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.

Transitions, New Places and Garden Songs

Hello!

I haven’t seen you around here in a while.  In truth, there hasn’t been much going on of late.  Have a seat.  The table’s a bit dusty, but we’re cleaning up.

I started this blog seven years ago almost on a lark.  I was deeply involved in music from a young age, as a singer and performer; and as a fan.  This blog at first was a means to expand my exposure to music while giving back to the musicians who made it.  It became something of a mission and a joy; and then a burden.  At one time I was publishing up to three reviews in a day, and spending literally all of my free time doing so.  I built Wildy’s World up to the point where 500 visitors were passing through each day.  I was proud of that, but there was a price.  After a while it became something I had to do rather than something I wanted to do.  Then it became something I resented but still loved to do.

The culmination of all of this came in the last year.  In October I lost my mom after a brief illness.  It was a difficult process that involved making the sort of decisions that no one ever wants to have to make.  It threw me for a loop, and the desire to write about, or even listen to new music, came to a shattering halt.  That wasn’t the only effect, of course, but it’s the one that’s most relevant to this space.

So for a time, music became a burden.  I continued to communicate with musicians and accept submissions, all with the best of intentions.  But when it came time to write, I just couldn’t do it.  It wasn’t fun; the words just wouldn’t come.

Today I turn the page, and as I do the view changes.  I will continue to write my thoughts about music, but the formulaic reviews are mostly a thing of the past.  This space will truly be Wildy’s World from now.  In it I will talk about the world; whatever’s on my mind, really.  That will include music, including great new music from Indie artists.  I will continue to take submissions and spread the word about things that interest me.  I don’t promise to be here every single day, but if you’re interested, this is a place you can come regularly and find something new. 

Today is the first day of my 45^th year.  I suspect it will be an adventure.  Please feel free to join me.

In celebrating transition and change, I’d like to tell you a bit about Ron Hawkins.  As regular readers here will know I think Hawkins is the proverbial bee’s knees.  He’s somewhere between the Canadian version of Bob Dylan and Tom Waits.  His lyrical talent is prodigiously sublime; sometimes deep and occasionally profane but always entertaining.  Hawkins began his career as the co-lead of rockers Lowest of the Low.  It was a good start, as the band was inducted into the Canadian Indie Rock hall of fame.  The band has broken up or gone on hiatus several times, and Hawkins has always managed to remake himself, whether as a solo artist or with bands such as The Leisure Demons and The Rusty Nails, Hawkins has left an indelible mark on the Canadian Indie Music scene.

The most recent iteration of Hawkins’ muse comes in the form of The Do Good Assassins, a quintet consisting of Hawkins (vocals/guitar); Jesse Capon (drums); Alex McMaster (cello/keys/trumpet); Derrick Brady (bass); and Steve Singh (guitar).  Their latest effort is entitled Garden Songs, a collection of ten of Hawkins more thoughtful songs written over the years.  The album was recorded over the course of one week, and highlights Hawkins’ brilliance as a songwriter and lyricist.  It also shows off The Do Good Assassins’ ability to bring those songs to life.  Longtime fans of Hawkins will be familiar with tracks such as “Peace And Quiet”, “Small Victories”, “D.F.W.” , “Propellers” and “Rome”.  There are also some hidden gems here.  “Kingdom Of The Sun” is memorable, and “Saskia Begins”, an ode to a newborn child, is among Hawkins’ best songwriting. The recasting of “D.F.W.” and “Small Victories” particular stand out here, and listeners newly introduced to Hawkins will be stunned by what they hear.  Garden Songs is a must have album.  I’ll give it 5 stars, without reservation.

Learn more about Ron Hawkins at www.ronhawkins.com.  You can pick up the album from Ron’s online store at www.victimlesscapitalism.com.  Please be patient, because the initial demand for the album caused the first run to sell out.  They’ll have more soon! To hold you over, and pique your interest, check out this live performance of "Peace and Quiet", the lead single from Garden Songs.

Our discussion of The Do Good Assassins fit in with the reintroduction of the blog today. They also kick off a week (or so) of discussion of bands related to my adopted hometown of Buffalo, NY.  While The Do Good Assassins call Toronto home, the band (as well Hawkins over the years) have spent a lot of time haunting the clubs and stages of Buffalo over the years.  As a result they get honorary status.  In the coming days we'll also be talking about Buffalo native Jeneen Terrana, and current Buffalo bands Dirty Smile, Grace Stumberg and Bryan Johnson And Family.  After that we'll move on to new or recent releases by Rachael Sage, Seth Glier, Laura Joy and others.

Until next time.

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. 

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.