Antigone Rising - 23 Red

Antigone Rising – 23 Red
2011, Rising Shine Records

Changing your lead singer is always a touchy subject.  No matter who you choose, someone is bound to be unhappy.  Either the new vocalist sounds nothing like the original, or they sound too much alike, or some other real or imagined shortcoming that often fits more fully on the vanity of the fans than that of the band.  This is the challenge that faced Antigone Rising in 2008.  A hiatus proved unsatisfying, so the band set out to find a new singer.  What they have found in Nini Camps is the catalyst that might take them from being long-time Indie rock darlings to the upper reaches of the musical stratosphere.  The band’s recently released album, 23 Red, is their freshest and most sonically appealing work of their career.

23 Red opens with “No Remedy”, using an amplified acoustic pop/rock sound and an absolutely unforgettable chorus to get your feet moving.  This song has hit written all over it, and it’s not the only one on the album.  “Everywhere Is Home” is a mild, country-flavored love song.  This is the first single from the album, and promises to have Antigone Rising threatening ascent on the pop, country and Indie charts.  The ladies of Antigone Rising sing like angels when they put their voices together, a point exclaimed here in brilliant sound.  “Borrowed Time” is a sweet ballad, draped in poignant poetry that explores the need to do all we can with the time we have.    The harmonic convergence continues on “One Foot In”, a pure Americana blend of rock and country that is aurally appealing and fun.

“Gracefully” and “Who Knows What Tomorrow May Bring” show off Antigone Rising’s penchant for great melodies, first as an emotionally full  and layered ballad, then as a country, bordering on honky-tonk romp.  In the course of two songs Antigone Rising moves from a blue fatalism to a red, grab life by the horns transition that is dizzying and fun.  The energy here is amazing.  “Pink Sunglasses” is a dreamer’s anthem about finding the place and time that enables you to feel like you can do anything.  In this case it’s a quirky accessory, but the song is well-written and honest in its intentions. 

“Breaking Me” is sonically gorgeous, although the energy is a bit stagnant at times.  This one is more of an aesthetic rumination than an impassioned plea, but the dark undertone fills it with a quiet urgency that’s undeniable.  “You Say You Want To Leave” is a classic relationship nexus song; He wants to leave and she doesn’t want him to.  She’s going out of her way to let him know it’s okay if he goes, while telling quietly underneath it’s not.  23 Red bows with “Goodbye”, coming full circle with the country/Americana blend Antigone Rising started with.  “Goodbye” could almost be a second take on the theme of “You Say You Want To Leave”, but from a better place.  Either way, it’s a pretty tune that satisfies the aesthetic muse of the band while retaining an emotional intelligence that is refreshing.

23 Red is one of those albums that gets you right from the start.  From the sweet lead vocals of Nini Camps to the irrepressible pop hooks and gorgeous four-part harmonies, Antigone Rising wraps listeners up in a blanket of sound while engaging listens on intellectual and emotional levels not often found in today’s pop song writers.  23 Red is going to be on a lot of year-end favorite lists and a nomination or two would not be unwarranted.

Rating: 4.5 Stars (Out of 5)

Learn more about Antigone Rising at www.antigonerising.com or www.myspace.com/antigonerising.  23 Red is available from Amazon.com as CD or Download.  The album is also available via iTunes.

Alice Ripley - Daily Practice, Volume 1

Alice Ripley - Daily Practice, Volume 1
2011, Sh-K-Boom Records

TONY winner Alice Ripley has been acting on and off Broadway for twenty years, as well as recording albums and gigging with her band Ripley and creating works on canvas and in mixed media.  As an artist whose creative energies seem to have no end, Ripley often uses one art form to balance off another.  So it was in 2009, when Ripley played conjoined twin Diana in Next To Normal.  Aside from earning Ripley a TONY for best actress in a musical as well as a Helen Hayes award, Next To Normal left Ripley with another legacy.  Each night Ripley would return to her hotel room and recover from the emotional weight of her performance by singing some of her favorite songs while accompanying herself on acoustic guitar.   These impromptu therapy sessions were memorialized on the album Daily Practice, Volume 1, released earlier this year on Sh-K-Boom Records.

Daily Practice, Volume 1 is raw and unvarnished, featuring Alice Ripley in an almost manic performance state.  The result is unsettling at times, striking at others, and throughout is underscored by the emotional complexities and beauties of the human condition.  Ripley opens with Carole King's "It's Too Late".  This is one of the mellower offerings on the album, but Ripley's vocal performance is impassioned and full of emotion.   "Message In A Bottle" is halting and uncertain at times.  While the original version by the Police seems to focus more on the hope for salvation, Ripley's version seems more focused on the desolation and hopelessness of the narrator's position.  The performance is striking and raw, delivered in the uncomfortable tones of someone who doesn't know what to do next.

"I Still Haven't Found What I'm Looking For" is played straight to the letter, but misses the soaring feel of the original in a workman-like performance.  Alanis Morissette's "You Oughta Know" is slowed down a bit, with Alice Ripley all over the place vocally.  Ripley seems to relish the emotional outbursts of the song, articulating representatives of the FCC's seven deadly words with particular fervor.  "Essence" (Lucinda Williams) displays a particular vulnerability; the emotional charge in Ripley's voice is palpable and real. 

Ripley goes all out for Bruce Springsteen's "Thunder Road", capturing the gritty honesty of Springsteen's writing style perfectly.  The sense of hope and joy amidst a dreary world is compelling.  Nanci Griffith's "The Flyer" drips with the loneliness of the road, staying true to the original.  Ripley takes on The Eagles' "Take It Easy" in halting fashion.  It's a solid cover, but doesn't have the carefree feel of the original.  Ripley takes a fair shot at R.E.M.'s "Everybody Hurts", but sounds overwrought.  The whiney, self-involved nature of the song and the heaviness of Ripley's voice just don't make for a great mix.  Ripley closes on sound footing with a solid cover of Carly Simon's "Anticipation".

Cover albums are always fraught with difficulties for fans and critics alike, but Daily Practice, Volume 1 is not your typical cover album.  The ten songs collected here represent a daily process of catharsis that allowed Ripley to maintain her balance during one of the most trying roles of her career.  The unvarnished nature of the album will give some listeners pause.  This is Alice Ripley, warts and all.  Most artists would never have the audacity to release recording in such a raw state.  From a purely aesthetic standpoint, Daily Practice, Volume 1is raw and unsettling.  Put into perspective, it becomes a statement of freedom, and of that particular beauty that grows from human imperfection and perseverance.  Daily Practice, Volume 1 comes straight from the heart.

