Gabrielle Aplin - English Rain [EP]

Gabrielle Aplin - English Rain [EP]

2013, Parlophone International

Gabrielle Aplin’s story of discovery is very familiar.  The Sutton Benger, England native recorded covers of popular songs and published them on YouTube (ala Justin Bieber).  Though still quite young, Aplin impresses with a budding maturity as a songwriter.  With musical tastes honed on the likes of Joni Mitchell and Bob Dylan, Aplin has developed a very personal story-telling style. Aplin’s third EP, English Rain, peaked at #2 in the UK.  This spring she receives her first introduction to U.S. crowds, with dates between now and May 21, 2014 on the West Coast.

English Rain opens with "Panic Cord", a peppy little relationship post-mortem with brilliant folk/pop sensibilities. Aplin's voice has an ethereal quality vaguely reminiscent of Kate Miller-Heidke, and she has a delightfully conversational lyric style that's a perfect complement. Aplin's cover of Joni Mitchell's "A Case Of You" is esoteric and not without charm, but lacks the emotional presence of the original.  "Please Don't Say You Love Me" finds Aplin exploring the early routes of romance with adept musical and lyrical grace. It's a beautiful piece of songwriting likely to kick around your noggin for days.

"Home" is an ode to love and virtual space that two or more people can create with nothing but love.  Aplin's simple guitar-driven arrangement has an incessant quality that highlights the quiet urgency of the song's lyrics.  Aplin dwells on a bout of romantic hero worship with "Salvation", a soaring anthem/ballad with a bridge that's thoroughly out of place. You'll either love or hate this song with little room in between. Aplin departs with "The Power Of Love", a self-indulgent love song that's more obsessed with the concept of love than the thing itself. Aplin sells it with her unusual, lovely voice, but the songwriting here is incredibly young and unpolished, unlike the rest of the EP.

Gabrielle Aplin is still growing into her considerable talents.  On English Rain she shows both her strengths and weaknesses with unabashed confidence, choosing to be herself rather than trying to ply her musical talents to the latest trend.  The effort is laudable, and foreshadows the wonderfully talented and independent artist she is destined to become.  English Rain has its warts; a fact that will seem apropos to anyone who’s ever experienced English rain, but the spots where the sunlight shines through show a tomorrow full of promise.

Rating: 3 Stars (Out of 5)

Learn more at www.gabrielleaplin.co.uk.  

Kree Woods - Talking Underwater

Kree Woods – Talking Underwater
2013, Zodlounge Records

It’s refreshing to find a pop singer/songwriter who doesn’t play to the pretentions of modern pop.  Nashville native Kree Woods is just such an artist.  Her debut EP, Chance Happening, made some waves in the Indie press in 2012, and Woods is wasting no time in moving forward.  On April 9, 2013, Kree Woods releases her first full-length album, Talking Underwater.  It is an album of drawn-out heartbreak, and ultimately, redemption.  This is not a unique tale, but Woods sings it in a voice that is sometimes vulnerable and sometimes strong (with the two states never being far apart).  Her arrangements are subtle and layered, and as beautiful as her voice.

Woods kicks off with the title track, asking for release from a relationship that is going nowhere.  This is a very slick pop offering written in melancholy ballad form, but Woods maintains a wonderful energy in her voice.  “Just Go” is all emotional angst; driven by her love’s desire to save her from the end they both know is coming.  “Flip Flip” sounds like the title to a vacuous pop number, but nothing could be further from the truth.  Here Woods establishes herself as an intelligent and subtle lyricist, with a talent for gentle but persuasive pop hooks.  There is also positivity to Woods’ songwriting that is refreshing.  Even when she is talking about something difficult she is working to be respectful and kind in the way she presents the material; in spite of this Woods is very clear on what she feels.

“Cut My Strings” is a melancholy ballad with a beautiful melody.  Woods brings it to life with her voice, which is equal part Emily Saliers, Joni Mitchell and Sarah Solovay.  “Happiest Day” is a love song that celebrates the little moments; a catchy little tune you’ll be humming to yourself for days.  Kree Woods hits the heights with “Green”, finding a near-perfect pop moment.  The song is about the expectation of a breakup; dreading the moment but looking forward to the release afterward.  It’s an utterly human and heartfelt inner dialogue that’s without rancor.  “Save Her” finds Woods taking a tragic story and lighting it from the inside with her voice.  The effect is a musical bas relief that is stunning to hear. 

