Rob Morsberger - A Part Of You

Rob Morsberger - A Part Of You
2012, Hieroglyph Records

Rob Morsberger is the sort of guy who makes things happen musically.  A singer, songwriter and composer, Morsberger’s work has been featured on PBS’ NOVAScience/NOW, Frontline and Masterpiece Theater.  As a sideman, he’s worked with My Morning Jacket, Patti Smith, Crash Test Dummies, Loudon Wainwright III, Marshall Crenshaw, Willie Nile and others.  But it’s Morsberger’s solo work that’s most intriguing.  His previous albums have been a mix of eclectic and literate pop songs with hooks impale your ears and drag you along for the ride.  Morsberger recently released two new albums, one of which we are reviewing today.  A Part Of You is written from the perspective of a father diagnosed with terminal brain cancer for his young son; an attempt to leave a lasting message and gift to see him through his growing up years.

It would be easy to see such a work in terms of darkness, but while living in a valley of shadows, Morsberger projects light on A Part Of You.  The album opens with the contemplative and beautiful "This Isn't Kindness", exploring the human struggle to differentiate charity from love. It is a song of thanks and a teaching moment from father to son. "The Russian Cartographer" is an adept allegory for Morsberger's own live, swapping out an artist who maps people and emotions in song for a Man who delineates boundaries and landmarks for others to follow. It's a beautiful biograph in song with some deeply personal connections.

"An Inside Place" is deeply reminiscent at times of Sting's songwriting on The Soul Cages. The sense of being trapped within oneself transforms into an urgent need to be heard done up in Baroque pop undertones. The transition is vital, and in its own elemental way, beautiful. "The Man And The Birds" is a powerful take on overcoming death. As Death himself looks on, birds come down and lift a man out of his reach. The spiritual allegory between birds and angels is unmistakable, and the imagery has a sort of classical beauty. Brad Roberts adds his distinctive baritone voice here in duet to create an amazing split between light and darkness.

"Maydianne" finds Morsberger taking a break from deeper reflections for a love story told in song. If the Beatles ever wrote in a classical romanticism hue it might sound a lot like this. Issues of spirituality, art and legacy are in play in "Jacob Wrestles With An Angel". Morsberger's path to discovery here is fraught with more questions than answers, reflecting an incredibly real negotiation to find meaning in the fleeting valley between birth and death.

"Cancer Road" is a hauntingly beautiful exploration of life's sometimes surprising curves. The piano- driven arrangement is simple and full if peace, as perspective puts understanding in its proper place. Morsberger is at his most powerful in "A Part Of You", a live song from father to son. The heavily orchestrated arrangement is the perfect complement, as Morsberger creates an eternal greeting in place of words of parting.

"A Good Laugh" is painted against an eccentric and unsettled arrangement seemingly representing the chaos of life. In it, Morsberger reminds listeners that the greatest tragedy of all is not learning to laugh at life. He makes this point by including the infectious laughter of his son Elan. If this doesn't bring a smile to your face then you've forgotten how to listen. A Part Of You closes with "You Son", a sweet love ballad from father to son that is personal and universal all at once.

Rob Morsberger continues to grow as an artist, and in the act of A Part Of You has crafted his most affecting and personal work to date. Informed by the tragedy of a death foretold, Morsberger finds the vitality of life in the love of his son. You might liken his efforts to turning lemons into lemonade, but with A Part Of You Morsberger comes much closer to turning water into wine. A Part Of You is nothing less than a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.robmorsberger.com. 

Rob Morsberger - Ghosts Before Breakfast

Rob Morsberger  - Ghosts Before Breakfast
2011, Hieroglyph Records

Rob Morsberger has always had a talent for writing deep-yet quirky pop/rock songs.  His 2010 release, The Chronicle Of A Literal Man, was a musical breath of fresh air bursting upon a world of jaded pop.  Morsberger’s most recent work, Ghost Before Breakfast, takes a darker yet no less enigmatic turn.  The album was written before Morsberger learned that he had inoperable brain cancer, yet listening to the album you’d think that some part of his mind knew something was going on.  The album foreshadows Morsberger’s battle in lucid terms, eking out the façade of beauty and tragedy that is real life.

Ghosts Before Breakfast travels the map, musically, from solid Americana to 1950’s rock to catchy pop tunes.  Kicking off with the title track, Morsberger sets the tone for an upbeat look at the downward slide that is the end of life.  “Ghosts Before Breakfast” is upbeat, almost jaunty.  In “The Great Whatever”, Morsberger explores facing the afterlife without concrete faith of belief to hold onto.  There is a gentle exploration going on here, a sort of intellectual curiosity about the spiritual truths of life and death.  “The Distinguished Thing” is a catchy little rock number that you won’t be able to get out of your head. 

