Love and Music

Music is a generous suitor.  There’s always something new and interesting to catch your ear.  The concept of falling in love is a fair parallel for finding new music that moves you.  “Love” can mean so many things of course.  You can fall madly in love someone, or love them like a brother or sister; or love them in a new age/agape sense that many claim but few understand.  Our attractions to music can be very similar in their disparate sensibilities and styles.  Sometimes you need something to rock you; others you need something to soothe you.  Sometimes you just want to think or feel; and sometimes you want none of these.  The common element is that you find something that touches you on one level or another.  It might be a tryst, or it might become a lifelong love; but music rarely leaves you unscathed.

Just like any relationship, the connection between artist and fan must be maintained.  The artist keeps up their side through new material, but also through their social and personal connections with their fan base.  Some relationships start strong and fade over time; some start slow but grow over time.  I am perhaps talking in circles here, but these concepts apply to two albums I want to talk about today.

The first is from The Grace Stumberg Band, a Buffalo-based act fronted by the indomitable Grace Stumberg.  Stumberg is a diminutive singer with a huge voice, in the vein of Grace Potter.  Over her first two albums, 2011’s To Whom It May Concern, and 2012’s Affect, Stumberg has shown off a powerful voice and a strong songwriting sensibility.  She has an ability to light up a room with that voice.  I was understandable excited upon hearing that Stumberg would be releasing a live album in 2015.  Live At The Studio Café (Popadelic Records) is a fair representation of Stumberg’s live set a fact that is both encouraging and disappointing at times.  The album is encouraging because it gives an accurate representation of her impressive sound, and the material here is among her best.  At the same time, the energy level on the album perhaps leaves something to be desired.  Stumberg is very much engaged with her audience, and the band backs her 100%, but the album doesn’t do her live presence justice. 

At the same time, another Buffalo-based band, Bryan Johnson and Family is coming into their own.  The band released a self-titled demo back in 2011 to positive reviews.  The songwriting showed promise and the sound was dynamic, but the production wasn’t quite where the band wanted it to be.  Bryan Johnson and Family return in 2015 with Cool Your Jets (Admirable Trait Records), a delicious five song EP full of a rock and roll ethic and a wonderfully danceable sound.  The sound is much more polished this time around, and Johnson’s lead vocals and guitar work lead a tight and dynamic quartet with serious chops.  There’s a garage/surf/rock ethic here that’s primitive in nature, but this is overlaid with a polished musical veneer that is impossible to ignore.  Highlights include the title track, “Cerulean Eyes” and “Dead Fox”.  

Both bands are great representatives of the Buffalo original music scene, and both have the potential to rise above it.  Stumberg’s sound might be a little too comfortable to break big, but the talent is there.  Bryan Johnson and Family are still honing and developing their sound, but the pop sensibility and DIY/alternative sound they are cultivating speak of big things down the road.

Stumberg’s Live at the Studio Café is a solid 3 stars out of 5.  You can learn more about Stumberg at www.gracestumberg.com. In the mean time, check out this live rendition of "Root Beer Fairy".

Bryan Johnson and Family’s Cool Your Jets clocks in at 3.5 stars out of 5, but it has some definite 4 star moments.  Learn more at https://www.facebook.com/bjandfam.  

For now, here's a little live footage to wet your whistle.

Grace Stumberg - Affect

Grace Stumberg - Affect
2012, Popadelic Records

Grace Stumberg proves that big things come in small packages.  The 4’11” singer/songwriter from Buffalo, New York has a voice as big and powerful as she is small.  Her 2011 debut album, To Whom It May Concern, was a groundbreaking fresh of air that mixed unusually subtle songwriting for a 22-year old with an unusual musical conscience.  Stumberg remakes herself with her sophomore effort, Affect, finding a heartier, soulful vocal sound and a more confident stance as a songwriter.