Rating: 3.5 Stars (Out of 5)

 Alice Ripley's web presence is fleeting and hard to find.  Her blog, aliceripleylinkup.blogspot.com has not been updated in a while, but you can pick up some good information about her there.  The site for her band, Ripley, www.myspace.com/ripleytheband has also not been updated in a while.  Luckily, Daily Practice, Volume 1 is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

JD Pederson – It Seems Like Only Yesterday

JD Pederson – It Seems Like Only Yesterday
2010, JD Pederson

Every singer/songwriter is a sum of his or her influences.  For JD Pederson those influences are solid ones.  Whether it’s the San Francisco sound of Boz Scaggs and Tower Of Power, or the style of artists such as The Eagles, Jackson Browne and Van Morrison, Pederson has developed a strong personal style based in classic sounds.  What makes Pederson special is that he’s taken these roots and catalyzed them into something new and unpredictable.  It’s there in Pederson’s live shows; you never know what he might come up with next.    You’ll find the same feel to Pederson’s debut album, It Seems Like Only Yesterday.

Pederson opens with “We Go Way Back”, inhabiting the space between country and rock n roll with an easy-listening mien.  It’s a song of reminiscence with a nice melody, and shows off Pederson’s easy-going voice in style.  “My Favorite Sunset” is a vaguely saccharine ballad that captures a moment in song.  Pederson injects an island feel into the song, and in spite of the slightly trite feel you’ll leave with the impression that such things are born of true emotion rather than a cynical attempt to inspire feeling.  “Learn The Dance” is all about growing up and taking responsibility for yourself.  Pederson exhorts listeners to dig into life and take what it has to offer; an anthem to personal responsibility with a dose of carpe diem thrown in.

“Call Me” finds Pederson sounding a lot like Ezra Idlet of Trout Fishing In America.  It’s a down tempo love ballad that’s sorrowful, yet still somehow motivated by hope.  “Kiss & Tell” shows more energy; a catchy tune with a sense of mystery and remorse.  This is a sharp, clean arrangement with great guitar work that shows a slightly different dimension to Pederson’s songwriting.  “Welcome To The Party” is a musical dissertation on graft, politics, and the internal machinery that keeps the political process out of the hands of the people it represents.  The observational style of songwriting shown here displays sharp and incisive lyrics with plenty of wit in a funky, blues-rock arrangement.  “No Good For You” is a dirty blend of rock and blues that’s highly enjoyable.  It’s a classic story in the first person about a friend waiting in the wings for his friend’s girlfriend to her eyes his way.  More than that, he’s actively working to put himself into position to steal her away.  The guitar work here is as filthy-good as the premise, and the song is full of delicious piano licks and fills.

“Peace Of Mind” is a bit simplistic and plain, but features some great guitar work and a decent melody.  The sound here is a bit too inside of itself; wanting to explode and be larger than life, but never quite gets there.  “The Sound Of Goodbye” is a flat, Adult/Contemporary Ballad.  The song itself is decent, but the production here misses the boat.  The vocals are too low, the piano too high, and the guitar solo is too far out in front.  This sounds more like a patchwork of musical parts thrown together in a slipshod manner than a cohesive piece of songwriting.  Pederson closes with “Headed Home”, once again involving a mismatch in the production booth.  Pederson’s pleasant but soft-spoken voice gets lost in the mix. 

JD Pederson’s It Seems Like Only Yesterday lives up to the classic singer/songwriter mantle it bears across the first seven songs.  Pederson shows a competency in lyrics and arranging that places him above the pack.  His gift for melody and creating a story environment in his songs is notable, and at times he rises to the crest of brilliance.  The last three tracks seem more like filler, and are a disappointing epilogue to what is otherwise a very strong effort.  It Seems Like Only Yesterday certainly will give listeners motivation to see what JD Pederson does next.

Rating: 4 Stars (Out of 5)

Learn more about J.D. Pederson at http://www.jdpederson.com/.  It Seems Like Only Yesterday is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Stonehoney - The Cedar Creek Sessions

Stonehoney - The Cedar Creek Sessions
2010, Music Road Records

Austin, Texas bills itself as the live-music capital of the world. The more we see of artists such as Stonehoney, the more we believe the hype. Stonehoney is the coming together of four singer/songwriters (Shawn Davis, Phil Hurley, David Phenicie and Nick Randolph) who met at a songwriters round-table and found instant chemistry. Fans who attend their live shows feel it to, as Stonehoney has become one of the local favorites in Austin. In recording their debut album, The Cedar Creek Sessions, Stonehoney sought to capture that live vibe by recording the entire album live in-studio with the help of guests such as Earl "Poole" Ball (Johnny Cash) and Ken Coomer (Wilco). The result is an aural experience you have to hear to believe.

The Cedar Creek Sessions opens with "Two Years Down", an Eagles-style country rocker with distinctive pop sensibility and an unforgettable melody. It’s a song of longing written from afar; a great start to the album. "Headlight On A Midnight Train" is the absolutely brilliant second track; a song that should not be neglected from consideration as a single. This is one of those songs better heard than described as Stonehoney builds a sound here that approaches perfection. "Lucky One" is an upbeat love song with serious potential as single that sounds a bit like a Blue Rodeo outtake but with a soulful side. Stonehoney displays their best trait on "I Don't Wanna Go"; an ability to write commercial songs without trying to sound commercial. "I Don't Wanna Go Home" is a song about the desolation of being newly on your own. There's a definite Eagles feel here, but Stonehoney keeps the sound their own.

"White Knuckle Wind" finds listeners venturing into the honky tonk with Stonehoney in a turn you'll find it difficult not to dance to. "Good As Gone" takes a more serious tone, treating listeners to a story about the consequences of unintended events and reminding us that sometimes a mistake can change our lives. "Feels Like Home" shows off an organic sound that's a bit closer to traditional country that shows off Stonehoney's collective compositional skills. "Dance With You" is the mandatory schmaltzy love song; a surprisingly good pop-oriented country ballad with vocals that sound more than a bit like Bob Seger. "There Is A Light" is a pleasant little tune with an uplifting message and a melody you'll find yourself humming along to the first time you hear it. Stonehoney closes with "Feel Like I'm Gonna Die", a raucous honky tonk tune that seems like the perfect way to say goodnight.

Listening to The Cedar Creek Sessions is a revelatory experience. Not only do you get a clear picture of the songwriting and musical talent of the band, but you also get a sound that seems to closely approximate the band's live sound. If the experience of hearing The Cedar Creek Sessions doesn't end up with you searching the internet to see how close Stonehoney's next tour comes to your town then you weren't listening carefully. While the sound is a bit different, the last country band I heard come along that had their stuff so thoroughly together was Diamond Rio. Stonehoney is a creative force that will hopefully be making great albums for a long time to come. The Cedar Creek Sessions should be the first of many.

