Chris Leigh & The Broken Hearts - Broken Hearted Friends

Chris Leigh & The Broken Hearts – Broken Hearted Friends
2013, Blue River

Chris Leigh was born and raised in Kentucky, the eighth of ten children in a devout religious family.  As a teenager Leigh broke the mold, hitch-hiking to California to try and make it in the music business.  Returning home to Kentucky several years later, Leigh settled down to family life and a 9-5 job.  After eighteen years Leigh’s marriage came to an end, and he picked up his guitar again to try and make sense of it all.  What started out as therapeutic has become cathartic, with Leigh diving back into the music world with some of the edgiest classic-country music being made today.  Chris Leigh’s debut album, Broken Hearted Friends, is ready to take the country music world by storm.

Leigh kicks things off with the title track, an amusing piece of tragic-comedy about heartbreak turning into camaraderie.  Leigh manages to create a bit of classic sounding country with a rock and roll flavor that’s very appealing.  “Broken Hearted Friends” feels like an instant hit.  “Like I Love You Forever” is an optimistic love song that wastes no time getting to the point.  The chorus plays more like a bridge in this anachronistic little tune, but Leigh catches and holds the listener’s attention with an original style and a catchy backbeat.  Leigh plumbs the depths of country heartache on “If You Make It to Heaven”, with the caricature of a man struggling with issues of loneliness and faith.  It’s a well-written tune that’s more about the human condition than about any particular religion, and offers keen insight into the struggle to find happiness.

“Ramblin’ Man” finds Leigh telling a cautionary tale about life on the road and temporary liaisons.  One particular liaison with a southern belle turns into a nightmare for the protagonist here, and Leigh soups up the experience with a breakneck arrangement that you simply can’t sit still through.  “Heartache and Misery” bemoans a man’s tendency to fall into relationships with no future; a classic country tale of romantic woe set to a killer arrangement.  The guitar licks here are so sharp they are dangerous, culled as they are from the Chet Atkins school of guitar.  Honky-tonk piano takes the lead on “Who’s That”, a diatribe on his sweetie finding a new Facebook friend.  Leigh brings country music thematically into the digital age with a classic arrangement that’s as tight as can be. 

“Money” explores material wealth as a relationship with a flighty partner, as bad decisions lead to expected results.  Everyone but the narrator can the inevitability of the outcome in this story song, flipping the tragic with the nearly comic.  “Here We Go Again” is a kiss off song based on a partner’s tendency to hook up his friends.  No matter how many times it happens he keeps taking her back, only to be surprised when she strays again.  The guitar work here is excellent, as Leigh crafts a near-perfect 2 ½ minute piece of old-school country-pop.  “The Ballad of Bobbie Sue” is a languorous lament, clocking in at 5:39.  Heartbreak is the central theme here, with her heartbreak become his with time.  Leigh closes with the rockabilly strains of “Whiskey River”, which is a thematic cousin of the Willie Nelson song of the same name.  The tune is as catchy as you can ask for, with a chorus that will stick in your head for days.

Chris Leigh & The Broken Hearts mine a classic country sound with well-written songs and an enigmatic lead vocal style that will sit well with modern country radio while also pleasing fans of traditional country.  It’s hard to imagine CMT and other major outlets not catching on to Leigh’s sound and making him a star, but stranger things have happened in the music business.  If the sound on Broken Hearted Friends is any indication, you need to catch Leigh’s act live if he comes to your town.  Elements of Garth Brooks, Hank Williams Jr. and Luther Wright blend here to make what should be a knock-out live performance.  As it is, you’ll be playing Broken Hearted Friends again and again.

Rating:  4.5 Stars (Out of 5)

Learn more at www.chrisleighmusic.com. 

Arty Hill And The Long Gone Daddys - Another Lost Highway

Arty Hill And The Long Gone Daddys - Another Lost Highway
2011, Arty Hill

Arty Hill is well-known in songwriting circles, with songs of his recorded by the likes of Jason & The Scorchers, the Kenny and Amanda Smith Band, Marti Brom and the Sapphires, but Hill is a pure performer as well. Drawing crowds from his home base in Baltimore to Austin, Texas, Hill takes honky-tonk country to a new level. This transcendence is abundantly clear on the latest effort from Arty Hill And The Long Gone Daddys, Another Lost Highway.

Another Lost Highway soars, and the reason becomes apparent in the opening track. Hill explores the pure joy of music in "Roll Me A Song", blending rockabilly, blues and the sort of exuberant pick work usually reserved for bluegrass circles. "Roll Me A Song" isn't just a song, but a mission statement that describes what is to come. "Mae Dawn" is a love song to a call girl, full of the hope and tragedy that seems like it should be cliché but somehow is not. Hill recounts time in detox in "Omaha ICU", wrapping a nifty arrangement around a harsh subject painted in subtle undertones. Hill gets back to a love of music on "King Of That Thing", an ode to a pedal steel man. The six-string guitar work here is so subtle and refined you'd think that Hill was channeling Chet Atkins.

"Another Lost Highway" is a classic-style country trucker's lament. Hill has constructed a wonderful melody here, and a joyously feckless violin dances and fills the counter-melody. Rock and country blend on "Big Drops Of Trouble", featuring, once again, some seriously notable guitar work. Hill puts on something of a clinic here, and the guitar players out there will be dissecting the song for hours. Hill actively works to nullify heartbreak on "12 Pack Morning", in a classic bit of country pique, before moving into "Halfway House". This is a great tune that bears the essence of Johnny Cash. An entertaining number, Hill again reminds listener of how good he is with a six-string in his hand.

"Breaking-Up Party" is a solid bit if blue country with a healthy dose of optimism woven inside.

Infidelity is the subject of "Victoria's Secret Is Safe With Me", a solid story song that's perhaps a bit trite, but nonetheless entertaining. "Blackwater Wildlife" is a danceable honky-tonk party that breaks out into fits of raucous rockabilly. You won't be able to get this one out of your head. Another Lost Highway closes with "The Last Time I'll Ever Go Away", a sad tale about a travelling man who gains the road but loses his family in the process. When push comes to shove, he realizes that what he's losing isn't worth what he's gained, and in an unlikely turn in country music, he gets a second chance. This positive lift at the end is perfect closure for an album that turns expectations on their heads.

Arty Hill And The Long Gone Daddys hit new heights on Another Lost Highway. Rather than an apex, however, the album suggests a band continuing to rise. Hill is a masterful songwriter and storyteller, and he is surrounded by first class musicians. Another Lost Highway was checked along the way by illness, death of a band member and arguments with Hill's former record label, but you'd never know it from the end product. Another Lost Highway is utterly brilliant.

Rating: 5 Stars (Out of 5)

Learn more about Arty Hill at www.artyhill.com.

           CD                        MP3                        iTunes


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Ricky Skaggs - Country Hits: Bluegrass Style

Ricky Skaggs - Country Hits: Bluegrass Style
2011, Skaggs Family Records

What makes a musical legend?  Perhaps you could start with being the head of an eight-time International Bluegrass Music Association (IBMA) Instrumental Band of the Year (Kentucky Thunder).  Somewhere in there you could add fourteen GRAMMY Awards, 8 ACM Awards, 8 CMA Awards, and have twelve consecutive albums receive GRAMMY nominations.  Or perhaps it would take no less than someone such as Chet Atkins declaring that you personally saved country music.  Somewhere in there your persona will take on a life of its own.  So it is for Ricky Skaggs.  Skaggs seems to never make a wrong move musically, but his latest album is a real treat.  Country Hits: Bluegrass Style revisits his country hits of the 1980's and early 1990's, putting a bluegrass spin on some of Skaggs' most requested songs. 

