The Cocksure Lads - Mad Lad Plan

The Cocksure Lads - Mad Lad Plan
2014, The Cocksure Lads

Somewhere between myth and music lies the sordid tale of The Cocksure Lads.  The Cocksure Lads inhabited the same space in time as The Beatles, Herman’s Hermits and Gerry and The Pacemakers, pumping out hits on BBC Radio One, but have somehow been forgotten by history.  Or, they are the creation of Moxy Fruvous alums Murray Foster and Mike Ford.  Purveyors of the latter theory suggest that Foster and Ford began writing songs in the 1960’s Brit-Pop style back in the mid-1990 and have continued off and on ever since.  By 2010 they had over 25 Lads songs, and decided to commit them to bits and bytes.  A year later they decided to make a video, but came away the conviction that there was a larger story to be told about The Cocksure Lads, and hence a movie was born.  Shooting on the film begins in 2014, but in the meantime, The Cocksure Lads are back with a brilliant collection of 13 songs entitled Mad Lad Plan.

The Lads kick things off with the bouncy 60's pop sound of "In London Town". You'll be humming this one for days or at least until you hear the Beatles-esque follow-up track "Mr. Man". The Cocksure Lads take on the major labels here in a bit of joyous disbelief. The joyous/campy spirit continues on "They All Wanted Me Back", with a melody that Paul McCartney would envy. Expect to move your feet even if you don't want to.

"Yes I Do" is the sort of swaying, melodic love song that recalls 1960's high school dances, and transitions into the melodic brilliance and happy outlook of "Not Today".  You won't be able to keep yourself from swaying to this tune, which might have knocked The Beatles off the charts if it were released in 1964.   "Say Uncle (Garant Said)" is a frenetic rocker detailing advice from a friend/colleague that runs from sage to ridiculous, all while speeding like a freight train hopped up on delicious guitar licks. Te narrative here is fun; you'll be swept along. The Cocksure Lads change things up with the swaying ballad "When You Walk", a somehow sad sounding yet sugary love song that will get stuck in your grille. "Paddington Way" has a dark musical timbre, but still manages to maintain a distinct pop sense with a chorus that won't let you go.

One of the quiet gems of the album is "The Surprising Thing". The Lads never quite get around to telling you what it is, but one can imagine it might be falling in love. This is pure Brit Pop gold. "Easy Peasy" has a more elemental rock and roll feel, but shares the same universally approachable motif. Sit still if you can, because this song is going to rock you. "Requiem For A Lad (featuring The Woosleywumps)" is a contemplative swayer where the melody line is whistled.  The simple arrangement and melody are memorable, and have an almost haunting quality.

The Cocksure Lads pay tribute to their stories homeland in "England My England", a schmaltzy yet moving ode of fealty full of quiet nationalistic pride. The Lads close with the light hearted ballad "Our Love Is Strong", a song guaranteed to have you dancing around and singing along. The lyrics are campy and fun, if a bit off the beaten path of songs of this sort. Nevertheless, you won’t be able to get the song out of your head.

Whichever story you might believe about The Cocksure Lads, one thing is for certain:  The Lads rock play vibrant 1960’s rock and roll with a distinct musicality that stands up against the best of that era.  Mad Lad Plan is an utter musical joy that will have you coming back again and again; a true Wildy’s World Certified Desert Island Disc. 

Rating: 5 Stars (Out of 5)

Learn more at www.thecocksurelads.com.  

Also! Be sure to check out the first video from the new album: "Mr. Man".

The Cocksure Lads - The Greatest Hits Of The Cocksure Lads: 1963-1968

The Cocksure Lads - The Greatest Hits Of The Cocksure Lads: 1963-1968
2010, The Cocksure Lads

Somewhere in the annals of British Pop history, someone once uttered the words "We should name our band The Cocksure Lads".  This individual was most likely beaten, sacked or traded to another band for a tube amp.  Nevertheless, the name sifted its way through the wormholes of time and settled itself in Southern Ontario in the first decade of the third millennium CE, waiting to be found.  Along came Moxy Fruvous alums Mike Ford and Murray Foster, who unexpectedly tripped into the name and a collection of virulent songs that would redefine pop history.  After bringing fellow Fruvous alum David Matheson into the fold, Ford and Foster added            to complete the rebirth of The Cocksure Lads.  Somewhere between The Beatles, The Rutles and The Monkees lives the memory and sound of The Cocksure Lads.  The lads are immortalized for the first time on The Greatest Hits Of The Cocksure Lads: 1963-1968.

If you're a fan of British Pop born of the 1960's, and don't mind a bit of Python-esque (or Fruvous-esque) humor, then The Cocksure Lads are for you.  Opening with "You're A Cocksure Lad", the band makes a startlingly authentic impression.  The music is insanely good, full of the sort of arching melodies British Pop is renowned for, and even capturing some of the grittiness of recordings done in the early 1960's.  The Cocksure Lads manage to take the music seriously even as they lace it with freshly dated wit.  "A Case Of The Dropsies" is highly danceable rockabilly with a memorable melody line.  You'll want to dance so bad you'll grab the next person who walks through the door.  "Ships Ahoy!" is part Paul McCartney silly little love and part sea shanty.  It's an amazing musical conglomeration with a pirate fixation that involves a love affair, a trip around the world and highly questionable seasonings.  The Fruvous lads always had a knack for high value entertainment and tunes, and those qualities bloom here.  Try as you might, you won't be able to get this one out of your head.