“Blink” is beautiful in its simplicity; a friend reaching out to offer perspective during dark times.  It’s a reminder to keep your eyes open for the good things else you miss them.  Woods’ voice is wonderfully attuned to this moment.  Much the same can be said for “Lonely In Chicago”, in spite of the distinct difference in mood.  This is an artful diary entry in song, exploring the loneliness of being half a continent away from you true love.  The verses are well-written, but the chorus and bridge are utterly brilliant.  This is a potential movie soundtrack lead song.  Woods uses her voice as an artistic representation of collapse in “Cave In”, creating a moment of beauty where backing vocals surround her voice like a halo.  The song itself is stark and simple, and all the more striking for it.  Woods closes by shaking free of the emotional baggage with “Fake (Shake It Up)”.  This is a great little pop anthem about being true to yourself, written from the perspective of a nice girl who isn’t going to drag anyone through the mud on her way out the door.  There’s no pettiness or vitriol here, just an eye on a better future.

Kree Woods is a breath of fresh air.  Her positive approach to songwriting shows an inherent respect for herself and others that seems like the product of an earlier generation.  Woods’ melodic sensibilities were made for popular radio, and her subtle compositional style is smooth and sweet to the ear without falling into the slick clichés of the eternal balladeer.  Woods spends the bulk of Talking Underwater telling true stories from her heart in unvarnished yet poetic ways.  She wraps these stories in pop/rock musical blankets that are comforting and complete, but driven by a vibrant heart that strives to bring light into the world.  Don’t be surprised if Talking Underwater makes a star of Kree Woods.

Rating:  4.5 Stars (Out of 5)

Learn more at www.kreewoods.com. 

Annie Dressner - East Twenties

Annie Dressner – East Twenties
2013, Annie Dressner

New York City ex-pat Annie Dressner returns on April 8, 2013 with her sophomore release, and EP entitled East Twenties.  The follow-up to the 2009 full-length Strangers Who Knew Each Other’s Names furthers Dressner’s highly personal style songwriting style, but shows growth both in musicality and maturity.  Her view of heartaches historical and fresh is compelling, told with a depth of understanding, and occasionally, remorse.

“Heartbreaker” is an interesting musical study.  Sung as a folk ballad, Dressner revisits a childhood friendship in what turns out to be a commentary on bad timing.  He was in love with her then; it wasn’t until years later that she felt the same, but it was too late.  The humanity in this song is compelling, and Dressner’s little girl/big girl voice only makes it more distinctive.  This is brilliant songwriting; deeply autobiographical and from the heart.  “I Can’t Forget” is cut from the same cloth, although the loss here is a mortal one.  Regrets, what ifs and a deep, abiding sorrow fill in the gaps here.  Dressner’s delivery is smooth and heartfelt, and reminiscent in tone to Don McLean’s “Vincent”.  “Flame” wistfully explores the death of trust and innocence.  This is a bit more elemental than the other songs on East Twenties, and Dressner gets a big bogged down in the middle.  The songwriting is solid, but the energy just doesn’t hold through the middle.  “Lost In A Car” perhaps revisits the same soul and heart as “I Can’t Forget”, and Dressner’s wishes have a ‘nevermore’ quality that pulls at the listener.  This is a moment of beauty, carved in the rocky shores of sadness.

Annie Dressner has taken strides forward in the past four years as a songwriter.  Her compelling, heart-laid-bare story telling style engages the listener on a personal level, like an old friend pouring their heart out over coffee.  Dressner does occasionally get caught under the weight of her material, but there’s a lot to like here.  Make a date with Annie Dressner for East Twenties.  You’ll find it an experience to remember.

Rating: 4 Stars (Out of 5)

Learn more at www.anniedressner.com. 

Jessie Kilguss & Radio Gold - The Sky Road

Jessie Kilguss & Radio Gold – The Sky Road
2012, Jessie Kilguss & Radio Gold

Jessie Kilguss didn’t plan on being a singer/songwriter.  The classically trained actress was one of the afflicted girls in the screen adaptation of The Crucible starring Daniel Day-Lewis and Winona Ryder, an her training at NYU’s Tisch School of Fine Arts and Webber Doublas Academy of Dramatic Art in London had Kilguss well on her way to a successful acting career.  In fact, it was an opportunity to share the stage with Marianne Faithful that opened her eyes to a new world; a world in which Kilguss could be in creative control.  Switching gears, she began writing her own songs.  After two albums and a lot of gigs, Kilguss took her band Radio Gold to Ireland to record her third effort, The Sky Road.  Talk about transformations – in a few short year Kilguss has gone from a fledgling singer/songwriter to a highly capable artist who create moments of musical magic.

The Sky Road opens with “Take Me To The Ocean”, a rock-a-by pop song with escapist intentions.  The call of the ocean – of boundaries an what might beyond drives this wonderfully melodic tune.  Kilguss’ voice is as amooth as a placid pool but full of hidden, roiling depths.  “Counting Sheep” is a quirky little pop number about struggling to do the right thing in the long hours of the night.  This song manages to deal with deep and raw emotions that can never be smoothed over while maintaining a high polish.  On “Down The Line” Kilguss takes a melancholy look forward at the past in a soliloquy on the one who won’t stop haunting her thoughts.  This quiet an contemplative moment is full of angst, reverie and regret.