Skaggs sets off with an incredibly catchy and danceable take on "Heartbroke".  The instrumental work beneath the surface is absolutely superb, and the entertainment value is high.  Skaggs sails through the vocals in an easy-going fashion.  "Honey (Open That Door)", one of Skaggs' most requested songs, is done up in classic country style, with guitar work Chet Atkins himself would be proud of.  "Cajun Moon" blends old school country and Zydeco in a classy arrangement you'll find it hard to shake.  Skaggs sounds a lot like Hank Williams on the Flatt and Scruggs penned "Crying My Heart Out Over You".  Sweet and full of sorrow, Skaggs creates a masterful arrangement decorated with amazing vocal harmonies.  "He Was On To Something (So He Made You)" shows Skaggs' more subtle side on guitar, in a sweet arrangement that washes over you like water.

"Highway 40 Blues" is a sweet homage to life on the road where Skaggs and his band find a moment of instrumental perfection.  This leads into the virulently catchy "Uncle Pen", a celebration of country music with vocal harmonies that will send chills down your spine.  Skaggs takes listens for a brilliant, high-speed romp on "Country Boy".  Anyone who has ever slung a guitar or banjo over their shoulder will be absolutely in awe of the instrumental work here, which blends speed, precision and musicality and takes the listener to dizzying heights in a true "WOW" moment. 

Skaggs begins winding down with the classic-style country ballad "I Wouldn't Change You If I Could".  This sweet rendition is memorable; reverent to the original but with more of a home grown feel.  "Don't Get Above Your Raising" is a catchy and fun mid-tempo number; fun fluff that you can dance to without working too hard.  Country Hits, Bluegrass Style closes with "Somebody's Prayin'", a sweet number steeped in the blended history of gospel and country.  Skaggs' unadorned voice lends to the simple beauty of the song, and is the perfect to say "until next time."

Rather than simply drop a compilation of recordings his ardent fans already have, Ricky Skaggs makes the classy choice to re-interpret his biggest country hits in bluegrass style.  For some of the songs presented on Country Hits: Bluegrass Style the jump isn't so large, but Skaggs breathes new life into old songs and in the process reminds us all why his is one of the most revered names in country music.  Don't be surprised if Country Hits: Bluegrass Style becomes the 13th consecutive Skaggs album to be nominated for, and ultimately brings home his 15th GRAMMY Award.

Rating: 4.5 Stars (Out of 5)

Learn more at www.rickyskaggs.com or www.myspace.com/rickyskaggs.  Country Hits: Bluegrass Style is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Robert Henry – 12 Nocturnes And A Waltz

Robert Henry – 12 Nocturnes And A Waltz
2010, Muuz Records

Robert Henry makes the phrase “Award Winning pianist” almost passé.  A gold medal in no less than four international competitions, Henry is considered the complete package as a performer (technique, showmanship, style).  Robert Henry earned a Doctorate in Piano Performance from the University of Maryland, and in 2009 was honored with a Distinguished Alumni Award.  He made his Carnegie Hall debut in 2002, and is currently a Steinway International artist.  Henry also makes a point of engaging in social causes as well.  Henry coordinated the “$100,000 Hurricane Katrina Relief Tour”, raising $108,000 from concerts presented around the US, for which he received a Distinguished Service Award in 2006.  In 2010, Robert Henry released his debut album, 12 Nocturnes And A Waltz, featuring the works of Chopin, Grieg, Liszt, Stanchinsky, and Chet Atkins, among others. 

Henry opens with Chopin’s “Nocturne in D-Flat Major, Opus 27, No.2” in a gorgeous display of dynamics and emotion, underwritten by perfect technique.  Henry brings out elements of tension and sadness, and also a sense of expectation.  Respighi’s “Notturno” has a melancholy, dream-like aura.  Henry’s lyric style is poignant and full of beauty.  “Notturno” is among the prettiest performances on the album; sublime in the subtlety of Henry’s hands.  “Libersträume, Notturno No. 3” is powerful and full of life.  Henry brings Liszt’s opus to life, contrasting grand, theatrical moments with pianissimo passages that are gorgeous.  Henry plays this like he wrote it, as if the passages were born from his own heart and mind.

Grieg’s “Nocturne, Opus. 54, No. 4” is lovely, dark and a touch sad.  Henry brings out the lyric qualities of the piece in blue passages that are palpably emotive.  Henry breaks out in grand style in Chopin’s “Nocturne in B Major, Opus 62, No. 1”, displaying gorgeous piano runs.  Moving on to the powerful and vibrant second movement, Henry shakes out the cobwebs with powerful dynamics and a theatrical flair that perfectly matches Chopin’s original vision.  “Nocturne (Homage To John Field), Opus 33” is a well-crafted piano interpretation that is prone to fits of aural chaos.  The main theme is pretty, but Henry takes listeners along the path of Barber’s variable musings with a combined sense of reverence and glee.

Henry increases the voltage in Fauré’s “Nocturne In E-Flat Major, Opus 36”, a pretty and nuanced piece infused with a swelling sense of drama and cascading, dream-like movements.  Henry’s work is gorgeous and powerful, distinctive in its lyrical sense yet refined.  Henry sticks with Fauré for “Nocturne In B-Flat Major, Opus 37”, an equally pretty composition, yet more tame both in intent and energy.  Henry next tackles John Field’s “Nocturne No. 4 In A Major, H. 37”, displaying brilliance for interpretation and a rare sense of musicality.  Fields’ composition is a fluttery piece streaked with dark undertones.  Henry manages to bring out the worry lines in the music, subtly painting emotions between the lines.  Alexei Stanchinsky’s “Nocturne” is dark, rueful and sweet.  Henry takes the sad and longing reminiscence and makes it his own in a virtuoso performance full of palpable place and emotion.  Henry closes with his own arrangement of Chet Atkins’ “Waltz For The Lonely”.  Henry is both reverent to the original and creative in his transposition of one of Atkins’ finest works to piano. 

Robert Henry is a treasure; the sort of talent who comes along once or twice a generation.  While the awards and recognitions speak volumes, you have to hear Robert Henry play in order to truly get how good he is.  For what it’s worth, Twelve Nocturnes And A Waltz is definitive proof; this is the sort of recording that becomes more revered over time.  Henry’s technical skill combined with his sense of lyricism and personality allow him to create magic at the piano.  If you’re new to classical music, your collection should start here.  There may not be a brighter young light in classical music than Robert Henry.

Rating: 5 Stars (Out of 5) 

Learn more about Robert Henry at http://www.roberthenry.org/.  12 Nocturnes And A Waltz is available as a CD only from Amazon.com.