"Umbrella Girl" sounds like an authentic 1960's ballad, but is in fact an old FruSong that has never appeared on an official release before.  If you're not familiar with FruSongs, they are tunes written about hard core Fruvous fans who had attended a significant number of shows.  This mock up of the song works exceedingly well.  "Ticky Boo (Look Though My Window)" leans a bit more to the Monkees side of the equation; a delightful bit of 1960's fluff pop that's indescribably, infectiously catchy.  The energy and pizzazz continue on "That's Any Good".   If you had to pick just one song from the album to drop into rotation circa 1965 and get a hit, it would probably be this one.  With a killer melody, positive outlook, and just a hint of Austin Powers-style cheese ball humor, "That's Any Good" would be a can't miss single.

"You Gotta Stay Cocksure" is stereotypical of the songwriting styles of the time, when record labels pushed artists to re-use ideas that worked previously to max out capitalization of the label's profit.  Accordingly, such songs often had a re-tread air.  The Cocksure Lads manage to avoid any such feel with a brilliant pop tune that stands on its own.  Things get a bit strange on "The Car Boot Light That Never Quite Shuts Off", as the title might suggest.  It's an exploration of self sung over funeral-style organ.  Drawn in its own apparent contradictions, the tune is funny in a slightly disturbing manner.  Mike Ford contrives a singing voice here that's part Ringo Starr and part Wakko from The Animaniacs.  "Admiral Trafalgar" is a fun, historical nod to Admiral Nelson, the British Commander at the Battle of Trafalgar in 1805.  This one is done in the style of Ford's Canada In Song series, but dressed up in a 1960's pop arrangement that's fun. 

"Mushy Peas" celebrates home, wrapping up the singer's affections in the symbolism of a meal of mushy peas and spam.  There's really nothing else to say.  "I've Already Been Loved, Love", is pure Beatles pop with an R&B backbeat; a treatise on not getting to the buffet table of love too late.  The faux-bass lead vocal line is perhaps the funniest part of the song.  The Cocksure Lads close with "Wellies In The Bath", an amusingly jaunty little tune about one man's predilection for wearing knee-high waterproof boots while bathing.  It's an odd close, but amusing nonetheless.

The Greatest Hits Of The Cocksure Lads: 1963-1968 is one wild ride.  Humor born of both intelligence and kitsch abounds, dancing its way amidst melodies that would make the Queen Mother proud.  These sorts of concept albums often fail and fail horribly, if for no other reason than the idea behind them usually sounds better in discussion than it does playing out across a full length album.  The Cocksure Lads will make you believe that the British Invasion isn't over.  The reunion of 3/4 of the Moxy Fruvous lineup features hints of that band's musical and comedic prowess, but builds on the individual members continued growth to create something wholly memorable and fun.  The Greatest Hits Of The Cocksure Lads: 1963 - 1968 is essential listening.  You won't be able to get The Cocksure Lads out of your head.

Rating: 4.5 Stars (Out of 5)

Learn more about The Cocksure Lads at www.facebook.com/cocksurelads.  The Greatest Hits Of The Cocksure Lads: 1963-1968 is available digitally from Amazon.com and iTunes.  Those of you who prefer your music dizzy can pick up the CD at MapleMusic.com.

The Problems - Powder Blue Bone

The Problems - Powder Blue Bone
2010, The Problems

New York City's The Problems have done a lot of work below the radar since their critically acclaimed self-titled debut in 2001. While accolades piled up, The Problems moved into scoring films and writing for other artists. In 2007 the band decided to pursue the writing and release of a rock record, but it wasn't meant to be. The effort wasn't in vain, however. After meeting Eddy Goldberg (banjo, harmonica, keys, accordion, vox) and Kate Kilbane (bass), founding members Frank Caiafa and Barbara Corless reworked the album and re-imagined their sound. The resulting album, Powder Blue Bone, sets fans expectations on their ears, and is bound to raise the expectations bar the next time around.

Powder Blue Bone opens with "June", a stripped-down singer/songwriter tune with elements of blues and roots guitar work in the seams. It's a nice, low-key arrangement that adds in some interesting synth work to flesh out the sound. "Roses" is catchy and smarmy without trying to be, like Ron Hawkins jamming with Moxy Fruvous in a song about falling love with someone who appreciates the simple things. It's the first of several love songs on Powder Blue Bone, which turns out to be the antithesis of a breakup album. "Last Dance Mine" is a simple request made without inhibition or fear, out of hope and little else. "The Other One" is a love song written from the third party trying to cut in. It's upbeat and charmingly well-written, like the modern version of an old MGM-movie love song of similar ilk.

"Together" finds the narrator viewing a relationship with the future in mind. This upbeat and happy tune isn't quite a marriage proposal in song, but hints at all a proposal might bring. "When We Met" looks back on the roots of love in a sweet duet that's laid back and very much at peace. "Ran" starts out with Mark Knopfler-style guitar work and songwriting but fades a bit into a solid country/rock/roots arrangement. The approach again is low-key, and it works well with this song. The Problems stay on the same trajectory throughout the final four songs, a slow fade that seems them slowly decline into a bland landscape but never entirely losing the rootsy energy that drives Powder Blue Bone.

The Problems trip themselves up a few times on Powder Blue Bone but never lose balance. The songwriting is generally quite solid, although it's clear that the band's energy level fluctuates a bit throughout the album. Powder Blue Bone is a solid entry that tells you enough about the band to make you interested in what they'll do next.

