War Poets - Searching For The American Dream

War Poets – Searching for the American Dream
2015, War Poets

Minnesota rockers War Poets have been busy in the last year.  Their most recent release, Searching for the American Dream, is the third in a cycle of three EPs the band has released in the past nine months.  The cycle is a series of rock and roll meditations on issues faced in modern American, as seen through the politically jaded eyes of the Occupy movement.  Searching for the American Dream is the cycle’s culmination, referencing issues of incarceration; income inequality; respect for prostitutes; and revolution.

The EP opens with “Day Dream”, a compact little rocker with smooth edges.  The song is mildly catchy and will appeal to fans of classic rock.  The lyrical content is awkward but consistent with issues addressed in the television show American Crime.  “Shadows” is a clumsy humanistic take on redemption.  It’s a great listen musically, but the disconnect between sound and lyric may be tough to take.  “On My Own” is a classic rock biograph of a homeless man who experienced child abuse; ran away and grew up on his own.  The song is well written, and the sound references Pink Floyd or perhaps post-DeYoung Styx.

“Sarah” is a song of affection for a prostitute that looks to remove the stigma of the world’s oldest profession.  It also works as an atypical love song if you’re not listening to the words too closely.  “Pay The Piper” is all about income inequality and revolution.  This is perhaps the standout track on the EP; featuring a tremendously catchy arrangement.  Searching for the American Dream winds down with “Hey There”, a middling rocker about the pursuit of happiness and love.

War Poets are musically competent on Searching for the American Dream.  The band is musically in sync and wears their progressive social management views on their collective sleeve.  The message, whatever you might think of it, is ineptly delivered more often than not.  This is a mixed bag that will have some regional appeal but just doesn’t have enough universal appeal to break big.

Rating: 2.5 Stars (Out of 5)

Learn more at www.warpoets.net.  Purchase Searching for the American Dream from Amazon or iTunes.

Everclear - Return To Santa Monica

Everclear – Return To Santa Monica
2011, Cleopatra Records

Through it all, Art Alexakis just keeps going.  His band, Everclear is on its third lineup, with the only original remaining member being Alexakis himself.  The Portland, Oregon band, formed in 1992, were darlings of the alternative rock scene throughout the 1990’s, leaders of the pop-based rock response to the grunge sound coming out of Seattle.  There has been a trend in the last few years of bands re-recording their hits, as aging acts separate from the major label apparatus have found a way to regain control of their catalog for licensing.  Everclear jumps on the bandwagon today with Return To Santa Monica.

The up side to such a move is it improves a band’s ability to generate income; for fans it can be an opportunity to hear a fresher version of a favorite hit or three.  Everclear does right by the fans with Return To Santa Monica, offering up a nearly live sounding collection of reborn hits from their catalog.  “Santa Monica”, “I Will Buy You A New Life”, “Father Of Mine” and “AM Radio” are particularly vibrant.  “Unemployed Boyfriend” seems even better than it did the first time around, though whether this is due to a change in the rendition or a change in the times it uncertain.  Everclear rounds out the remakes with “Wonderful” and “Everything To Everyone”.

Perhaps the biggest treats for fans, however, are the cover songs spread throughout the album.  The remake of Tom Petty’s “I Won’t Back Down” is classic, and Steve Miller’s “The Joker” gets a new look.  Death Cab For Cuties “I Will Follow You Out Of The Dark” is among the highlights on the disc, as is the closing number, Van Morrison’s “Brown Eyed Girl”.  The only misfire on the entire album is a somewhat messy cover of The Police’s “Every Breath You Take”, which Alexakis muddles his way through on, showing neither the vocal range nor (here, at least) the sense of personality to pull this tune off.

These sorts of collections are as much for financial gain of the artist (as opposed to a label) as they are for fans.  Sometimes such collections can be ill-gotten nightmares, but Everclear manages to pull the whole thing off with a bit of panache.  The album plays like an intimate live show, with even the production values bending in that direction.  So instead of a boring retread of hits and covers you know, listeners get a quality, live-in-studio set of songs that will have you tapping your toes and remembering the 1990’s fondly.

Rating: 4 Stars (Out of 5)
Learn more about Everclear at www.everclearonline.com or on Facebook. 
           CD                        Download
                   iTunes.