Morsberger flaunts his talent for lyrical imagery in “Cobblestones”, lamenting the one who left him alone.  The easy listening arrangement is a nice contrast to Morsberger’s rough hewn voice.  “The Wild Wind” has a mellow-Springsteen feel, a solid Americana turn that’s deeper than it first appears.    “A Man Of Much Merit” is a letter from son to father about impending death, and expressing appreciation for his surroundings and his past.  This one is a heartbreaker – beautiful and without the expected sense of self-pity.  This is a ‘WOW’ moment.  “Celebrity Artist” finds Morsberger turning his prodigious wit on the modern concept of what it means to be a celebrity.  The song is well written and amusing.

It’s into 1950’s style pop/rock for “For Heaven’s Sake”, and into the 1960’s for the Beatles-esque “Rocket Science”.  Try to get this one out of your head.  “Feather In A Stream” is another wow moment for Morsberger, using strings to striking effect to highlight a Zen look at the world to come.  “Christine In Your Salon” is an ode to a remarkable woman, beautiful in its honesty and simplicity.  Mark that down as a third ‘WOW’ for Morsberger.

Ghosts Before Breakfast finds Rob Morsberger negotiating impending tragedy with a subtle grace that is inspiring.    It is a subdued work, full of quiet reflections and keen insight, but even here Morsberger doesn’t leave his sense of humor at the door.  Morsberger finds beauty in darkness, bring light to the gloom and doom of impending death, by choosing to focus on the life remaining than the end to come.  Ghosts Before Breakfast is inspiring.

Rating:  4.5 Stars (Out of 5)

You can learn more about Rob Morsberger at www.RobMorsberger.com or www.myspace.com/robmorsberger.  Ghosts Before Breakfast is available through the e-tailers below, as well as through the Wildy’s World Amazon.com store.

   Amazon MP3            CDBaby (CD/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.

Review: Crash Test Dummies - Ooh La La!

Crash Test Dummies - Ooh La La!
2010, Deep Fried Records

It’s 1989 in a Country and Western bar in Manitoba. It’s here that the seeds of Crash Test Dummies were born. Brad Roberts, Ellen Reid, Benjamin Darvil, Dan Roberts and Mitch Dorge came together to form one of the most successful Canadian bands of the 1990’s. The musicianship of the band was always top notch, but it’s the distinctive voice of Brad Roberts that has been the calling card of Crash Test Dummies over the years. Darvil, Dorge and Roberts have all moved in and out of the regular lineup in recent years, but Roberts’ distinctive voice and songwriting style continues to drive the band. On May 11, 2010, Crash Test Dummies return with their first album of new material since 2004. Ooh La La! marks a major departure for Crash Test Dummies, with Brad Roberts actually writing an album that sounds happy.

Ooh La La! opens with “Songbird”, a highly orchestrated game of word or phrase association. The arrangement here is gorgeous, and Roberts delivers it in that unforgettable voice of his. “You Said You’d Meet Me (In California)” is and mooning and oddly psychedelic song that’s essentially happy in tone. The instrumentation here is mildly discordant, reflecting perhaps a discomfort with the happiness that pervades the album or trouble beneath the surface. “And It’s Beautiful” extrapolates from love the beauty of the world and of the people in Roberts’ circle; a happy daydream with a melody that will stick around your head and set up camp. On “Paralyzed”, Roberts gets retrospective, covering the utter loss of self that can follow the end of a relationship. It’s a particularly poignant tune; with more brain and heart you’re likely to find in your average pop/rock tune.

One of the highlights of the album is “Not Today Baby”, a wonderful tune written from the perspective of the eternal bachelor. While the reality of love has softened the edges a bit, the essential craftiness and sexuality that has run through Roberts’ recent work is present in this delicious arrangement. In “Heart Of Stone”, the same eternal bachelor finally gets bitten by love. The song explores the dichotomy of wanting love and wishing he could block it out. Even as he utters the wish he knows it will never happen. “Heart Of Stone” jumps forward to offer the perspective of time and happiness, but that desire to wander never leaves even if he’ll never act on it. “What I’m Famous For” continues the Crash Test Dummies’ tradition of songs about individuals with a real dark side; squatter’s rights and an ill-defined threat spark this humorous alt-country-noir tune. Crash Test Dummies go big band on “Now You See Her”; a quirky little tune about an uncatchable girl. This is the most surprising entry on Ooh La La!, and perhaps one of the best. “Now You See Her” is wonderfully quirky, with a playful feel that is entirely charming. Ooh La La! bows with “Put A Face”, the lone lead vocal for the exquisite Ellen Reid. It’s an artist’s rumination on capturing moments, please or places in song. While this song is specific to music, it could apply to most any artist/media.