Kilguss gets medieval in “Die Dog Or Eat The Hatchet”, a dark but catchy tune full of animalistic aggression.  The juxtaposition between the darkness of the subject matter and Kilguss’ whiskey-smooth voice is compelling.  Radio Gold ads a sense of machismo to “10 Stories High” with some muscular yet reserved guitar work woven into a song of desperation.  Kilguss digs in with both hands and both feet, staying cool on the verses but showing a real egy mien on the chorus.  “The Sky Road” is amusical landscape, painted in notes, rests and serene timbres.  Kigluss shines in a moment of beauty by getting outside of herself and making the magic and mystery of childhood places the heart of this song.

"Gun Shy” is a relationship mea culpa, experiencing hesitation after a life full of impetuous decisions.  The authenticity here is impossible to ignore, as Kilguss wraps her story in a wonderfully catchy alt-pop gemthat has hit single written all over it.  “Keith & Anita” is a relationship post-mortem on a couple who only knew who to get along by fighting.  The song is well-written and souns like it badly wants to be a country tune. It works well here, but may have some stylistic development yet in the live setting.

“Riverboat Gamblers” is a road song transplanted to the Mississippi River; a omance of times gone by and a life of adventure of the sort that informe Mark Twain’s novels.  The song is incredibly catchy, a mix of classic R&B an Americana that’s quietly infectious.  Kilguss gets mellow on “Ringleader”, a melancholy rumination on power in a relationship.  Kilguss fins a true ‘wow’ moment here, both as a songwriter and singer.  Her voice is magically pure in this moment, as the dark underbelly of the song only slowly becomes clear admidst the sorrowful keening of a steel guitar.  Kilguss says goodnight with the twangy country rocker “Tennessee”.  It’s a horror movie in song; full of dark and light and a delightful story teller’s sensibility.  Kilguss’ sense of imagery and irony here is entertaining, especially as you through the layers of her story.

Jessie Kilguss continues to learn and grow as a songwriter, but has finally transcended the line where her artistic talent becomes self-feeding.  The Sky Road is redolent with that mix of good intentions and bad deeds that defines humanity, and mixes a strong sense of melody with a darkly disjointed compositional style that is both appealing and occasionally jarring.  The Sky Road offers songs of consistent quality spike with flashes of brilliance, and it’s hard not to think that Jessie Kilguss and Radio Gold are just getting warmed up.

Rating: 4.5 Stars (Out of 5)

Learn more at www.jessiekilguss.com.  You can purchase copies of The Sky Road through the e-tailers below! There are CD copies about, but you might need to be at a show to catch one!

Amazon MP3

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.

Monika Borzym - Girl Talk

Monika Borzym - Girl Talk
2011, Sony Music

Monika Borzym’s heroes have always been trumpeters:  Miles Davis, Chet Baker and Terrence Blanchard were her gateway into Jazz.  While there, Borzym was captivated by the divergent voices and styles of performers such as Ella Fitzgerald and Carmen McRae.  The Poland-born crooner studied in the United States at Miami’s Frost School of Music, furthering her love and knowledge of jazz and classical forms under teachers such as Lisanne Lyons, Larry Lapin, Ira Sullivan and Shelly Berg.   During her time at Frost, Borzym met guest lecturer Matt Pierson (Joshua Redman, Chick Corea, Pat Metheny), who is Borzym’s primary collaborator on her debut album, Girl Talk.

 Borzym opens with a cover of Amy Winehouse’s "You Know I'm No Good", showing off a sweet and sultry voice that would be right at home in a 1930's gin joint. Monika Borzym delivers crisp lines with a polished presence that belies her 19 years, and her instrumental accompaniment is first class. "Extraordinary Machine" finds Borzym taking on a manic, talk-sing lyrical barrage in conjunction with a minimalist arrangement. The result is an intriguing tune that will leave you dizzy yet satisfied. "Even So" stands out from a string of exceptional performances, with Borzym imparting a mature presence and seasoned melancholy in dulcet tones that will have you quietly on the edge of your seat.

