Leslie DiNicola - Some Greener Yard

Leslie DiNicola - Some Greener Yard

2013, Leslie DiNicola

Leslie DiNicola is a New York City-based singer/songwriter who writes soul-baring lyrics with a universal perspective.  Over time, DiNicola has receiving comparisons to such divergent artists as Janis Joplin and Alison Krauss.  She’s worked with the likes of Ron Allaire (Keith Richards, Madonna, David Bowie, Shakira); Julian Coryell (Aimee Mann, Leonard Cohen, Jewel, Alanis Morisette) and others.  DiNicola’s latest EP, Some Greener Yard, is her second with Coryell at the helm, and features some of her most personal songwriting to date.

DiNicola launches with "Shaky Wire", an aptly titled lead considering DiNicola is skating a fine and uncomfortably navigated line between country and rock here. The music is adeptly crafted, but there's a bit too much vibrato and tonal uncertainty in DiNicola's voice for this to be convincing. The vocals are much more stable on "Give Me Away", a middle of the road country/pop number full of melancholy. "Stay" shows more energy and a memorable chorus, but the vocal issues noted in the opening track return as DiNicola moves into her upper register. "Weight" tries to be a heart breaker, exploring the self-exploration following heartbreaking in reciprocal loops. The melody is pleasant enough, but the musical recidivism is tiring. DiNicola closes out with a meandering ballad that pales at its own energy and pacing.

Leslie DiNicola displays an affable voice with manageable weaknesses on Some Greener Yard. Unfortunately she tends to choose slow, languorous ballads that highlight the weaknesses rather than material more appropriate to her sound. The EP is fraught with slow, low energy moments that just don't do DiNicola justice.

Rating: 2 Stars (Out of 5)

Learn more at www.lesliedinicola.com.  

Andy Palmer - Hazard Of The Die

 

Andy Palmer – Hazard Of The Die
2013, Andy Palmer

Andy Palmer has been making music all of his adult life.  As front man of Colorado folk/rockers Grub Street Wine and as a solo artist, Palmer has earned critical and commercial accolades.  Palmer was named to Indie-Music.com’s Top-20 Independent Artists for 2011 and 2012.  His debut album, Sometime Around, won a Best of Denver Award in 2011.  This month the former Brooklyn public defender returns with his sophomore effort, Hazard Of The Die. 

Palmer opens with “The Monk”, an intriguing story song with heart-beat like rhythm and syncopated beats.  This arrhythmia lends interesting texture to a bit of observational songwriting that is off the beaten track.  Palmer’s voice is enigmatic and full of muddy timbres that give him a world-weary feel.  It’s an effective presentation that will stick with you.  “Heart Of Colfax” is a bluesy, angular rock tune with a bit of funk in its roots.  It’s a fun tune with a bit of a twisted sense of humor running through its veins.  The character perspective plays like an urban style Randy Newman, and the tune is ultimately catchy.  “Broke Down In Bellevue” is a down-tempo ballad steeped in blues chords and a lightly swung chanson style.  Palmer is a disaffected narrator here, laying out the pin points of desolation on a musical map for all to see and hear.

“Good Son” finds Palmer opening up the arrangement into a more pop-friendly rock sound.  The spoken-word vocal works well in the wide open sound of the song, with Palmer surfing his way through the song on an enigmatic vocal performance.  “Moreya” is a solid piece of balladeering pop.  It’s a bit bland and reserved compared to what’s come before, but is a solid album track.  Palmer goes bilingual (English/Spanish) on “Hay Algo Muy Mal”.  Palmer struggles here, as the song is cut from the same low-energy cloth as “Moreya”.  He recovers his energy and musical quirkiness on “The Defendant”.  The song is understandable repetitive, but the repetition does become a bit much.  At the same time, Palmer offers up some of his best guitar work on the album her.  Hazard Of The Die takes a bow with “Fancy That”, an energetic and funky rocker that will have your toes tapping and your hips grooving.  Love becomes its own economy of scale here, and the story is irresistible. 

Andy Palmer won’t sit well with everyone.  He’s voice is definitely off the beaten path, but Palmer uses his instrument to best effect on the eight songs presented on Hazard Of The Die (Think Leonard Cohen meets Tom Waits).  Palmer continues to use stories and ideas from his career as a public defender in his songs and the result are an entertaining and eclectic collection of character based songs ala Randy Newman.  Palmer’s composition style jumps around a bit, but the angular guitar work seems to be a trademark.  Hazard Of The Die will certainly catch your attention, and if you’re a listener of lyrics and a fan of story-based songs, then Andy Palmer will be right up your alley.

Rating: 3.5 Stars (Out of 5)

Learn more at www.grubstreetwriterband.com. 



Nadia Kazmi - Strange Song: The Songs Of Leonard Cohen

 

Nadia - Strange Song: The Songs Of Leonard Cohen

2011, Nadia Kazmi

Nadia Kazmi returns in 2011 with a tribute album featuring nine songs penned by Leonard Cohen.  The Canadian-born Brooklyn resident takes some non-traditional routes to some Cohen's most interesting material on Strange Song: The Songs Of Leonard Cohen.  Sometimes the results are downright intriguing.

Nadia opens in an angry and petulant mood, straining at the top of her vocal range on "Why Don't You".  Nadia sacrifices tone and precision for impact in a compelling performance that is musically imperfect but emotionally charged and artistic.  "I'm Your Man" captures the urgency and utter need of the original.  Nadia is a bit out of her element vocally, but gives it an honest try.  "Avalanche" balances off Nadia's somewhat blasé vocal performance with an angry guitar that manages to capture the grit that she cannot.  Things get a bit muddled on "True Love Leaves No Traces", as Nadia's voce gets buried in the production and loses any sense of power or centricity to the song. 

Nadia breaks out and shines on "Ain't No Cure For Love", stripping things down and offering a simple arrangement that clings to her voice like lace.  Nadia keeps the vibe going on "Paper Thin Hotel", keeping things controlled and allowing her voice to shine in more comfortable musical territory.  It's hard not to note Cohen's songwriting here either, as it is nothing less than spell-binding.  Nadia closes with a pair of great songs, the competent rendition of "Came So Far For Beauty" and the standout "Hey, That's No Way To Say Goodbye". 

Nadia starts off on the wrong foot on Strange Song: The Songs Of Leonard Cohen, trying to do too much and forgetting to be herself.  She settles in more and more as the album progresses, and manages to present some really fine renditions of some of Cohen's best material as she relaxes and let’s go of her pre-conceptions.  Stick with this one, its gets better as it goes along.

Rating: 2.5 Stars (Out of 5)

Learn more about Nadia at www.nadiakazmi.com or www.facebook.com/nadiakazmimusic.  Strange Song: The Songs Of Leonard Cohen is available from Amazon.com as a CD or Download.  The album is also available via iTunes. 