Rating: 3 Stars (Out of 5)

Learn more about The Problems at http://www.theproblems.com/ or www.myspace.com/theproblemsny.  Powder Blue Bone is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Spirit Kid - Spirit Kid

Spirit Kid - Spirit Kid
2010, RPL Audio

Spirit Kid is the nom de guerre of singer/songwriter/guitarist Emeen Zarookian, long of the band the Sterns. As a solo artist, Spirit Kid returns to his earliest influences, The Beatles and the British Invasion bands they inspired, as well as quintessential American acts such as The Beach Boys for inspiration. Spirit Kid is constantly in pursuit of the perfect three-minute pop song, and pursues this goal with the retro-sounds that only retro instruments can bring on Spirit Kid. The album is self-produced and entirely a product of Zarookian's talents.

Spirit Kid opens with “You Lit Up For Me”, a messy country and rock mix that’s reliable in its mildly messy arrangement wrapped around an eminently tuneful melody. “My Imagination” could be the Beatles meet The Buggles in an ultra-catchy rocker that recalls simpler times. “Wait A Minute” is full of infectious rhythms and a melody that won’t quit; using the same sort of non-linear compositional style you’ll find with bands like the Beatles and Tally Hall. It’s a great listen that will have you hitting repeat over and over. Spirit Kid sounds a bit like Moxy Fruvous in their prime on “The World Doesn’t Stop”. The quirky feel of this song grows out of the trim arrangement, archetypal melody line and spare vocal harmonies. “Flytrap” keeps up the catchy mien of the album this far with a strong old-school rhythm and blues feel that wears well.

Spirit Kid seems to lose his way a bit for the next few songs, but recovers nicely on “Assumed By You”, a brilliant pop tune right out of the 1960’s stylistically. A tight rock arrangement blends the best melody line of the album with strong backing vocals to create a bit of magic. Spirit Kid closes with “If I Could Love You”, sticking with a sound that would have Zarookian all over the pop charts if he woke up one morning in 1963.

Spirit Kid succeeds because of a melodic sense that so often evades modern rock music. In many ways this is the key to the whole retro-movement in rock n roll. Spirit Kid isn’t a perfect pop gem; Zarookian misses on a few songs, but the net effect is a strong pop album with a 1960’s flavor that is likely to appeal to young and old.

Rating: 3.5 Stars (Out of 5)

Learn more about Spirit Kid at http://www.spiritkidmusic.com/. Spirit Kid is available digitally through both Amazon and iTunes.

Review: Shady Cats - Love Callin’

Shady Cats - Love Callin’
2006, Grady Crumpler

Raleigh, North Carolina’s Shady Cats has been a long time in the making. Singer/songwriter Grady Crumpler started playing a regular gig near his home back in 1995. After being invited to play a private party, he hooked up with drummer Bill Eagen, who provides the rhythmic core for Crumpler’s songwriting. Together with a revolving committee of musicians, they became known as Grady Crumpler & Last Call, and eventually Shady Cats. Shady Cats began recording songs and demos nearly a decade ago. This piecemeal approach led to a focus on the songs rather than a specific sound for the band. Crumpler shopped songs to various producers. Consequently Shady Cats’ debut album, Love Callin’, has three producers of note involved. John Plymale (The Pressure Boys, Squirrel Nut Zippers, Superchunk, Meat Puppets); Dick Hodgin (Hootie & The Blowfish) and John Custer (Corrosion Of Conformity, Cry Of Love) all bring their masterful hands to bear on Shady Cats’ work. The result is an uneven but promising album that makes up in creativity what it sometimes sacrifices in continuity.

Love Callin’ opens with the uber-catchy title track. Vocalist Grady Crumpler has an enigmatic and enjoyable voice that's occasionally reminiscent of Elvis Costello. "Love Callin’" is a great start; if this song had been released circa-1986 the members of Shady Cats could have bought mansions with the proceeds. "Lost Myself" marches the line of demarcation between 1970's classic rock and 1980's pop; a territory that Shady Cats tread throughout much of Love Callin’. "Lost Myself" has one of those melodies that stay with you and recur at the oddest moments. Crumpler shows a deft lyrical touch on "She Kisses Me With Her Eyes". The song is virulent, catchy enough to knock "Lost Myself" out of the catbird seat in your brain, and the imagery is just off the beaten path enough to catch your attention.

Shady Cats have a special guest on "In The Moment", with legendary producer and performer Don Dixon (REM, Guadalcanal Diary, Hootie & The Blowfish, Moxy Fruvous) sitting in on vocals. Dixon's vocals are top notch, but the song gets a bit too wrapped up in its soul-searching feel. "You Got A Way" finds Shady Cats back in the early 1970's sonically, featuring big guitar riffs and barre chords as rock and jazz mix in uneasy but pleasing measures. On "Lines", Shady Cats head for a solid rock arrangement with country accents (primarily in the guitar line). "Lines" is a highly enjoyable song that stands out in spite of not being ostentatious. Shady Cats show serious chutzpah on "I Want Independence", with Crumpler laying down the most serious guitar solo on the album. Shady Cats find pop magic on "Take Me", a high-speed rocker with R&B roots that could be a hit in any decade in the rock era. If "Love Callin’" would have enabled the members of Shady Cats to buy mansions back in the 1980's, "Take Me" would have bought the entire town.

