Steven James Wylie - Everything I Love

Steven James Wylie - Everything I Love
2013, Red Cabin Entertainment

Steven James Wylie went from being a real estate tycoon to living in his parents’ basement with his expectant wife seemingly overnight.  What seemed like disaster at the time turned out to be a gift in disguise.  Wylie reconnected with his music and it’s all been up from there.  Wylie’s Everything I Love is a heartfelt and poetic ode to the important things in Wylie’s life, and is crafted with a sort of neo-pop aestheticism that has all but been lost in the quick hit musical slaughterhouse of the 21^st century.

"Everything I Love" is a heartfelt ode to the important things in life: faith, family, friends and love. Even if you don't agree on all points, Wylie will have you convinced by the time he's done. The chorus is magical, right down to the Eagles-style vocal harmonies. "This Is What Faith Is" starts off well, but closes with an unexpectedly dark and disturbing musical canopy around it.  This is more disturbing than comforting, but that may be the point.  "Flower" is a pretty little love song that's unfortunately way to overlook. While the song is well-written with a pleasant sound, it somehow fails to stand out in this set. "Butterfly" is cut from similar caught, but has a memorable, if overly simplistic chorus and some real energy in the vocal line. Wylie closes out with "Beautiful Souls", a still life of lives that were never still. There's an eerie beauty to this song, which seems caught between memory and eulogy. 

Steven James is a musical aesthetic, ala Dan Fogelberg. His lush, emotive pop arrangements are often beautiful, occasionally to a fault. What's clear is that Wylie has a mastery of composition that's amazing, but he sometimes struggles to bring music, lyrics and energy together in equal measure. Everything I Love is a marvel of developing talent, an EP that even for its lapses is stunning in beauty and detail.

Rating: 4 Stars (Out of 5)

Learn more at www.sjwmusic.com.  

Bruce Cockburn – Small Source Of Comfort

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

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

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

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

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

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

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

Rating: 5 Stars (Out of 5)

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

Review: Earl J. Rivard - Underground Railroad

Earl J. Rivard - Underground Railroad
2010, Earl J. Rivard

Earl J. Rivard, III has built a life by making the most of his gifts and not allowing roadblocks to stop him from achieving his dreams. The Almeda, California resident has become a top-notch, highly courted performer in California in spite of being blinded and partially paralyzed as an infant by a drunk driver. Nevertheless, Rivard showed a musical proclivity from the age of three. His father, Earl J. Rivard, Jr. took his son under his wing, playing with Earl III until it became clear that Earl III had blossomed. Singing in a wonderfully soulful voice in English, Spanish and Italian, Rivard breaks down barriers for others as easily as he has for himself. Whether singing rock n roll, soul or troubadour folk, Rivard commands attention. Rivard will soon release his sophomore album, Underground Railroad, a stunning testament to perseverance.

Underground Railroad opens with the title track, a soulful and politically charged missive in song taking American immigration policy to task. Rivard calls for the creation of an underground network to help those crossing from Mexico into the US to circumvent US policy, singing passionately and with conviction. “Underground Railroad” perhaps ignores the fact that such networks already exist and continuously do battle with the limits that are in place. Musically, the song is well written, and for a passion perspective it’s convincing, but the inattention to detail makes the song less compelling. “Till I Met You” is a heartfelt but languid ballad that is pretty but lacking a bit in energy. Rivard shows two distinct sides here: In his upper range he could almost pass for a soulful Garth Brooks, but in his lower range he sounds a great deal like Taye Diggs.

“Coldest Place” is a sorrowful ballad that confirms Rivard’s weakness. The man has an amazing voice, but on the more lyric vocal parts he tends at times to lose the energy that sustains such songs, particularly on long, slow passages. “The Sun Finally Rose” finds Rivard turning the corner with a jubilant celebration of finding love after heartache. Delivered as a pop/Americana tune, “The Sun Finally Rose” is great musical poetry. On “Nobody Knows”, Rivard offers a theatrical presentation of a song about a runaway. You’ll swear this song must have come from some obscure but promising off-Broadway musical, and Rivard’s vocal reading is impressive beyond words.