NEeMA - Watching You Think

NEeMA - Watching You Think
2010, Neemaste Music/SONY

NEeMA is one of the most exotic artists in pop music.  The Canadian singer/songwriter is the daughter of Egyptian and Lebanese parents, but it is her life experience that sets her apart.  NEeMA has spent time with the Dalai Lama and Mother Teresa; she has worked with homeless children in the streets of Egypt, and has even worked with the Wekweti First Nation in the Northwest Territories of Canada.  NEeMa blends folk, jazz, world and pop in unusual fashion on her album Watching You Think.  Produced in association with Leonard Cohen and Pierre Marchand, Watching You Think has NEeMA poised to break out in 2011.

Watching You Think opens with "Unspoken", a baroque pop tale of love steeped in an air of tragedy.  This is a compelling opener with a beautifully mysterious sound.  NEeMA has a strong storyteller vibe about here, and crafts an intriguing acoustic arrangement full of strings.  "Romeo And Juliet" is a nice, fresh cover of the Mark Knopfler tune that falls somewhere between the original and the more upbeat version cut by the Indigo Girls.  NEeMA's vocal line is conveyed in an almost conversational style that's appealing.  "Unwinding" is solid, although a bit repetitive in the chorus.  This one doesn't quite keep up with the first two tracks energy-wise, but is an apt album track. 

"Running" blends ethereal and earthy elements that contrast wonderfully with NEeMA's voice.  Hers is not a typical voice, filled with textures and sounds that are a bit foreign to the western ear.  The individual notes aren't always hit perfectly, but the quality of her voice is deeply intriguing.  "Eternity" is an exploration of adolescent angst over mortality and how it follows us through life.  The theme is coming to terms with our eventuality, and while a bit drawn out is actually quite well done.  "Escape" is more upbeat pop with a nice melody.  Adolescence holds sway once again, this time pushing at the boundaries and growing up. 

"Stay" is affected and unbelievable.  NEeMA attempts to use elements of Middle English in a highly contrived number where the emotion sounds as affected as the language.  "Sidewalk" is a hippy Americana love song with a great arrangement but not much in the way of energy.  NEeMA has a compelling voice, but at times, as here, is too reserved for her own good.  "Bone To Pick With Time" sidles back to anxieties about time slipping away, pining for all the things she wants to do but has lost out on.  "Jealousy" has a raw, entertaining arrangement that's entertaining.  The guitar used here sounds ever-so-slightly out of tune, giving the whole affair a slightly surreal sound.  "Elsa's Lullaby" is a gorgeous and heartfelt love song to a child.  Any parent, and particularly any mother, will identify with this tune.  NEeMA has found a true 'WOW' moment with this one.  Watching You Think closes with "Masi 2010", a dark song with a less-than-hopeful message about the future of humanity and the runaway degradation of our natural resources.  NEeMA builds a primal feel into the song, sampling Middle Eastern keys and chant-style vocals that sound aboriginal in nature.  This is a compelling closer that you have to hear to understand.

NEeMA will open eyes and ears with Watching You Think, a vibrant and lively collection of songs and observations that will grab onto you and not let go until the ride is over.  NEeMA brushed aside expectations as easily she takes a breath, offering an enduring and compelling work that will keep you coming back.  Watching You Think will leave an impression.

Rating: 4 Stars (Out of 5)

Learn more about NEeMA at http://www.neema.ca/ or www.myspace.com/neemaste.  Watching You Think is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Asher Quinn - Songs Of Love And Chains

Asher Quinn - Songs Of Love And Chains

2008, Oreade Music

Asher Quinn is best known as a new-age/ambient composer, selling over half a million albums since his debut in 1987, but at heart he is something of a balladeer.  His 2007 album, Songs Of Love And Chains, covers several decades of musical history with a collection of cover songs done in the simple and clear style of a bard. Artists such as Leonard Cohen, The Righteous Brothers, Jimmy Webb and Jimi Hendrix get Asherized on the two-disc set, with varying degrees of success.

Quinn opens with an ethereal cover of Bruce Springsteen's "I'm On Fire".  Sung over a thin veil of undulating synth, Quinn's voice just seems out of place here.  It's a solid rendition, but something just doesn't quite work for Quinn here.  "Golden Brown" is pretty and watery and undulating in its feel, fading away in much the same rippling fashion as it plays.  Quinn paints The Righteous Brothers' "Unchained Melody" with a similar brush in a minimalist synth arrangement.  Quinn's distinctive vibrato plays about the melody in memorable fashion, although he struggles with the lower notes at times.  Quinn takes more of a folk-inspired approach on "Dona Dona Dona", sticking to guitar and harmonica in an energetic and inspired arrangement.  Ben E. King's "Stand By Me" gets softball treatment, setting it up as tortured piano ballad.  While Quinn's take is solid, it pales in the shadow of the original.

Quinn takes emotive turns in "Hang On To A Dream" and "Lift Me Up", the latter saccharine and drawn out to extreme, but recovers nicely in the tragic "Down In The Willow Garden".  Love goes violently wrong in this classic-style folk song, and Quinn gives it voice in a blend of denial and delusion mixed with love.  Quinn hits all the right notes on "Do What You Gotta Do", making the most of Jimmy Webb's creation in a touching performance that's full of emotion and nuance.  "Pastures Of Plenty" doesn't go quite as well, with Quinn setting the key too low for his own vocal comfort.  The low notes here have an unfortunate sound that simply doesn't work.  Leonard Cohen's "Suzanne" gets much better treatment, an almost wavelike feel that speaks of cycles within cycles.  Quinn is perfectly matched to this song, and it's one of the absolute highlights on the album.

Quinn's take on "The Highwayman" is solid if uninspiring.  He hits all the right notes in a technical perfect performance, but the heart of the piece just isn't there.  "Only You" goes a bit better, with Quinn capturing the heart and soul of the Erasure Song while using a surprisingly fitting harpsichord sound.  Quinn makes easy work of "Mr. Bojangles" in a solid performance that's filled with the quiet awe the song achieves in its best moments.  Quinn revisits Leonard Cohen with "Hallelujah", sticking very close to the feel of the original in a quietly moving performance. 

Quinn fumbles a bit before stumbling into his wonderfully stripped down and lovely take on Willie Nelson's "You Were Always On My Mind".  Simplicity is the key here, allowing Nelson's classic melody and lyrics to speak for themselves.  Quinn likewise scores with a take on Sam Cooke's "Bring It On Home To Me", an understated but likeable interpretation to one of Cooke's finest songs.  "All Along The Watchtower" doesn't fare quite so well, lacking any of the intensity you might expect from the song.  "Not Dark Yet" has its own magic, a quiet penultimate track that finds Quinn raising his game at just the right time.  Songs Of Love And Chains closes with "Jah No Dead" in a flat an uninspired performance that is an unfortunate piece of punctuation on an up-and-down album that has more positives than negatives. 