Rating: 4 Stars (Out of 5)

Learn more about Stonehoney at http://www.stonehoney.com/ or www.myspace.com/stonehoney.  The Cedar Creek Sessions is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Mark Radcliffe - The Sea Before Us

Mark Radcliffe - The Sea Before Us
2009 Mark Radcliffe/Denzer Productions

Mark Radcliffe didn’t follow the usual path to becoming a singer/songwriter. He didn’t even pick up a guitar until he was 17; he spent much of his Maine childhood playing sports instead. Even then, the guitar was more of a hobby than a calling. Radcliffe spent ten years between stings as a teacher and traveling writer. These experiences allowed Radcliffe to finally enter the singer/songwriter stage of his life more seasoned than your typical wannabe pop star. This might explain the smooth, wizened feel of the songs on The Sea Before Us, Radcliffe’s sophomore album. With nods to acts like The Eagles and Jackson Browne, Radcliffe spins tails of love and loss in easy, cultured pop arrangements that are hard not to like.

The Sea Before Us opens with the easy strains of "In The Sun", a gentle daydream of a song about escaping the things that trouble you. It's a solid arrangement that's easy on the ears. "Other Side Of The Pillow" is a rueful lamentation on love lost. It carries with it a tune that will stick out in your mind. "Blow It All Away" is a catchy tune about tending what you have (because you never know when it could be stripped away). It's a solid premise and well-delivered with touches of light pop and singer/songwriter pastiche.

"Miss Hard To Forget" is pure pop gold; a song about chance meetings that happen in line that often result in a smile but nothing more. Radcliffe imagines what would happen if he actually ventured forth for more than that smile. It's an entertaining tune that will wrap itself up inside your mind and not leave for days. "One Foot Out The Door" bemoans a relationship where one partner isn't fully invested; a decent light pop tune that's a little bit deeper than your typical "this relationship isn't working" song.

"Breaking Up The Band" is the document of a watershed moment in life: the moment when you realize it's okay to let go of your current association(s) and look for something new. This song is put in the context of a band, but could easily be a metaphor for a relationship. Solid pop songwriting lies at the base of this tune, with great hooks and an upbeat chorus that stays with you. Radcliffe winds up The Sea Before Us with "No Time To Lose", a song about the small chances we can take that make huge differences in our lives. In this case the protagonist sees a beautiful girl every day on the train, and after many close encounters makes an attempt to reach out. It's not a happy ever after song; the most that we learn is that they're having dinner, but the song exhorts listeners to take chances; to reach out, because you never know what will happen.

The Sea Before Us is intriguing. Mark Radcliffe invests a lot of positive energy in the album, but it doesn't become the sort of hokey posi-pop that you see pushed by some artists. Radcliffe writes intelligent, nuanced pop songs that range from mellow story-songs to reserved rockers you can just about dance to. Radcliffe's sense of melody and composition are both highly developed, and he's able to express himself in lyrics that are both poetic and accessible. The Sea Before Us is a very solid listening experience.

Rating: 3.5 Stars (Out of 5)

Learn more about Mark Radcliffe at http://www.markradcliffe.net/ or www.myspace.com/markradcliffe. The Sea Before Us is available as either a CD or Download from CDBaby. Digital copies are also available through iTunes.

Review: DownTown Mystic - Read The Signs

DownTown Mystic - Read The Signs
2007, Sha-La Music

What turned out as amusing side project for Sha-La Records president Robert Allen has turned into a serious venture. DownTown Mystic produced a demo that wound up with two different songs getting airplay on KROQ. Ensuing national airplay convinced Allen it was time turn the demo into a full-length album. The result, Rock N Roll 4 The Soul, was a strong debut featuring co-songwriting by Bruce Engler and the rhythm section of Bruce Springsteen's E Street Band. Downtown Mystic returns now with their latest album, Read The Signs. featuring a new rhythm section and some serious songwriting.

Read The Signs opens with 1960's Folk/Rock of I Can't Let Go, a catchy quasi-love song that shows shades of Crosby, Stills & Nash in the harmonies. Go Back features some nice, lively guitar work but runs a bit long at five-and-half-minutes. DownTown Mystic is a decent listen; a bit on the bland side but sonically pretty. From the lyric perspective the song is a bit awkward, a trait that carries over a bit into One Step Closer. This is a song that has potential hit written over the music. The highlight of the album is Read The Signs, which sounds a bit like a Bob Seger tune. Read The Signs has a strong clear hook and is very catchy.

A close second is Think A Little Louder, which features one of those choruses that gets stuck in your head and won't leave of its own volition. DownTown Mystic brings the same feel good, infectious Rock sound to Test Of Time, a jubilant love song about marriage and the power of love. Tomorrow's Clown finds DownTown Mystic entering the California Country territory trod by The Eagles with much success, before breaking into infectious Roots Rock on A Way To Know. The last track on the disc, an untitled song that comes up as "Unknown" if your system displays title information moves back to the Poppy-Classic Rock sound that seems to the be the middle ground for DownTown Mystic. It's perhaps the most generic of the tracks on the album; pleasant but not overly impressive.

Read The Signs has its ups and downs, but when they're at their best, DownTown Mystic is an eminently listenable band. This is feel good music for folks who miss 1980's Guitar Rock and Adult Contemporary formats (ala radio's The River). Robert Allen has an exceedingly pleasant voice, and in general the songs are quite strong in the writing department. Take some time to Read The Signs.

Rating: 3 Stars (Out of 5)

You can learn more about DownTown Mystic at www.myspace.com/downtownmystic or http://www.shala.com/. Read The Signs is available as either a CD or Download from CDBaby.com.

Review: Grandpa Elliott - Sugar Sweet

Grandpa Elliott - Sugar Sweet
2009, Playing For Change Records

Grandpa Elliott Small came into the national spotlight as part of the Playing For Change project. He was one of the vocalists in the project's version of Stand By Me, which has been viewed over 15 Million times on YouTube. Grandpa Elliott is a New Orleans street musician who has been playing on Jackson Square and the French Quarter's Royal Street since the 1960's. He is a local icon who at the age of 64 played for the first time in front of a crowd of 40,000 at L.A.'s Dodger Stadium. His profile has been further raised by appearances on The Tonight Show and The Colbert Report. In November of 2009, Grandpa Elliott released his full-length debut album, Sugar Sweet, on Playing For Change Records.

Part of what makes Grandpa Elliott's music work is the blend of sounds. Take the sounds of Africa, the Caribbean and New Orleans, mix them up, and add in the salty, warm voice of the man himself and you get something a bit like magic. Grandpa Elliott opens with Ain't Nothing You Can Do, a song about the inevitability of heartbreak. It's a universal song with its roots in the Blues even though it's not a Blues tune. This Little Light Of Mine (Medley) is done in a superb arrangement incorporating a Gospel Choir and touches of Dixieland sound. It's a great listen and one of the highlights of the album. Sugar Is Sweet sounds like something that might have come out of an early R&B recording session; the song is a bit cliché but well-intended and well executed. Grandpa Elliott gently nudges aside the likes of BB King on Baby, What Do You Want Me To Do. The guitar work and vocal line here are exceptional, and Elliott could take a seat with the greats of Blues without feeling a bit out of place after this performance.

