JD Eicher & The Goodnights - Into Place

JD Eicher & The Goodnights - Into Place
2013, Rock Ridge Music

You’re going to hear a lot of comparisons made in conversations about JD Eicher & The Goodnights.  Critics have tied the band to Coldplay, Keane, The Killers, Death Cab For Cutie and The Script.  These are great compliments in a game where name recognition is key, but none of these comparisons does the band justice.  JD Eicher is an original voice, both literally and figuratively. With a lyrical talent culled from the great tradition of American singer/songwriters, Eicher also brings the melodic sensibility of great British songwriters such as Paul McCartney and Elvis Costello.    JD Eicher & The Goodnights recently dropped their third album Into Place, the third part of a trilogy that began with The Shape Of Things and continued with Shifting.  Into Place is Eicher’s most accomplished writing to date.

Into Place launches with "Ode To The Underdog", a thematically and musically appealing lead track with a touch of identity crisis. The verses are edgy, the bridge is angst-filled, and the chorus is uplifting and bright. In spite of these apparent contradictions the piece works. By the time Eicher breaks into the 'D' section after the chorus you've bought in and willing to go along or the ride. "Give It Up" has the sort of simple, hook filled chorus of which hits are made. The positive vibe and message are without cliché, and Eicher sings it like the top notch front man he is. This has potential hit written all over it. "You've Got A Lot Of Growing Up To Do" finds Eicher calling out practically everyone, including himself, for misbehavior a great and small.   Once again the pop aesthetic is very much alive and well here, and Eicher sells the song like a pro. 

"People" is a contemplative look at expectations and people's tendency not to love up to them. This is a quiet moment of pragmatic melancholy that's beautiful in its simplicity. Jerry DePizzo of O.A.R.  sits in on "Lately Lady", while Joy Ike combines her rather in impressive voice with Eicher's in a rambunctious blues-influenced romp. "I'd Like To Get To Know You" is the sort of light hearted love song that occasionally takes of up the charts or gets selected for inclusion in a romantic comedy soundtrack. Things turn a little deeper on "The Last Love Song", a pensive love song that's more serious and serene, and full of the angst of an as yet unrequited love. 

"Edgar Green's Time Machine" is a brilliant story song with a gently rolling media that carries you along a tale of genius, madness and joy. "Aaron" is a brilliant story of man who can't escape his own demons, but who wrestles them over a piano after hours at a bar. This story/monologue is incredibly real, driven by an unforgettable honesty and a lyric fortitude that is surprising even for Eicher. "Oh My God" is a philosophical dissection of profundity and human imperfection set to a quiet but insistent piano-based arrangement. Eicher laments an inability to be perfect in light of basic human needs in a one-side recitative with the Almighty. "Into Place" is a song about growing up and finding yourself; the understanding of what's important that comes with finding your place in the world. There is a celebration in here that's complicated but full of joy. Eicher delivers are all of this In a four and a half minute performance to remember. The album closes with a brief reprisal of the final track that features just Eicher and his guitar. This ending seems appropriate for the story-based album, but is perhaps the only questionably conceived/executed moment on the album. The ending is simply too abrupt and too short to resonate, and does more to distract the listener from what came before than anything else. 

Into Place presents JD Eicher & The Goodnights as one of the finest new purveyors of the pop singer/songwriter tradition.  Make all the comparisons you want, but Eicher is an original.  Into Place will likely find itself crowd the top of many year-end lists, and is certainly worth of being a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.jdeicherandthegoodnights.com. 

Kelley James - The Pattern Transcending

Kelley James - The Pattern Transcending
2013, Kelley James Music

Kelley James might just be the next icon of modern pop.  Mixing pop, rock, freestyle rap and electronic sounds with old fashioned acoustic guitars, Kelley makes a little bit of music for all tastes and styles.  James has toured with O.A.R., Mike Posner, Shwayze and Joshua Radin and has played a number of high profile gigs over the past five years.  Whether or not you like his style, James is a barometer of the moment, moving from style to style as no barriers exist between them.  Kelley James’ new album, The Pattern Transcending, sounds a bit young lyrically at times, but the infectious tunes are all most people will need to hear to fall for James’ quirky style.