The opening cadence of "American Boy" (Estelle) carries vague suggestions of Jobim's "Girl From Ipanema". This is no retread, however, as Borzym launches into a modern jazz tune that remembers its classic heritage. Borzym digs into a 1970's singer/songwriter pastiche for "Field Below", which bears a vague musical resemblance to Procol Harum's "Whiter Shade Of Pale". The song is elegant and refined, with a gorgeous melody, and Borzym walks it home like a pro. “Appletree” (Erykah Badu) shows a more modern, soulful jazz sound. It feels as Borzym is a bit rushed by the arrangement here, but it all works out well in the end. "Down Here Below" (Abbey Lincoln) is a gorgeous, blue recitative that drips with regret. Borzym's voice is never lovelier, taking on a reserved air that is full of an eloquent and desolate beauty. "Gatekeeper" (Feist) is cut from similar cloth, but woven with more subtlety.

 Borzym goes Vegas on "Dry Cleaner From Des Moines", a frenetic little tune that borders on the vestiges of bebop. "Abololo" (Marisa Monte) slows things down, with a tentative piano leading the way for Borzym's lush vocal line. "Possibly Maybe" (Bjork) is well intended, but becomes something of an undirected mess in spite of Borzym's attempts to save it. Girl Talk closes on a positive note with an unconventional cover of Pink's "Thank You" that is true to the original but puts Borzym's distinctive stamp on the song.

Monika Borzym has a captivating voice, and a presence that's bewildering in one so young. This is the sort of album you simply can’t put down; Borzym’s call is like that of a gentle Siren, relentlessly pulling you in.  Girl Talk is one introduction you won't soon forget, as Borzym appears poised to become one of the next big names in vocal jazz.

Rating: 4 Stars (Out of 5)

Learn more at www.monikaborzym.com or www.myspace.com/monikaborzym. 

           CD                    Download             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.

Marian Call - Something Fierce

Marian Call – Something Fierce
2011, Marian Call

When we first received Marian Call’s 2007 debut album, Vanilla, in the mail three years ago we knew we were hearing something special.  The Alaskan transplant evoked thoughts of Joni Mitchell, Jewel and Nellie McKay with crisp songwriting, honest lyrics and a voice that lights up the night like a beacon.  Even in the commissioned project, Got To Fly, Call showed an evocate and quirky personality with sweetly geeky tendencies and an impressive songwriter’s command, but nothing Call has done before can amply prepare you for Something Fierce.  Call’s third album, a 19-song, 2-disc effort, shows a transformation from the burgeoning singer/songwriter of 2007 to a master of her craft.  The leap forward in presence, command of her material and pure creative magic is absolutely stunning.

Something Fierce is broken into two distinct albums.  Volume I: Good Luck With That and Volume II: from Alaska show two disparate yet interwoven sides of Call.  Volume I shows the emergence of a confident, mature and appealing songwriter; while Volume II is an introspective and personal affair.  Each volume is a complete work in and of itself, but together they create a picture of the artist as person that is indelible.  Marian Call opens Volume I with “Good Morning Moon”, a wonderfully catchy number full of distinct pop sensibility.  Call’s imagery here is simple and appealing, yet deep in meaning; the song flows like water and is a marketer’s dream without sounding anything like the pop music you’re likely to hear on the radio.  “The Avocado Song” displays Call’s funky, bluesy, soulful side and shows a confidence and presence that has grown by leaps and bounds over the last four years.  “Dear Mr. Darcy” is a funky folk/rock song of unrequited love.  Call inhabits your head space on numbers such as this, making a deep impression with both her voice and pure presence.

Pedal steel accents prove a perfect counter-point to Call’s voice in “All New (Heart Shut Tight)”, a gorgeous confessional about the conflict of wanting to fall in love but not being able to let go and let it happen.  “Free Bird” has a jazzy feel, and Call dazzles with the range and tone of her voice over a stark, pizzicato guitar.  This is a WOW moment, the first of many.  Call doesn’t make you wait long for the next one, either, launching right into “Temporal Dominos” and unleashing the full power of her voice.  The prog/folk arrangement is ingenious and the run-on style melody becomes analogous with the stream-of-conscious lyrics, making both seem entirely natural.  Call pulls back for “Highway Five”, a Joni Mitchell-esque love song written to the coast that bore and sustains her.  The deeply personal ballad/soliloquy features just Call’s voice and guitar, and speaks to longing for home that never leaves the heart, no matter how far away home might be.  “Press Or Say Three (Your Call Is Important To Us” is a solid album track that paves the way for Volume I closing track “Ina Flew The Coop”.  This one has been kicking around Call’s live set for some time; a song about moving on and the mix of new-found freedom and captivity that follows in the wake of a relationship.  The story is told in third person with a gentle mix of envy and fear; an amazing observation that has a vaguely autobiographical feel.