Share You Love With Me goes for the old school Rockin' R&B in a stylistic and memorable performance. Up next is a cover of Cat Stevens' Another Saturday Night. The song as presented is decent, done up with a gospel choir on backing vocals, but seems to take Grandpa Elliott away from his core sound. Fannie Mae is presented in a live recording that shows the sort of panache developed from five decades playing on the streets of New Orleans. Rockin’ Rhythm N Blues is the medium, and Grandpa Elliott absolutely owns the crowd. Sugar Sweet goes out on a high note, with a cover of Charles Brown's Please Come Home For Christmas. The song was first recorded by Brown in 1960, charting several times over the next dozen years, culminating in a #1 single in 1972. Numerous artists have recorded this one over the years, including top-10 singles from The Eagles and Bon Jovi. Grandpa Elliott brings the tune back to its piano-based Blues roots. Don't be surprised if Grandpa Elliott takes this old number up the charts one more time.

Sugar Sweet is certainly a treat. Grandpa Elliott just keeps doing what he's been doing all his life, playing great music. The big difference now is the size of the audience. In one sense, there are performers like Grandpa Elliott all over the world. Street musicians and small-time performers with a world of talent and pizzazz just waiting for that break that (for most) never comes along. In Grandpa Elliott's case, it finally came along in his seventh decade. But in another sense, there's no one quite like him. Sugar Sweet might not always have the best material for Elliott to play and sing, but he makes the most of every song. It's a strong effort, and worth spending some time on.

Rating: 3.5 Stars (Out of 5)

You can learn more about Grandpa Elliott on the Playing For Change website. You can purchase Sugar Sweet directly from Concord Music Group as either a CD or Download.

Review: Michael Buble - Crazy Love

Michael Bublé - Crazy Love
2009, 143/Reprise Records

Michael Bublé is back with his latest, an album entitled Crazy Love. The multiple Grammy-winning Bublé turns introspective and autobiographical on Crazy Love, which features 11 standards/covers and two original tracks. Bublé has sold over 22 million albums around the world, and his 2005 release, It's Time, holds the records for the longest run on the Billboard Traditional Jazz Charts at two years (with 80 weeks at #1). Guests on Crazy Love include the acapella group Naturally 7, and Sharon Jones and The Dap Kings. Production responsibilities were shared between David Foster, Bob Rock and Humberto Gatica.

Bublé opens with a darkly modern take of Cry Me A River. With a martial air, Bublé illuminates the song in bright new fashion while holding on to it's classic nature. All Of Me is done in more classic style with a touch of Vegas flair. Bublé does a good job with Georgia On My Mind, but I have been forever spoiled by the late, great Ray Charles on this song. Bublé's version is good but just doesn't stand up to the original. Bublé does much better with his cover of Van Morrison's Crazy Love. This is a classic song that mixes elements of Folk, Rock and Soul, and Bublé and his ensemble work magic here. Bublé opens up to a Broadway meets The Partridge Family style tune with the ebullient Haven't Met You Yet. This is a hopeless romantic's tune with a bouncy chorus you won't be able to get out of your head. Bublé is inspired here, and the arrangement as a whole plays to all of his strengths in a golden Pop moment.

Bublé visits the 1950's for his rendition of All I Do Is Dream Of You. The collective spirit of Louis Prima and Bobby Darin shines down on this particular number in one of the brightest moments on Crazy Love. Bublé creates a moment of musical déjà vu with Hold On, a song so instantly familiar I was certain it was a cover. This is an incredible tune that could be a pop classic, sounding like something that might have been written by Elton John or Billy Joel. Bublé goes Honky-Tonk with a live jazz/rock cover of The Eagles' Heartache Tonight. This is a fun version that's a bit livelier even than the original and certain to inspire some dancing. You're Nobody Till Somebody Loves You is done in classic Sinatra style and paves the way for Baby (You've Got What It Takes), featuring Sharon Jones and The Dap Kings. This is the highlight of the album, as singing with Sharon Jones seems to bring out a more soulful side of Bublé.

Bublé's cover of Billy Vera & The Beaters' At This Moment is another bit of magic. Bublé sticks pretty close to the original here, and while his voice may be prettier he doesn't hope to match the sound and heart of Billy Vera. Nevertheless, Bublé's performance is dynamic in it's own fashion and serves the song very well. Accapela group Naturally 7 lends their vocal talents on Hoagie Carmichael's Stardust. The result is a rendition that sounds like a young Bobby Darin singing with The Mills Brothers. The vocal arrangement here, in particular of Naturally 7, helps to build a classic sound for one of the greatest compositions of the twentieth century. Bublé closes out with the Latin-styled Whatever It Takes, a song of love and devotion that's a bit cliché but sweet.

Michael Bublé does it again. Crazy Love is the sort of transitional album that will allow Bublé to keep his traditional fans while beginning to build more present among folks with slightly more modern tastes in music. Crazy Love is certain to continue Bublé's string of Gold and Platinum albums while earning him serious Grammy consideration. Crazy Love is the work of a consummate professional at the top of his game.

Rating: 4 Stats (Out of 5)

You can learn more about Michael Bublé at http://www.michaelbuble.com/ or www.myspace.com/michaelbuble. You can purchase Crazy Love as either a CD or download via Amazon.com.

Review: Westerly - This Lonesome Town

Westerly - This Lonesome Town

2009, Westerly Music LLC

Westerly is a band, appropriately enough, with roots in the Western United States. Finding a common meeting point in Seattle, Joshua Schramm (vox/guitar/harmonica); Kory Nagler (vox/guitars/harmonica/keys); Bob Hyde (bass) and Andrew Squire (drums/percussion) have created a blend of Country, Rock and Folk that’s as accessible to fans of 60’s and 70’s icons Buffalo Springfield, Bob Dylan and Tom Petty as it is to fans of Ryan Adams, Wilco and Drive-By Truckers. Driven by ambivalence between life on the road and putting down roots, Westerly bridges the gap between genres by being all and none at the same time. Westerly’s sophomore album, This Lonesome Town, was released in March of 2009.