The Latebirds - Last Of The Good Ol' Days

The Latebirds - Last Of The Good Ol' Days
2011, Second Motion Records

Helsinki, Finland might not be your first thought as a hotbed of Americana music, but it's got to get some consideration once you hear of The Latebirds.  Formed in 2000, The Latebirds are hard to classify.  Rock, folk, punk, country, gospel and R&B are all in the mix, with the band refining and smoothing the edges with each successive album.  Their latest, and first released in the U.S., is Last Of The Good Ol' Days.  The album is a socio-political treatise on the state of the world in 2011, sounding many of the same themes prevalent in the American counter-culture movement of the late 1960's. 

The Latebirds open with "Last Of The Good Ol' Days", a gentle Americana/rock number that looks to the future with blighted hope and yearns for the opportunities that once existed.  The melancholy mood of the music fits the lyrics perfectly, and vocalist Markus Nordenstreng's easy-going style implies a sort of hopeless passivity.  "Among The Survivors" is a mildly catchy acoustic/electric rocker with a subtle urgency built in.  It's a solid tune; a steady album track.  "Time To Live" relies on a simple arrangement and chunky guitar work to create an infectious garage-pop gem.  The message is simple and clear: don't sit on the sidelines, get out there and live your life.  This will be a tough tune to get out of your head.

"Summer Becomes Fall" decries consumer culture, and the human tendency to chase silly things rather than be happy with what we have.  The Latebirds stick with a simplistic arrangement that allows the melody to reign, but fill it in with layered instrumentation to fill out the sound in the chorus.  "Time Revisited" is a slower, more pensive take on the ideas in "Time To Live".  The sound here is more stark, continuing to advocate the need to live, but also yearning for a simpler time.  Hope hasn't faded here, but it's certainly struggling for purchase.  The Latebirds take on the press and big government in "Fearless" decrying the attempt by politicians and corporations to control the information we receive as a populace.  The song advocates using your brain to parse out what you hear and decide for yourself what is true.  The chorus is brilliant: "Don't believe what gets reported.  The truth has been distorted."; repeated in a hooky chorus that will get trapped in your noggin and bounce around for hours.

"Like Father Like Son" is a conciliatory number that looks back on the good memories of youth and put to rest the struggles of growing up and separating that rock the foundations of father-son relationships.  Inherent in the message is the realization that the son walks in the father's footsteps, and an acknowledgement that both have grown.  The quietly lush arrangement wraps around this tune like a blanket, making the subtle message all the more powerful in the process.  The Latebirds take a whimsical turn on "Kickin' Me", a light-hearted and repetitive garage rocker that's as catchy as it is inane.  You may find yourself decrying the song as vaguely annoying while tapping your toes to the beat.    The Latebirds slowly fade over the final four songs, culminating in the bland "Light At The End Of The Tunnel".

Even taking into account the rather ignominious final third of Last Of The Good Ol' Days, The Latebirds make a distinctive impression with their U.S. debut.  Producer Jim Scott (Tom Petty, Johnny Cash, Wilco, Red Hot Chili Peppers, Dixie Chicks) helps The Latebirds make the most of their sound with a mostly live, in-studio recording that keeps the band's delicious rough edges firmly in the forefront.  Appearances by Nels Cline (Wilco), Minnie Driver and Benmont Tench (Tom Petty & The Heartbreakers) are add intrigue to the mix, and Last Of The Good Ol' Days should find The Latebirds receiving a very warm reception in the Western Hemisphere.

Rating: 3.5 Stars (Out of 5)

Learn more about The Latebirds at www.latebirds.com or www.myspace.com/thelatebirds.  Last Of The Good Ol' Days is available from Amazon.com as a CD or a Download. 

Emory Quinn – See You At The Next Light
2010, Emory Quinn

Back in the Fall of 2002, Clint Quinn Bracher and Nathan Emory Rigney started playing together while students at Texas A&M University.  An Open Mic appearance that year turned into a full-time job, with the band playing 120 gigs per year by 2007.  The then-duo began recording in their dorm room.  Along the way they picked up bassist/keyboardist Case Bell, and in 2008 added drummer Tony Rios.  Emory Quinn bases themselves out of San Antonio, Texas these days and continues to build a solid fan base.  Emory Quinn recently released their third studio album, See You At The Next Light.