Shady Cats dig in with a positive message on "All The Way", but message falls a bit flat in a lounge arrangement that sounds contrived and very much out of context with the rest of Love Callin’. "Till The Rain Comes" sticks with the positive thinking, pointing out that sometimes even the rain is a good thing. The sound here is a cross between Elvis Costello and Fleetwood Mac (particularly in the harmony vocals); a retro sound that sounds amazingly relevant for the music scene of today. Shady Cats wind down with the theatrical rock aria "Desperation", among the most enjoyable tracks on the disc. The Cats taken listeners on an interesting turn at the albums close, dangling another side of the band as they walk out the door that is likely to bring listeners back the next time around.

Shady Cats put their best foot forward on Love Callin’, blending 1970's classic rock and 1980's pop and in the process serving up a highly palatable brand of rock 'n roll that's highly palatable for today. Grady Crumpler is a solid lead on vocals, and accents the songs on Love Callin’ with mildly adventurous guitar work that will please the ears of casual listeners while seeming a bit too tame of fans of classic rock. Love Callin’ is a safe album, but some of the songs here are so catchy they might need to be quarantined.

Rating: 3 Stars (Out of 5)

You can learn more about Shady Cats at www.shadycats.com. You can purchase Love Callin' as either a CD or Download from CDBaby.com.

Review: David Francey & Mike Ford - Seaway

David Francey & Mike Ford - Seaway
2009, Laker Music/SOCAN (Canada)

David Francey is a three-time Juno Award winning singer and songwriter who is a favorite on the folk circuit in Canada, The US and beyond. Mike Ford, late of Moxy Fruvous, is a singer/songwriter and educator whose songs bring aspects and events of Canadian history and geography to life as recipient of the Ontario Arts Council Artist In Education grant. A few years back Francey and Ford spent several weeks traveling the Great Lakes aboard the M.V. Algoville, taking in the life of a seaman and writing songs. Some of the fruit of that trip has finally been released on the collaborative album Seaway.

Seaway opens with David Francey singing Banks Of The Seaway, a celebration of the majesty of the St. Lawrence seaway as if from another time. The arrangement is interesting, having an almost dirge-like quality and yet full of awe and deep-seated passion. Mike Ford takes the mic next on The Eastern Gap, a song that originally appeared on Ford's 2008 album Satellite Hotstove. The version offered here is a bit more textured and full sounding than the original but essentially unchanged. The Eastern Gap is a song of romance, recalling a time when a boy or girl might stand on the shore and see a large ship heading out and wondering about the future that ship might be going to. The Chief Engineer (Francey) is the tale of one seaman and his true love. Francey has the gift of words and the economy to use them wisely, bringing the subject of his song alive for listeners. The Seaway (Ford) is a love song for the lifestyle of a sailor; the narrator is willing to give up all the comforts of land just to be on the seaway. The energy here is inspired; the melody memorable. The Seaway also originally appeared on Ford's Satellite Hotstove, but gets something of an upgrade here with Francey and fellow Moxy Fruvous alum David Matheson joining in on harmony vocals.

Francey is next with the inspired The Unloading, a somewhat darker tune about the relentless repetition of a seaman's life as portrayed the oft-repeated step of delivering cargo. The melody of The Unloading followed me for a few days, popping up in my head at inopportune times. Climbing Up To The Soo (Ford) is a snapshot of traveling through The Soo Locks that separate Lake Superior from the other Great Lakes. Ford takes a place, as he often does, and brings it to life with real people and moments in song. Climbing Up To The Soo is sung practically as a lullaby; a comforting moment in the journey. Dustless Road To The Happy Land (Francey) has an old time feel and may refer to the passenger ships that traveled between Chicago and Buffalo and into Canada in the latter 19th and early 20th centuries. Francey follows that up with The Parting, a soothing-yet-melancholy waltz about saying goodbye. Parting is full of a heart-breaking quiet grace that will captivate listeners.

There's No Rush (Ford) has a Caribbean flavor and highlights the change in worldview that might occur with some time at sea. There's an easy feel to the arrangement that fits the lyrics. Ford takes us to slightly darker waters on Canal, a song that reflects the lonely nature of being self-made. In this case the sense of grandeur is applied to the St. Lawrence Seaway Canal. It is a dark ode that runs short but deep in both affection and respect. The Ballad Of Bowser MacRae (Francey) is the story of a lifetime seaman who balances a family on land and the call of the Great Lakes. It's fairly standard fare for the Folk World, except that Francey, like Mike Ford, has a gift for words and moments. Mike Ford gets theatrical on When You're The Skip, borrowing melody components from his song The Oak Island Mystery. The song is an entertaining way to tell the roles of various members of a ship's crew, and plays a bit upon the superstitious nature of sailors.

Ashtabula (Francey) pays tribute to Ashtabula, Ohio, one of the largest Coal ports on the Great Lakes. The song is a sweet remembrance of time long ago when Ashtabula was a bustling Lakes hub, as well as the effects that the decline in Great Lakes commerce has had on the town. Mike Ford lightens the mood with 21st Century Great Lake Navigators, an acoustic Hip-Hop tribute to those who created the system of locks and ships and to the sailors who continue to carry goods through the St. Lawrence Seaway and the Great Lakes. The Bottom Of The Great Lakes (Ford) pays tribute to all of the ships and sailors who have found their final rest beneath the Great Lakes. The song is highly melodic (as per usual for Mike Ford), with a clear series of narratives that is both entertaining and educational. Seaway closes out with All Lights Burning Bright (Francey), a wonderful Celtic-flavored tune inspired by the last logbook entry at the end of a shift on a lake boat.