“Magdalena” finds Rivard dealing in Spanish, and offering up guitar work that’s bound to draw comparisons to the great Carlos Santana. Wit shines through “Unfinished Songs”, a tongue-in-cheek paean to anyone who’s ever been or tried to be a songwriter. The song is full of snarky touches from the doo-wop background singers to the somewhat yet predictable yet still amusing ending. Rivard stakes his reputation on being something of a troubadour, and lives up to the billing on “Lady, Sweet Lady”. Sounding like an arrangement that might have originated in Shakespeare’s time, “Lady, Sweet Lady” is a lovely tune that firmly establishes not only Rivard’s versatility as a performer but also his talent as a songwriter.

“This Time Around” is an opportunistic love song done in an Americana/rock blend. It’s a classic tune about making the best of a second chance no matter the cost. “This Time Around” might be the finest example of songwriting on Underground Railroad. Rivard channels the spirit of Dan Fogelberg on Yours Eternally, a song all about the fragility of love. The gorgeous melody and arrangement are matched only by the prescience of Rivard’s lyrics and his mesmerizing voice. Rivard follows this up with “Yours Eternally”, which seems likely to be on the list of most-used first dance songs if Rivard ever gets his big break. This is a wow moment. Underground Railroad closes out with a radio edit of the title track.

It’s hard to imagine how Earl J. Rivard, III isn’t a household name already. What seems very likely, however, is that he one day will be. Whatever else you might have to say about Earl J. Rivard, it’s very clear that any deficits he may have suffered throughout his life seem small compared to the magnitude of both his voice and talent as a songwriter. Underground Railroad is a thrilling experience, an album you will cherish both in spite of and for its minor flaws. When Rivard sings, the angels stop to listen. You will too.

Rating: 4 Stars (Out of 5)

Learn more about Earl J. Rivard at http://www.earljrivard.com/ or www.myspace.com/earljrivard. Underground Railroad is due for release in the Spring of 2010. Keep checking Rivard's website for update release information and availability.

Review: Shelly Quarmby - Change

Shelly Quarmby - Change
2009, Quarmby Music

Born in Johannesburg, South Africa and raised in Staffordshire, England, Shelly Quarmby decided to record her debut EP, Change in Toronto, Ontario, Canada. Years of training in music, voice and even ballet have led up this moment, when the world-at-large learns about Shelly Quarmby.

Quarmby opens with If You Could Only See Me Now, using her lush voice and warm phrasing to shape the melody into a thing of beauty. A fairly simple arrangement serves to highlight Quarmby's voice, which is part Sarah McLachlan and part Paula Cole. If You Could Only See Me Now is a song that looks back at an old love through the eyes of melancholy. Quarmby maintains that same feel on the opening bars of Change, moving quickly to an upbeat tempo that tries to escape its melancholy roots but never quite manages. It's a song about the human tendency to embrace change in theory but rarely in fact. Who's That Girl is an interesting song about how life sneaks up on us sometime. One day we might look in the mirror and realize suddenly how much older we look, or wonder where the person we've always been went. Who's That Girl seems to explore that phenomenon in poetic terms. It's a pleasant song with a touch of Pop sensibility. Love's Not All There Is To It is a mature look at love and a future in marriage; children and all that come with domesticity. It's a beautiful melody that looks at love through a deeper lens than what's generally touched upon in popular music. This arrangement has just a touch of Country flavor to it and could easily be interpreted as a Country tune, but is more of an Adult Contemporary Pop tune as presented. Let Me Be The One shows the same sort of mature songwriting perspective, asking for the space to live her own life in conjunction with the life of another. It's a beautiful melody and very much a pleasurable listen.

Shelly Quarmby has a voice and musical style perfect for Adult Contemporary radio, crafting melodies that fit in nicely between the singer/songwriters of the 1970's (Dan Fogelberg, James Taylor, Carly Simon, Joni Mitchell) and the Adult Pop of today. Her writing perspective is very mature, involving thought, which can sometimes be detrimental to Pop radio exposure, but Quarmby is warm and likeable in her delivery and breezes right by that potential roadblock on Change. Quarmby could use a foil in her creation process, even if it were a talented instrumentalist who would challenge her arrangements on occasion, but Change is a very promising debut. Keep your eyes out for Shelly Quarmby. I have a sneaking suspicion this isn't the last we'll be hearing from her.

Rating: 3 Stars (Out of 5)

You can learn more about Shelly Quarmby at http://www.shellyquarmby.com/ or www.myspace.com/shellyquarmby. You can purchase a copy of Change as either a CD or Download from CDBaby.com.