See You At The Next Light opens with “Hand In Hand”, a solid blend of country, folk and rock tune about love, devotion and sticking together no matter what.  Vocalist Clint Bracher sounds like a cross between Glen Phillips (Toad The Wet Sprocket) and Tom Petty, and delivers a catchy, motivated melody line that takes on a life of its own.  “Moving On” is mildly catchy with a nice hook and solid vocal harmonies.  This is a summertime tune; a solid album track.  “Heart In Mind” sounds like something that might happen if John Mellencamp and Rob Thomas were to collaborate; having an understated pop sensibility that catches up on you and grows on you with successive listens.

“Finds Danger” is part love song and part outlaw tune.  The arrangement is solid if a little bland, reflecting the melancholy feel of the story-teller’s retrospective tale of love.  Nathan Rigney’s guitar work particularly stands out on this tune.  “Holes Through The Windows” is about as disturbing as songs get; the tale of a drunk, a song of murder and obsession that shifts focus just enough to leave right and wrong seriously in question.  “Tear Down The Walls” is a solid, straight-forward number that leaves vocal charisma at the coat check.  The Blue Rodeo-style arrangement and weeping pedal-steel guitar both add nicely to the sound however, and the overall effect is aurally pleasing.  “Be Here Now” recounts the cost of telling the truth and ponders what might have happened if he’d told a lie.  This rumination is accomplished in a comfortable Americana arrangement that owes a bit of its ancestry to Wilco. 

“When I Dream” finds Bracher sounding a bit disaffected on the vocal line, choosing an almost talk/sing style at times that seems very much at odds with the upbeat folk/rock/country arrangement yet somehow works nonetheless.  The keyboard work on this tune is a nice touch, cementing the band’s sound quite nicely in a crossover-ready style that could easily light up switchboards at both rock and country outlets.  “Calling Your Name” finds Bracher in a similar juxtaposition with the arrangement, although this time the result isn’t quite so enjoyable.  “Calling Your Name” drags in a monotonous style that will have some reaching for the skip button.  Emory Quinn closes with “Falling Down Again”, a catchy number with an almost Celtic/bluegrass feel that’s quietly infectious.  This is the best piece of songwriting on the album even if it is not the most commercial sound offered here.

Emory Quinn sure seems to be cooking up something good in San Antonio.  See You At The Next Light blends rock, country and folk with a subtle pop sensibility and casual story-telling style that works its way quietly into your brain.  Don’t be surprised if See You At The Next Light grows on you.  Emory Quinn has written the sort of album that opens to you slowly, but lasts a long time in your memory.

Rating: 4 Stars (Out of 5)

Learn more about Emory Quinn at www.emoryquinn.com or www.myspace.com/emoryquinn.   See You At The Next Light is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

The High Dials - Anthems For Doomed Youth

The High Dials - Anthems For Doomed Youth

2010, Rainbow Quartz Records

Montreal rockers The High Dials return on November 2, 2010 with their fifth album for Rainbow Quartz records, Anthems For Doomed Youth.  They’ll be showing off their music tonight at the Rainbow Quartz CMJ showcase along with Broadfield Marchers, Capstan Shafts, The Volebeats, The Parties and The Grip Weeds.  Anthems For Doomed Youth contains the sort of swirling guitar sound and distinctive melodies you’d expect to hear if R.E.M. had come together in the early 1960’s. 

Anthems For Doomed Youth opens with “Teenage Love Made Me Insane”, a catchy, vibrant piece of hippy psych/pop that you won’t be able to get out of your head.  The pop energy in this time is likely to consume you.  “I’m Over You (I Hope It’s True)” is catchy, jangly pop in the style of REM but with a 1960’s feel.  “Chinese Boxes” uses doubled vocals, a strong melody and excellent pacing to deliver a pop/Americana feel, 1960’s style, sounding like something that might have come from a jam session between REM and Tom Petty. 

The High Dials, unfortunately, seem to run out of gas halfway through Anthems For Doomed Youth.  The sound remains the same, but the songwriting on the second half of the album is uninspired; an instance where an okay album might have made a really good EP.  Nevertheless, there is a distinctive sound on Anthems For Doomed Youth that will draw a lot of people in, and that gives distinctive hope for The High Dials’ musical future.

Rating: 2.5 Stars (Out of 5)

 Learn more about The High Dials at www.thehighdials.net or www.myspace.com/thehighdials.  Anthems For Doomed Youth drops November 2, 2010.  Pre-orders are available from Amazon.com on CD and Vinyl.  Expect wider availability in both traditional and digital formats.