Tony Savarino - Guitaring

Tony Savarino – Guitaring
2010, Naked Ear Records

Tony Savarino is a renaissance man among guitarists, moving from musical style to musical style without question or pause.  Something of a regional legend, Savarino has played with almost anyone who’s anyone in the Boston music scene.  His credits include names such as Dale Bozzio, TM Stevens, The Dents, The Rudds, The Montgomerys and Alto Reform School, to name a few.  Savarino has been featured in Guitar World, Guitar Player For The Practicing Musician, the Boston Globe, The Noise and Soundcheck.  After years of playing with and/or in support of others, Savarino steps out on his own with Guitaring, a collection of ten instrumentals and one vocal track that show off Savarino’s range and distinctive talent with an axe in his hand.

Guitaring opens with the eccentrically fabulous honky-tonk guitar work of “Barrelhaus Gutbucket Chicken Pickin’”, with Savarino exploring the distinctive country sound using jazz forms.  There’s some pretty mean Hammond organ work going on in and behind the scenes here.  Savarino doesn’t waste any time in flooring listeners.  You’ll understand early on that you’re in the presence of a virtuosic talent.  “Take One” pairs the guitar and xylophone in a brief duet with a great jazz feel and a strong rhythm section.  “Jericho” is an inspired early rock instrumental that shows the nascent roots of surf guitar struggling to be born in the wash.  Savarino manages to recreate that moment where one style morphs into something new and wonderful and presents it here as if it’s first happening before your very ears.   “Rialto Ripples” is a frenetic, if brief, side trip that’s more like an unfinished idea than a completed piece.

In spite of its name,”Blues For Bb (B Flat)” is more of a jazz/blues hybrid than anything else, and finds Savarino once again counting off paces with a Hammond Organ.  Savarino, who seems to excel in any style he touches, comes particularly alive in this musical marriage, seeming to feed off the organ sound to create magical moments on the guitar.  Savarino picks up an acoustic guitar for “Freight Train” and digs into a blues/roots style that is initially without form.  Savarino explores the musical territory before settling into a rhythm, showing off some wicked guitar work in the process.   “Deep Blue Day” is a dreamy legato rumination that’s dressed in heavy reverb, and is probably the most mundane work on the album. 

Savarino channels a bit of Les Paul on “Holiday For Strings”, playing in a pizzicato style that’s entertaining and humorous.  There’s almost a mechanical quality to the main theme of the song, but Savarino fills the spaces in between with some wonderfully jazz-inspired play.  “Russian Roulette” sounds like it comes directly from a 1960’s spy thriller, blending 1960’s surf rock with a bachelor pad style that’s moody, furtive and full of energy.  “Early American” features the sort of pick work that would make Chet Atkins proud.  The Joe Maphis-penned instrumental is made to look like light work by Savarino, but any of the guitar players out there will tell you this is not an easy piece to tackle.  “Christine’s Tune (AKA Devil In Disguise)” is the only vocal track on the album, featuring Adja Snyder in a solid vocal turn.  The Gram Parsons cover has a classic country feel to it.

Guitaring is undoubtedly a solo guitar album, but what makes it work so well is that Savarino has surrounded himself with first class musicians, and Savarino has the sense to make this an ensemble album rather than a vanity piece.  Guitaring is the sort of album you can’t quite put down, particularly if you’re a guitar player yourself.  You’ll find yourself mesmerized by Savarino’s technical brilliance, but it’s the heart that Savarino brings to each and every song that seals the deal.  Guitaring might just be the best rock instrumental album of 2010.

Rating: 5 Stars (Out of 5)

Learn more about Tony Savarino at http://www.tonysavarino.com/ or www.myspace.com/tonysavarino.  Guitaring is available as a digital download from Amazon.com, CDBaby and iTunes.

Murray Flint - The Journey

Murray Flint - The Journey
2010, Murray Flint

Murray Flint was called to the guitar like many teenage boys. Strapping on the six string and emulating rock n roll heroes comes naturally to some, and Flint spent sixteen years with the guitar as a major part of his life. Unfortunately tendon pain got in the way and in 1991 Flint put the guitar away for good, or so he thought. Eight years later on vacation Flint came across a guitarist playing Fingerstyle guitar, ala Merle Travis. This style didn't appear to put the sort of pressure on the fingers that had caused Flint so much pain years before, and he made a point of seeking out instruction and trying to learn this new technique. A few adjustments later Flint had found his way back to his first love. Twelve hard working years later Flint is a regular performer for corporate events, receptions, private parties and the like. Now Murray Flint makes the next leap of faith: an album. The Journey was released in July, and features an inspired set of eight instrumental pieces that might make you wonder about the dreams you've left behind.

The Journey opens with the frenetic fingerstyle of "The Matrix". Flint flashes dexterity and speed that are mind boggling in a shot across the musical bow that's certain to gain your attention, keeping it simple in melody and development but more than compensating with an awesome display of technical skill. "Breeze Blues" is something of a jazz/blues hybrid with a bid of William Ackerman-esque ambience thrown in for good measure. Flint weaves a sordid and sorry tale here in the strings, evoking a modicum of theatricality and an intense, lovely melody in the process. Occasionally Flint breaks out in a riff that soars like a voice leaping out of the instrumentation, a sort of exclamation point that quickly resolves back into the wave-like form of the song.

Flint offers a big nod to his idol Merle Travis with "Travis Pickin" while treading lightly in the direction of Django Reinhardt. Indeed, there's almost gypsy flair to this tune, and Flint imbues it with all of the energy and sprightly glee you might expect. "The Journey" is more of a contemplative noodle, with Murray Flint growing the melody in expository passages, pausing now and then as if to collect his breath. "The Journey" opens with a sense of uncertainty, as if undertaken on newly minted feet. In time these baby steps become the hustle and flow of life, the contemplative derivations of middle age and ultimately the spiraling upward of a life on the verge and then passing beyond always returning to a central theme that is both vibrant and comforting.

On "The Bohemian" Flint provides both a walking bass line and a mildly jazzy progression where melody and harmony merge and blend like water and wine. The piece is a pleasant diversion that could easily serve as incidental music in a film. "Highway Pickin" is a brief snack that's more about speed and accuracy than development but is a fun sidebar nonetheless. Think of it as the musical equivalent to an amusement park ride. "Mythic Morning" greets listeners on a fade-in, as if Flint has captured a sample of the music he hears in his mind without cutting it re-arranging it in any way. The song has a "soundtrack of life" feel to it, complex in its course and gentle in feel, and fades back into the ether from which it emerged. Flint bows with "Penelope", a sweet and gentle musing that rises and falls in gentle arcs, fading into the twilight at album's close.

As with many artists, Murray Flint spent a lot of time going nowhere before he found a modality that suited him. The discovery of the fingerstyle method of guitar playing was a eureka moment that has been twelve years in development. Flint has spent that dozen-year cycle developing the technical skill to match the passion and touch he plays with. The musical sensibility on The Journey may not be the most complex, but Flint imbues each passage with heart, and has the technical proficiency to make complicated choices with simple lines of melody, opening up a rhythmic landscape that is only limited by Flint's imagination. The Journey is a very solid effort that's great for a relaxing night at home, but offers enough ear candy to become part of the conversation and not just part of the background.

Rating: 3 Stars (Out of 5)

Learn more about Murray Flint at http://www.murrayflint.com/.  The Journey is available as single track downloads only on CDBaby and iTunes.