Volume II opens with “Whistle While You Wait”, a personal exploration of confidence, reticence, and making the most of each moment.  Call’s mix of intellect and heart hear is stunning, moving beyond singer/songwriter pastiche into the realm of pure art.  It becomes difficult to imagine the singer separated from the song, or vice versa.  “Early Is As Early Does” looks at life as a journey or series of side trips, deeply shaded by an intellect that spends much time in self-conversation on such subjects.    This is among the most intriguing works on the set, showing Call reaching for an ever-higher level in mind, heart and song.  Such depth deserves a lighter turn, and Call doesn’t disappoint.  “I Wish I Were A Real Alaskan Girl” is an ode to the hearty women born of the 49^th state that pokes gentle fun while offering respect for those who live close to a hard land.  This song could go either way, depending on the listener, but Call weaves an entertaining and humorous narrative you won’t soon forget. 

“The Underground (One Bird At A Time)” explores the anachronism of losing your senses in a state of perpetual light.  It’s a gorgeous turn that makes the most of the colors of Call’s voice, and the sense of dislocation that comes from living in a land where (albeit temporarily) the sun never goes down.  “Coffee By Numbers (Faon’s Song)” is a jazzy piano-driven number about personal collections and taking the time to nurture them.  Coffee is the focal point of the song, but it’s Call’s voice that carries the connection.  “Equinox” is a personal soliloquy on turn the page.  Hope for the future and hesitation mix in intriguing fashion in a darkly, lovely tune that will leave an impression.  “E.S.B.” is most memorable for Call’s voice.  You simply have to listen to this one for yourself.

“Perilous Road” uses personifies the human experience of putting yourself out there for the world to see as a difficult drive.  The image of cliffs and blind turns brings to mind the concepts of faith and self-confidence, darkening the sky with doubts that seek to blot out the light of hope.  Despite the seemingly simple message, there are many layers here that will reveal themselves over successive listens.  “Aurora Borealis” features a simple, roiling beauty in a guitar-driven arrangement that swells and fades like deep water.  Call’s vocal performance is nothing less than entrancing.  Volume II concludes with “Anchorage”, a gorgeous quasi-duet between Call and cello.  The song has a quiet center, and Call fills it up with her heart and her voice.

There is a power in simplicity.  Marian Call harnesses that power and burnishes it with heart, honesty and deep intellect on Something Fierce.  Call’s presence grows by leaps and bounds on Volume I, displaying a persona that’s fun, powerful and eminently real.  Volume II encompasses more of Call’s inner dialogues; delving into mature insecurities born of past failures, new successes and a hope that one of these times will be different.  The compositions and arrangements on Something Fierce are absolutely stellar; Call seems to have a knack for marrying the perfect lyrics to the perfect melodies, and encompassing them in arrangements that fit like gloves.  The usual superlatives don’t seem to apply here, but it’s fair to say that when the year-end lists come around, the smart money is going to be on Something Fierce being highly placed.  Marian Call has created a masterpiece.  Something Fierce is nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Marian Call at www.mariancall.com or www.myspace.com/mariancall.  You can order Something Fierce directly from Marian Call.  Ordering information is available on Marian Call's website.  If you want to hear the full album, you can stream it on Wildy's World, or on Call's website.

Brittany Campbell - Nerd [EP]

Brittany Campbell - Nerd [EP]
2011, Brittany Campbell

New York City-based singer/songwriter, multi-instrumentalist and producer Brittany Campbell walks the musical edge.  Stylistic boundaries fall aside in Campbell’s path on her debut EP, Nerd. 

Nerd shows an artist on the verge of finding something great, but perhaps still caught in her own pre-conceptions of what she should sound like to find the sound ticking around inside of her songs.  "Clown" is a catchy dance number that's a bit sophomoric lyrically, but is highly entertaining.  Campbell builds a great dance vibe here, and her voice is distinctive and original.  The "Turn me on/turn me off" repetition is a bit too much, but will probably play well in the dance clubs where music is more about feel than sound.  "So Cold" and "DJ" both play on the edges of consumable pop music, with "DJ" standing out among the two.  Campbell builds in some nice vocal harmonies here in a solid dance tune.

Campbell stretches her vocal range upward on "Maybes", an exercise that doesn't work out to her benefit.  The tone and sound of her voice is an exquisite and easily acquired taste, but the effort and marginal melody here just don't make a good fit.  "Goody Goody" is a wonderfully quirky and accessible pop tune, and Campbell is at her best vocally here.  This song has real potential, and could get some serious looks from pop, dance and urban programmers.  "Nerd" might just be the counter-culture pop anthem of the year, with Campbell's distinctive voice playing off against a catchy dance beat.  Nerd closes with a dance mix of the title track; a likely effective single for the club circuit, but not really an improvement on the original.