This Lonesome Town opens with Pour The Wine, a gentle and overly generic country tune. The sound here is pleasant but the song doesn't make much of an impression. Every Word has a California Country sound reminiscent of The Eagles. It's a decent tune in a fairly predictable arrangement. This Lonesome Town is a pleasant composition and well arranged, although the lyrics are highly repetitive. The song has a quiet sway that gives it a lullaby-like feel. Westerly breaks out with the high energy Third Wheel, perhaps the best song on the disc. This song could go straight to Country radio as-is. Memphis and Holding On plod their way through to Weightless, a moderate tempo Country/Rocker with an infectious nature and some excellent vocal harmonies. Black Hat and Slow Trail follow a somnolent path, musically. Before You Came picks up the energy a bit in what might be the best song on the disc. Westerly performs and inspired rendition of The Rolling Stones' Wild Horses before closing out with 30 Seconds, the most ambitious composition on the disc.

Westerly makes a decent impression with This Lonesome Town. Instrumentally the band is excellent. From a songwriting perspective there are highs and lows, but generally the results are above average. This Lonesome Town is a pleasant listen that grows at the intersection of Rock, Country and Folk. There are a couple of weeds in the grass, but on the whole it's a good listen.

Rating: 3 Stars (Out of 5)

You can learn more about Westerly at http://www.westerlymusic.com/ or www.myspace.com/westerlyseattle. You can purchase This Lonesome Town directly from the band as either a CD or download, where the download option allows you to choose your own price.

Review: 100 Damned Guns - Musica De Tormento

100 Damned Guns - Musica De Tormento
2009, TXMF Records

Six refugees from the worlds of Rock, Punk, Metal and Surf find themselves drawn inexplicably to the sounds of classic Country and Bluegrass. This description either describes the latest project from The Cohen Brothers (probably starring Jack Black) or Fort Worth, Texas sextet 100 Damned Guns. Coming together as a quarter in 2005, 100 Damned Guns' earliest demos generated internet buzz and caught the attention of College Radio and Indie record labels. By April of 2007, 100 Damned Guns had signed on to TXMF Records, added two members and released their first album, Songs Of Murder Pain And Woe. Local and regional airplay followed, as did the local awards and an invite to play at Walnut Valley Bluegrass Festival in Winfield, Kansas. 100 Damned Guns was also featured on the soundtrack to the Indie film Blood On The Highway. With the release of their sophomore CD, Musica De Tormento, 100 Damned Guns looks to gain national exposure with a mix of Country and Bluegrass fueled by a Punk Rock energy.

Broken Bottle Blues gets things started for 100 Damned Guns, sounding like a classic Country/Gospel tune from the 1950's or 1960's heyday of the Grand Ol Opry. The musicianship here is first class and the songwriting is out of this world. Already On My Way has a California Country sound, done up in the gentle wail of a mournful guitar. 100 Damned Guns picks up the pace on Ain't That Bad Anymore, nearing warp speed on a fun tune that details a list of bad behaviors in contrast to the present. One More Time is a tale of woe from a man who's been thrown out of his house. He's asking to come home, promises to change, although this conversation has likely played out many times before. This is a great bit of songwriting and creates an image for the listener that is crystal clear.

Go Back To Sleep is something of a protest song, decrying a country's leadership that strives to make war. It's easy to see how Go Back To Sleep might have been aimed at either the former or current US Administration, although the message is delivered with a subtle wit that doesn't name names. Anna Lee heads for the Rockabilly side of town in a classic sounding tune that should cause the request lines at Country Radio to explode in flames. This is a tune that's a potential hit across generations and demographics of Country music fans, and the best tune on the album. Red River Valley opens as a classic Country tune with a southwest flavor and explodes into a rambunctious Punktry tune that will have fans at 100 Damned Guns' live shows clamoring for more. The Celtic roots of country music show clearly here. Musica De Tormento closes out with Old Barbwire, a rhythmic and rambunctious who-done-it in song that's an entertaining and musically enriching experience. It's a fitting closes to the album, swinging and swaying out the door two-by-two to a martial beat.

100 Damned Guns is an unusual premise; one that works much better than I might have expected. Then again, if you're going to play Country and Bluegrass music in the great state of Texas, you better be good. Musica De Tormento has been nominated for local awards; don't be entirely surprised if the accolades aren't local for long. 100 Damned Guns is the real deal. Check them out.

Rating: 4.5 Stars (Out of 5)

You can learn more about 100 Damned Guns at http://www.100damnedguns.com/ or www.myspace.com/100damnedguns. You can purchase Musica De Tormento as either a CD or download through CDBaby.com.

Review: 8 Ball Aitken - Rebel With A Cause

8 Ball Aitken - Rebel With A Cause
2009, Phoenix Movement Records

Sometimes the music we grew up with (individually or as a culture) is harder to hear, so wave of international artists finding success with American Roots music is no surprise. Along comes Queensland, Australia's 8 Ball Aitken, a banana picker turned guitar picker who appears to be channeling the very soul of Country, Blues and Roots music as it grew out of the Southern United States. 8 Ball Aitken's debut album, Rebel With A Cause has generated two top-10 Country singles in his native Australia and won him a 2008 EMI Music Blues & Roots Song Of The Year Award for Yellow Moon. Aitken has played dates in the UK, Singapore and North America, recently putting in a stellar performance at Canadian Music Week. It's only a matter of time before North American audiences catch on to 8 Ball Aitken.

Rebel With A Cause opens with Cyclone Country, a bluesy Southern Rocker with some serious honky-tonk in its lineage. Aitken has a wonderfully smooth and lyric rock voice that contrasts nicely with the heavily country-influenced Rock N Roll. Cyclone Country is built on a killer lick that would make ZZ Top beam with pride and a chorus you can't help but sing/hum along to. Cowboy Movie is all about taking a stand for what you know to be right regardless of the consequences. The allegory is poetic if unexpected and the melody is pure honey. The Party has a vague Dire Straits-does-Country feel to it; this is a tune that's sure to be a favorite live and will get your hips swaying even if you're not inclined to dance.

Hands On Top Of The Wheel is a straight-forward Country Rocker ala The Eagles, (complete with a sound-alike vocal). This is probably the song on the disc with the biggest commercial potential, particularly for licensing. Aitken incorporates some deliciously dirty slide guitar work on Black Swamp Creek, although lyrically the song is a bit cliché. Outback Booty Call is an amusing Southern Rock tune with clear intentions and a bit of a twist at the end. This should be another concert favorite and I could picture this ending up on a movie soundtrack somewhere. Yellow Moon features a driving bass line and great Southern Rock n Blues sound, Texas style. The track is memorable and will keep you moving. Guitar Man sounds like it should be a classic Rock staple, but it's an Aitken original. There's a feel here that's very similar to John Fogerty, and the song itself will have you scratching your head wondering where you've heard it before. Rocky Road is an upbeat, catchy southern Rocker that leads into The Other Side, which goes back a few decades for a classic sound that is refreshing.