The Hippocrites - The Goodbye Waltz

The Hippocrites - The Goodbye Waltz
2010, Dirt Floor Records

The last time we heard from The Hippocrites they were based in New Haven, Connecticut and were shopping a three-song demo, In Rock N Roll We Trust that was intended to turn into a full length album in 2008. Things don’t always work out quite as planned, but sometimes delays are worth the wait. The now Naples, Florida-based Hippocrites have finally created their full length debut, The Goodbye Waltz. While In Rock N Roll We Trust was a positive experience, The Hippocrites have certainly refined their sound in the past two years.

The Goodbye Waltz opens with "I Don't Have A Heart", a solid americana/rock tune in the Tom Petty tradition. Vocalist Jesse Como sounds more than a bit like Van Morrison, with a solid voice and a workman's delivery that is unaffected and appealing. "I Don't Have A Heart" makes a great transition between a verse that's anomalous to a wonderfully catchy refrain you'll be singing for days. "Hurricane" thoroughly reinforces the Van Morrison comparison in a song about the fleeting nature of love in an imperfect world. "Jesse James" climbs on the power of what you might call an ambling bass line and the powerful, emotive vocal line. James tells his story in autobiographical fashion through the song, a story that's both sad and unrepentant and intriguing in its passion. "Baby Blue" is the story of a lifelong rover who's looking for a home but can't seem to take himself off the road. The song has a pleasant melody that seems vaguely familiar on first listen.

"The Ballad Of Georgie Porgie" hits on a soul and funk vibe as a song of loss and remembrance with someone of a poor, pitiful me theme. It's a great arrangement, and Como is torturously emotive on vocals. He channels a bit of Adam Duritz on "Beautiful Girls", getting repetitive and a bit lost in the process even while providing a solid vocal performance. "Lie To Me Tonight" is a plea for solace in the face of impending loss. The song has a whiny, desperate feel to it that works well with Como's voice but isn't entirely a pleasant listen. The closing track "A Little More Time" attacks a similar concept with more grace and subtlety in a well constructed arrangement featuring great vocal triads over a gentle country facade.

The Hippocrites may vacillate throughout The Goodbye Waltz but never give the lie to their musical intentions. The Goodbye Waltz is consistent and solid throughout. Even on the slower songs there is a consistent energy and commitment to each musical turn that speaks well for the future of The Hippocrites. Vocalist Jesse Como isn't the most dynamic front man out there, but he sells each song with a passion that gathers attention even in the moments where his voice questions the wisdom of some of the higher notes he attempts. The Hippocrites have a very solid effort on their hands in The Goodbye Waltz.

Rating: 3.5 Stars (Out of 5)

Learn more about The Hippocrites at www.myspace.com/thosehippocrites.  The Goodbye Waltz is available digitally from Amazon.com and iTunes.  CDs will be available soon.  Keep checking The Hippocrites' MySpace page for availability.

American Sixgun - Gypsy Circus & The Southern Wind, Vol. I & II

American Sixgun - Gypsy Circus & The Southern Wind, Vol. I & II
2010, Masquerade Recordings/Warner Music Group

American Sixgun continues their serendipitous rise through the musical ranks with the release of the double EP Gypsy Circus & The Southern Wind, Vol. I & II. Formed in the spring of 2009, American Sixgun signed with Eulogy Recordings (RED/SONY) just six weeks later and released their debut album, Bayside in the fall of 2009. Not ones to rest on their laurels, American Sixgun is back already with twelve new songs, showing off their hard rocking side as well as their bluesy southern rock persona.

American Sixgun opens with "America Is Burning", a classic punk protest song that does the forefathers of punk proud. "America Is Burning" defends America the country for its ideals and takes to task all those who would run her down for their own ends; referencing the BP Oil spill and corporate/political raiders in general terms while bemoaning the loss of liberty we face. "When The Spirit Moves" expresses discomfort with the classical concepts of heaven and hell as put forth in Christian theology in angry and vibrant terms. There's a real classic 80's metal feel to the tune that's enjoyable. "Dirty Sweet" is all it implies, a hard rock song of lust that's entertaining but not likely to be played during a NOW convention.

"Somebody Like You" shows a softer side to American Sixgun, an alt-rock power ballad built around solid vocal harmonies and a near-wall of sound arrangement. "Prophet For Profit" takes to task dollar-based evangelicals who sometimes appear to be more business than faith in a catchy rock arrangement that's a great listen. "You Kill The Things You Love" is the true highlight of the double EP, sounding like a classic rock gem that's been updated for today. American Sixgun gets the perfect blend here. American Sixgun closes with "Say A Prayer", an anthem from the perspective of one who is trying to put his life back together after running away for too long. The song is well written and reflects a mature perspective that bodes well for the band.