Brittany Campbell has a voice that's instantly distinguishable, the sort you'll remember forever after hearing once.  Her vocal style is quirky and fun, but song selection will always be key for Campbell, as her voice occasionally finds musical wells where it just doesn't play as well.  When Campbell is on her game she's incredibly entertaining and fun.  The songwriting plays to lighter fare, but is generally quite well done throughout Nerd.  Brittany Campbell has big potential.  Nerd shows that she can use her talents and quirky sensibilities in concert to create enjoyable tunes, but it does sound as if Campbell is still working to distinguish herself and her muse from her own pre-conceptions.  When she finally makes that break, look out.

Rating: 2.5 Stars (Out of 5)

Learn more about Brittany Campbell at http://www.brittanysoup.com/ or www.myspace.com/brittanycampbell1.  Nerd is available for download via Amazon.com and iTunes. 

Rachel Wagner - Untold

Rachel Wagner - Untold
2011, Rachel Wagner

Roseville, California singer/songwriter Rachel Wagner has a reputation for putting listeners at ease.  Wagner may take the stage in an auditorium or coffeehouse, but the atmosphere as if she’s sitting in your living room; telling stories to a good friend, guitar in hand.  Wagner’s third album, Untold, features her sweet, breath voice, her personal style, and winsome songs that walk the line between Sarah McLachlan, Enya and Joni Mitchell.

Wagner opens with "Untold", an ethereal ballad that nicely features her pretty, breathy soprano voice.  The cascading vocal harmonies build the song into a lovely sonic experience.  "Blackberries" is a song about thankfulness; this simple concept is explored in a complex arrangement that's pretty but certainly not what you might expect.  "She" is a water color in sound; Wagner paints with a musical brush, layering vocal parts to create amazing sounds in a song about a dreamer and the power of pretend.  "I Won't Be The One" is a lush, gorgeous statement of intent.  Fans of early Sarah McLachlan will dig the ethereal nature and layered sounds Wagner uses here.

"Hide And Seek" is a swaying number about finally being found.  Wagner's gorgeous arrangement builds the joy of the song like the blooming of a flower.  On "Something Happens", Wagner explores a reticence to give herself over to love.  When the breakthrough finally comes it is as a light, lilting them; pretty and pure.  Wagner ventures into the ether again for "Clean", before closing with the inspiring "Psalm 131".  Wagner's melody and lead vocal are pure beauty.  The interposing supporting vocals are a bit distracting however.  It's clear what Wagner was trying to attain here, but the song would play much cleaner with just her lead and the present instrumentation.

Rachel Wagner shines on Untold.  Even with a couple of mis-steps along the way, this is a very promising introduction to an artist who is a bit off the beaten path.  Wagner's penchant for musical imagery is unusual, as she bends and shapes notes and passages as a sculptor might shape clay.  Wagner's songs dance forth from a garden of beauty, capturing the essence and form of ideas that generally complement her lyrics very well.  This is an exciting start.

Rating: 3.5 Stars (Out of 5)

Learn more about Rachel Wagner at http://www.rachelwagner.com/ or www.facebook.com/rachelwagnermusic.  Untold is available via Amazon.com as a CD or Download.  The album is also available via iTunes.

Laura Joy - What I Know

Laura Joy - What I Know

2011, Laura Joy Music

In a world full of dark affectations and third and fourth guesses, Laura Joy is a breath of fresh air.  With a percussive fingerstyle guitar reminiscent of Ani DiFranco and a songwriting flair that recalls the likes of Joni Mitchell and Rebecca Martin, Laura Joy crafts personal tales in song that are both touching and entertaining.  The Phoenix native who has most recently prowled the stages of bars and coffee houses in New York shines with brilliance both on stage and in the recording studio.  Her upcoming third album, What I Know, shows this same propensity for writing personal yet accessible folk songs but also shows a growing maturity as a songwriter and artist.

What I Know opens with "Fallin'", and emotionally urgent number that decries falling in love.  Joy's almost conversational singing style is the perfect touch here.  This is how you start an album; with a well-written, emotionally committed song gull of energy.  "Breathe" keeps things simple, while attempting to stay afloat in difficult emotional waters.  Joy gives a biopic in song with "Lizzie", channeling her inner Ani DiFranco on a vibrant story song.  Laura Joy's vocal tone is exquisite here, and the songwriting is spot on. 

"What I Know" is written in a barreling, stream of thought style, exploring the doubts of an artist in contrast to the idea that if you keep pushing you can make your dreams come true.  Anyone who has ever created art and had someone else knock it down will identify with the sentiments expressed here.  Joy builds great energy into the acoustic guitar accompaniment.  Joy revives "Six Flights" from her previous album of the same name, detailing the minutiae of everyday life in the city and wonder found somewhere in between the details.   The song hasn't changed, but Joy's voice and perspective continue to mature, giving the song a fuller, richer sound this time around.