Asher Quinn's expertise and talent as a composer is unquestionable, but as essentially a solo performer in the pop/folk realm he struggles at times.  Songs Of Love And Chains is aptly named both for the song selection and for extremes Quinn hits in his interpretation of classic songs that cross boundaries, genres and generations.  It's not entirely surprising that some of Quinn's best performances are covers of classic singer/songwriters of the 1960's, but the unevenness of the album may scare off some fans from dropping for a two-disc set.  There's enough here to make the album worth owning, but you couldn't be blamed for selecting your favorite fifteen tracks or so and sequencing your own Quinn album out of the lot.

Rating: 3 Stars (Out of 5)

 Learn more about Asher Quinn at http://www.asherquinn.co.uk/.  Songs Of Love And Chains is available from Amazon.com as 2-CD Set or Download.  The album is also available via iTunes.

Kathryn Williams - Relations

Kathryn Williams - Relations
2010, One Little Indian

Not too long ago we received Kathryn Williams' The Quickening, a charming album that showed a deep sense of songwriting acumen and a highly focused performance style that digs deep into the moment of each song. On October 12, 2010, Williams returns with Relations, a collection of thirteen cover songs that finds Williams channeling her performing energies into the muse of others. In the process, Williams seems to get in touch with the inspiration of each songwriter and song while bending and blending each tune to make it uniquely here own.

Relations opens with "In A Broken Dream" (David Bently), with Williams delving into human emotions with a clinician’s eye. Her delivery is both feeling and clinical at the same time in a lyric, melancholy arrangement that captures and lulls the listener. "Birds" (Neil Young) is given a lovely reading here. Williams sticks with a simple arrangement of guitar with just a breath of strings now and again. It's a beautiful moment where the Young's poetry and the poetry on the instruments converge and intermingle as equals. Williams lights up the night with a cover of Big Star's "Thirteen", culling the innocence, angst and loneliness of a teenager in both Alex Chilton's lyrics and her own voice.

Williams takes Leonard Cohen's "Hallelujah" to another level, interpreting it as a reverent, secular prayer that's both carnal and at peace. Williams has already shown a talent for playing on dichotomies, and excels here in a remembrance of events both violent and tragic; human and divine. Williams throws listeners a delightful curve with Ralph Rainger's "A Guy What Takes His Time", teasing with gentle innuendo and the subtle delivery of an ingénue in a blues/folk arrangement that's absolutely memorable. Williams transforms Lou Reed's "Candy Says" into a dreamy art house ballad, surfing the musical seams of the song with a grace and strength that is impressive.

Stephen Malkmus' "Spit On A Stranger" is surprisingly charming and well-performed; you can almost hear Williams straining at the bit to break out and give this song a more solid airing out - the sort that can really only happen on stage. But the energy and the tension in this song are significant, making for an enjoyable listen. The most surprising, and gratifying performance on Relations is Williams' take on Nirvana's "All Apologies", a baroque lamentation on the pointlessness of life and human institutions that's even more stark and affecting that the original. While Nirvana's version was angry and wracked with social guilt, Williams makes it a sonic diagnostic with personal implications, both of the moment and outside of it. "Beautiful Cosmos" (Ivor Cutler) explores the atmosphere and comfort of knowing you are loved; a pleasant but somewhat awkward transition to the closing track, "These Days". Williams makes the most of the Jackson Browne tune in a love cover that amplifies out fear of change and our tendency to build shelves around our lives. Williams shows a British detachment and grace here that's both charming and distinctive.

Kathryn Williams makes friends on Relations with some under-represented nuggets from an impressive list of singers/songwriters. Perhaps the strongest quality Williams possesses with regard to covers is her ability to pay tribute to the original while crafting interpretations that are distinctly her own. Some of the songs here you might be hearing for the first time, and if so you'd never guess they didn't come from Williams' heart. For the songs you know, Kathryn Williams offers you an opportunity to re-imagine what you've heard and see it in a different light.

Rating: 3.5 Stars (Out of 5)

Learn more about Kathryn Williams at http://www.kathrynwilliams.net/ or www.myspace.com/kathrynwilliams.  Relations will be released in the US on October 12, 2010 on CD, but the album was originally released in 2004 in the UK.  You can pre-order the CD from  Amazon.com, but the import version is actually a dollar cheaper than the US pre-order.  Digital is available from both Amazon.com and iTunes.

Mary Gauthier - The Foundling

Mary Gauthier - The Foundling
2010, Razor & Tie

Mary Gauthier places a bit of herself in every song, but on her sixth album, The Foundling, Gauthier takes it to a new level. The Foundling is an autobiographical concept album, if such is possible. Dealing with her abandonment as an infant and the journey of understanding that took some forty years thereafter, Gauthier’s The Foundling is intensely personal, and plays like the soundtrack to a musical. With production from the Cowboy Junkies’ Michael Timmins, and backing vocals from the exquisitely voiced Margo Timmins, Gauthier weaves wondrous songs of truth, tragedy and hope on The Foundling.

Gauthier opens with the title track; "The Foundling" has a dark, southwestern country feel done up in minor keys. Gorgeously orchestrated, "The Foundling" sounds like Broadway done sorrowful cowboy style. Gauthier's voice is full of texture and pain; she breathes each line as if she's living the tale rather than telling it. "Mama Here, Mama Gone" is the stark picture in song of a newborn without a Mama to reach out to. It's a sorrowful heartbreaker, ethereal and beautiful in the pure tragedy it conveys. "Goodbye" could be The Foundling's (the character) theme; the story of a soul too pained to stay in one place too long or make any personal connections. Gauthier's plain-spoken vocal style is a treat; bring an earthy sensibility to a dark character story.

Shades of New Orleans slip in on "Slideshow", a song about the sort of nighttime entertainments that draw the lost and disaffected. It's Gauthier at her best, as the redheaded step-child of Randy Newman and Bonnie Raitt. "Blood Is Blood" documents the search for the mother who left her; walking the streets of New Orleans searching for a face that's somehow familiar though unknown. The song is full of emotional turmoil, played out effectively between the violin and guitar. Love, anger, sorrow and ribbons of resigned hate pulse through this powerful tune of longing. "March 11, 1962" is a coming home, of sorts. Gauthier finds the mother who bore her, and reaches out via telephone. Unsure of why she's calling, but looking for some sense of peace. There is an air of hope that rises out of the darkness of years, but falls back into resignation as she closes the call with an ending rather than a beginning.

In "Sweet Words" Gauthier comes face to face with her own inability to trust in the kindness of others. It is the quiet anthem of someone who has been deeply hurt and can never fully trust again. The other side of the emotional coin is presented on "The Orphan King", the lost and perpetually lonely dream of love and hope for it even as it eludes their broken souls. It's a tremendous soliloquy of hope against hope. "Another Day Borrowed" is perhaps something of a happy ending. Our anti-hero continues to travel from town to town, failing to put down roots or build connections too deep; but she's no longer running. Now Gauthier is thankful for each day and opportunity, taking from the world what it will give with an air of wonder that even such pittance might be hers.

Mary Gauthier's is a highly affecting and musical affair; an Off-Broadway musical in the making should she wish it. All the elements are here; an intriguing lead character, an archetypal motivation, the sort of human flaws we can all identify with but magnified to theatrical levels, and a resolution that isn't happily ever after, but happy nonetheless. Musically, The Foundling is an amazing experience. Gauthier's songs flow like water, with the gritty determination of someone who has spent a life getting by on inspiration and grit. If you're not moved by The Foundling you aren't listening.