James gets things rolling with the edgy, electro-alternative sounds of "Marinade", a coital daydream with foodie pretensions. "Sucks" is all about missing your favorite person. The simple construct of this song makes it a bit of affable ear candy with radio potential.  "That's My Girl" is a simple celebration of love or lust. The writing here is young, but the sentiments are clear. "Don't Want to Let You Go" features James in a speak/sing navel gazer lamenting the end of a relationship. This one has a whiny feel that weighs on the listener. 

James pulls out a reggae beat for "Stalker", wherein James details all the reasons he's not, but ends up admitting he may be. The lighthearted attempt at humor falls flat, as James goes for a joke that is too easy and obvious. "Secret Lover" laments being in a relationship with a woman who "acts like a dude'. James is left to wonder why she won't call or text the next day.  "Carolina" is a love song to the region, with a hook filled chorus that you can't quite get out of your head. James is at his best here. Don't be surprised of this song ends up as part of a tourism campaign at some point.  "Wonderful Place" has a mellower feel to it, and explores how any place can take on beauty if it’s enjoyed with the right person. 

"The Legend of Rip Venice" is the sort of pop song that makes serious waves. Killer hooks with elements of pop, soul and funk as well as a bit of 1970s flavor make this eminently listenable. "California" is a bit bland and predictable, but James recovers with the reggae jam "This Means War". There's good energy here, and James shows a bit more complexity in his song construction.  The album slips away with a lovely parting shot in the form of "Brother", a gentle ode to friendship; family and making dreams come true. This is a masterful piece of songwriting, both deeply personal and universal all at once.  The chorus does fall into cliché a bit, but it’s a trivial sin in an otherwise memorable song. 

Kelley James is both better and worse than advertised.  The main has a knack for catchy, hook-filled pop songs as well snappy lyrical flows.  Unfortunately he also has a tendency to arrive at some truly awkward lyrical backlogs at times.  These approach laughable status at times, but more often than not they serve merely as a distraction to the catchy pop craft on The Pattern Transcending.  One gets the idea that perhaps James is just trying to be too cute in his wordplay.  Either way, there’s a whole world of potential here.

Rating: 3.5 Stars (Out of 5)

Learn more at www.kelleyjames.com. 

Jacob and the Good People - I Am Jacob

Jacob and the Good People - I Am Jacob
2012, Jacob and the Good People

Atlanta, Georgia (by way of Ohio) rockers Jacob And The Good People have a sound that’s influences by acts such as Dave Matthews Band, Rusted Root, Zac Brown Band, O.A.R., and Lil Wayne, to name a few.  Their infectious post-alternative pop and soul blend gets into your boots and makes them wiggle.  Some of that is the chemistry of the band and some of it is the pure persona that is Jacob Blazer.  On the band’s debut EP, I Am Jacob, Jacob and the Good People incite all of the influences above but sound mostly like they have been playing in some special sauce.

I Am Jacob opens with the light reggae-fueled folk/pop of "Crazy", a love song with a distinctive island swing. Jacob Blazer is charismatic and warm as a front man, and sells this song primarily on personal charm. "Moving" is a low energy cut of musical philosophy that has no questions and fewer answers. "Simple" is a soulful love song in the classic Philly style, with Blazer overcoming minor vocal flaws with pure charm.  "Allstar" finds Jacob playing in the same lazy/hazy soul territory as G. Love. It's an entertaining number that mixes singing and spoken word while dropping culture and fashion references from earlier days. The EP closes with "Goodbye", a tuneful kiss off from a man who is choosing a life on the road over a woman he may love, but who cannot accept him being away.

Jacob and the Good People come quickly full circle in the relationship cycle on I Am Jacob. The slow and easy feel to the songs combines with Jacob Blazer's personal charisma to create an affable listening experience. His voice isn't going to win him awards, but like other great performers before him, Blazer sells each song with such finesse you may not even notice.