Stumberg starts out by lampooning pop culture and clichés about what it takes to make it as a performer in "Flaunt This". The song reflects a maturing worldview and sense of self that is healthy and fired by a tell it like it is attitude. Stumberg's voice has a sultry and soulful side that was less evident on her debut. The result is a splendidly acerbic pop song full of a sensual anger. "America's Got Talent" is a tuneful and buoyant song of disaffection with the state of music, lamenting the fact that so many people both within the industry and without forget that it’s all about the music.  “Song For Grace Potter” is a gritty call out by Stumberg of a one-time idol who went corporate.  It’s a classic “you sold out” message, but the air of condescension here is a bit pretentious from one so young, and doesn’t necessarily reflect well on Stumberg.  It is, however, a fine way to garner some attention, calculated or otherwise.

“So Cruel” plays on the theme of relationship games. It’s a taunting number that finds Stumberg in her upper range for much of the song.  While capable here, her comfortable range is down an octave, the combination of pitch and drawn out vocal line borders on uncomfortable at times.  “Limbo” explores the sort of relationship purgatory where one of the two simply stops communicating.  The frustration and need here are palpable, and Stumberg is in her best voice.  “Happier Side” is a song of desperation for hope, and fitting for the times we live in.  Stumberg’s band moves together as if one organism and she fires the song from the opening notes with a voice that sounds iconic.

“It’s No Good” is a bit generic in construction, but thrives on the strength and personality in Stumberg’s voice.  “Root Beer Fairy” on the other hand, is a silly/fun party song with a dark side.  Stumberg lets down her hair and rocks out with her locks out, selling the song through conviction and force of personality.  “Ring Song” is an angry diatribe about a friend getting married.  The message is a warning, but there’s an undercurrent of anger her that suggests deeper investment perhaps.  The arrangement matches the message in-line, full of angry guitar hooks and some devastating solos.  Stumberg brings the curtain down with a dreamy, acoustic number called “Appreciate”.  The song itself is impressive, but the recording itself sounds very much out of place, having the messy aura of a demo recording alongside all of the highly polished rock and roll that came before.

Grace Stumberg continues to grow as a singer, songwriter and performer.  Her efforts on Affect speak to some wonderful successes and also some distinctive growing pains.  Stumberg offers firm stances and strong opinions in song in a rapidly maturing voice.  Stumberg might overreach at times, but she’s certain to get attention in the process.  Musically, the album is very well done, and Stumberg continues to have one of the most intriguing young voices in rock music.

Rating: 4 Stars (Out of 5)

Learn more at www.gracestumberg.com. 

Gregory Douglass - Lucid

Gregory Douglass - Lucid
2011, Emote Records

Gregory Douglass defines the modern concept of an Indie artist. The Burlington, Vermont singer/songwriter releases albums through his own record label, Emote Records. He's also maximized his fan base over eight albums, with fans funding some or all of his last five albums through pre-orders and donations. Douglass' 2008 album, Battler, inspired by a particularly dark season of HBO's Six Feet Under, was a collaborative effort. Douglass worked with Righteous Babe Records' Anais Mitchell and singer extraordinaire Grace Potter to craft an album that resulted in universal acclaim. The album spawned a video for "Hang Around" that charted for six consecutive months on LOGO TV's Click List Top 10 Video Countdown, and appearances with artists such as Jason Mraz, Regina Spektor, Margaret Cho and Melissa Ferrick. Gregory Douglass' latest album, Lucid, is a much more personal affair. Long a fan of dream interpretation, Douglass decided to put his dreams to music. But this time out Douglas worked with Ableton Live, creating electronic layers and depth around his compositions, resulting in his most sonically ambitious work to date.

Lucid opens with "The Night", a dark, dream-like soliloquy that plays like a lullaby for those who cannot rest. It's an intriguing start, simultaneously soothing and subtly disturbing. "Lucid" is a solid album track. This is the first time Douglass really digs into his more electronic sound, and the song is compelling for the choices he makes as he layers sound upon sound. Like most first steps, the song has some rough edges, but Douglass' distinctive ear wins out in the end. "White Out" blends soul, electro and rock in compelling fashion, although there is an overly recursive nature to the tune that asserts itself.