David Francey and Mike Ford are two very distinctive and unique voices as songwriters. Francey is a classic folk troubadour; his songs inspired by his Scottish roots, his working class background (Francey didn't release his first album until the age of 45 after spending years working as a carpenter) and his unique view of the world. Mike Ford spices up serious subjects with a larger-than-life story telling style sprinkled liberally with dashes of humor. Both voices are amazing on their own, and their conjunction on Seaway is compelling. Seaway will get serious consideration in Canada as the best folk album of 2009. Don't be surprised if a fourth Juno Award graces Francey's wall (with a first for Ford). Seaway is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about David Francey at http://www.davidfrancey.com/. You can learn more about Mike Ford at http://www.mikeford.ca/. You can purchase a copy of Seaway from CDPlus, or you can download the album from iTunes.

Review: David MacKenzie & Josh Johnston - Notes Home

David MacKenzie & Josh Johnston - Notes Home
2008, Shandon Records (Ireland)

Dublin is home to David MacKenzie and Josh Johnston, but much of their writing gets done on holiday in Italy and France. Hence the title of their sophomore album, Notes Home. MacKenzie & Johnston were accomplished musicians before coming together. David MacKenzie began his professional career with the BBC Northern Ireland Radio Orchestra. He has played with various ensembles throughout Europe and has recorded with Elmer Bernstein, John Barry, U2, Shania Twain and The Corrs. Josh Johnston has recorded or performed with Roesy, Kila, Declan O'Rourke, Karl Scully and Ronan Swift, and counts The Beatles, Billy Joel, Elton John, Alan Parsons, Ben Folds and Moxy Fruvous among his influences. MacKenzie and Johnston's debut album, A Minor Happiness was a straight-forward duet of violin and piano mix originals and covers, but for Notes Homes, the duo tackles the musical world of Stephane Grappelli and Joe Venuti with thirteen original tunes that transcend the spirit of the two jazz masters.

Notes Home opens with The Latecomer, a vibrant and mildly rambunctious work that dances on the edges of Bee-Bop and Rockabilly. MacKenzie & Johnston dance around each other like a pair of prize-fighters, and when they meet musical sparks fly. Cap Mortola is a lilting tune, perfect for dancing. Things take a dark and sentimental turn on Silk, a light samba perfect for the parlor or piazza. Place Carnot perfectly present and past, with guitar and violin in perfect sync throughout. MacKenzie And Johnston take things down a notch with La Nabonnaise, one of the simpler and most stoically pretty songs on Notes Home.

Minor Happiness was not my favorite tune on the first listen through, but I have to admit it grows on you. The song is pure joy in melancholy blue with a melody that sticks with you and an arrangement that's a hair's-breadth from perfect. Broadband Blues takes another tack, with a light and airy theme that plays like a fragrant summer's evening breeze. The low point of the album, a misnomer, is Waiting. This is simple dinner jazz, perfectly executed; a musical resting place before the final stretch. Wistful Thinking leads into the highlight of the album. Point Neuf is a deliciously dizzy waltz, with the violin dancing like a dervish. Don't be surprised if Point Neuf causes you to push the replay button many times over. MacKenzie and Johnston close out with the highly danceable Sliding Scale. The piano is bedrock here, with the violin providing the fireworks.

David MacKenzie & Josh Johnston make all the right moves on Notes Home. Fans of Django Reinhart, skeptical of all of the artists out there who "sound like" Reinhardt, will be pleasantly surprised by the chemistry and musicianship on Notes Home. MacKenzie & Johnston don't try to be Reinhardt and Venuti; instead they pay tribute to their legacy, staying close enough to the masters to be in the ballpark but original enough to bring that classic sound forward into the 21st century as vibrant as it ever was. Make sure you get your Notes Home.

Rating: 4 Stars (Out of 5)

You can learn more about David MacKenzie and Josh Johnston at www.myspace.com/davidandjosh or http://www.davidandjosh.com/, where you can purchase a copy of Notes Home.

Review: Tad Dreis - The Reluctant Hook (and the day that it caught)

Tad Dreis - The Reluctant Hook (and the day that it caught)
2009, Tad Dreis

Tad Dreis comes from vibrant Chapel Hill, North Carolina music scene that helped launch bands such as Hootie & The Blowfish and Edwin McCain to national prominence. Writing and performing quirky Folk/Pop tunes can be a tricky game, but Dreis has a real knack for finding the perfect hook or turn of phrase. Comparisons to Robyn Hitchcock and Loudon Wainwright III as they might have sounded jamming with the Beatles are apropos. Dreis releases his third album, The Reluctant Hook (and the day that caught it) drops on September 11, 2009. With Dreis' wide touring and acclamations in the past few years (including a 2006 nomination from APCA as Best Solo Artist), The Reluctant Hook might just be the album that breaks things wide open for him.

Dreis is a singer-songwriter with a focus on traditional style story songs that occasionally stray into uncharted territory. A prime example is the opening track, The Makeup Company; a tune about an experience with a call center with supernatural powers and a penchant for showing off. It's an amusing tale that seems almost plausible based on past experience. Button For You is pure Americana, stylistically similar to Blue Rodeo or Wilco. It's a song about being so caught up in the day-to-day that you can't enjoy the things that really matter. This is primo songwriting. My Backstory is all about the perils of becoming well-known, particularly all of the "truths" that become public knowledge without ever being checked for accuracy. The arrangement and even Dreis' voice call to mind fleetingly Canadian quartet Moxy Fruvous.