Rebel With A Cause is one of those albums you simply can't ignore. Even with the occasional flaw it has to be in the discussion of top Roots Music efforts for the year thus far. Aitken's voice is so fluid and his delivery so down-home that he puts you immediately at ease. The musicianship on Rebel With A Cause is world class, and the songwriting is more legitimate and more original than much of the roots material you're likely to hear. 8 Ball Aitken has a real winner on his hands here.

Rating: 4 Stars (Out of 5)

You can learn more about 8 Ball Aitken at http://www.8ballaitken.com/ or www.myspace.com/8ballaitken. You can purchase a copy of Rebel With A Cause at CDBaby.com.

Review: John Batdorf - Old Man Dreamin'

John Batdorf - Old Man Dreamin'
2009, BatMat Music

John Batdorf has been pleasing audiences since his early days with Batdorf & Rodney in the 1970's. Over the years Batdorf has refused to stand still musically. He's been a top-flight session singer in L.A., a composer for TV shows such as Touched By An Angel and Promised Land, and continued to write and record songs both as a solo performer and with folks such as Mark Rodney and Michael McLean. Batdorf has always had a touch for acoustic pop/rock songwriting but in recent years seems to have developed a deeper love of melody and harmonies and a penchant for story-driven songwriting. These qualities are omnipresent on Batdorf's latest CD, Old Man Dreamin'.

John Batdorf sounds like a cross between The Eagles and Shaw/Blades on much of Old Man Dreamin'. His voice is golden, and the vocal harmonies border on angelic at times. The CD opens with What D'Ya Got, a musical treatise on what love really means to each of us, particularly in tough times. If Batdorf had written this song thirty years ago he'd own half of California by now. Love: All I really Know About It sticks with a similar theme. The harmonies are amazing and the song is intelligently written without getting mushy or cliché. That Don't Seem Right To Me is an anthem for the days we are living in. Batdorf starts with the fact that the current fiscal crisis finds the banks and bankers who caused it getting rescued by the folks it most affects (all of us), while we struggle to make ends meet with disappearing jobs, falling wages and high prices; he goes on to detail a number of things about modern life that just don't fit together. The song is wonderfully written in a strong and steady pop style that could gain it some real attention.

Will I Love You Forever is an honest song about love and what it should be. Old Man Dreamin' is bluesy classic rock gone acoustic. The arrangement on this one is amazing, and the sound highly reminiscent of Shaw/Blades. I Thought I'd Try A Love Song is a cute tune that takes a darkly ironic turn in the closing moments. Ain't No Way turns out to be my personal favorite, with a vibrant bass line to the instrumental magic created by the violin and acoustic guitar. The vocals and harmonies here are gorgeous. Don't Tell Me Goodbye has a classic country heartbreaker sense to it as a plea from a man on the verge of losing all he wants. Sixteen changes pace and gears significantly in a disturbing but well-told bit social commentary. I don't know the specific premise behind the song but a few would apply quite well. I Will Rise closes out Old Man Dreamin' in a musical version of Jack Nicholson's line from As Good As It Gets, "You make me wanna be a better man". This is pure mix-tape material for the more mature crowd; a wonderfully well-written tune.

John Batdorf has always had a distinctive talent for songwriting and a golden voice to deliver those songs, but over time he's really grown into his songwriting in a fashion that borders on transcendental. Old Man Dreamin' is an incredibly vibrant set of songs based in honest thought, word- and song craft and some of the prettiest melodies you're likely to find in Folk or Pop music. Make sure you take some time to spend with John Batdorf's Old Man Dreamin'; it's quite an album.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Batdorf at http://www.johnbatdorfmusic.com/ or www.myspace.com/johnbatdorf. Old Man Dreamin’ is available for purchase through Amazon.com, or available for download through Amazon MP3.

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: Assembly Of Dust - Some Assembly Required

Assembly Of Dust - Some Assembly Required
2009, Rock Ridge Music

Assembly Of Dust has gained a moderate amount of commercial success over nearly a decade together, but has quietly become one of the most respected bands in music circles. Primary songwriter, singer and guitarist Reid Genauer has a lyrical bearing that falls somewhere between Bob Dylan and Martin Sexton; the gritty everyman with a lyric voice reminiscent of a cross between Neil Young and Glenn Frey. Adam Terrell (guitar, vox), Andy Herrick (drums) and John Leccese (bass, vox) support the writing process by not only providing stellar backdrops for Genauer's songs but also help to shape and caress the songs into life. On July 21, 2009, Assembly Of Dust returns with what might be their most focused and compelling album to date in Some Assembly Required. This time around Assembly Of Dust brings some close friends and even some of their idols along for the ride, as no less than thirteen guest musicians can be found on the CD. Richie Havens, Keller Williams, David Grisman, Bela Fleck, Grace Potter, Martin Sexton and Mike Gordon are among the luminaries pitching in, but don't think this is a gimmick to draw in listeners. If anything, it's a testament to the type of music Assembly Of Dust has made all along that so many fine musicians want to participate in Some Assembly Required.

Some Assembly Required opens with All That I Am Now, a vocal duet between Reid Genauer and Richie Havens. All That I Am Now is a song of resignation; an acknowledgement of the burdens of time and experience and what they can do to us. The song is resigned but also self-confident, and the arrangement runs a wonderful line between Rock and Country that we'll call Americana for lack of a better term. Buffalo Killers Zach & Seth Gabbard help out on vocals for Pedal Down, a deliciously Eagles-esque California Country rocker. David Grisman sits in on mandolin for Cold Coffee, a classic sounding tune with harmonies reminiscent of CSNY. This is a great bit of songwriting; highly intelligent yet charmingly colloquial. Phish's Mike Gordon sits in on bass and background vocals for Arc Of The Sun. The melody here is highly memorable and lyric, providing one of the most enjoyable listens on the disc. Second Song is built around a vibrant riff from guest Keller Williams. If any song from the disc ends up in a movie or television show it will be this one. The pacing and melody are perfect for the big or small screen and the arrangement is highly accessible across genres.

Light Blue Lover is an interesting song about letting go, including an unfortunately brief cameo by the exquisite Grace Potter. My favorite song on Some Assembly Required is Edges, featuring Bela Fleck on banjo. There's a sort of synergy that happens between Assembly of Dust and Fleck that's magical enough to shine through the highly produced format that is a CD. Be sure to check out Revelry, with Martin Sexton on "electric vocals". Revelry walks the fine line between folk and blues, resulting in an intriguing acoustic arrangement. Assembly Of Dust pulls back for Straight, the only song on the album that doesn't feature a guest. There's a bit of classic country in this melancholic ballad with a melody that washes over you like a gently rising tide. moe's Al Schier brings a little bit of crunch to High Brow on guitar before Assembly Of Dust closes out with You Lay The Dust (Jeff Pevar guests). Also make sure to check out John Scofield's guitar work on Borrowed Feet.