Rating: 4 Stars (Out of 5)

Learn more about Mary Gauthier at http://www.marygauthier.com/ or www.myspace.com/marygauthier. The Foundling is available as either a CD or Download from Amazon. Digital copies are also available via iTunes.

Review: Gabe Hizer - Persistence Of Memory

Gabe Hizer - Persistence Of Memory
2010, Phylius Records

Gabe Hizer's path to his debut album, Persistence Of Memory, isn't quite what you'd expect. The Berklee College Of Music Grad went on to Boston University Law School, spending the next two-and-a-half decades in the practice of law. Retiring in 2007, Hizer moved to Mexico for four months with two cats and various tools for creating and recording music. This interregnum brought back Hizer's passion for music and with it a prodigious number of songs. Upon returning to the US, Hizer packed up his belongings in his home in Boulder, Colorado and struck out for Nashville. Persistence Of Memory, due out April 5, 2010, is a living document of this period of upheaval and renewal in Hizer's life.

Persistence Of Memory opens with "Memory", a highly emotional song that remains vaguely opaque in meaning. Hizer displays a keen sense for melody here as well as on "Forever", a love song destined for the mix tape circuit. Hizer's voice is a bit rough at the upper edges of his range with a Gordon Lightfoot rasp that might be an acquired taste. Short of the high notes his voice is very pleasant. "The Ballad Of Joey And The Bottle Of Booze" relates a (likely true) story about a man arguable wrongly convicted and wrongly released, highlighting the ability of bureaucracy to produce almost any result imaginable. Hizer's tale is a classic American tale of justice being done by unintentional means and seems like it could become a folk favorite.

There are certain folks in the world for whom the land they live on is their greatest connection to the world. Hizer features such a voice in "Under Western Skies", a highly personal feeling tune that lists dangerously close to over-emoting. Hizer crashes through this barrier on "Falling Down", going over the top and pushing high into an upper range that obeys his wishes but doesn't always serve him well. Hizer gets a bit of gospel and blues going for him on "Searchin' Outside For My Soul". This is the most dynamic performance on the album and the best songwriting. Hizer discusses an aging parent who is now living in a nursing home in "Some Things Never Change", a conscience clearing tune that works more as a self-serving piece than as storytelling. "Let Me Fall On You" is a love song of sorts; a man asking for love not out of his strength but out of imperfection and humanity. The soulful arrangement works well in what is an atypical approach to a ballad. Hizer closes shop with "Paris Cafe", a paean to a relationship that didn't work out years before. The wounded hero has run off to Paris to forget, but can do nothing except remember as he looks out on the Seine.

Persistence Of Memory gets high marks as a songwriter vehicle. Hizer has a distinct talent for crafting melody and wrapping it in arrangements to suit. As a story teller, Hizer displays a strong talent encapsulating moments, feelings and even people in song. As a performer, Hizer is excellent, although the upper ranges of his voice are both a blessing and a curse. Hizer can still hit notes that many singers his age can't imagine, but the gruff edge to his voice up top can be grating. All told, Persistence Of Memory is a solid first effort. You'll wish Gabe Hizer had quit his day job sooner.

Rating: 3.5 Stars (Out of 5)

You can learn more about Gabe Hizer at http://www.gabehizer.com/. Persistence Of Memory and April 5, 2010 release on CD. If you can't wait, you can download the album now from Amazon.com.

Review: Tortoise And Hair - Front Row Seat

Tortoise And Hair - Front Row Seat
2009, Tortoise And Hair

Husband and wife duo Adrienne and Dustin Cottrell, also known as Tortoise And Hair, hail from Marietta, Georgia and have been charming audiences in the Southeast United States for a decade now. The Cottrells studied together at Florida State University; each are classically trained musicians with a shared love of some of the great singer/songwriters of Rock N Roll era (Leonard Cohen, Joni Mitchell, Bob Dylan, Gillian Welch, etc.) Tortoise And Hair uses a distinctive sense of melody, witty and insightful lyrics and their own special chemistry to open ears, minds and hearts on their debut album, the self-produced Front Row Seat.

Front Row Seat does display a certain distinct chemistry, but its duplicity is fetching. For all the chemistry on the album, it really is more like listen to two distinct artist's solo albums on shuffle. Adrienne Cottrell leans more toward a Folk or Easy Listening sound, relying on the deft imagery in the lyrics and her angelic voice to entrance a crowd. Dustin Cottrell is a closet Rock N Roller. He plays along well on the more Folk-oriented material, but you can hear the enthusiasm in his guitar on the more Rock and Blues sounding songs. When the Cottrells sing together, however, there is no doubt they are together, as their voices intertwine and blend as if caramelized together by the music.

Front Row Seat opens with Traveling Song, a paean to finding home in the midst of love no matter where you might be. The arrangement is a sweet Maritime Celtic ballad and Adrienne Cottrell pays epic tribute with her voice. Dustin Cottrell takes over on Faultline '09, an edgy bit of Urban Folk with a touch of Blues. The song is as catchy as anything you might hear. Watching The World Fall Apart is a mellow shell for a blend of voyeurism and schadenfreude that may be an indictment of financial collapse of 2008 and those who brought it about. Watching The World Fall Apart is sublimely tuneful and holds a wealth of finely meted our bitterness in its grasp.

Confessor explores misplaced faith and the inherent need of even those who claim no faith to be absolved of their guilt. The song is a passive-yet-powerful story about one lost soul who keeps running to another in times of doubt, only to return when his well of certainty runs out. Adrienne Cottrell is out front on this one, a convincing and vaguely chilling story song that will stick with you. Big Picture is self-explanatory, a song that attempts to put life's little problems into perspective. Dustin Cottrell takes the lead with extensive harmonies from Adrienne. Voice Of The Wind is perhaps the most unusual track on the disc, built from a martial beat, an ethereal arrangement and a whirling collection of guitar riffs. No One Else In The World recalls a simpler time and focuses on self-fulfillment. It's not a flashy tune but flat out great songwriting.

Forever Yours is a powerful love song with perspective. Adrienne Cottrell ruminates on the changes that life brings yet returns to the one constant in her life: love. Forever Yours is likely to wind up on mix-tapes, dedication lines and any other method people can use to dedicate songs to one another. Lady Midnight is far and away the best songwriting on the disc; a wonderfully poetic representation of the doubts that strike us all in the hours between dusk and dawn. Adrienne Cottrell uses powerful imagery, vulnerability and an amazing voice to paint a picture that is many times greater than the sum of its parts. The song and performance are utterly brilliant. On Limbo, Tortoise And Hair explore the existential angst and self-doubt that accompany one of the many transitions from youth to adulthood. Dustin Cottrell is out front this time in a tune that sounds a bit like mid-1970's Billy Joel. For Once In My Life has an easy Piano/Jazz feel. It's a song about escaping all of your bonds for a little while; just being able to be, and is probably a daydream most concoct from time to time. Tortoise And Hair close with Just Another Road, a plain and plaintive closer that hides s quiet sense of hope that will grab you.