Lee Ritenour - Six String Theory

Lee Ritenour - Six String Theory
2010, Concord Records

Lee “Captain Fingers” Ritenour really needs no introduction. A participant in better than 3,000 recording sessions, Ritenour was an in-demand throughout the 1970’s and is considered a pioneer in smooth jazz and jazz-funk. Over the years Ritenour has amassed on GRAMMY Award and seventeen (17) additional GRAMMY nomination. Ritenour recently released his 43rd album, Six String Theory, drawing from multiple music styles to create a set

Six String Theory opens with measured, soulful play on "Lay It Down". Ritenour builds the song in intensity until he explodes in a flurry of fretwork halfway through, growing into a more distorted jazz-inflected romp. "Am I Wrong" opens with an enticing-yet-simple blues riff played off against harmonica. Ritenour's vocal is soulful and bluesy and the tune is quite catchy. "L.P. (For Les Paul)" is done in an improvisational jazz form, allowing the guitar and organ to stake out significant territory and create. The rightness of Ritenour's band is frankly amazing; their energy contagious. Ritenour blends southern rock, blues and even a tinge of gospel on "Give Me One Reason", using a big, fuzzy guitar sound to give the song a bit more oomph than you might be used to. It's a brilliant reading on a classic tune.

Ritenour turns a bit more aggressive on "68", a powerful rocker with blues roots. Ritenour pulls off some serious riffs with attitude. The style of play here is somewhat reminiscent of Kim Mitchell's style with Max Webster. "Moon River" finds Ritenour back in improvisational forms for a highly variant but intriguing version of Mancini's "Moon River" before moving into the tight and lively "Why I Sing The Blues". "Daddy Longlicks" is the sort of song guitarists live to play; Ritenour mixes speed, precision and musicality in a fashion that Chet would approve of. Sting's "Shape Of My Heart" takes on new life here, as Ritenour injects the song with a heart that is present in the original but magnifies it several times over to bring out the elusive melody of the song.

"Drifting" finds Ritenour making use of the entire guitar in a rhythmically complex but thematically simple song that's worth spending some time on. "Freeway" Jam is a rock instrumental falling somewhere in the gap between 1980's melodic rock guitar and Eric Johnson. The nod to Johnson continues on "Fives", which finds Ritenour in some very unusual time signatures while creating dark melodic musical tendrils in one of the more intriguing pieces on the album. Ritenour closes with Luigi Legnani's "Caprices, Op. 20, No. 2 and 7", played beautifully and with a quiet reserve that speaks to period as much as to Ritenour's tremendous ability to be a stylistic chameleon with a guitar in his hands.

Six String Theory finds Lee Ritenour sampling styles and sounds across genres and occasionally blending styles in expected ways but with unexpected grace. Ritenour has long been one of the greats with a six string, even if his star never shines as bright as those of Clapton, Knopfler or Beck. Six String Theory is serious guitar work that you'll enjoy whether you're a serious guitarist, a weekend picker or even just a fan.

Rating: 4 Stars (Out of 5)

Learn more about Lee Ritenour at http://www.leeritenour.com/ or www.myspace.com/leeritenour. Six String Theory is available as both a CD and Download from Amazon.

Review: Mark Knopfler - Get Lucky/US Tour

Mark Knopfler - Get Lucky
2009, Reprise Records

The first time I really became acquainted with Mark Knopfler as a guitar player was listening to his album of duets with Chet Atkins, Neck And Neck. I was certainly familiar with Knopfler’s work with Dire Straits, including the all-world effort Brothers In Arms, but Neck and Neck opened my eyes to Knopfler’s ability to play ridiculously difficult passages on guitar and make them look and sound like the easiest thing in the world. Knopfler, if possible, raises his game another notch on his latest album, Get Lucky; by eschewing any sort of market thinking and writing straight from the heart. The eleven songs on Get Lucky are a series of short stories and vignettes about people, places and times that may or may not be from Knopfler’s own personal history, but sound thoroughly authentic as if Knopfler is writing about people and places he’s known intimately. Knopfler will be touring the US between April 8, 2010 and May 9, 2010 in support of Get Lucky

Get Lucky opens with “Border Reiver”, a sonically gorgeous Scot/Celtic tune that holds within it a surprisingly driven tune. The reference to the land-based pirates of the Scotch/English border is an interesting one that will give you much to ponder if you’re so motivated. “Hard Shoulder” is a song of heartbreak delivered in truck driving terms. The poetry here is surprisingly subtle and is accompanied by a melancholy melody and a hopeful outlook; a truly amazing piece of songwriting. “You Can’t Beat The House” is an instant classic; a live-in-studio take that just serves to remind how amazing well-rounded and talented Knopfler is with a guitar in his hands. The musicianship of Knopfler’s entire band is off the charts here. “Before Gas And TV” returns to the Celtic themes of “Border Reiver”; mournful, reminiscent and darkly beautiful.

Knopfler pays tribute to guitar maker John Monteleone on “Monteleone”; a tune so beautiful you can’t but calling it a love ballad. Knopfler’s folk aria about a man who pours the love of his craft into every instrument he makes is a thing of beauty; the song not just an ode but a testament. “Cleaning My Gun” shows the instincts of a survivor, a veteran who has seen the wars and still feels most comfortable with a gun around. The song puts a very human face on gun owners and their motivations, miles apart from the archetypical assault rifle owner wanna-be. Knopfler brings the character in “Cleaning My Gun” fully alive without overstatement or caricature. Knopfler pays tribute to independent race car driver Bobby Brown (or at the very least his car) on “The Car Was The One”, an amazing story song that will leave you shaking your head. Knopfler’s creation has a cinematic feel, like the theme from a biopic.

On “Remembrance Day”, Knopfler looks back on the days of youth, remembering all the people who meant the world back then and the things they did together. The song opens over a game of cricket, but it could as easily be baseball here in the US. “Remembrance Day” is ripe for triteness and yet manages to miss it all together. Gorgeously arranged, Knopfler manages to be sentimental without over-playing his hand. “Get Lucky” is written from the pragmatic perspective of a blue collar worker who gives it his all every single day and keeps his eyes open for the small victories that make it seem worthwhile. The perspective is a generational one that seem to fade a bit more with each passing year, but those of you with depression or WWII era parents may recognize it in some of your older relatives. Knopfler’s character is wonderfully drawn in song. “So Far From The Clyde” is about the death of a ship and what happens to it after the fact, but is really a commentary on the fragility of life and how quickly the world moves on. Knopfler’s story-telling takes on deep undertones here and is wrapped in an amazing one-man arrangement. The song isn’t so much angst-filled as matter of fact, but it is a stark take on mortality written from the perspective of one who stares it in the face. The epilogue of the album is “Piper To The End”, which returns to the Celtic roots of the album while preparing for the final journey in life. Knopfler’s main character looks beyond this world to the next, and lays down his own terms (“When I leave this world behind me/to another I will go/If there are no pipes in heaven/I’ll be goin’ down below”). It’s a deeply personal account of one person’s reckoning about their final days upon the earth, a goose-bump inducing thing of beauty that ranks among Knopfler’s finest compositions.