American Sixgun has the energy and vitality to last a longtime in the rock game, and shows songwriting elements on Gypsy Circus & The Southern Wind, Vol. I & II that suggest they will be more than just a flavor of the moment. While well-molded with a sound that fits nicely into an active rock programming niche, American Sixgun doesn't conceal a heavier side that earns credibility from fans of rock n roll as well. Gypsy Circus & The Southern Wind, Vol. I & II may well be a breakout album from American Sixgun.

Rating: 3.5 Stars (Out of 5)

Learn more about American Sixgun at http://www.americansixgun.com/ or www.myspace.com/americansixgun.  Gypsy Circus & The Southern Wind, Vol. I & Vol. II is available from Amazon.com or iTunes as a digital download.

Wolfe & The Wayside - On The Radio

Wolfe & The Wayside - On The Radio
2010, Wolfe & The Wayside

Brooklyn’s Wolfe & The Wayside have a somewhat magical feel about them. Sure, it’s great pop music, but there’s alchemy in their songwriting where the different parts of the band come together and transmute into something more than just their individual contributions blended together. While only four songs long, their latest EP On The Radio makes that abundantly clear.

On The Radio opens with the title track, an incredibly catchy alt-rock tune with roots in the garage rock era. Centered on an incredibly catchy riff, “On The Radio” is a post-modern take on the innocence of youth. This tune has a very high commercial ceiling for both radio and licensing. “Cathedral Stairs” has something of a Tom Petty meets Wilco feel but with a great pop beat. Wolfe & The Wayside get a bit messy on “Blueberry Dress”, trying hard to get things together but never quite managing. The song does features Aaron Wolfe’s best vocal performance on the EP however. “Jailhouse” closes things out; a promising tune with a chorus that’s neat but a bit too monochromatic. “Jailhouse” is the sort of tune that will really catch your attention the first time through but lose you after a few listens.

On The Radio shows tremendous promise for Wolfe & The Wayside. What becomes abundantly clear is how good these guys can be. They don’t put it all together for all four songs on this EP, but On The Radio displays the band’s ability to blend strong songwriting with a touch of pop magic the likes of which makes for a long, successful career. On The Radio has its bumps, but is a thing of beauty just the same.

Rating: 3.5 Stars (Out of 5)

Learn more: Website, MySpace

MP3: iTunes

Review: Vitamin-D - Bridge

Vitamin-D - Bridge
2009, Water Key Publishing

Dennis Cronin learned musical subtlety out of necessity. Unable to master the high notes on his trumpet as a child, Cronin took his strengths, subtlety and a deliberate approach to melody and built upon them. Years later, Cronin continues to play to his strengths as the front man of Brooklyn’s Vitamin-D. Delivering mellow pop with classical and jazz influences, Vitamin-D has slowly built a quiet but devoted following and looks to broaden their influence with their sophomore album, Bridge.

Bridge opens with “Keeper”, a gentle but not timid pop song that features trumpet as a central instrumental voice. The song is fetching in subtle fashion. “Upstaged” is a mildly catchy rock tune that elicits thoughts of Tom Petty at his best. On “Astoria Bridge”, Vitamin-D gets a bit more guitar oriented; using trumpet to provide a distinctive counter-melody. Cronin and Vitamin-D stretch themselves a bit on “The Summer Crossing”, bringing a dose of esoteric beauty into the pop realm. Vitamin-D gets a bit more artistic on “Trumpet Moment 2”, a musical picture of a city neighborhood waking from sleep in the early hours of the morning around the incessant honking of a car alarm. Compositionally free-form, trumpet becomes both a percussive and lyric instrument in this one song. “Good Fit” is more of a solid, guitar-oriented pop tune, reminiscent of 54-40. “Beneficial Bridge” goes for more of a layered, ethereal-pop feel. Vitamin-D closes with William Schuman’s “George Washington Bridge”.

Vitamin-D proves that there’s always a market for something a little bit different in the world of music. Bridge follows gentle and shifting streams of pop music, infusing jazz and orchestral elements to create something bordering on unique. Bridge is a pleasant listen throughout. It’s not an overly challenging collection of songs, but Bridge is certain to please.