As a listener I was quickly drawn into the inner life of Tortoise And Hair. Like many of the troubadours before them, this duo breaks down barriers with honesty, intelligence and wit, all wrapped in tremendous melodies and supple arrangements. Front Row Seat does feel like two distinct artists at times, but even where this dichotomy exists, the sense of chemistry between the two never fades. Adrienne Cottrell writes and interprets brilliantly, and Dustin Cottrell brings an edgy sense to the duo that seems initially out of place but quickly melds itself seamlessly into the sound. Tortoise And Hair are a duo not to be missed.

Rating: 4 Stars (Out of 5)

You can learn more about Tortoise And Hair at http://www.tortoiseandhair.com/ or www.myspace.com/tortandhair. You can purchase Front Row Seat as either a CD or Download from CDBaby.com.

Review: F&M - Every Light Must Fade

F&M - Every Light Must Fade
2008, Shameless Records Canada

Edmonton, Alberta is the home to F&M, a quintet that has grown from power couple Ryan and Becky Anderson. Comparisons will be made to Leonard Cohen, Neil Young, Natalie Merchant, Feist and Nick Cave, but don't let the darkness fool you. F&M writes strong music dealing with difficult issues with a positive outlook (or at least the hope for one). Their latest album, Every Light Must Fade, deals with death and loss from the perspective of a life cycle where death means new life or new beginnings. Ryan (vox, guitar) and Becky Anderson (vox, piano, accordion, guitar, cymbeline) are joined by Brian "Miot" Reichert (lead guitar, vox); Chad Andriowski (percussion) and Kevin Anderson (bass). Ryan Anderson claims the band once sucked, and it’s hard to be debate such subjective outlooks, but there are definite highs and lows here.

Every Light Must Fade opens with the title track, a dark and ambling tune acknowledging that the end comes to us all in stark and poetic terms. Ryan and Becky Anderson manage to create some moments of beauty in the darkness, he with his somewhat gruff voice and her ethereal harmonies. Stuttering Boy is our first opportunity to hear Becky Anderson in a lead vocal capacity. Her voice is eclectic and unique and interesting to listen to; ranging from a fluttering and ischemic soprano to a full and warm alto. Lyrically the song is a bit halting and awkward, but the overall effect is a positive one. Bad Advice From A Bad Singer is all about fearing the end; the sort of insecurities most people have about what comes after death, if anything. It's well-written and addresses the issue without taking sides with regard to beliefs.

Becky Anderson shows the more pleasant side of her upper range on Rising To The Moon; a voice that's part Marian Call and part Hope Sandoval. Anderson shines in this dark piece about not getting where you want to be and the inevitability of death/failure/loss. Shy is a repetitive and circular picture of social awkwardness; lyrical paucity and a skittish acceptance of self are at the center of this song, which works on several levels. Industrious displays the lyrical awkwardness that seems to be one of the trademarks of the band; as if thoughts come in halting and difficult leaps. You Will Die is a stark reminder of the obvious, starting with the most story of the most unlikely and most-well known case of all. The repetitive nature of the arrangement is the driving force of the song; given its incessant and semi-urgent quality. Another Closing Number emphasizes the dichotomy of age; how we crave more when we have less and vice versa. It's an examination of human nature in darks and lights that is perhaps the most perceptive and well-written song on the disc. F&M closes out with a hidden track, The Grey Havens, an ethereal, angelic fugue that celebrates one conception of the hereafter.

F&M takes on difficult material on a difficult album in Every Light Must Fade. I can't say I enjoyed the album, yet I somewhat liked it nonetheless. This is a listening experience that makes you uncomfortable and pushes at your buttons. It's messy and dark and buoyant in its own Cimmerian waters. Ryan and Becky Anderson have voices that are distinctive and intriguing, and when they sing together they're at their collective best. Every Light Must Fade is going to be a difficult experience for some; it's not clean and easy to listen to, but it's a robust artistic statement on mortality, done in the fumbling awkward terms in which we tend to address the subject. Are you up for a challenge?

Rating: 3.5 Stars (Out of 5)

You can learn more about F&M at http://www.fandmtheband.com/ or www.myspace.com/fandmtheband. You can purchase a copy of Every Light Must Fade at CDBaby.com. If you like renting your music, you can download it through iTunes.

Review: Cheryl Catherine Smith - Cheryl Catherine Smith

Cheryl Catherine Smith - Cheryl Catherine Smith
2008, Cheryl Catherine Smith

Cheryl Catherine has the sort of back story that speaks of urban legend, mythology and hearsay, yet I am assured it's all true. A father who may have been part of the Mafia in New Jersey drove to Vancouver to see his two children when Smith was eight. The next day he was found dead. Smith's life spun slowly out of control from there. Smith frantically searched for meaning and purpose, trying everything from modeling to religion to drugs. Personal tragedy (rape) and success mixed in a whirlwind leading up Smith's own suicide attempt. Somewhere in there Smith came to terms with her own path; since that time the creative possibilities in her music have opened up a whole new world for Smith, who has been compared to Pat Benetar, Pink, Leonard Cohen and even Bette Midler. Smith's self-titled debut CD, released in 2008, is starting to gain serious traction in Canada and the United States, even garnering airplay in the UK.

Opener All Dark Places is set to a dance beat and speak of the void in anyone who has been hurt that waits for love to fill it. The vocal is lush and entrancing with a rocker edge to it. This will be the second single in the US and has serious commercial potential. Smash Up My Telephone opens with a talk/sing introduction before heading into a lyric bridge and a guitar-heavy chorus. This is another tune with real potential commercial impact. It's just off the beaten path enough to stand out and finely crafted enough as a Pop/Rock song to swim with the big musical fishes. Why Does She Hate You has already earned status as a moderate radio hit in the US. It's a driven rock song that calls to a cross between Pat Benetar and Patti Smyth. With the right push from a label this would easily be a top-10 single. It's that good.

Smith heads for deeper waters on My Body Bends, a song about the sort of insecurity, fear and plain that leads some to the point of ultimate decisions such as suicide. The song is shocking in its presentation, sounding otherwise like a 1980's Pop/Rock song. Pardon Me is a protest song of sorts against the power brokers of the world. It's spoken word over ethereal keyboard and a heavy, slow rhythm. It may be Mother Nature speaking or some other goddess figure but could just as easily be any deity you choose. I Am Strong is done as a country tune about getting out before things fall apart. The song appears to be written from the perspective of someone afraid of things working out rather than of them falling apart. It's great writing, fully in character and in situ. Time Is On My Side is a radio-ready Country/Rock anthem about believing in yourself. This could easily become the theme song of a television show and could become an anthem for all those striving to make their dreams come true.