To put it in simple terms, Get Lucky is brilliant. If this were the last thing Mark Knopfler ever wrote or released it would be acknowledged that he went out at the height of his powers, but it’s clear that Knopfler, like a fine wine, keeps getting better with age. Get Lucky is pleasing from the perspective of songwriting and musicianship, but it’s the subtlety and grace of Knopfler’s story-telling that raise this from being just another good Mark Knopfler album to a crown jewel in a storied career that finds Knopfler continuing to grow and perfect his craft at an age when many recording artists are mailing it in with their umpteenth reunion tour. Get Lucky can be nothing short of a Wildy’s World Certified Desert Island Disc. Knopfler will be touring the US in support of Get Lucky between April 8th and May 9th of 2010 before returning for dates in Europe. Don’t miss this opportunity see a master craftsman at work.

Rating: 5 Stars (Out of 5)

You can learn more about Mark Knopfler at http://www.markknopfler.com/. Get Lucky is available as either a CD or Download from Amazon.com. Check Knopfler's tour page to see if he's coming to a town near you. The tickets are a bit pricey at most venues, but it's worth it to see a master craftsman at the height of his art.

Review: Songs Of Water - The Sea Has Spoken

Songs Of Water - The Sea Has Spoken
2010, Songs Of Water

Just two months into the year, we're ready to declare that Songs Of Water's The Sea Has Spoken is one of the most finely crafted (mostly) instrumental albums for the year. Others may come along and vie for the crown, but it's going to be tough to take it out of Songs Of Water's hands. Mixing and melding Classical, Celtic, Bluegrass and New Age styles into a coherent sound around highly original compositions, Songs Of Water has far and away surpassed their self-titled 2008 debut. It doesn't hurt having much of the Skaggs family sitting in throughout the album (son Luke is a member of Songs Of Water), but Ricky Skaggs and two other members of the Skaggs clan ad instrumental support without impinging on Songs Of Water's highly original sound. The Sea Has Spoken drops on March 26, 2010.

From the opening notes of “Everything That Rises” you'll know you're in for a different experience than on most pure instrumental albums. Hammered dulcimer, violin and guitar entertain in an energetic musical conversation that is as uplifting as the song title might imply, even amidst the note of relinquished sorrow that runs through the main theme. The musicianship here is absolutely incredible, a symphony of sounds gained by non-symphonic means. “Bread And Circus” ranges from modern to antiquity, sounding at times like the sort of chamber music that once entertained European illuminati. “Window Seat” makes use of contrapuntal rhythms and soaring passages that evoke vivid images in your mind; a sort of soundtrack to dreams you don't quite remember. Stephen Roach steps forward on vocals for “Sycamore”; a pleasantly mellow tune that's a nice change of pace but doesn't carry the same vibrancy as the instrumental work on The Sea Has Spoken.

“The Great Russian Catastrophe” is highly rhythmic with heavy Slavic influences that are quite enjoyable, but “Through The Dead Wood” takes the manic rhythms a step further as a thoroughly percussion-based composition that is nothing short of amazing. Fans of groups like Rusted Root in particular will love what Songs Of Water has going on here. Bluegrass chutes push through beneath “The Family Tree”, an amazingly lyric composition full of some of the tightest, most precise musicianship on the album. For all of that fine control, not an ounce of spirit is lost. “Luminitsa” plays like the musings of a Romani Bard, blending Spanish, Middle Eastern and Eastern European musical elements into a style that's instantly foreign yet familiar. “Luminitsa” brings an air of mystery to The Sea Has Spoken, dark and beautiful and ever so slightly out of reach. “Hwyl” carries with it a distinctly urgent feel, tearing along at breakneck speed as Songs Of Water heads into the final stretch home. “Belly Of The Whale” plays on the Biblical tale with a mystic mix of rhythm, ambience and truncated instrumentation. “The Sea Has Spoken” is a resigned if not mournful undulation that seems more a running monologue than a time-oriented pronouncement. The title track is a thing of beauty, slow in pace and measure; deriving beautiful arcs of melody, particularly from the violin. Songs Of Water closes out with the plaintive “Willow”, the second and final track featuring vocals on the album. The cyclic nature of the mandolin part and the cadence of the melody seem to speak of the eternal ebb and pull of the ocean on the earth, or the wind through the trees. The song is elemental in feel and emotional impact, winding down the album almost as day blends into night.

Songs Of Water made is very apparent with their self-titled debut that they were a band not to be taken lightly. They could easily have trod the same ground they did on Songs Of Water, but instead chose to continue wading deeper into their muse. Consequently, The Sea Has Spoken shall be spoken of in terms of brilliance. The nuances and shading in the music are unusual in anything like the popular realm; the blending of styles such as bluegrass, world and classical is uncommon if not unique. In spite of the lack of a distinct genre to hang their hats on, I wouldn’t be surprised if Songs Of Water were named in company with bands such as The Chieftains one day.

Rating: 4 Stars (Out of 5)

You can learn more about Songs Of Water at http://www.songsofwater.com/ or www.myspace.com/songsofwater. Songs Of Water will celebrate the release of The Sea Has Spoken on March 26, 2010 at the Visulite Theater in Charlotte, NC. Keep checking the band's website for availability.

Review: Doug Yeomans & Ben Doerfel - Generation Gap

Doug Yeomans & Ben Doerfel - Generation Gap
2009, Roots Music Records

Doug Yeomans is a Western, New York singer/songwriter and guitarist who can play almost anything with six strings on it. A renowned guitarist in Jazz, Rock, Blues and Bluegrass, Yeomans has one international guitar competition win under his belt and nearly 40 years of performance experience. Ben Doerfel is still in his middle teens and already picks a six string better than a host of people who have been doing it all their lives. The two team up on the wonderful collection entitled Generation Gap.

Generation Gap opens with Gold Rush, a classic fiddle tune that's done here with great texture and nuance. Yeomans and Doerfel trade runs with aplomb in a gentle game of one-upmanship where the only winner is the listener. Big Sciota is of a slightly gentler nature. This tune has been recorded by everyone from Jerry Douglas to Old Crow Medicine Show and is an old Bluegrass favorite. Yeomans and Doerfel show off a bit here, pulling off some fast and fancy fretwork in what might be the best technical recording on the disc. Up next is Wildwood Flower, a song written in 1860 by Joseph Philbrick Webster and made famous by The Carter Family. The tune itself was also used by Woody Guthrie for the verses of The Sinking Of The Reuben James. Yeomans And Doerfel treat Wildwood Flower with much deference, offering a soft and meandering reading that is a pleasure to listen to.

Shady Grove is another American Folk Song with roots in both Celtic and Bluegrass traditions. It's been recorded by a score of notable artists including Jerry Garcia and Dave Grisman, Bill Monroe, Patty Loveless and Crooked Still. Doug Yeomans provides the vocal line very capable, but the picking is where the real action is at. Yeomans and Doerfel push each other to new heights in a bit of inspired play. Yeomans breaks out the banjo on Salt Creek, while Doerfel handles guitar duties. The interplay of the two instruments here is magical. Yeomans also kicks in through the wonders of technology with a second guitar part. Louise finds the duo taking a break from serious picking for a sweet and mellow country song. Yeomans is in wonderful voice.