Blues For Werner is a lovely tune about the more melancholy aspects of being a truck driver. It's a gentle arrangement full of affection that stands out because of its pure honesty. Very often in life our basic comforts revolve around the most simple of material items, be it a pair of comfy jeans, or a blanket (ala Linus from Peanuts). The Rug That Swore is the story of a boy and his carpet. Yes, it's a bit odd but so sweetly done you'll find yourself getting into it. It's a great tune. Three Forms Of Media explores all the methods for hooking up in a modern age (phone, eMail and hand-written notes), and how those methods can be used to push things awry when someone isn't playing fair. It's a humorous tune with a sudden twist at the close. Advice For Ladies highlights the advantages of a woman having a "humorous gay friend". It's an amusing tune with more than a little truth to it. Dreis closes out with I'll Be There and Pear Blossoms, both decent tunes but perhaps lacking a bit of the mischievous glint that pervades the rest of the album.

Tad Dreis is a stellar singer-songwriter who happens to have a mildly twisted sense of humor. His approach is a classic one, able to appeal to a broad spectrum of fans. Intelligent lyrics with wicked turns and strong melodies make The Reluctant Hook (and the day that it caught) an outstanding listen, even if it things tail off a bit at the end.

Rating: 4 Stars (Out of 5)

You can learn more about Tad Dreis at http://www.taddreis.com/ or www.myspace.com/taddreis. You can purchase The Reluctant Hook (and the day that it caught) as either a CD or download through CDBaby.com.

Review: Lamar Holley - Confessions Of A College Student

Lamar Holley - Confessions Of A College Student
2009, Remaining Records

Lamar Holley has a unique gift; a love of melody and harmony that transcends music and becomes pure creation. Since playing to sold old shows as a 16 year old in his basement bedroom to today, Holley has continued to create out of love for music. With a distinctive love for classic Pop/Rock and theatrical music, Lamar Holley’s debut album, the Pop/Musical Confessions Of A College Student hits all the right notes.

Confessions Of A College Student opens with the Ben Folds-esque Biology, a philosophical discussion of Biology vs. Cosmetology that any current or former freshman can identify with. Forgotten Friends goes with a 1960's Pop feel that will have you swaying in your seat. It's a sweet reminiscence about the people who were so significant during college who have faded from memory and prominence with the passing of years. Secretly is a musical soliloquy on unrequited love that is sonically reminiscent of Moxy Fruvous. The persona implied by the song has the sort of puppy-dog-turned-unlikely-hero who would make a great lead character. Pretend That She's Ugly has a distinctive Ben Folds feel to it; it's about a guy who tries to assuage his ego over a rejection from a girl by pretending she's something she's not. The song turns from sour grapes to hopeless optimism before it's done.

This Is True travels down the Dixieland jazz path as the lead character puts himself on the line to the girl he adores. It's a declaration of love in spite of the reality of any apparent chance to get the girl he wants, and the sort of song that will infect your brain for days. Around Me is a sweet song about the inner life of someone in unrequited love. I kept envisioning Muppets singing this song, for some reason. The more I hear the album I picture being staged with puppets ala Avenue Q. Lovesick continues the primary theme of the album with the lead character continuing to yearn for not only his chosen one but also anyone else attractive who crosses his path. Flower slows down both the tempo and emotional rancor and reflects a newfound seedling of emotional maturity. The character speaks of his love in allegorical terms that reflect understanding of both her and himself, even if in rudimentary form. The album closes out with the brief Graduate With Honor, a doo-wop track that might be worth expanding upon and including in a production of this show. The brief 39 second snippet included here reflects just the comedic and stylistic sidebar a show of this nature needs.

Lamar Holley has crafted a musical with real potential in Confessions Of A College Student. There's a real heart to the musical, although it probably lacks the cynicism or world-weary self-knowledge to interest Broadway crowds. Confessions Of A College Student carries with it the light and airy feel of 1950's and early 1960's shows and is a legitimate foray into the musical world. If Holley continues to develop the book of this show and expands the song selection and story line he may just have something big here.

Rating: 4 Stars (Out of 5)

You can learn more about Lamar Holley at http://www.lamarholley.com/ or www.myspace.com/lamarholley. You can purchase a copy of Confessions Of A College Student from CDBaby.com.

Review: Stuart McNair - Growing A Garden

Stuart McNair - Growing A Garden
2008, Stuart McNair

Birmingham, Alabama based Stuart McNair explores traditional Country music themes and values as well as Earth-friendly topics on his debut CD, Growing A Garden. Recorded live, in-studio with just McNair, his guitar and harmonica, listening to Growing A Garden is like having McNair over for a house concert. The organic feel of the album and the honest, down-home songwriting and performance lend a certain charm to the 18 songs presented here.

Growing A Garden opens with The Birds Were Like A Symphony, a song of appreciation for the beauty of nature, and the way that the Earth around us every day can surprise us when we simply take the time to notice. McNair's voice is strong and clear and has a rugged beauty to it. Man On A Mission has an autobiographical element to it, explaining perhaps, why McNair makes music. There's a great classic folk sound here and McNair reminds me heavily of David Matheson on this song. Somewhere In The Middle is a personal favorite, probably the best "opposites attract" song I've heard. I guarantee you there will be couples out there that claim this song as their own. It's not a humorous song, per se, but you can't help but chuckle at some of the truths unveiled here.