Douglass strips things down a bit for "Naysayer", building on a simple arrangement in subtle fashion. This is the most sonically compelling piece on the album. Listeners will sit and wait for the big breakout that never comes, but Douglas continues to build in small, almost imperceptible detail, fulfilling the social contract of the song but always leaving you wanting a bit more. It's brilliant. Lucid falls into a bit of a rut in the middle, recovering on the intriguing melody of "Raven”. Douglass creates tremendous movement in the melody line, buttressing it with the dark timbres and shading of the stark arrangement. This musical climax winds down slowly through two additional tracks, "One True Thing" and "From Now On", both musical aperitifs that slowly draw the album to a close.

Gregory Douglass brings his intriguing voice to bear against the stark backdrop of dreams on Lucid. The result is downright compelling at times. Douglass creates musical intrigue with a newfound love of electronic layering, but this is a double-edged sword at times, as it also fills in the nuance of his songwriting at times, leveling the sonic landscape and creating a sense of continuity that is, at times oppressive. Like many experiments, Lucid has its moments of grandeur and glitz, as well as moments soon forgotten, but the album marks the continued evolution of Douglass as an artist. There's little doubt that Douglass learned as much from this project as listeners will from listening, and will continue to build on those lessons as he moves forward. For now, Lucid, remains a compelling experiment from a prodigious artist; one very much worth exploring.

Rating: 3.5 Stars (Out of 5)

Learn more about Gregory Douglass at www.gregorydouglass.com or www.myspace.com/gregorydouglass. 

Grace Stumberg - To Whom It May Concern

Grace Stumberg - To Whom It May Concern
2011, Popadelic Records

Grace Stumberg is a 22-year old singer/songwriter from Buffalo, New York who proves that appearances can be deceiving.   But when you hear the big voice that emanates from her 4’11” frame you will be floored.  Stumberg, a graduate of Robbie Takac’s (Goo Goo Dolls) Music In Action career training program, is ready to take on the world with her debut album, To Whom It May Concern.  Showing a depth of songwriting talent you don’t often find in one so young, and a presence that recalls some of the great singer/songwriters of the past, Stumberg is just a break or two away from national recognition.

To Whom It May Concern opens with "Change The World", an anthem of inspiration and aspiration about making dreams come true.  Stumberg shows solid pop sensibility on what turns out to be the weakest offering on the album.  Commitment overcomes the arrangement.  The high point of the song is Grace Stumberg's voice, a gorgeous, velvety alto that works well for folk, pop and rock n roll.  "Happier Side" is a bluesy rocker looking for the bright side in a rough start.  It's a great tune, with big energy and an even bigger sound.  By the end of the tune you'll be thinking may Stumberg is the real deal.  By the end of "To Whom It May Concern" you won't even question it.  Stumberg goes for a more Americana setting this time around, with accordion, violin, acoustic guitar, bass and drums.  Stumberg sings for her own dreams here, declaring a trajectory she won't back down from; her voice is gorgeous and Stumberg creates a moment here.

"Steady" starts from a simple, acoustic guitar led look back at how things and people change over time and turns into a polyphonic, multi-layered anthem of hope.  Stumberg builds the song by layering orchestration and vocal harmonies on a bit at a time, culminating in a grand crescendo of sound and melody that's breathtaking.  "The Roses" shows off the singer/songwriter side of Stumberg.  The ode to her grandmother or to a grandmother-like figure gorgeous details enough aspects of her life to make it real and is a compelling testament of love.  Before it's over there is a lovely, baroque-style orchestration that blends in to what is essentially a folk ballad, creating a moment of beauty so rich and touching you'll be moved whatever your constitution.

"Change My Color" is a live, in-studio recording that likens the changes of seasons to personal transformations, pointing out that both are as unstoppable as any other natural law.  The song features a pretty, singular and stoic melody that is unforgettable, and Stumberg's voice fills it out to perfection.  "Sticks And Stones" is a refreshingly poetic kiss-off song with a quiet undercurrent that is surprisingly catchy.  Stumberg's use of imagery and children's rhymes is novel in the context of someone finally opening her eyes to the truth.  This conceptual coming of age is buttressed by Stumberg's velvety, sultry alto.  It's an amazing piece of song craft.