September Morning addresses growing up and beginning to see that all the things that looked black and white at 18 are really all different shades of grey. This is a theme that has been done many times over in popular music, but Smith avoids cliché and creates a cogent and poetic pop song. Superhero walks the line between love song and best friend song; it could be read either way. Regardless of your reading this is a classic pop tune with serious potential for licensing and an outside chance of breaking at radio. It's a catchy melody, a solid and well-delivered subject laid out in poetic language and a steady pop beat that leaves it open to dancing. This is real mix-tape material and an instantly likeable tune. Smith heads back to the Country sound on Let Sleeping Dogs Lie; singing in the warm alto part of her range and letting herself go completely in the singer/songwriter pastiche she's so good at. Smith closes out with the Rockabilly/Rhythm N Blues On My Way; an acknowledgement that in spite of whatever has come before Smith is heading toward her dreams. It's a song that most working musicians can identify with. It reflects confidence and belief in self and is done with an almost magical touch on lyrics.

Cheryl Catherine Smith is the real deal. Her sound varies from Rock to Pop to Country without any variation in the quality of her songwriting. Cheryl Catherine Smith is the sort of album that breaks out and big, turning a relative unknown into a known commodity and occasionally even into a big star. There's enough material here with real commercial impact to sell a lot of albums/downloads, but Smith never seems to aim for a commercial sound. It's more like she writes what she writes and some of it is just so good that commercial radio can't ignore her. Once you've heard Cheryl Catherine Smith you won't be able to ignore her either.

Rating: 4 Stars (Out of 5)

You can learn more about Cheryl Catherine Smith at http://www.cherylcatherinesmith.com/ or www.myspace.com/cherylcatherinesmithfans. You can purchase a copy of Cheryl Catherine Smith at www.cdbaby.com/ccsmith.

Review: The Old Man And His Po' Buckra - Taxes

The Old Man And His Po' Buckra - Taxes
2009, Ever Reviled Records

The Old Man And His Po’ Buckra is a Jersey City, New Jersey band with an unusual presentation and an anachronistic sound. With a growl that makes Leonard Cohen sound like a lyric tenor, The Old Man expounds on the darker side of life on his debut album, Taxes. Like a John Carpenter film or a vicious car wreck, you’ll find yourself wanting to turn away but unable to. The Old Man is not easy on the ears, but he gets under your skin.

Taxes opens with The Great BaBu, a disturbing tune that has an almost ceremonial beat to it (laid down by Aphonia's Gregory Szaro). The Old Man growls his vocals in an atonal speaking voice like an adenoidal Crypt Keeper with laryngitis. Who's Your Friend finds The Old Man's voice balanced out by Aphonia's Zeena Koda, who's voice is as warm and sultry as The Old Man's is rough and creepy. The song isn't verbose, essentially repeating the "Who's Your Friend In Need" line. Monkey Paw, an obscure reference to a sailor's knot used as a hand-to-hand combat weapon in the 19th century is equally verbose. It's a rather odd tune that I still don't quite have the point of, unless it's simply a brief expression of the idea of "when they hit you, hit back". Sweets Rot The Teeth again features Zeena Koda on harmony, or more accurately, melody vocals. It's a song about coping with heartache and loss; in this case the preferred method is a bottle of whiskey and a rocking chair.

In Love With The Devil is a promising musical arrangement, but loses out on the croak and groan of The Poor Man. This is perhaps The Poor Man's best songwriting on the disc, but his gravelly croak just loses its luster after a few songs. Zeena Koda saves the song to some degree, but she's not the one in front for most of the song. Do What The Lord Said sounds like advice from a father who feels he is already lost to depravation to his child whom he hopes to save from the same path. It's an interesting bit of songwriting that continues to sound better in the hands (or vocal chords) of Zeena Koda, but is probably the most enjoyable song on the disc. The Old Man closes out with Stanley Jean is a tune about revenge that doesn't work quite how the narrator might have planned it. It's an interestingly dark coda for the album and ends as abruptly as you might expect.

The Old Man And His Po' Buckra is bound to be an acquired taste. The songwriting is better than you might suspect, but the delivery of The Old Man is a novelty that will wear off quickly. Think of it as coffeehouse folk for the Emo/Mathcore/Metal set. The songs take on a completely different life when Zeena Koda steps in on vocals, and would perhaps be better served with her in front. Nevertheless, it's an interesting record. Give it a try. Don't be surprised if you don't like it. But don't be entirely surprised if you do.

Rating: 3 Stars (Out of 5)

You can learn more about The Old Man And His Po' Buckra at http://www.thepobuckra.com/ or http://www.everreviledrecords.com/. You can purchase a copy of Taxes from Amazon.com.

Review: Jason Yates – Jason Yates

Jason Yates – Jason Yates
2009, Vapor Records
Jason Yates is one of the most respected Hammond B3 players in the business, having played with folks such as Mazzy Star (Fade Into You); Natalie Merchant (Tigerlilly Tour), the 2 PC and Macy Gray. His keyboard skills are undeniable, yet it's always interesting to see how a top-notch instrumentalist transitions to the front-man role either of a band or as a solo singer/songwriter. Yates made that jump with Angeleno, and returns on October 6, 2009 with his self-titled disc, Jason Yates.

Jason Yates opens with My Way Out, a piano-driven rocker that harkens back to an older sound; part Rod Stewart and part Elton John with a bit of Ben Folds added in for seasoning is an apt description of the sound here. You won't be able to resist the desire to pop and sway. Nobody So Far continues in a similar vein, embracing a 1970's singer/songwriter aesthetic with a melancholy (think Wallflowers) look at failed expectations. Yates has an everyman quality to his vocals that puts the listener immediately at ease, and the gentle arrangement is the perfect fit. Paper Tents finds Yates engaging in a comfortable bit of Americana with ties back into the late-1960's, early 1970's Folk/Rock scene. It's a pleasant listen.

I Run is a somnolent little tune with a melancholy air and a decent melody. Written either from the depths of depression or the bounds of sleep, I Run flows slowly like a mountain. To Chance has the same sort of classic sway to it heard on My Way Out. It's a song of regret about a relationship that didn't end up where Yates might have hoped. The arrangement is solid has an instantly likeable quality to it. Expect this to be a concert favorite. Sing For You closes out Jason Yates on a familiar sleepy note; a love song for the lovelorn and weary.

The tempo and affect on Jason Yates was a bit much for my taste in the end. As slow and relentless as a river, Yates pours out the waterlogged contents of his heart in songs that rarely vary in approach, sound or style. What's charming at two or three songs becomes wearisome well before the ninth and final song concludes the cycle. Jason Yates might be the theoretical love child of Leonard Cohen and Hope Sandoval, or perhaps he's just a guy who writes sad songs; either way he'll find fans, but you really have to be in the right frame of mind for this one.

Rating: 2.5 Stars (Out of 5)

You can learn more about Jason Yates at www.myspace.com/jasonyatesofficial. Jason Yates will be released on October 6, 2009; you can pre-order a copy through Amazon.com.

