eye on the Store section of The Dimes’ website for purchase information

Review: Tad Dreis - The Reluctant Hook (and the day that it caught)

Tad Dreis - The Reluctant Hook (and the day that it caught)
2009, Tad Dreis

Tad Dreis comes from vibrant Chapel Hill, North Carolina music scene that helped launch bands such as Hootie & The Blowfish and Edwin McCain to national prominence. Writing and performing quirky Folk/Pop tunes can be a tricky game, but Dreis has a real knack for finding the perfect hook or turn of phrase. Comparisons to Robyn Hitchcock and Loudon Wainwright III as they might have sounded jamming with the Beatles are apropos. Dreis releases his third album, The Reluctant Hook (and the day that caught it) drops on September 11, 2009. With Dreis' wide touring and acclamations in the past few years (including a 2006 nomination from APCA as Best Solo Artist), The Reluctant Hook might just be the album that breaks things wide open for him.

Dreis is a singer-songwriter with a focus on traditional style story songs that occasionally stray into uncharted territory. A prime example is the opening track, The Makeup Company; a tune about an experience with a call center with supernatural powers and a penchant for showing off. It's an amusing tale that seems almost plausible based on past experience. Button For You is pure Americana, stylistically similar to Blue Rodeo or Wilco. It's a song about being so caught up in the day-to-day that you can't enjoy the things that really matter. This is primo songwriting. My Backstory is all about the perils of becoming well-known, particularly all of the "truths" that become public knowledge without ever being checked for accuracy. The arrangement and even Dreis' voice call to mind fleetingly Canadian quartet Moxy Fruvous.

Blues For Werner is a lovely tune about the more melancholy aspects of being a truck driver. It's a gentle arrangement full of affection that stands out because of its pure honesty. Very often in life our basic comforts revolve around the most simple of material items, be it a pair of comfy jeans, or a blanket (ala Linus from Peanuts). The Rug That Swore is the story of a boy and his carpet. Yes, it's a bit odd but so sweetly done you'll find yourself getting into it. It's a great tune. Three Forms Of Media explores all the methods for hooking up in a modern age (phone, eMail and hand-written notes), and how those methods can be used to push things awry when someone isn't playing fair. It's a humorous tune with a sudden twist at the close. Advice For Ladies highlights the advantages of a woman having a "humorous gay friend". It's an amusing tune with more than a little truth to it. Dreis closes out with I'll Be There and Pear Blossoms, both decent tunes but perhaps lacking a bit of the mischievous glint that pervades the rest of the album.

Tad Dreis is a stellar singer-songwriter who happens to have a mildly twisted sense of humor. His approach is a classic one, able to appeal to a broad spectrum of fans. Intelligent lyrics with wicked turns and strong melodies make The Reluctant Hook (and the day that it caught) an outstanding listen, even if it things tail off a bit at the end.

Rating: 4 Stars (Out of 5)

You can learn more about Tad Dreis at http://www.taddreis.com/ or www.myspace.com/taddreis. You can purchase The Reluctant Hook (and the day that it caught) as either a CD or download through CDBaby.com.

Review: Abi Robins - A Conversation With Myself

Abi Robins - A Conversation With Myself
2009, Morning Bird Records

Most people fall into one of two categories in life: those who follow the rules and those who break them. There is a third category that generally holds select company: those carefree enough to simply make their own rules and their own way. Abi Robins is of the latter ilk, choosing an Indie path that not only has served her well but has become a resource for other independent artists as well. Originally of The Winter Wakeup with singer/songwriter Jess Parsons, the Kansas-born Robins started her own record label, Morning Bird Records in 2008, releasing her Hey, Sunshine! EP as well as four EPs from other artists in less than one year. Robins now returns with her first full-length album, A Conversation With Myself, trading on a blend of Folk and Rock N Roll that's immediately comfortable without forfeiting an ounce of originality.

Robins opens the conversation with The Blue Waltz, a disarmingly honest anti-love song with passive-aggressive tendencies. It took a few listens but I really came to like this tune; it's a bit out of the box but very well written. Robins gives a delightful turn on The Drive, a quasi-escapist musical fantasy with melody that's to-die-for. The autobiographical quality of Robins' writing is noteworthy, wielding disarming candor with a deft touch that's part subtlety and part artistry. God And Science reflects a level of self-knowledge and a mix of disgust and acceptance at the narrator's inability to change in a great Folk/Pop arrangement that shows maturity well beyond Robins' years. If The Shoe Fits is a highly catchy tune about a relationship that's not working out; the peppy arrangement is the perfect foil to lyrics that are less than happy. You won't be able to get this song out of your head.

Robins treats listeners with a gentle instrumental entitled Battman, mixing Latin elements with Jazz and Psychedelia to create a pleasant sonic interlude. On This Easy, Robins follows an Americana path that's part Blue Rodeo and part Aimee Mann in a song about frailty and vulnerability of relationships and the sort of fear and bad decisions those states can engender. Once again, Robins displays a maturity and sense-of-self well beyond her years wrapped up with an ability to create a picture in song that's not only clear but lasting. Someday addresses the dichotomy of having an uncertain future with a certain end; mortality being set in stone but moveable in time and unpredictable. Robins examines this loosely from within the bounds of a relationship, applying the principle of uncertainty from life to the relationship and questioning the mortality of the same. The song is highly personal and honest, displaying ambivalence between hope and hopelessness that is striking. Robins closes out with Wanna Stay, a song of hope and resolution that counters the dark thoughts that run throughout A Conversation With Myself. Robins has spent the past forty-two minutes spilling the guts of her thought process for the listener's pleasure, including all of the dark uncertain thoughts that accompany being young and uncertain in a world full of questions and dangers that are only half-glimpsed and less understood, but ends with a resilient note that asks for more even if she isn't entirely sure what it is yet.

A Conversation With Myself shows distinct growth from Robins as a songwriter over her Hey, Sunshine! EP, delving into the dark nooks and crannies of her mind and baring insecurities and shadows that most people never see. For raw honesty and artistry the album is a 5-star effort. The writing and arrangement of music on A Conversation With Myself are top-notch, too, although there are some out there who will struggle a bit with Robins' vocals. Technically speaking there is a tendency for Robins to play fast and loose with pitch, particularly on the end of phrases. Robin's is never fully out of tune but certainly flirts with the concept consistently on A Conversation With Myself. Add to this Robins' voice, which has a dark beauty to it but isn't necessarily what you might describe as "pretty", and some folks will be turned off by this aspect of the disc. But Robins has a uniquely personal style that comes through that voice, and as a whole these vocal qualities add up to more than the sum of their parts, ala Bob Dylan or Neil Young. The end result is a listening experience that is unique and enthralling for its mix of artistry, beauty, and yes, it's flaws. A Conversation With Myself is a dazzling effort from Abi Robins; make sure you check it out.

Rating: 4.5 Stars (Out of 5)

You can learn more about Abi Robins at http://www.abirobinsmusic.com/ or www.myspace.com/abirobins. I was unable to find an online outlet for A Conversation With Myself, although you can stream tracks on her Robins’ MySpace page. Contact Robins there if you’d like to buy a copy, I’m sure you can work something out.