Over the years Crash Test Dummies have been prone to experimentation. Sometimes it’s gone well (Songs Of The Unforgiven); others have not been so well received (Give Yourself A Hand). This time out, Roberts and producer Stewart Lerman (Antony And The Johnsons, The Roches) played around with the Optigan (the 1970’s version of a digital sampler) in the process of writing the album. Brad Roberts as a happy and (essentially) well-adjusted person is going to surprise a lot of long-time Crash Test Dummies fans. Roberts hasn’t entirely lost his dark side, but Ooh La La! might be the brightest overall tone to a Crash Test Dummies record since The Ghosts That Haunt Me (1991). From a pure songwriting perspective, Ooh La La! doesn’t have the edge of prior material, but its solid-to-plus throughout with a couple of moments of brilliance thrown in along the way. Two songs could perhaps have been left on the floor, but Ooh La La! is a nice step back into the limelight for Crash Test Dummies.

Rating: 3.5 Stars (Out of 5)

Learn more about Crash Test Dummies at http://www.crashtestdummies.com/. Ooh La La! drops on May 11, 2010. You can pre-order the CD from Amazon.com. Expect digital availability through all major outlets.

Review: Doug Folkins - Another Last Call

Doug Folkins - Another Last Call
2009, Fenwick Music

British Columbia, Canada's Doug Folkins opens his fifth album, Another Last Call with Calico Girl, sounding like a cross between Blue Rodeo and early Crash Test Dummies. Folkins has a strong and clear voice that works very well with the material presented here. The arrangements are pleasant; perhaps a little loose in presentation but not uncharacteristically so. Pour Me Another is an acoustic Celtic Rock tune that features some hot fiddle playing. Promise Me sounds a bit more like commercial country music, but without the high gloss sheen that tends to rob popular country music of its flavor. The harmonies here are notable, and Folkins' band has pulled together as taut as a wire.

Streets Of Rome is a Celtic flavored song about Italy; one of the more anachronistic tunes I've heard this year, but extremely well written. The sound here actually reminds me a bit of The McKrells in their heyday. Park The Car is a humorous take on the Irish Drinking Song that might not sit well with members of MADD but fits very well into the musical tradition. One of my favorite tunes here is King Henry's Good Times. The pace here is frenetic, and Folkins' voice rises to the occasion perfectly. See You Smile is an upbeat, wistful love song that will strike home to those who have "been there", and would work just as well in a more rock-oriented arrangement as it does here. Folkins closes out with three classic Celtic tunes, two from the Maritime songbook, Paddy Murphy, Mari Mac and Black Velvet Band. If you've not heard these songs before, pay particular attention to Mari Mac, which turns into a devilish tongue twister that likely doubles as a drinking game in some places. This isn't my favorite arrangement of the song, but I've heard many people mangle this song and Folkins presents the song better than most (although he doesn't push the speedometer the way bands like Great Big Sea have). Black Velvet Band is a bit more traditional and very well presented here.

Doug Folkins reminds me more and more of Kevin McKrell as I listen to him. There is a definite tendency to mix other musical styles with Celtic sounds on Another Last Call, and for the most part the results are positive. The play, singing and writing/arrangement on Another Last Call are all very much above average. I hesitate to call it a great album, as there just wasn't a "whoa" moment here, but it's very, very, very good.

Rating: 4 Stars (Out of 5)

You can learn more about Doug Folkins at http://www.dougfolkins.com/. You can purchase a copy of Another Last Call at www.cdbaby.com/cd/dougfolkins.

Review: Just Like Heaven - A Tribute To The Cure (Various Artists)

Various Artists – Just Like Heaven: A Tribute To The Cure
2009, American Laundromat Records

American Laundromat Records presents a paean to one of the most influential British bands on the 1980s and 1990s, The Cure, entitled Just Like Heaven: A Tribute To The Cure. Featuring some very well known names in Indie Music, Just Like Heaven covers the best of The Cure. Like most tribute albums it’s a mix of brilliant covers and reinterpretations with some unfortunate matches of song and artist, but on the whole it is very well done.