Assembly Of Dust is respected for a reason. There's not much flashy here, but Some Assembly Required is some of the finest roots songwriting of the year thus far. In spite of the numerous guests, Some Assembly Required retains an essential character that wholly belongs to Assembly Of Dust. Make sure Some Assembly Required makes it onto your "to-do" list. You won't regret it.

Rating: 4.5 Stars (Out of 5)

You can learn more about Assembly Of Dust at http://www.aodust.com/ or www.myspace.com/assemblyofdust. Some Assembly Required hits store shelves on July 21, 2009. You can pre-order your copy from Amazon.com. Expect Some Assembly Required to be widely available for digital outlets as well.

Review: Hedley - Never Too Late

Hedley – Never Too Late
2009, Fontana International

Hedley has the sort of back story most bands dream of. The band originated in a small town in British Columbia called Abbotsford, taking their name from another British Columbia town that was for sale for $346,000. The band bet their lead singer, Jacob Hoggard that he wouldn’t audition for Canadian Idol. The rest, as they say is history. Hoggard went on to place third in the 2004 edition of Canadian Idol, and with a reconstituted Hedley has gone on to release two platinum albums in Canada (Hedley and Famous Last Words). Now U.S. audiences get to hear Hedley for the first time with a collection of singles and songs from those two platinum albums entitled Never Too Late. This album was previously released in Europe (2008).

Hedley brings a sound that’s pure modern rock radio sound but does take the occasional detour. Starting out with She’s So Sorry, a high energy rocker with strong pop/radio sensibilities. Big hooks and a catchy chorus mean this song will have serious commercial legs. 321 is built around some unusual guitar progressions that get your attention but almost derail the song in a couple of spot. The tension created there certainly does intrigue, but this song might be a case of trying to squeeze too much into a small bit of music. For The Nights I Can’t Remember is a great Rock N Roll song, a former #1 AC Single in Canada and Top-Ten overall. Hoggard is at his vocal best here, and the harmony vocals come off sounding almost like an old Eagles record.

Never Too Late is another former Top-10 single and has a Reggae/Rock vibe with a highly commercial sound. The guitar work in this song is notable and would be fun to pick apart and learn for anyone who plays. On My Own is the song that started it all for Hedley (post-Idol). Originally released in Canada back in 2005 the song shot to #1. It is a solid Modern Rock/Pop song that perhaps was driven to #1 as much by Hoggard’s then-recent stint on Canadian Idol as anything else. Old School is another former Top-10 Canadian single; this one fits Modern Rock formats perfectly, although is perhaps a little too stereotypical of the genre to stand out. It’s a decent song but didn’t floor me. Far and away the best song on the album is Narcissist; a high-energy rocker with Punk anger tempered by a modern cynicism. Narcissist is worth the price of the disc on its own.

Hedley has risen quickly on the back of Hoggard’s exposure on Canadian Idol. Unlike the big rocker from the US version, Daughtry, Hoggard and Hedley have stayed with a more big rock sound (whereas Daughtry has gone more toward the repressed Emo/Rock/gloominess that seems to haunt American rock radio these days). Hedley should do well in the US market with Never Too Late, although it’s a shame that Fontana waited this long to release an album here. Never Too Late is a strong effort. We’ll be curious to see how Hedley develops from here; whether they stick with the formula they’ve written in for their first two albums or whether they branch out over time.

Rating: 3.5 Stars (Out of 5)

You can learn more about Hedley at www.myspace.com/hedley. You can purchase a copy of Never Too Late at Amazon.com or download the album through iTunes.

Review: Jefferson Hendricks - Dancin' On Cars / I Got Questions / Still In Production

Jefferson Hendricks - Dancin' On Cars/I Got Questions/Still In Production
2007/2008/2009 Gotcha Records

Jefferson Hendricks is a native of Lafayette, Louisiana, and carries the spice of that land over into his songwriting. Even though he resides now on the peaceful beaches of Rhode Island and records once a year in Boston, Hendricks has never forgotten his roots. Hendricks sent three CDs for review, and we'll take a quick look at each. In general, Jefferson Hendricks follows a country/rock hybrid that isn't entirely Southern Rock and isn't strictly Americana, although his newer material seems to branch out a bit beyond those boundaries. Hendricks has a pleasant vocal sound within a limited range and sticks pretty much within his comfort range across the three albums presented for review.

Dancin' On Cars
Hendricks opens with upbeat Americana/Rock on the title track, but gets a little too suave for his own good on Red Dress. Shame is a dark and commercial listen but fails to really hit memorable status. I Can't Dance is the highlight here. This song could make some noise on the country charts with the right push. Put this song on an album from a big name artist and its an instant hit. Rolleen is also interesting; Hendricks seems to go for the California Country sound of The Eagles here in a catchy, commercial offering.

I Got Questions
This is probably the weakest of the three albums, but it does have a few high points. A Woman For Me has a rockabilly feel and will wiggle its way into your brain. Think About It is a side trip to Margaritaville that seemed a little out of place but was otherwise enjoyable. Sweet Memories is a great song but I disliked the opening so much it ruined the song for me. Makin' Love is the gem here. It's by far the best writing on the album and would make a great crossover pop hit. You'll find yourself humming this one long after the CD has stopped spinning.

Still In Production
“Still In Production” isn’t the title of the CD, but the working title listed when the CD was sent. The new disc is due in late Spring of 2009 and is by far the best of the three CDs Hendricks sent. I'm Gonna Make It Better is a musical apology appropriate for a twelve step program. Heros is a glory days song about childhood and the wisdom of never growing up entirely. Where's The Love is a slinky bit of cabaret pop that turns into a 1960's rocker. It's a memorable and singable song that contains a statement of American character and intent that seems appropriate for a post-Bush world. NOLA is a touching tribute to New Orleans that takes on a Jimmy Buffet flavor. The best commercial shot here is Hard To Get, a song that could be a pop hit with the right arrangement.

Jefferson Hendricks manages to catch lightning in the songwriting bottle now and then across the three albums presented here. In general the songwriting and performances are average to good, but each album manages one or two tracks that are memorable. If you like Country/Americana/Rock that doesn't stick to the game plan then Hendricks will appeal to you, but I'd check out the material before you buy.

Ratings:

Dancin' On Cars - 2.5 Stars
I Got Questions - 2.0 Stars
Still In Production - 3.5 Stars

You can learn more about Jefferson Hendricks at http://www.jeffersonhendricks.com/. Hendricks currently has Dancin’ On Cars for sale on his website. The site indicates I Got Questions is available but doesn’t offer it for sale. A new album (listed here as Still In Production) is due late Spring, 2009.