"My Love", an internal exploration of love gone bad, is matter-of-fact in the telling, but underscored with a touch of regret that makes the song compellingly human.  Stumberg seems to have a knack for using each song as a vessel of truth, whether expressing views of the world around her or matters of the heart.  This ability to enliven ideas marks the great songwriters for who they are, and early indications are that Stumberg has the gift.  "Home" blends Americana, pop and classic rock in a Bruce Hornsby-meets-Bonnie Raitt mashup that's amazing.  It's a catchy, mid-tempo number about finding out where your roots belong.  Stumberg is in fine voice here, and listeners may be left thinking that Stumberg has found something of a home in this sound.  Refusing to be pigeonholed quiet so easily, Stumberg launches into the edgy rocker "Miscommunichicken".  The chorus is almost comical: "Don't spread yourself too thin, cause just like bread on butter you're only gonna get eaten".  Get beyond that, however, and you have a Ben Folds Five inspired rocker marked by heavily percussive piano and a correspondingly raw sound.  It's not Stumberg's best, but is an intriguing window on the breadth and depth of Stumberg's songwriting talent.

"Wartime" is a vibrant piece of rock n roll; full in sound and stark in melody.  What Stumberg has done with finesse up until now, she accomplished with inundating force of sound here.  It's an overloaded classic rock feast that will make a great jam tune for live shows, bordering on the neighborhood of progressive rock without losing the singer-songwriter pastiche.  There are hints of Neil Young here that are impossible to ignore.  To Whom It May Concern closes with "Change The World (Woody Mix)".  The mix is just Stumberg, her guitar, and occasional vocal harmonies.  The song is much more powerful in this stripped down setting, conveying the struggle to make a better world more powerfully as a solitary voice.

Wow.

Wow moments happen in music.  You might hear a certain song and be floored by the message, or the melody, or a turn of phrase.  But it's pretty rare to have that reaction to an entire album; to an artist as a whole.  Grace Stumberg is young and still lacks some of the polish of a seasoned songwriter, but she has a gift that most songwriters would kill for.  Stumberg makes her songs come to life for those willing to listen.  To Whom It May Concern lives and breathes from start to finish, touching on people, places, thoughts, emotions and events with a subtlety and grace that is surprising in an artist so young.  Stumberg can blow out the amps as well, when called for.  It's that knowing when to and not to that marks the dividing lines between a great songwriter and someone who might just be discussed one day in hallowed tones.  It's much too early to tell what Grace Stumberg's final trajectory will be, but she certainly seems to have greatness in her sights.  To Whom It May Concern is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Grace Stumberg at www.gracestumberg.com or www.myspace.com/gracestumbergmusic.  To Whom It May Concern is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Review: Assembly Of Dust - Some Assembly Required

Assembly Of Dust - Some Assembly Required
2009, Rock Ridge Music

Assembly Of Dust has gained a moderate amount of commercial success over nearly a decade together, but has quietly become one of the most respected bands in music circles. Primary songwriter, singer and guitarist Reid Genauer has a lyrical bearing that falls somewhere between Bob Dylan and Martin Sexton; the gritty everyman with a lyric voice reminiscent of a cross between Neil Young and Glenn Frey. Adam Terrell (guitar, vox), Andy Herrick (drums) and John Leccese (bass, vox) support the writing process by not only providing stellar backdrops for Genauer's songs but also help to shape and caress the songs into life. On July 21, 2009, Assembly Of Dust returns with what might be their most focused and compelling album to date in Some Assembly Required. This time around Assembly Of Dust brings some close friends and even some of their idols along for the ride, as no less than thirteen guest musicians can be found on the CD. Richie Havens, Keller Williams, David Grisman, Bela Fleck, Grace Potter, Martin Sexton and Mike Gordon are among the luminaries pitching in, but don't think this is a gimmick to draw in listeners. If anything, it's a testament to the type of music Assembly Of Dust has made all along that so many fine musicians want to participate in Some Assembly Required.