Review: Steve McCormick - Lowlights And Footnotes

Steve McCormick - Lowlights And Footnotes

2008, Steve McCormick

I have to admit that the United Kingdom isn't exactly the first locale to pop into my head as a place to find great Country or Americana music. Steve McCormick doesn't claim to be either of those things, although Waylon, Hank and Merle have had a fair amount of influence on his songwriting (as have Randy Newman, Leonard Cohen, Tim Buckley, The Squeeze and even AC/DC). The Carlisle, Cumbria native released his debut album in late 2008 entitled Lowlights And Footnotes to critical accolades and a slow-growing but significant amount of worldwide airplay. Lowlights And Footnotes was mastered by Simon Heyworth (Tubular Bells, George Harrison, Nick Drake) and is played entirely by McCormick with the exception of Pedal Steel Guitar, provided courtesy of Dave Midgely.

Lowlights And Footnotes opens with Another English Cowboy, rocking right down to the roots of Country in a diatribe about not fitting the country mold. You'll be driven to dance and sing along to a song that could chart on American Country Radio if given the chance. McCormick gets a bit of Southern Rock flavor on the mid-tempo If Only She Were Lying. McCormick gets a bit trite in the chorus here, but the arrangement is a great listen. Making Light (Of Being Kept In The Dark) brings a touch of British humor to the honky-tonk on a mid-tempo number that walks the line between classic Country and the Eagles brand of California Country. On I'm Alright, Jack, McCormick celebrates his state of being at the expense of a friend who's down in the dumps, all set against a vibrant classic Rhythm & Blues fueled Honky Tonk sound. Back To The Booze hits the R&B fueled Country sound another try with a kicking guitar solo in the middle to really spice things up. McCormick lights the lamp with a song that might just be a party anthem in the States.

McCormick sounds a bit like Lyle Lovett on The Other Man, pointing out that no matter which point you are in a triangle, the other guy is always The Other Man. The song is well written, with a plaintive, Tex-Mex country ballad feel. My Woman Doesn't Give A Damn deals with stereotypical country heartbreak with uncharacteristic wit and panache. Like much of the rest of the album, McCormick is a classic story-teller. When he's funny it's not because he's trying to be funny, but because real life is sometimes dotted with humor and wit. Black And White Photographs is about family, memories and how gateways to the past often pave the way to understand who we are. It's moving and heartfelt without sounding sappy and may just be the best songwriting on the disc. McCormick closes out with Living In Loserville is a tongue-in-cheek song about being happy with yourself. It's a great closer for an album that plays the country game without giving over it's essential character to Nashvillian Zombification.

Steve McCormick is a story teller in the vein of Randy Newman (although perhaps no one has the chutzpah that Newman manages). McCormick's songs work because the characters and events he portrays are honest and real; even the fictional ones are written like a good character, and the choices they make are convicted ones. McCormick's stories come to life in songs based in Country Music but ranging from Rock to Tex-Mex and every possible blending of those styles. Lowlights And Footnotes should be the darling of Country Radio. Let's hope McCormick gets the right breaks.

Rating: 4 Stars (Out of 5)

You can learn more about Steve McCormick at www.myspace.com/stevemccormickuk or http://www.stevemccormick.co.uk/, where you can purchase a copy of Lowlights And Footnotes using PayPal. You can download the full album from iTunes, or a free four song sampler from McCormick’s website.

Review: Sound Of The Blue Heart - Wind Of Change

Sound Of The Blue Heart - Wind Of Change
2009, Sound Of The Blue Heart

Human Drama was a major staple of the Los Angeles and Southern California Rock scenes in the 1980's and early 1990's. Its front man, Johnny Indovina went on to a successful Indie solo career before debuting Sound Of The Blue Heart in 2006 with ...Beauty? Sound Of The Blue Heart returns on July 14, 2009 with Wind Of Change, a well of deep musical emotions for your consideration.

Indovina has serious street cred in the Indie world; spending most of his 20+ year career without label support he has nonetheless inspired a generation of musicians with unflinchingly honest and occasionally provocative songwriting in the spirit of Leonard Cohen, Tom Waits and even Charles Bukowski. Wind Of Change opens with The Spell, a song about falling in love in spite of oneself. The arrangement isn't particularly powerful, but the lyrics are highly personal and honest. The Poisoning takes a layered, quasi-ambient path through lyrics about the passing of time and lost opportunities for both individuals and for mankind. Indovina laments the apparent loss of God to a society in decay. Run For Cover is a mellow and economically lush that seems to be about the human capacity to turn tail and run when things get hard. The guitar work here is exquisite, and Run For Cover is likely to become essential listening.

Wind Of Change features some guitar work that would feel right at home on a Dire Straits album and digs into the essence of renewal. The arrangement here is lush enough to draw listeners in and strong enough to note let them go. Violet's Wish is a biographical song about squandered moments and opportunities, which seems to be a theme for Sound Of The Blue Heart. The Arms Of Yesterday sounds like it could cross over from the Rock realm to Country quite easily. Indovina has a slight tendency toward lyrical excessiveness but this doesn't overpower anything presented on Wind Of Change. Life Is Beautiful, Life Is Cruel is classic singer/songwriter Rock N Roll with a powerful (if subtle) message. I'll leave it to readers to puzzle out as they will. Sound Of The Blue Heart closes out with It's All Over Now, Baby Blue, a touching song about coming to terms with loss. The song is touching and filled with dark hues and darker meanings. The Country Music accents here want to be more than just accents, It's All Over Now, Baby Blue would make a great country tune.

Wind Of Change as a title suggests the beginning of something new; I don't know that we can call Wind Of Change new, but there is significant originality running through the music of Sound Of The Blue Heart. Johnny Indovina is perhaps not the most creative arranger/composer in the rock world, but he writes intensely honest and soul-baring songs, set deep in arrangements that are more like scenes that songs. The lush nature of the material here makes for great listening. Be sure to check out Sound Of The Blue Heart and Wind Of Change.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sound Of The Blue Heart at http://www.soundoftheblueheart.com/ or www.myspace.com/soundoftheblueheart. You can purchase a copy of Wind Of Change from Amazon.com.

Review: Brother Lou - As Good As You Want

Brother Lou - As Good As You Want
2008, Hollywood ACSEP

Brother Lou goes to work 9-5 every day to pay the bills. The newlywed Miami resident has more than enough on his plate, but still finds time to write, record and co-produce his own songs, not to mention performing live. Those of you in the Miami area might know Brother Lou as the host of Luna Star Cafe's bi-monthly Open Mike night. He's also been on various local radio shows in the Miami/Jacksonville region, but is just starting to make a push into the rest of the Southeast United States. Brother Lou's latest CD, As Good As You Want, gives the sonic picture of a singer/songwriter with roots that straddle the line between 1960's folk icons and Country/Rock/Americana artists of today.