Review: Scott Krokoff - A Better Life

Scott Krokoff – A Better Life
2007, Hypochondriac Records

If more tax attorneys quit their jobs and played music the world would be a happier place. Yes, Scott Krokoff is a tax attorney. Working for some of the most prestigious firms in the New York City, Krokoff gave it all up to pursue his first love of making music. With a highly palatable singer-songwriter sound reminiscent of folks like James Taylor and John Mayer, Krokoff offers up his debut album, A Better Life, for all to hear.

Scott Krokoff’s sound is smooth almost to the point of too much at times. Don’t get me wrong, I really enjoyed the album, but by the end I wanted Krokoff to take some risks with the sound. Krokoff is a heart-on-my-sleeve songwriter who writes about love and love alone (mostly). The first nine tracks on the album are consistently polished songs about love, losing love, desiring love or Sparrows. Sparrows is an intriguing song, by the by. It’s an amazing acoustic guitar arrangement and a melody so sweet it will stick with you indefinitely. Songs such as A Better Life, Tomorrow’s Coming and Glimpse Of Your Face effectively represent what I think of as “phase I” of A Better Life.

By the time Krokoff got to Holy Fire I was ready for a change, and Krokoff served it up with an Eagles style country/pop hybrid. It’s a gorgeous arrangement and another melody that won’t quit on you. Autumn Sky sticks with the Eagles-reminiscent sound, and is my favorite track on the disc. The song has great vocal harmonies and complementary vocal lines and sounds inspired here. A Better Life closes out with Do You Wanna Play, the most energetic song on the disc. This song will get your feet moving with its mix of funky piano and horns.

Scott Krokoff is a very talented songwriter. He has a commercial touch that may allow him to break through the radio wall in something like an Adult Contemporary format, but as an album the sound is just too uniform. I really enjoyed several of the songs here, but the dynamic didn’t change much until the last song, leaving the base impression that much of the material here sounds the same. It doesn’t in fact, but varying sound and style across an album is one of the ways to keep the listener engaged. As it is A Better Life is a pleasant listen, but also the sort of one that can be relegated to the background a little too easily. Scott Krokoff shows here that he’s good enough to challenge his listeners. Hopefully he will next time around.

Rating: 3 Stars (Out of 5)

You can learn more about Scott Krokoff at www.myspace.com/scottkrokoff. You can purchase a copy of A Better Life at www.cdbaby.com/cd/krokoff.

Review: The Wildcat - The Wildcat

The Wildcat – The Wildcat
2008, The Wildcat

The Wildcat are a Hollywood, California alt-rock trio that’s part garage and part Americana. Joshua Gollish (guitar/vox), Robin Everhart (bass) and Ric Rocc (drums) give it all they’ve got on their third release, and full length debut, The Wildcat. The Wildcat rocks it old school, from the foot-tapping, hook filled guitar rock songs to the vinyl-lp replica looking CD.

The Wildcat opens with Nothing's Fresh, a deliciously bright rock tune with big guitar sounds and a real pop bent. This is rock and pop at its most streamlined and enjoyable. Lead vocalist Joshua Gollish reminds me distinctly of John Thomas Griffin of Cowboy Mouth, and at times channels a bit of Eddie Vedder to boot. The Wildcat is definitely more in the Cowboy Mouth territory, while Can't Sleep and Where The Wind Blows have that Seattle influence that is distinctly Vedder. The Girl is an incredible messy blues tune with lots of slide guitar and dirty licks. Shimmy Interlude is a fun little musical sidebar, and All That Remains hearkens back to a 1960's musical ethic. Other highlights include Shimmy Rock and Some Friends (which has a guitar lick that sounds like it was partially borrowed from The Eagles' Life In The Fast Lane).

The Wildcat is a rough work that runs all over the map. It's a very enjoyable listen, but there's little cohesion or consistency throughout the album. This means that while it's a great listen it's not likely to find a lot of commercial oomph. The Wildcat (the band) comes across as your quintessential bar band. These are guys whom you'd be very happy to be entertained by on any given weekend night, and they're good enough to be more than just a bar band, but until a real musical direction or cohesion comes into play it's probably what they'll be (and there's no shame in that - The Black Crowes have been a bar band all of their careers - a very good and successful one).

Rating: 3 Stars (Out of 5)

You can learn more about The Wildcat at www.myspace.com/thedeniercri. You can purchase a copy of The Wildcat at www.cdbaby.com/cd/wildcat.

Review: Michael Anthony Milton - Follow Your Call

Michael Anthony Milton - Follow Your Call

2008, Bethesda Words And Music

Michael Anthony Milton is the president of Reformed Theological Seminary in Charlotte, North Carolina. He has published eleven books on faith, including the autobiographical What God Starts, God Completes. He's been published in periodicals such as Crosswalk, Christianity.com and The Christian Observer. He's also been described by Michael Card ("El Shaddai") as "a shepherd leading his flock with song." Milton uses a mix of bluegrass, folk and Eagles-style country/pop to forward stories of faith and renewal on his debut CD, Follow Your Call. Regardless of your sentiments on the message, you're likely to find the music captivating.

Michael Anthony Milton might be described as the Dan Fogelberg of Contemporary Christian Music. His voice is clear and pleasant and floats over the music. His compositions are primarily acoustic with folk or country embellishments Follow Your Call opens with Carolina Free, a song that would sound perfectly at home on late 1970's or early 1980's AM radio. Still My Little Child is a touching song about acceptance and love from the perspective of God. Make no mistake, the eleven songs on Follow Your Call are distinctly Christian, and if that's not your thing then you won't appreciate this album. Yet the quality of the songwriting, irrespective of the message, is intensely wonderful. Milton is a first class songwriter regardless of whether you agree with his message. Musicians will appreciate this effort immensely.

Be sure to check out What God Starts, which sounds like it might have come off a James Taylor album. Genealogy is one of my favorite songs on the album, defining the importance of knowing one's family tree. Pastor's Wife is a loving tribute to Milton's wife Mae, and speaks to the strength that every husband draws from his wife. Other highlights include Follow Your Call, No Response At All and Chapel On The Prairie.

Follow Your Call is a distinctly Christian album, but it's also a musician's and songwriter's album. If the message of the album isn't one you cotton to, you may still find enjoyment in the song craft and musicianship. For those of you who are open to Christian based music, I have to say that is probably one of the finest CCM albums I've heard in years. Milton is a songwriter's songwriter, and an inspired one at that. The songs on Follow Your Call will tug at your heart. It's a Wildy's World Certified Desert Island Disc, and I highly recommend it.

Rating: 5 Stars (Out of 5)

You can learn more about Michael Anthony Milton at http://www.mikemilton.org/. You can purchase a copy of Follow Your Call at http://www.musicformissions.com/www/products/110.14.