Some Assembly Required opens with All That I Am Now, a vocal duet between Reid Genauer and Richie Havens. All That I Am Now is a song of resignation; an acknowledgement of the burdens of time and experience and what they can do to us. The song is resigned but also self-confident, and the arrangement runs a wonderful line between Rock and Country that we'll call Americana for lack of a better term. Buffalo Killers Zach & Seth Gabbard help out on vocals for Pedal Down, a deliciously Eagles-esque California Country rocker. David Grisman sits in on mandolin for Cold Coffee, a classic sounding tune with harmonies reminiscent of CSNY. This is a great bit of songwriting; highly intelligent yet charmingly colloquial. Phish's Mike Gordon sits in on bass and background vocals for Arc Of The Sun. The melody here is highly memorable and lyric, providing one of the most enjoyable listens on the disc. Second Song is built around a vibrant riff from guest Keller Williams. If any song from the disc ends up in a movie or television show it will be this one. The pacing and melody are perfect for the big or small screen and the arrangement is highly accessible across genres.

Light Blue Lover is an interesting song about letting go, including an unfortunately brief cameo by the exquisite Grace Potter. My favorite song on Some Assembly Required is Edges, featuring Bela Fleck on banjo. There's a sort of synergy that happens between Assembly of Dust and Fleck that's magical enough to shine through the highly produced format that is a CD. Be sure to check out Revelry, with Martin Sexton on "electric vocals". Revelry walks the fine line between folk and blues, resulting in an intriguing acoustic arrangement. Assembly Of Dust pulls back for Straight, the only song on the album that doesn't feature a guest. There's a bit of classic country in this melancholic ballad with a melody that washes over you like a gently rising tide. moe's Al Schier brings a little bit of crunch to High Brow on guitar before Assembly Of Dust closes out with You Lay The Dust (Jeff Pevar guests). Also make sure to check out John Scofield's guitar work on Borrowed Feet.

Assembly Of Dust is respected for a reason. There's not much flashy here, but Some Assembly Required is some of the finest roots songwriting of the year thus far. In spite of the numerous guests, Some Assembly Required retains an essential character that wholly belongs to Assembly Of Dust. Make sure Some Assembly Required makes it onto your "to-do" list. You won't regret it.

Rating: 4.5 Stars (Out of 5)

You can learn more about Assembly Of Dust at http://www.aodust.com/ or www.myspace.com/assemblyofdust. Some Assembly Required hits store shelves on July 21, 2009. You can pre-order your copy from Amazon.com. Expect Some Assembly Required to be widely available for digital outlets as well.

Review: Gregory Douglass - Battler

Gregory Douglass – Battler
2009, Emote Records

Look up Indie Musician in the dictionary and you’ll find a picture of Gregory Douglass. Douglass has released seven albums on his own imprint, Emote Records, touring all over the US and winning accolades at almost every turn along the way. Compared favorably with artists such as Tori Amos, Rufus Wainwright, Jeff Buckley and Fiona Apple, Douglass has a unique sound and vocal style that you’ll be able to identify immediately once you’ve heard it. His latest CD, Battler, was inspired by serious soul searching and a Vermont winter shuttered in watching HBO’s Six Feet Under.

Douglass writes gloriously melodic and dark story-songs that give categorization a wide birth. Opening with Broken Through, Douglass builds on a minor-key piano riff into a dynamic and shadowy story. Day Of The Battler bring uniquely stilted rhythms into the mix, like something Kurt Weill might have written if he grew up in today’s musical environment. No Apology strips nearly all of the instrumentation away in a haunting vocal harmony peace you need to hear. Madeline is a lush harmonic rock song that sounds like it could have been co-written by Tori Amos and Lou Gramm. This Is My Life might be a signature song for Douglass as it perfectly captures the dark undercarriage that seems to be his unique musical cornerstone. Other highlights include Sadly (with Anais Mitchell), Ordinary Man (with the talented Grace Potter) and Harlequin.

Gregory Douglass walks, marches and sings to his own drummer. Listening to him sing and play is like hearing one half of his communication with another world. The results are dark, exciting and lovely, even when you know there’s a whole other part of the conversation you can’t hear. Douglass is a unique talent, and the music glimpses he’s offered to us here could be considered gifts. Battler is not a recording to pass up.

Rating: 4 Stars (Out of 5)

You can learn more about Gregory Douglass at www.myspace.com/gregorydouglass or http://www.gregorydouglass.com/. You can purchase a copy of Battler at www.cdbaby.com/cd/gdouglass9.