Rating: 3 Stars (Out of 5)

You can learn more about Vitamin-D at http://www.vitamindmusic.com/ or www.myspace.com/vitamindmusic. You can order Bridge as either a CD or Download from Amazon.com.

Review: Man Called Noon - Broke And Beaten Down

Man Called Noon - Broke And Beaten Down
2009, Man Called Noon

Herndon, Virginia's Anthony Giamichael takes to the stage under the name Man Called Noon. He has been compared stylistically to folks such as Springsteen, Tom Petty, Weezer, BoDeans and Soul Asylum, although Man Called Noon is rawer than any of them. Striving to tell stories as well as creating intriguing melodies and arrangements, Man Called Noon comes across as a highly personal and emotive singer on his debut album, Broke And Beaten Down.

Man Called Noon opens with Burn And Grow, a catchy, Lo-Fi anthem about wanting more for yourself out of life. An affable melody with buzzing guitars and a compact, Brit-Rock feel set a great pace here. Dance Off is a strong arrangement that's catchy, but gets dragged down by an uncommitted sounding vocal line. Living My Obsession is catchy and danceable; a song about a serial killer that may border on creepy for some listeners. The vocals are a bit off from the song itself, but the disjointed feel this creates works very well with the subject matter in question. Dying For My Passion is something of a sequel, with the brother of a victim of the serial killer in Living My Obsession seeking and getting revenge. The song starts out highly promising, with just Giamichael and acoustic guitar on opening, but breaks down into a repetitious fugue at the end.

Man Called Noon sounded seriously like Everclear on Cotton. The vocal line is a bit whiney, but works otherwise with the album. The best songwriting and performance on the CD is Broken Man. Broken Man has a raw, fun feel. The Rum-pot Folk/Pop arrangement carries a Blues sensibility. Man Called Noon winds down with The Lonesome Gods and settles on Another Ghost; a simplistic and repetitive tidbit that serves as a buffer for the untitled hidden track.

Man Called Noon succeeds because Anthony Giamichael is fearless as a songwriter. He’s unafraid to tackle unusual subjects or perspectives in his songs. This sort of risk taking can lead to stupendous failure, and sometimes, raving success. I’m not sure if Giamichael has honed his craft as a songwriter enough yet to capture that big moment, but he’s on the right path. Broke And Beaten Down shows flashes of brilliance, a lot of solid songwriting and a dog or two, but on balance it’s a great start that should lead to bigger and better things down the road. Giamichael’s voice is enigmatic and may rub some the wrong way, but in much the same fashion that Neil Young and Bob Dylan have over the years (I wouldn’t say it’s held either of them back). Man Called Moon might just have quite the future in front of them.

Rating: 3.5 Stars (Out of 5)

You can learn more about Man Called Noon at www.myspace.com/mancallednoon. Broke And Beaten Down is available via CDBaby or as a download from iTunes.

Review: Capital Sons - Dirty Neon

Capital Sons - Dirty Neon
2009, Capital Sons

Minneapolis quartet Capital Sons have been opening ears with their honest blend of heartland rock and Grunge. Karl Obermeyer (vox/guitar); Jesse Thomas (drums); Cy Dodson (guitar/keys) and Keefe Russell (bass/vocals) get into a heavier sound without the pretenses and pre-conditions that seem to follow Modern Rock. Capital Sons’ debut album, Dirty Neon, is refreshingly light on pose and heavy on performance.

Dirty Neon opens with the edgy guitar rocker Noose, kicking off the album in fine style with a Pop/Alt/Grunge style that's instantly accessible. Vocalist Karl Obermeyer has a great front-man sound but seems willing to let the songs speak for themselves rather than creating a spectacle around the songs. About A Girl is a strong, upbeat rock song that's charming and allows Obermeyer to open up his voice and belt. High-Heeled Boots finds Obermeyer channeling David Coverdale in a song about shopping at the Friday Night Meat Market. The song is worthwhile for both the energy and performance.

A Pop sensibility emerges on Oblivious that's neither expected nor surprising, while Capital Sons stridently refuse to give up the Grunge Rock feel they bring to Dirty Neon. Strong harmony vocals and a hook filled chorus combine with Obermeyer's voice to create a radio-ready rocker with some kick. Capital Sons strum their big guitars and start a party on Waiting For You, an irrepressible rocker with a chorus that just won't quit. It's Tom Petty meets Pearl Jam while jamming with Blues Traveler and everyone's feeling good. Capital Sons bid adieu with the pensive Hotel Room, an examination of a failing (or failed) relationship. The sense of melancholy contained therein dovetails with the maudlin Americana arrangement. Obermeyer ends the song on a powerful run that takes the song from pleasant to dynamic.