Joy Zipper opens things up with Just Like Heaven in a reverential version that doesn’t stray far from the original. Tanya Donelly & Dylan In The Movies pair up for The Lovecats. Donelly is in fine vocal form here and Dylan In The Movies vocalist Brian Sullivan has one of the more distinctive voices in Rock N Roll, falling somewhere between Brad Roberts (Crash Test Dummies) and Tom Waits. L.A.’s Kitty Carlyle provides a sharp rendition of In Between Days with stellar lead vocals. Dean & Britta’s cover of Friday I’m In Love sounds like an unfortunate match. The song ends up sounding a bit like elevator music, giving up all of the joy that ran through the original. The vocalists here are competent, but just don’t have the range for this particular arrangement.

One of my two favorite songs on the disc is Luff’s cover of Jumping Someone Else’s Train. It’s a dark and moody interpretation full of sonic dissonance (particularly in the guitar). The Submarines falter on Boys Don’t Cry, offering a sonically okay but relatively lifeless reading. My other favorite is Elizabeth Harper & The Matinee’s rendition of Picture Of You. It starts with Harper’s voice which is absolutely gorgeous, but the vibrancy of this recording is undeniable. It might even be better than the original. Cassettes Won’t Listen chip in with a very peppy version of Let’s Go To Bed that’s a fun listen and makes me want to run out and see what else they’ve recorded. The album also includes covers by The Brunettes, Devics, Julie Peel, The Poems, Grand Duchy and The Wedding Present (High, at warp speed).

Just Like Heaven: A Tribute To The Cure is a strong set of covers that run the range from incredible to forgettable. Elizabeth Harper & The Matinee and Luff are particular finds, and Tanya Donelly, Joy Zipper and The Wedding Present can always be counted on for great performances. Cure fans will love this.

Rating: 3.5 Stars (Out of 5)

You can learn more about the compilation Just Like Heaven: A Tribute To The Cure at www.myspace.com/atributetothecure or http://www.alr-music.com/, where you can purchase a copy of Just Like Heaven. You can also pick it up at Amazon.com or as a download through iTunes.

Review: Trey Green - Trey Green

Trey Green - Trey Green

2008, El Stormo Productions

I'm not qualified to make a clinical diagnosis, but Trey Green is nuts. Bonkers. Stark-raving mad. Let me be clear about this. Trey Green is indubitably, wonderfully insane. His bio references accomplishments such as being hospitalized with several fish lodged in his nasal passage and being arrested on three occasions for failing to move at a green light. Musically, Green is an enigmatic figure, playing whatever he pleases from moment to moment. Stylistic consistency goes out the window in favor of whatever pleases him. This probably explains why Green connects so well with audiences. There is no planning, no pre-packaged musical experience. Trey Green is what he is, like it or not. His debut album, Trey Green was made after the same fashion. No matter who you are, you'll find something you like here.

Trey Green opens with Smooth Breakdancin' Guy, a tongue-in-cheek exploration of a guy who thinks he can dance. We all know someone like this, or are that someone. The dancing is probably more legendary in the mind of the dancer than in the viewing public. My Girlfriend is an extreme example of excusing the shortcomings of those we love. Green puts aside the novelty material for Won't Last Forever, a poignant look at goodbyes. Green hits the height of hilarity on My Fantastic Ass. I don't think I need to say any more.

Part of the mystique of Trey Green is his voice. It's not perfect. It's not pretty. It's slightly jarring and top heavy, but it's perfect for the material he sings. Anachronistic in a way that is memorable and distinct. Once you know his voice you'll always recognize it right away. This quality is often times more desirable than "pretty". Just ask Brad Roberts (Crash Test Dummies). You'll want to check out Mad Crush and Go Away. Other highlights include The Forever And Ever Song and Tavarua.

Trey Green mixes observations inane and insane with poignant moment and memorable arrangements on his self-titled debut CD. The end result is a journey through madness with the occasional foothold on sanity; creating a highly entertaining if off-kilter musical experience. Trey Green isn't afraid to just be who he is on CD and let you judge him on the merits. The end result is glorious insanity, the kind you run into every single day in the real world, but with a touch of humor and panache. A joyous romp through Green's Id without safety nets. A must-hear.

Rating: 4.5 Stars (Out of 5)

You can learn more about Trey Green at http://www.treygreen.net/. You can purchase a copy of Trey Green at www.cdbaby.com/cd/treygreen, or on iTunes.