After that brief interlude, Yeomans and Doerfel are right back at it on Clinch Mountain Backstep, a case of musical finger calisthenics with a serious Bluegrass feel. The guitar work here is so good it will make you weep. Bill Cheatham is another Bluegrass standard that's been recorded by folks such as Doc Watson, Leo Kottke and Chet Atkins. Yeomans and Doerfel both earn their CGPs on this gem. St. Anne's Reel explores the Celtic roots of bluegrass with a gentle touch that makes for a highly pleasant listen. Cherokee Shuffle is a traditional tune popularized by Fairport Convention. This is a technically difficult song to play and the duo make it sound easy. Generation Gap concludes with an instrumental take on Amazing Grace that grows from a meandering, pensive opening to a bluesy run to a verse played in the ethereal harmonic tones of the string-tops before ending on a vaguely jazzy reading.

Doug Yeomans and Ben Doerfel pull of an amazing performance on Generation Gap, made all the more impressive by the fact that Doerfel was only fourteen at the time it was recorded. The market for this sort of guitar instrumental album is somewhat limited, but if you are a guitar player, or particularly if you're learning, this is an album you must own. Fiddle tunes are often forgotten by players once they've used them in lessons to master fretwork and fast-picking techniques, but Yeomans and Doerfel remind us of what a pleasure they can be to hear when done right.

Rating: 4.5 Stars (Out of 5)

You can learn more about Doug Yeomans at www.dougyeomans.com. You can learn more about Ben Doerfel at www.myspace.com/bdoerfel. I could locate no online outlet for Generation Gap, although if you contact Doug Yeomans through his website I’m sure he’ll be happy to sell you one.

Review: Doug Yeomans - Christmas Time's A-Comin'

Doug Yeomans - Christmas Time's A-Comin'
Doug Yeomans

Orchard Park, NY based singer/songwriter Doug Yeomans looks unassuming if you see him on the street, but when he straps on a guitar he comes alive in a fashion you'd not suspect otherwise. Yeomans plays everything from Country to Rock N Roll; from Blues to Jazz and from Bluegrass to fingerstyle. His style is distinctive in a day and age when speed and volume are prized over skill, but the spirit of Chet Atkins infuses Yeoman's playing style like a six-string guardian angel. Yeomans won the North American Rock Guitar Competition in 2001, as well as a Buffalo Music Award as Best Blues Guitarist in the same year. Yeomans previously was voted Best Country Lead Guitarist in the 1990 edition of the Buffalo Music Awards. With a pleasant voice and hard-to-match guitar chops, Yeomans is an affable entertainer who can cover the entire musical spectrum live. A few years back Yeomans noted the lack of traditional Christmas albums on the market and decided to do something about it. The result was Christmas Time's A-Comin', a sweet and sentimental holiday album that recalls the classic Christmas albums of the 1950's and 1960's, with a bit of Mitch Miller thrown in for good measure.

Yeomans covers the Christmas standards of the Pop era of Christmas Time's A-Comin', with exquisite guitar work, strong arrangements and a likeable voice you'll find yourself drawn to sing along with. A children's chorus assists on and off throughout the album. Songs such as Here Comes Santa Claus, Jingle Bells, Santa Claus Is Comin' To Town and Frosty The Snowman are reverent to classic versions you hear on the radio at Christmastime. All I Want For Christmas Is My Two Front Teeth is entertaining, and there's a hint of mischievous glee in Yeoman's voice in one of the most inspired performances on the album. Here Comes Suzi Snowflake was a new time to me, and a pleasant surprise. Yeomans sticks close to the version made famous by Rosemary Clooney. Jingle Bell Rock is another highlight, not presenting anything new original in the song but very well done all the same. Yeomans closes out with Up On The Housetop and We Wish You A Merry Christmas in two very straightforward renditions, the latter of which is assisted by the children's chorus.

Christmas Time's A-Comin' isn't flashy or fancy; it's a back-to-basics Christmas album that avoids the flash of modern Christmas compilations. If you long for a time when Christmas was simpler, families were close together and everyone sang along with the carols on the radio or record player, then this album is for you. Yeomans doesn't aim to make these songs his own; he's sharing them with anyone who will listen in unadorned, classic arrangements that speak of simpler times. Christmas Time's A-Comin' is a strong offering and a must for the holidays.

Rating: 3.5 Stars (Out of 5)

You can learn more about Doug Yeomans at http://www.dougyeomans.com/. Christmas Time’s A-Comin’ is not formally on-sale on the internet, but if you contact Yeomans here I’m sure he’ll be happy to sell you a copy.

Review: Loomis & The Lust - Nagasha EP

Loomis & The Lust - Nagasha EP
2009, Kings Of Spain/BMI

Santa Barbara, California is home base for Loomis & The Lust, but after listening to their debut EP, Nagasha (July, 2009) I suspect they'll be spending a lot less time at home. With such diverse influences as The Kinks, The Animals, Chet Atkins, David Bowie, Red Hot Chili Peppers and Franz Ferdinand, Loomis & The Lust create an original brand of Rock N Roll with an honest affection for 1970's classic rock and a hook-laden philosophy straight out of the 1980's. Nagasha was produced by Brandon Mason (David Bowie, Secret Machines, Bono, The Edge), and features some of the catchiest, most danceable Rock N Roll of the year.

Nagasha opens with Bright Red Chords, a song that will lodge itself in your brain before you even know it's happened. The melody here has a universal feel, like something you've heard so many times you know it even as you hear it the first time. With a catchy, dance-inducing arrangement, Bright Red Chords will stick with you for a good long time. Break On Love has a classic, Blues/Rock feel and would fit right into an AOR playlist. Sweetness sounds like it could be a mix of The Wallflowers and Dave Matthews (solo), carrying a chorus that's unforgettable, while Cure For Sale slows things down a bit in a gentle rocker that entrenches in the Wallflowers sound. Cure For Sale may well be the most marketable song on the disc, likely having significant allure for the licensing world. Girl Next Door is a big, raucous blues-influenced rocker that sounds like it could be the basis for a movie. The theme here is a classic for Rock N Roll, and Loomis & The Lust show what they're really made of, using double entendre and testosterone-laden intentions for an amusing bit of musical confusion.

Loomis & The Lust take Rock N Roll back where it belongs in the five songs presented on Nagasha, blending deep classic rock roots with some of the zeitgeist of the 1980's and a modern twist. I suspect Loomis & The Lust will see a lot of commercial success in the licensing realm, although I am not sure where they fit in currently in the world of radio. From anything I have read about the band the live show is the thing. Loomis & The Lust seems to convert new fans every time they step on stage. Consequently, while I highly recommend you check out Nagasha, I would urge you to make a point of seeing Loomis & The Lust if they come to your town.

Rating: 4 Stars (Out of 5)

You can learn more about Loomis & The Lust at www.myspace.com/loomisandthelust or http://www.loomisandthelust.com/. You can purchase the Nagasha EP directly from their band via their web store, or digitally via iTunes.

Review: Rick Shea - Shelter Valley Blues

Rick Shea - Shelter Valley Blues
2009, Tres Pescadores

Rick Shea might just be the current King of the California Country sound. With five highly acclaimed albums under his belt and a resume that includes work with folks such as Dave Alvin, Katy Moffatt and R.E.M., Shea certainly has the respect of his peers. Highly independent, Shea follows his own path in writing highly personal and honest songs in the tradition of Merle Haggard. Shea's latest release, Shelter Valley Blues, touches on the tough situations we find ourselves in over the course of our lives and how we end up there.