"Arrive" is a long-form, pensive speculation on life and direction that's more about journey than destination.  It underscores a maturity in Joy's songwriting that seems to have advanced since she released Six Flights in 2008.  "Score" wants to be a bluesy number; while not quite attaining the sound, Joy imbues the song with a sensibility that's not dissimilar, and a vibrant energy that's relentless.  There's a sense of finality to this song, where the narrator has spent a lot of time building to this point and is more invested in any answer than a particular one.

 Joy closes the album with three holdovers from her previous album, Six Flights.  "Rose Remains" was beautiful last time around and little has changed.  "Plan" has a dancing energy to it that's irresistible.  Where the original was plainspoken and sweet, Joy sings it this time with a sense of soul and perhaps even a bit of reverie.  The song isn't quite so rushed this time around and works even better than the original.  What I Know bows with "Ride Home", a song of emotional survival and uncertainty.  Laura Joy's voice is full and warm and utterly gorgeous on this number, caressing the sweet chorus like a mother holding her child. 

Listening to "What I Know" is like watching a flower that's been growing in the corner of garden finally come into full bloom.  Laura Joy has made the transition from burgeoning singer/songwriter to artist.  While Joy has always displayed a distinctive talent for song craft and a sweet disposition as a performer, now she shows the depth and warmth of a seasoned artist and singer of songs.  For Laura Joy life will always be a journey, but if "What I Know" is any indication, it's a ride that listeners will want to follow along.  "What I Know" is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Laura Joy at http://www.laurajoymusic.com/ or www.facebook.com/laurajoymusic.  What I Know is due for a late spring/early summer release, although a hard release date has yet to be established.  Keep checking Laura Joy’s website(s) for more information.  Photo by Ivana Olson.

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.

S.J. Tucker - Mischief

S.J. Tucker - Mischief
2010, S.J. Tucker

S.J. Tucker fell into music at the age of three. The was The Beatles' Magical Mystery Tour that gave her the gentle shove that changes lives.  A veteran of bands such as Skinny White Chick, Tricky Pixie and The Traveling Fates, Tucker has ten albums under her belt.  A severe illness in 2008 and 2009 knocked Tucker off her feet and off the road for a time, but Tucker is back at with her tenth album, Mischief. Released in 2010, Tucker continues to mature as a songwriter while offering perhaps her most subtle work to date.

Mischief opens with "Ravens In The Library", an interesting personification of society and the roles that we take up in the course of human interaction.  Role are portrayed here as birds out of their element, with the laws of nature and social pecking orders asserting themselves immediately.  It's a cautionary morality tale exploring the effects our words and actions can have on others.  The simple, energetic acoustic guitar-based arrangement is remeniscent of Ani DiFranco, while the vocal line is more Sarah McLachlan.  "Cheshire Kitten (We're All Mad Here)" is an energetic folk number with real energy.  Tucker builds tremendous rhythms into a single acoustic guitar part, supporting herself both musically and rhythmically.  This is an anthem about being yourself in a world that ostracizes individualism, reminding us that we're all born a little off-kilter.  The chorus here is atypical and will stick with you.

"Were-Owl" explores the dangers, and thrills, of romancing darkness.  Tucker delivers her thoughts in a sultry, sensuous vocal line wrapped in stark harmonies.  "Love Lies" is a soulful acapella number that's deliciously arranged.  It's a short tune but full of sparks.  "Don't Get My Hopes Up" features Tucker solo with an acoustic guitar.   If ever a song were perfect for a singer is this one right here.  Tucker transitions through her vocal range with an interesting blend of confidence, insecurity and an unwillingness to waste her time on anything less than the real thing.  The dark and eerily beautiful textures of Tucker's voice will blow you away.

"Neptune" explores falling in love with someone new while looking back on a love that fell out.  The arrangement has a dark, unkempt feel that's strangely beautiful.  "Girl With The Lion's Tail" is a statement of self.  Tucker wants a romance, but doesn't want to be an object or curiosity in that context.  This isn't her best songwriting, but the exploration is an intriguing one.  "September's Rhyme" is another gorgeous acapella piece, this time with a baroque feel.  The vocal harmonies on this one are flat out amazing.  "Salad Of Doom" is tongue-in-cheek take on the healthiest choice on the menu; a highly entertaining moment of lightness.  "Witchka" is a sultry, witchy love song sung with the lusty abandon of young love.  Tucker closes with "To My Valentine", a simply gorgeous love song that could easily become a staple for mix tapes and wedding receptions.  Tucker keeps it simple in both arrangement and sentiment; there's nothing saccharine or contrived here.  An amazing performance.