Rating: 3.5 Stars (Out of 5)

Learn more at www.jacobandthegoodpeople.com. 

Flo Anito - No Dustbunnies

Flo Anito - No Dustbunnies
2008, Flo Anito

Flo Anito, a Washington, D.C.-based singer/songwriter who has garnered comparisons to Ani DiFranco, Fiona Apple and Nellie McKay, has been charming fans in the DC area and throughout New England for a couple of years now.  Her jazzy, piano-driven pop songs show off poetically prolific story-telling style with theatrical flair.  A graduate of Wesleyan University, Anito is classically trained in piano, voice and cello, and has a background in musical theater as well.  All of these facts offer hints of what is to come when first sit down to listen to Flo Anito's latest album, No Dustbunnies.  Anito worked with Chris Keup (O.A.R., Erin McKeown); Stewart Meyers (Lifehouse) and Brian Jones (Dave Matthews Band, Mandy Moore) to bring No Dustbunnies to life.

Anito opens with "Man Of The Year", a simplistic piano-driven arrange with a lace of strings added for atmosphere.  The song explores the angst of a new or prospective relationship; of wanting in but being afraid of getting hurt.  It's an intriguing start, and shows off a voice that's both gritty and pure; a sweet alto with a bit of tough-girl rasp.  "Uh Oh!" is catchy, stripped-down rock n roll that wouldn't be surprising in the background of a prime-time drama.  Anito's theatrical background comes out to stay for a while, starting with "Work!".  The song explores the complete thought process about a failing relationship, in a wordy yet well-flowing presentation that sounds like a modern Broadway/rock soliloquy.    If "Work!" is the internal conversation, the "Change My Life" is the external one that follows.  The melody is memorable, and the chorus in particular could get lodged in your head for days. 

"Mean" continues in the same vein, a catchy rocker with blues in its ancestry that explores the petty offenses and responses that dot a dysfunctional relationship.  This one is delivered in two acts: the first an early wakeup call that she didn't appreciate; the second her scheming for revenge.  Revenge and pathos make for an entertaining and tuneful trip into the dark reaches of the relationship psyche.  Country, blues and gospel blend on "No Good", a musical revelation that the relationship needs to go.  Anito gives you the entire rundown in lyrics that give you everything you could want to know while somehow avoiding the trap of too much information.  The chorus will stick with you, and you'll still feel the Broadway vibe that's run throughout much of the album to this point.

Things on No Dustbunnies have gone so well to this point that the coming slowdown is both expected and disappointing.  "dRuNKen LetTeR" is morose and self-serving, as it should be, but really dampens the entire mood that Anito has set to this point, and sounds very much out of place.  "Afghanagain" and "Valentine's Day Blues" are solid story songs, but lack the pizzazz and energy of what's come before, while "What You Don't Know Can Hurt You" serves as a placid transition to the close.  Anito sails off into the sunset with the jaunty, tongue-in-cheek Leave It To Beaver pop of "No Dustbunnies", funneling the frustrations of an old-time housewife into the cleanest home in town.  Rather than playing the song dipped in irony, Anito gives listeners the story in an authentic, time-stamped voice, which in its way is more ironic than the sarcasm often passed off as irony in pop culture.

The key to great pop music is simplicity.  Flo Anito appears to have learned this lesson well, constructing simple-yet-catchy pop tunes that are literate and fun.  Half of No Dustbunnies mines the culture of relationships for dysfunction and real emotion, presenting it all in a storytelling style that is equally at-home in the theater as it is on a pop record.  Anito manages this all in engaging fashion, wrapping you up in the web of strong narrative and infectious melodies that simply won't leave you alone.  The other half of the album is less winsome; functional in nature but lacking the pizzazz and charm that Anito is capable of.  All in all it's a worthwhile effort, but there are certainly some weeds in the flowerbed.

Rating: 3 Stars (Out of 5)

Learn more about Flo Anito at www.floanito.com or www.myspace.com/floanito.  No Dustbunnies is available on CD from Amazon.com. Downloads are available from iTunes.