Shelter Valley Blues opens with Back Home To The Blues, a classic bit of Country melancholy perfect for crying in your beer. No Good Time For Leavin' recalls another era of Country music when the story was the thing. Steady Drivin' Man is a fun song that incorporates a bit of New Orleans sound and tops it off with some pretty cool yodeling. Shelter Valley Blues stays on the low-key side with another great story-song. The arrangement here is perfectly done: not too light and not too heavy. Ty Robby is built on an interesting mix of Celtic and Tex-Mex musical traditions and is one of the more enjoyable songs on the disc (Moira Smiley's harmony vocals are a special treat - what a voice!)

Nelly Bly has a real Rhythm N Blues feel to it, shaking up the album's sound just a tad in a highly entertaining tune. Shea keeps up the momentum on the Zydeco-flavored Sweet Little Pocha; you'll be two steppin' from the opening bars of this number. Shinbone Alley is a musical still life of a town that's seen better days, delivered in a gentle bit of highly melodic blues. Fisherman's Blues takes the Waterboys classic and updates it with a Southwest sound in the best cover of the tune I've heard to date. Shea closes out with The Haleiwa Shuffle, a Hawaiian-flavored instrumental that's highly enjoyable.

Rich Shea delivers on Shelter Valley Blues, performing eleven entertaining and energetic songs for your listening pleasure. She is a bit too subdued at times, but the performances here are great. Rick Shea is a throwback to another era in country music, with compositions Chet Atkins would approve of. The songwriting is strong and the instrumental work is obscenely good. Make sure you check out Rick Shea.

Rating: 4 Stars (Out of 5)

You can learn more about Rick Shea at http://www.rickshea.com/ or www.myspace.com/ricksheacalifornia. You can order a signed copy of Shelter Valley Blues from Paniolo Productions.

Review: Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2

Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2
2009, Concord Records

We're only publishing one review because we want you to pay special attention to this one. Regardless of what genre of music piques your interest, there occasionally comes along a recording that crosses so many boundaries, and is so original or unique that it eventually becomes recognized as a master work. These are the sort of albums that can be re-released multiple times across generations (in this case 47 years later), and still have enough commercial oomph to make significant noise on the album charts. In this case, we have an album that not only retains strong commercial punch nearly 50 years later, but was also the beginning of a revolution in music that has helped father (or grandfather) genres such as Americana while foreshadowing the marriage of Country to genres such as Blues, Rock and Pop. Aside from all of that, Ray Charles also spoke of great changes in the midst of the Civil Rights Movement of the 1960's.

On June 2, 2009, Concord Records re-released two of Ray Charles’ classic albums on one CD. Modern Sounds In Country And Western Music Volume 1 & 2. The two albums were recorded in 1962 (February and September, respectively). Volume 1 was released in April of 1962, and is considered by many critics and fans to be Charles’ greatest recorded work. Not only was the album a commercial success (#1 album, 1 #1 single, 2 Gold singles), but it also bent social barriers with the fusion of R&B and Country during the height of the Civil Rights movement. The album also helped Charles to gain wide exposure on R&B, Rock and Country stations, turning the talented performer into a superstar. Volume 2 was rushed to release in October of 1962 based on the success of the first album, featuring 2 top-10 singles and a #1 single (You Are My Sunshine).

Volume 1, in particular, has been lauded by publications after publication as one of the top albums ever created. Blender magazine ranked it #16 on its list of The 100 Greatest American Albums Of All Time. Rolling Stone placed it on the list of its essential Rock Albums in 1997. Stereophile magazine lists Volume 1 on its 40 Essential Albums list, while Time magazine included Volume 1 on its 100 Greatest Albums of All Time. It’s easy to see why. Charles turned his inimitable talents on songs like Bye Bye Love, I Can’t Stop Loving You (#1 single), You Don’t Know Me (Top 10 single) and Hank Williams’ Hey Good Lookin’. With production by Sid Feller (Dean Martin, Peggy Lee, Paul Anka, etc.) and string arrangements by Marty Paich (Sinatra, Streisand, Ella Fitzgerald, Mel Tormé, Aretha Franklin, Michael Jackson, etc.), no stone was left unturned in creating perfect Ray Charles versions of each song.

In response to the tremendous success of Volume 1, Volume 2 was quickly recorded and released in October of 1962, using the same formula that had driven the success of Volume 1. The album included such hits as You Are My Sunshine (#1 single), Take These Chains From My Heart (Top 10 single), and Hank Williams’ Your Cheatin’ Heart (Top 40 single), as well as takes on Don Gibson’s Oh, Lonesome Me and the Chet Artkins/Boudleaux Bryant song Midnight.

Concord Records has done a great job handling these two releases, bringing them together for the first time outside of a box set and in an affordable form. The remaster on both is flawless, and give a great picture of the man, the artist, and the ground-breaking music he was creating at the time. The music is timeless and stands on its own as one of Charles’ greatest legacies, for both its artistic and social impacts. If you want to understand where today’s Americana styles started, with blends of country, rock and blues, look no further than Ray Charles. Without these two albums and the many that followed, the music you’d be hearing today might sound very different. Modern Sounds In Country And Western Music Volume 1 & 2 is a Wildy’s World Certified Desert Island Disc, and practically defines the concept.

Rating: 5 Stars (Out of 5)

You can learn more about Ray Charles at http://www.raycharles.com/. You can purchase Modern Sounds In Country And Western Music Volume 1 & 2 at Amazon.com or download it through iTunes.

Review: John Scofield - Piety Street

John Scofield - Piety Street
2009, EmArcy/Decca Records

John Scofield has a long standing reputation as one of the top jazz guitarists of his generation, and to some the decision to tackle an album of southern gospel songs may seem out of character, but Jazz and Gospel have common ancestors. Scofield underscores this connection on Piety Street, his latest release on EmArcy/Decca Records. Thirteen tracks of gospel fused with jazz is what Scofield serves up on Piety Street, perhaps one of the most electric and energetic albums from Scofield in a while.

Piety Street opens with That's Enough, staying close to the Gospel roots of the song. This paves the way for Motherless Child, which gets sidetracked into a serious jam on guitar. It's A Big Army is a lively tune that will have them falling down in the aisles; Scofield invokes a little of Chet Atkins guitar style on this one, and the choir that accompanies him is top notch. His Eye Is On The Sparrow is written into a strong jazz arrangement that allows Scofield to show off his axe skills a bit without straying too far from the original melody. Scofield mixes in a little R&B vocal group styling on Something's Got A Hold On Me, one of the better arrangements on the disc.

Just A Little While To Stay Here showcases Scofield at his very best; displaying a subtlety and feel for the music that is uncanny, Scofield makes magic at low speed for what is perhaps the most sonically pleasing song offered here. Never Turn Back breaks out from a rock beat and some funky guitar turns to update a gospel classic. Other highlights include Walk With Me, But I Like The Message and I'll Fly Away.