Review: Brant Christopher - Climb

Brant Christopher - Climb
2009, Brant Christopher

Brant Christopher is known to many as the front man for Koch Records' Fort Pastor. Fort Pastor is currently on hiatus, and Christopher has become involved, professionally and musically, with an organization called the Not For Sale Campaign, which seeks to end slavery around the world. Christopher is the Not For Sale Campaign's Artist-in-Residence, and has dedicated all proceeds from his latest solo album, Climb, to that program. A resident of Rockledge, Florida and native of Manchester, New Hampshire, Christopher has long sought to marry his music to social activism, and saw the opportunity with the Not For Sale Campaign.

Christopher gets into the gear with the title track, a song about not giving up when times get difficult and striving for what's right. It's a soulful tune with a hard edge that's a surprisingly pleasant listen. Criminal sounds like it's written from the perspective of Jesus, an accusatory song that might be aimed at Judas. This is confusing because it seems out of character, and I am guessing there is another explanation for the song. Either way, Criminal is steeped in Funk and Soul and will make you want to dance. Didn't Know seems to speak about those who are in bondage or whose economic and societal circumstances leave them without any say in their own lives. It's a heartfelt song that is told more as a story than a testimonial and likely has more power for that fact. The songwriting here is very strong.

Grace is a song of praise and thanks to God for his love and forgiveness in spite of (or because of) the narrator's shortcomings. It's not your typical praise song, written as something of a country ballad. It's a great tune with real commercial potential (to give you an idea, if written as a secular love song this would be a big hit on Country radio). Not For Sale is a beautiful ballad steeped in the Christian belief that all people are saved through the Crucifixion and Rising of Jesus; ("Love is not for sale, the debts already paid, the trade already made. Love is not for sale, to the least of these it's free, and the least of these is me.") It's a great song, sure to be under-appreciated outside of Christian circles because of the content. Shoes For Margaret is an incredibly touching song about the sort of sudden total loss most of us luckily never encounter. It's a stark reminder of the fact that there are many places around the world where people don't enjoy the social and economic advantages we have here in the West. Christopher closes out with What Do I Know, a decent mellow pop tune about trying to forget someone who's taken themselves out of your life that's reminiscent of some of the adult contemporary singer-songwriters of the 1970's and 1980's (Dan Hill, Dan Fogelberg, etc.).

Brant Christopher has a slightly gravelly-yet-lyric voice that's a pleasure to listen to, and songwriting acumen that is its peer. There's strong Judeo-Christian content on Climb, whether simply inspiring songs to actual prayer/praise in song. Eschewing the trends of Praise music, however, Christopher chooses to tell stories and weave webs that inspire and may even change hearts. If you're anti-Contemporary Christian Music there's nothing I can say to convince you, but Climb is a wonderfully written and performed album. Brant Christopher is good enough to make it in the world of mainstream Pop, but chooses to live where he's most comfortable; where faith, music and social activism blend into one. He's onto something.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brant Christopher at http://www.brantchristophermusic.com/. You can learn more about the Not For Sale Campaign at http://www.notforsalecampaign.org/. You can order Climb as either a CD or a download from Amazon.com.

Review: Kevin Carlson - Museum

Kevin Carlson - Museum
2008, Kevin Carlson

Kevin Carlson is an Atlanta, Georgia based performer whose roots run deep in the singer/songwriter tradition. Folks like Dan Fogelberg, Joni Mitchell and Kenny Loggins heavily influenced Carlson, who has been playing and writing songs primarily on a 12-string acoustic guitar since the 1970s. Carlson has seen some real success in the last year, with five songs licensed for use on MTV, Oxygen and E! in October of 2008. All five songs are available on Carlson's debut CD, Museum. Carlson has also seen his songs chart on internet charts such as UBL.com, where he was the #1 pop artist for 8 weeks in early 2009. Writing primarily from his own life experiences, Carlson touches on love, loss and the generalities of life on Museum.

Bethany's Wood leads off the album, a remembrance of a place Carlson played as a child which was itself a remembrance. It's an ode to simpler times and mourns what is often lost with progress. The song is a gorgeous and wonderfully written soliloquy motivated by a sentimentality that is real. With the bar set so high, Carlson delivers in fine style with Miracle. Carlson is an adept story-teller in song, here delving into the lost relationship between a father and daughter as the father sits on death's doorstep. Healing isn't always physical, and the miracles given to us aren't always the ones we ask for. Miracles is a breathtaking demonstration of both facts. Carlson lightens the mood with Hold My Hand, a sweet love song about how the little things can lift us the most. This is probably one of the best and least cliché love songs I've heard in some time. It could be taken as a simple request or a proposal; either way, expect Hold My Hand to be a mix-tape and wedding staple.