S.J. Tucker doesn't say no; doesn't back down.  She practices the musical insistence of Ani DiFranco, the melodic intensity of Sarah McLachlan and the parenthetical approach to songwriting that fuels Tori Amos.  Mischief is off the beaten path just enough to intrigue, but not so much as to scare away casual listeners.  Tucker has the charisma and force of personality to wrap you in her charms and have her way with you, and the musical talents to make you love every minute of it.  Mischief is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about S.J. Tucker at http://www.skinnywhitechick.com/ or www.myspace.com/sjtuckerskinnywhitechick.  Mischief is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Halie Loren - After Dark

Halie Loren - After Dark

2010, White Moon Productions

 The past year has been a momentous one for Halie Loren.  Winning the Just Plain Folks Award for Best Jazz Vocal album to becoming a major label artist in Japan (her album They Oughta Write A Song went to #1 on the Amazon Japan charts and stayed in the top-10 for several days.  The crowds in Japan have been growing, and would seem to portend the success that seems inevitable back home in the States.  Loren also released a successful live album, Stages, showing off the line energy that makes her an in-demand performer.  Loren returns on November 16, 2010 with a new album of studio recordings.  After Dark mixes original and cover tunes and shows a somewhat lighter side of Loren, who is again joined by capable skills of pianist Matt Treder, bassist Mark Schneider, Chris Ward on guitar and Brian West (percussion), with guest appearances by guitarist Jack Jezzro.

Loren opens with “After Dark”, a theatrical ballad of forbidden love perfected in secret.  Loren burns with desire, the many levels and textures of her vocal sound sparkling in the dark light of sensuality and longing.  This is an amazing start full of power and emotion.  Loren sings in English and Spanish on Jobim’s “Waters Of March”, finding a place that is subtle and refined but thoroughly in the moment of the song.  “Gray To Grand” is a Loren-penned piece of sweet and breezy jazz/pop with a pretty melody and a light feel; a nice change of pace with a developing worldview full of optimism.

“La Vie En Rose” is one of those songs that artists tackle almost at their own peril.  Edith Piaf being the icon that she is, her signature song is one that gets butchered more often than not.  Halie Loren gives a bravura performance in flawless French, as if she were born to sing it.  “Thirsty”, another Loren original, is a song of unequivocal longing and desire with an arrangement that sounds like it might have come out of a Sting recording session circa 1988.  It’s an amazing bit of songwriting and seems to represent a step forward for Loren as a songwriter.  Loren goes a bit free form in her take on Ray Henderson and Mort Dixon’s “Bye Bye Blackbird”, offering a highly interpretive vocal.  Loren works this for all it’s worth in a flawless performance.  The band is right there with her at every step, with pianist Matt Treder in particular standing out. 

Loren interprets Bobbie Gentry’s “Ode To Billie Joe” as a slinky blues number and absolutely inhabits the song.  This is one of those performances after which you simply sit back and say, “Wow.”  Loren takes the air of mystery of the original and raises it a notch.  John Shipe joins Halie Loren for a duet on “Beyond The Sea”.  This is an opposites attract pairing, as Shipe vocally sounds like a lightweight next to Halie Loren’s full voice.  The mix works because of the contrast, but they do sound mismatched at times.  Loren takes on Duke Ellington’s “In A Sentimental Mood” in another “Wow” moment that smooth and lush; artful and rife with emotion.   Loren has fun with Stevie Wonder’s “Happier Than The Morning Sun”, a celebratory love song that’s jubilant in its aspect and refined.

Loren gives Tracey Chapman’s “Give Me One Reason” a surprising read; putting her own distinctive stamp on the tune.  It might take a couple of listens to get into this arrangement, but the song will grow on you.  “It’s You” is a sensual song detailing a long distance love affair.  It’s the textures of Loren’s voice that stand out in a chill-inducing performance.  Jack Jezzro takes on final turn on “Time To Say Goodbye”, while Loren makes the chorus absolutely soar with nuance and a sort of beautiful grit.  It’s a magical moment where the artist, Loren, rises above her art into the sublime.  After Dark closes with a cover of Joni Mitchell’s “Carey”, blending Caribbean, swing and pop styles.

It’s hard to imagine Halie Loren not being a star.  With a masterful voice that’s part Etta James and part Sarah McLachlan, a subtle touch that allows her to blend vulnerability and sensuality unlike any other artist currently in jazz or pop music, and a talent for phrasing that’s uncanny, Halie Loren is the complete package.  After Dark shows a slightly lighter side to Halie Loren, but at the same time shows her gaining gravitas as a performer.  This could be the breakout album in the US; the one that takes Halie Loren from a known quantity to the status of being a big name.  Whatever happens on the charts or in the popular media, there will be little doubt to those in the know that After Dark is one of the finest vocal jazz albums of 2010.  It’s certainly a Wildy’s World Certified Desert Island Disc, a must have album.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. After Dark drops on November 16, 2010.  Pre-orders are available from Amazon.com for both CD and Download.