Fans of John Scofield don't need to be told, but this man has some of the touch of Chet Atkins, and the subtle nature of Mark Knopfler. He can play anything, but Jazz is the field on which he plays. Piety Street is an inspired work, updating a set of gospel classics in a reverent but forward-thinking fashion. This disc will be on some year-end favorites, and don't be entirely surprised if it gets some dark horse consideration come Grammy time.

Rating: 4 Stars (Out of 5)

You can purchase a copy of Piety Street through Amazon.com, or download the album through Amazon MP3 or iTunes.

Review: Paul Blissett - Fire And Soul

Paul Blissett – Fire And Soul
2007, Paul Blissett

Paul Blissett had a rich set of musical influences from a young age. The Ottawa, Ontario, Canada guitarist grew up on a steady mix of Rock, Country, Blues, Pop, Jazz and Brit Rock from the first British Invasion. Blissett began playing out in Quebec and Ontario bars by the age of fifteen and has never stopped making music although other career paths have intervened at times. Over time, Blissett developed an appreciation for instrumental music and the supple role guitar can play in that specialized genre. In 2007, Blissett released Fire And Soul, a fireside exploration of instrumental guitar music.

Blissett displays two distinct tendencies on Fire And Soul. The first is a distinct love of swing-based Rock N Roll; the sort that was prevalent in the 1950’s and pre-Beatles 1960’s. Blissett himself is more than competent, though he lacks the distinctive style or presence that would raise him to the level of a Chet Atkins or Mark Knopfler-type guitar player. This is a man that most any band would be happy to have sitting in on lead guitar. Nevertheless, many of the choices on Fire And Soul seem to fall flat.

Blissett and band are at their best on some of the more rock oriented tunes such as Forty Miles Of Bad Road, Ramrod, Hard Times and Blueberry Hill. Even the blues-oriented songs (3:30 Blues, Honky Tonk) pack some punch, but much of the material comes off as low-key dinner or elevator music. One exception is the last track on the album, Piano Concerto #1. Blissett has a spring in his step throughout this song that is often lacking on Fire And Soul. That’s not to say this is a bad recording; Blissett is more than competent as a guitar player, and he has assembled a cast of first class musicians for this recordings, but the sound and approach here is too straight forward to set itself apart.

Paul Blissett is a talented and dedicated guitarist with a passion for instrumental music that comes through on Fire And Soul. It’s music for another generation, like the artists my Nana used to love on The Lawrence Welk Show. It features great technical guitar playing but displays little originality or pizzazz. Fire And Soul is not a strong commercial release, but it will definitely appeal to a niche demographic of music fans.

Rating: 3 Stars (Out of 5)

You can learn more about Paul Blissett at http://www.paulblissett.com/. You can purchase a copy of Fire And Soul at www.cdbaby.com/cd/paulblissett.

Review: Jeneen Terrana And The Howl Brothers - My Creation

Jeneen Terrana And The Howl Brothers - My Creation
2008, Bitesized Records

New York City based singer/songwriter Jeneen Terrana is talented enough to be funny and still be taken seriously. Growing up in a Sicilian family in Buffalo, NY, Terrana was treated to an opera performance every Sunday after dinner by her grandfather. Terrana took a lot to heart from those performances, learning the person-to-person performance style that her grandfather imparted. She has translated that into an electric and engaging stage presence; writing and performing intelligent and witty songs with a distinct musical and melodic sense. Terrana's 2nd album, My Creation, features the incomparable Howl Brothers as Terrana's backing band. The resulting thirteen songs are a magical, musical tour de force you have to hear to believe.

Let's start with the voice. Wow just doesn't cover it. Terrana has this silky yet metallic vocal quality that can't be taught. She runs the gamut from beautiful balladeer to edgy alt-rock goddess and back in a single breath. Power, grace and deep hues are all part of the mix here. The Mountains is a prime example of this range as Terrana wrings every ounce out of the song. The Howl Brothers provide an amazingly balancing performance underneath, teasing the song out of its shell with playful licks and taunting musical drama. Terrana moves on both figuratively and literally with New Book in a bracingly honest resolution. New Book has this delicious blues undercurrent fed by the Americana/blues textures laid down by The Howl Brothers.

Terrana slows things down with Close To You, a sweet ballad sung against the backdrop of bare instrumentation. This is a diva performance. The song itself is amazing. I could even hear in my head the jazz arrangement that would turn this song into a standard. Terrana knows her theater as well as her music and takes this song all the way. Up next is Joseph Scott’s Turn On Your Love Light, a tribute to classic country with a modern twist. The Howl Brothers provide one of the tightest musical performances you'll hear on this one, and Terrana continues to stun and amaze as she spreads her wings and shows the breadth of what she's capable of. Life Goes On is a musical soliloquy about finding direction out of chaos. The song itself is amazing, although is a bit muddled on CD by the use of excessive reverb.

Terrana takes us to the dance floor with Something Sweet, a song made up of two cups of double entendre and a dash of spice. This is a classic song in the tradition of old-school country. Back in the day when innuendo needed to be buried deep in the lyrics it was an art form to push the envelope while staying within the rules. Terrana sings this one with a wink and a smile and a powerful vocal delivery you have to be in awe of. Bloody Valentine steps back to the 1960's in a dark minor key song that sounds like a pulp fiction outtake. Bloody Valentine marks one extreme in a performance that continues to expand the boundaries Terrana is willing to push. Vocally this is the most challenging and rewarding performance on the CD.

Train steps back from the brink of musical madness into a classic folk arrangement that's like a cool drink of water to clear the palette. Jeneen Terrana is sweet and vulnerable here in an honest, unguarded performance here. The Howl Brothers continue to impress by building both a musical and rhythmic tapestry to wrap around a song of sadness and loss. Money Tree is a step into rockabilly with guitar work reminiscent of Chet Atkins' distinctive style. It's a light moment that allows Terrana to have a little fun while The Howl Brothers get to play around in the background.

Beautiful Surprise is the most straight forward rock arrangement on the album. Melodically this is a beautiful ballad, although it doesn't play quite that way in the mix on the CD. I enjoyed it, but thought the guitar was mixed a little too high for my taste. Considering that and the use of reverb in Life Goes On are the only minor issues I could find on the entire disc I'd say it’s nothing to worry about. Little Fish is a sweet song with a powerful positive message that finds Terrana at her most personal and personable. Terrana's cover of Dolly Parton's Jolene is classic; even better than the original (sorry Dolly). The album closes out with the title track, My Creation. The song serves as epilogue and autobiographical soliloquy of hope and the power to change, and completes a primo performance from Terrana and The Howl Brothers.

Jeneen Terrana is a special talent, and My Creation is one of the most breathtaking introductions to an artist I've ever experienced. It makes me sorry I missed her debut in 2002. Buffalo, NY should be proud, and New York City music fans should make every effort to see and hear the musical gem playing among them while they can. If there's justice in the world of music, New York City won't be big enough to hold Terrana in the long run. Between her voice and songwriting talent, and the impresario backing band The Howl Brothers, there's nothing this musical outfit can't accomplish. My Creation is, without a doubt, a Wildy's World Certified Desert Island Disc. It's a classic album that deserves to be heard far and wide. What are you waiting for?

Rating: 5 Stars (Out of 5)

You can learn more about Jeneen Terrana at http://www.jeneenterrana.com/. You can purchase a copy of My Creation at www.cdbaby.com/cd/jeneen2.