Don't Worry is a highly positive message set to music; a song about change and being yourself and letting the big things settle themselves out. It's not an invitation to disengage from life, rather one to engage and let the tides come and go ("One day I decided to be free/One day I decided to be me/One day I finally took my place/not ashamed to wear a smile on my face/and you'll be smiling a lot when you get the word / God loves every dog, cat, fish and bird/He walks right beside you and you've never been apart/so don't worry, worry, worry too much with your pretty little heart.") Hearts Don't Lie speaks to the inner voice that we sometimes call our heart and how it never lets people down even when they fail to listen.

You Need To Be Danced With is destined for mix-tapes everywhere. Don't be surprised if this song gets licensed for Television or Movies, as it is probably one of the most romantic love songs I've heard. As is it could be a hit on country radio and quite possibly cross over to pop radio as well. Grow The Garden is all about tending the future through the actions of today, and could be applicable to personal growth, societal growth or even growth in a relationship. It's a beautiful song and well delivered. Didn't Know You Then is a powerful song about forgiveness and accepting people for who they are and not necessarily for who they once were. Walking With Jesus has the feel of a modern folk hymn; more of a story song than what passes for contemporary Praise music. The most interesting aspect of McNair's music may be the role that faith plays in his songs. It's obvious that faith is a large part of McNair's mindset, and he sings about it as he feels moved in his songwriting in much the same way that James Taylor sings about love; it just happens to be what's on his mind. Be sure also to check out You Make Me Smile, I'll Be Back, Eating Me and How YOU Do It.

Stuart McNair is an honest songwriter who writes what he knows. There's no attempt to put forth a persona here, McNair is what he is, take it or leave it. The image that comes across is a singer/songwriter who is happy with his lot in life; happy with who he is, and happy to share his stories with any who will listen. McNair touches on elements of life, love, faith and our communion with nature. How McNair isn't highlighting major folk festivals across North America I don't know, but I suspect the time will come. In simple, straight-forward fashion, McNair has created an album that should establish him as one of the best young talents in folk music, bar none. Growing A Garden is a Wildy's World Certified Desert Island Disc, and highly recommended to anyone who will listen.

Rating: 5 Stars (Out of 5)

You can learn more about Stuart McNair at www.myspace.com/stuartmcnair. You can purchase a copy of Growing A Garden at www.myspace.com/stuartmcnair2.

Review: Sean McArdle - Northern Charms

Sean McArdle - Northern Charms
2009, Sean McArdle

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

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

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

Rating: 4 Stars (Out of 5)

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

Review: Packway Handle Band - Packway Handle Band

Packway Handle Band - Packway Handle Band
2007, Packway Handle Band

Packway Handle Band emerged from the same Athens, Georgia music scene as REM, the B-52's and Widespread Panic. Born in 2001, they won several local awards, and by 2006 were touring the country to great acclaim. Performing in the old "gather round the mic" style, Packway Handle Band seems to make friends and fans wherever they go with their classic style of play and honest-to-goodness sense of humor. Their fourth release, the self-titled Packway Handle Band, was released in 2007 to much acclaim, resulting in the band being profiled in Bluegrass Now Magazine in April 2008 as a Bluegrass Band To Watch.

Packway Handle Band sets the tone right from the start. The easy vocals of Tom Baker, Josh Erwin, Andrew Heaton and Michael Paynter and inspired fiddle playing of Heaton is icing on the cake of these eleven classic folk grass tunes. Gets Me Every Time is a perfect start to a kitchen party or a CD, and you could settle in for either one listening to these tunes. Spanish Scissors is an interesting composition. Based in Celtic/bluegrass musical traditions it incorporates Spanish-style guitar for an amazing instrumental trip. Strangers is a highlight, from the driven vocal line to the tight as can be arrangement. This would make an amazing acoustic single for rock/country radio. I am not sure if it would fly, but its so good it just might.

You'll want to check out the guitar/banjo picking on Tossin' The Beefcake. Earl The Duck is a bizarre love song to a pet that will make fans of The Brother Creeggan smile. The harmonies here are very well done, even if the song is a bit surreal. Other highlights include The Story (which could make it as a rock tune), the jazzy Downpour, River Delta and Can't Win For Trying. The album closes out with a cute novelty-ish tune called Satan's In Space. Don't let the occasional kitsch fool you hear, this is one first-class folk/bluegrass outfit.

Packway Handle Band makes serious music with a sense of humor. Their fourth release, Packway Handle Band is very much worth a listen or six. Fans of country, bluegrass or Americana will eat this up. There are humorous elements throughout the songs that may remind folks of Barenaked Ladies early stuff or Moxy Fruvous. If you're into the sort of music we've mentioned here then Packway Handle Band is for you. If you're looking to broaden your musical horizons with some first class music, this may be a good place to start.

Rating: 4.5 Stars (Out of 5)

You can learn more about Packway Handle Band at www.myspace.com/packwayhandleband.com or http://www.packwayhandle.com/. You can purchase a copy of Packway Handle Band at Athensmusic.net.

The Wildy's World Top-40 of 2008: #6-12

We're working our way to #1, and today we get into rarefied territory - the Top 12. The competition at this point is pretty hot and heavy, and we've rearranged this list several times in the process of putting it together. Each of the top 3 could easily have been #1, and you can be confident that anyone who's made it this far down the list put out a top notch recording. Remember that there were 537 albums eligible for consideration for the Top-40, so we're in the top 2% of all submissions for the year here.

Each album gets a little more face time here, and as always, if you click on the Artist Name/Title you'll be taken to the original Wildy's World Review. The original reviews have a full synopsis of the album as well as links to artist web pages and outlets that sell the album. So what are we waiting for?!?!?!?