Carlson gets in a cute song about his pet pooch called Little Dang Dog. It's a love song that any pet owner will understand. Museum is about being in love for all the wrong reasons and the effects it can have on a person. The story is well told and ends on an empty note, much like the relationship it memorializes. Other Way Around is about the struggle a musician or business person who travels faces between the love of the road and the love of family ("because my heart is where my home is, it's not the other way around"). Other Way Around is a tremendous piece of song craft. Remains Of Yesterday and December Days both seem to focus on the need to look forward. Remains is a general song, whereas December Days is much more personal and deals with the death of a loved one. December Days has the potential to be a real tear-jerker, particularly if the story therein touches upon a story from your own life. Museum closes out with AnnMarie, a touching ode to imperfection and love. AnnMarie displays perhaps better than any song I've heard how sometimes it is the imperfections in the ones we love that bring out best in us.

Kevin Carlson has this ability to write deeply emotional and personal songs without slip-sliding into the Valley of Cliché or sounding like a false balladeer. Carlson shows a talent for turns of phrase and for memorializing people, events and places in song so well that each song breathes with their life's blood. His melodies and arrangements are ultimately pleasing, wrapping each story in a web of song that's irresistible. Carlson is a rare talent, and Museum is a gift. It's rare for a songwriter to have mastered melody, arrangement and lyrics as completely as Carlson has. Names that come to mind are Jason Plumb, Neil Young, Dan Fogelberg and Bruce Cockburn. Museum is a must have CD, a Wildy's World Certified Desert Island Disc. Make sure you spend some time with Kevin Carlson soon.

Rating: 5 Stars (Out of 5)

You can learn more about Kevin Carlson at http://www.kevincarlsonmusic.com/ or www.myspace.com/kevincarlsonmusic. You can purchase a copy of Museum at www.cdbaby.com/cd/kevincarlson or download a copy through iTunes.

Review: Sean McArdle - Northern Charms

Sean McArdle - Northern Charms
2009, Sean McArdle

Sean McArdle has come a long way, both physically and musically, to release his latest effort, the self-released Northern Charms. The former front man of Driving By Braille and Lookout! Records recording artists The Cost, McArdle left his home base in San Francisco to resettle in Washington, D.C. Embracing the universal themes of love and loss, McArdle has crafted a nuanced and elegant collection of songs that walk the ever receding line between Rock and Americana.

Last Words opens on a gritty, subdued note. McArdle's voice plays perfectly here in an unaffected performance that is plainspoken and earthy. Two Brothers comes out in a finger-pick style that bespeaks of a classic 1960's folk/rock style. McArdle invokes sonic images of Nick Drake here, and this may be the best composition on the album. It's a song you could hear other artists picking up and running with. 56th Street reminded me strongly of the songwriting style of Dave Matheson (formerly of Moxy Fruvous). This is classic 1970's AM Radio folk/rock, as if Dan Fogelberg wrote music for Drake or Tom Waits. Other tracks worth noting include The Long Walk, Still Working, the Hank Williams-esque Don't Believe Me and Follow In Kind.

McArdle appears to have undergone a transformation since his Lookout! Records days. Whether the time with Driving By Braille saw many changes or whether it was the cross country move and starting over in a new place, McArdle has found the clarity of introspection on Northern Charms. The lyrical work here is intelligent and coherent. No one is going to mistake McArdle for a poet laureate, but the material is broken down into honest and forthright passages full of truth, observation and emotion. The musical arrangements in general are Americana gothic representations of mood or place full of subtlety and grace. They neither stand out nor fall behind, but act as the perfect counterparts to his lyrical forays. The result is a solid record from start to finish. Northern Charms is not generally the kind of record that will live in your CD/MP3 player constantly for the first few weeks you own it, but it's the sort of album that will become a regular listen for a long time to come.

Rating: 4 Stars (Out of 5)

You can learn more about Sean McArdles at http://www.seanmcardle.com/ or www.myspace.com/seanmcardle. Sean McArdle's music can be heard in rotation in Starbucks stores on PlayNetwork. Northern Charms will be released in the coming weeks. Keep checking McArdle’s web page for availability!