Brother Lou's voice is deep and full and reminiscent of another era. I've spent a couple of days now trying to figure out who he sounds like and I finally figured it out. In the deeper elements of his voice Brother Lou sounds strangely like Jim Morrison, but never completely and never for long. This familiarity combined with strong songwriting and an easy presentation style makes for a highly accessible album in As Good As You Want. Brother Lou opens with Nothing In The Sky, a look back at the days after the September 11 attacks on the United States. The song questions the actions that people take on behalf of God and expresses a low simmering anger that will never go away. Let Go is the recognition that sometimes a relationship reaches a point where nothing you do is going to save it. Brother Lou's vocal delivery is full and rich and sprinkled with wit, creating a highly listenable and enjoyable experience. Hey Jesus is an energetic Folk/Rock song is about hypocrisy and religion; taking to task those who profess belief in God and Jesus yet act in ways that seem contradictory ("With the God they've conjured up what do they need the Devil for?"). Brother Lou mentions such public figures as Paula White, Pat Robertson, Jerry Falwell and "Kennedy" in a scathing and witty diatribe you won't want to miss.

As Good As You Want has an almost Celtic flavor to it and reminds listeners that life is what you make of it. Elizabeth is a beautiful and highly personal song about the letting go that needs to occur when someone you love passes on. Brother Lou conveys the emotion and depth of feeling you might expect on this subject without sounding trite. Rain takes on the political campaign process and the shallow nature of both politics and its practitioners. Wit tempers vitriol in what turns out to be a highly intelligent and descriptive song that should be a primer for political science classes everywhere. As Good As You Want closes out with Black And White Kisses, a song about revisiting a lost love from film that's left behind. This is something of a tearjerker about someone who maybe appreciates his lost love more now than when she was alive.

Brother Lou is highly personal in his songwriting. Lyrically he's highly descriptive; this can be both a blessing and a curse at times, but Lou's unadorned arrangements and honest, everyman delivery makes it work. As Good As You Want is the sort of album that should do very well in folk circles and I wouldn't be surprised a few years down the line to see Brother Lou become a staple on the folk circuit. Brother Lou has a lot to say and a lot of stories to tell. Take some time to listen; it'll be As Good As You Want.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brother Lou at http://www.brotherlou.com/. You can purchase a copy of As Good As You Want at www.cdbaby.com/cd/brotherlou, or you can download the album from iTunes.

Review: Inky Glass - Serendipity Rose

Inky Glass - Serendipity Rose
2008, Inky Glass

Inky Glass is a distinctive sound in music, and an acquired taste. Inky Glass is the creation of longtime theater performer Heidi Kohlman. A singer who sounds moderately tone-deaf, Inky Glass manages to get the general idea of the melody but keeps only a nodding relationship with individual notes on her EP, Serendipity Rose. The New York City-based singer/songwriter is recorded here in a coffee house/open mike setting with a live and less-than-enthusiastic crowd. The songwriting is a bit lyrically awkward and simplistic, but reflects New York City and Glass's live therein in honest and creative terms. Harlem In The 80's is a song only New Yorkers will understand, and Smokin' Yesterday's Cigarettes is something of a memoriam and goodbye to a friend of Glass who's passed on. Not Exact is in the same vein as the first two songs, mixing lack of a distinctive melody in the vocal line with solid but slightly awkward songwriting.

This is the real New York, folks who write and make music playing in out-of-the-way places for their own enjoyment and edification. Go to most any open mike night anywhere in the US and you'll find someone like Inky Glass; not the most gifted performer/songwriter but doing it because she loves it. Sadly, in a review environment it's not just the love of music or enthusiasm that come into play, but the recording itself. Honestly, this is the sort of recording that family and close friends hold onto, but without a strong personal connection to Inky Glass it's not likely something you'll listen to more than once. Still, there will always be a small niche of music fans who dig something like this. So if you like the character Phoebe Buffay or the performer at your local open mike that just doesn't have much beyond heart but never gives up then Serendipity Rose is for you.

Rating: 1.5 Stars (Out of 5)

You can learn more about Inky Glass at www.reverbnation.com/inkyglass.

Review: Sway - Let It Roll

Sway - Let It Roll
2008, Sway

Southern California quietly has built a thriving country music scene over the years. While not gaining the attention or reverence of Nashville or Branson, Orange and L.A. counties are home to a thriving country music community. Gina Quartaro and Perry Martin were both pieces of the puzzle in SoCal, but it wasn't until they were introduced by their Chiropractor just about a year ago that they moved to the head of the pack. As 2/5 of Sway, Quartaro and Martin have melded into a dynamic singing/songwriting/performing force majeure that is bound to turn a spotlight on the scene as a whole. Quartaro was raised on Hank Sr., and Martin cut his teeth touring Vietnam with The Donny James Show and performing on television for the Armed Forces Television Network. Together, they've found a sort of musical alchemy that's almost fairy-tale quality. The former Nashville Star contestant, Sway, released its debut album, Let It Roll in 2009. Look out Nashville, her comes Sway.

I've been waiting for a while for a band and song to come along that will ultimately prove what country radio is made of, and I've finally found it. Cowgirl Scene, the opening track from Let It Roll, should put Sway firmly on the Country music map. Suffice it to say that on a major label with the right marketing push, this is a #1 hit. It will be the shame of the industry if that doesn't happen, because this might just be the best Country/Pop offering of the last few years. It's a girl’s night out song, and so infectious you won't be able to get it out of your head. Let It Roll comes from a more introspective place, reflecting a positive outlook based in self-sufficiency. The song is very tuneful and well-written; the sort of personal anthem that people might take to in difficult times.

If I Knew is in the classic vein of tragic country songs; a musical letter from a widow to her deceased husband about their daughter. Quartaro gives a moving vocal performance, with Perry Martin answering in almost ethereal tones. Get the tissues ready for this one. Sway swings from this bit of personal darkness to In The Hands Of Love, a highly optimistic song about the power of humanity to rise above its own petty nature in response to one another's needs. This is another song that should be getting serious airplay, although its perhaps a bit too upbeat and positive thinking for a cynical radio industry.

One of the things I enjoy most about Sway is their willingness to break the mold, musically. Check out I'm Over You, a song with distinct country coloring but which smacks of an almost Fleetwood Mac pop sound. Quartaro is entirely in her element here in a mildly driven pop/rock song in Americana clothing. This particular melody will inspire you to sing along and will keep recurring in your mind. Perry Martin takes over lead vocals on This World. Martin's voice is distinctive, part Leonard Cohen and part crooner. This World is a highly positive song that again hits the theme of people overcoming their own base natures, and how that ability is a perennial marker of hope. You'll also want to be certain to check out More Than Enough and Love Takes Time.

Whether it's Quartaro's lead vocals, Martin's harmonies, the songwriting, the energy or any other quality you care to name, Sway is a first class Country/Pop outfit with significant commercial potential. If the industry doesn't embrace this band and give them the support they need then shame on the establishment. Sway has found a dynamic blend of classic Country and Pop that is pop gold. Let It Roll is a dynamic and wholly enjoyable debut.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sway at http://www.swaymusic.com/ or www.myspace.com/ginaquartaro. You can purchase a copy of Let It Roll at www.cdbaby.com/cd/swayband.