#12 Margot Blanche - Pages In My Diary

Pages In My Diary offers up a blending of Jazz with Hip-Hop the likes of which you've likely never heard. Part Madonna, part Billie Holliday and part Suicide Girl, Blanche grabs your attention with a striking voice and commanding presence. Her tendency toward a burlesque style stage show may be a mere distraction to music fans, but you'll forget all about it when she starts to sing. One of the most original attempts at musical fusion we've heard in some time.

#11 The Hollyfelds - Saratoga

Eryn Hoerig and Kate Grigsby could stand on a Denver street corner in a blizzard and sing the menu from a hot dog stand and people would line up to listen. Their intertwining voices create harmonies that are otherworldly. Add to this one of the tightest and most talented classic country/Appalachian Folk bands between two oceans and some amazing songwriting and you have one amazing album. The Hollyfelds toil in the very busy genre of traditional American music, but quickly rise to the upper echelon of that crowd with this gorgeous debut album.

#10 The Simple Things - The Simple Things

In putting together this list we considered a couple of different factors. First and foremost was (subjectively) how much we liked the CD, but we also considered to some degree issues such as commercial viability. The Simple Things makes this list on pure heart. This little artsy, minimalist jazz/pop other trio has made one of the most eclectic and starkly beautiful albums of 2008. Vocalist Kaitlin McGaw could sell CDs/downloads singing a Capella, and Raymond Ruiz and Michael Gallant are top-notch musicians in their own right. If you get out San Francisco this way put The Simple Things on your itinerary if you can find a show.

#9 Julie McKee - What A Woman Shouldn't Do

Julie McKee's debut album is one of the finest collections of Jazz-imbued pop music of the year. She's part Annie Lennon, part Fiona Apple and part Jane Siberry. 2008 saw McKee gain significant attention for What A Woman Shouldn't Do, and even broke down international barriers by performing her first shows in New York City and Chicago (both well reviewed, by the way). Intelligent and witty lyrics make this one of the smartest albums of the year. An absolute must have for music fans.

#8 Crooked Still - Still Crooked

Crooked Still is as about as old-school country as one can get. Still Crooked is steeped in the Celtic and Folk traditions from which country music originally grew. Aoife O'Donovan sings this music like its her life's blood, and the rest of Crooked Still don't so much back her up as organically weave themselves around her voice. Out and out the top Country/Americana album of the year.

#7 Mike Ford - Canada Needs You Volume Two

Some of you may remember Mike Ford as 1/4 of the Toronto quartet Moxy Fruvous. Rather than fading into obscurity, Ford has become of Canada's best songwriters, concentrating his efforts on songs with educational value. Canada Needs You Volume Two focuses on persons, places and events in 20th Century Canadian history. No subject or musical style is off-limits as Ford uses intelligent and nuanced story-telling, humor and divergent musical styles to paint a series of musical profiles. This disc isn't likely getting a lot of mention on end of year lists, in large part because Ford doesn't do the whole self-promotion thing on a level with many of the other artists here, but it should be. The CD is absolutely unforgettable. And hey, just for kicks, check out this interview we did with Ford. It's a worthwhile read.

#6 Woodward - ...But Your Kids Are Gonna Love It

Woodward's debut is the quintessential Rock N Roll album, mixing elements of modern rock and classic rock into a blend that is familiar yet new. As music fans, this was probably the most exciting Rock Album to cross our desk in 2008. Because of the mix of sounds the target audience for this CD is any rock fan from 10 to 60. Woodward may or may not make the long haul stardom, but don't be surprised if this album someday stands out as one of the finest and most enduring albums of the Indie Rock era.

Review: Dali Rocket - Incessant Love Tribunal

Dali Rocket - Incessant Love Tribunal
2008, Dali Rocket

Incessant Love Tribunal opens with The Death Of Dali, an acoustic guitar based piece with some of the most gorgeously ethereal vocal harmonies you'll hear in 2008. The song meanders through the first three minutes before breaking into a bass-led polarization reminiscent of the Barenaked Ladies The Great Provider. The vocalist sounds a fair amount like Jian Ghomeshi of Moxy Fruvous, and the overall mood is mellow drama with an insurgent energy just beneath the surface. Palm Full Of Stars opens with a series of synth overlays and effects that resolve into Michael Hedges style acoustic guitar work. Impositions is a snappy little quasi-acoustic pop song with a funky spirit and unforgettable chorus.

Veil Vale Vail is full of a relentless inner life that displays itself in contrapuntal rhythms and some generally dazzling acoustic guitar work. Walking Meditation carries on in a spirited manner, and is my favorite song on Incessant Love Tribunal. It's one of the happiest breakup songs you'll ever hear, and may be one of the best pure pop songs of the year. Other highlights include the Rush styled Quest For Quintessence, Michigan Morning II and the title track (which is my second favorite song on the disc).

Dali Rocket is highly unusual. This is a band of primo of musicians. The lead vocalist has a gorgeous, clear tenor voice that rises out of the period melancholy or meandering musings like a beacon. The harmonies are stunning as well. Dali Rocket does occasionally get bogged down on Incessant Love Tribunal, but on the whole its a great listening experience. Dali Rocket is a band with significant potential for both commercial success and a significant musical legacy.

Rating: 4 Stars (Out of 5)

You can learn a little more about Dali Rocket at www.myspace.com/dalirocket. You can purchase a copy of Incessant Love Tribunal at www.cdbaby.com/cd/dalirocket.