Capital Sons offer up an intriguing set on Dirty Neon, bringing grunge and Americana together in a way that's delightful. Dirty Neon is one of those debuts that leaves you waiting impatiently for whatever Capital Sons releases next. Make sure you check out Capital Sons if they come to your town, and make some time for Dirty Neon. It might not be this album that's the catalyst, but I have no doubt that within a few years Capital Sons will be a well-known commodity.

Rating: 3.5 Stars (Out of 5)

You can learn more about Capital Sons at http://www.capitalsons.com/ or www.myspace.com/capitalsons. You can purchase Dirty Neon as either a CD or Download from CDBaby.com.

Review: Jason Boesel - Hustler's Son

Jason Boesel - Hustler's Son
2010, Team Love Records

Jason Boesel is best known as a drummer who's worked with Bright Eyes, Rilo Kiley, The Elect and Conor Oberst, but he comes out from behind the kit for Hustler's Son, his solo debut. Out January 12, 2010 on Team Love Records, Hustler's Son explores Boesel's Americana leanings in ten original songs and one high-energy jam.

Hustler's Son opens with the dark musical matter of Black Waves before transitioning into the straight-forwardly charming Hand Of God. Boesel mines California Country, AM Rock and Americana for a refreshingly uncomplicated sound. that is sonically appealing. Burned Out And Busted has an easy feel that fits the whole California Country/Rock vibe. New World Mama manages to effectively combine a low-key delivery with vibrant energy. Boesel's voice isn't perfect, but he transcends himself on this tune. Hustler's Son is the first song Boesel wrote, and it's a gem. Boesel writes seemingly from the heart here, turning a gentle bit Country-Swing into a testimonial you'll have on repeat. Getting Healthy (Good Luck) sets a nearly disinterested vocal delivery against an energetic and rhythmic arrangement. The contrast between the two drives the song and makes for intriguing listening. I Got The Reason #1 is a jam Boesel plays with Conor Oberst and The Mystic Valley Band on tour. He documents the song here in low-key tones. Boesel closes out with Winking Eyes, a song that celebrates the passing of time in memorable moments. The delivery is once again low-key, perhaps a bit too much, but it's a sweet song that tries to soar a bit in the chorus.

Jason Boesel gives an intriguing effort on Hustler's Son. It's not the sort of album you listen to incessantly for weeks after buying it. Rather, it's one of those discs you'll appreciate again and again over time. Boesel is a solid songwriter and a decent vocalist, and his backing band includes folks who've played with Tom Petty, Gillian Welch, Old Crow Medicine Show and fellow members of Rilo Kiley and Mystic Valley Band. Hustler's Son is worth spending some time on.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jason Boesel at www.myspace.com/jasonboesel or http://www.team-love.com/. You can purchase Hustler’s Son as either a CD or Download from Amazon.com.

Note: This review was previously removed by Blogger per a DMCA request (supposedly), but no information regarding the source or reason for the request was ever provided as required under law. If you have a concern with the content of this review, please contact me at wildysworld@gmail.com so that any concerns may be addressed. Short of specific feedback it is impossible to alter the review in an substantive way that ensures the complainant's perception of compliance. We here at Wildy's World are all about protecting the rights of the artists we cover, but we're also about protecting our right to offer honest thoughts and opinions about music offered in the public sphere, and will make every effort to publicize efforts to use DMCA for purposes other than what it was intended for.

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: Road - Long Player

Road - Long Player
2009, Brown Elephant Records

Road combines the edge of Modern Rock, the crunchy grit of a 1960's Garage Band and a bass player with Funk running in his veins. The Doylestown, Pennsylvania trio rock for all they're worth in their third album, Long Player. Paul Waters (vox, keys, guitar) sounds a bit like John Lennon at times, with J.D. "Jed" Schumann holding the line on drums, percussion and vox. Ben Cleal makes it all work in the middle with electrifying bass work. Long Player was mixed and mastered by Ted Richardson and Shelly Yakus (John Lennon, Tom Petty, U2) at Cedar Street Studios in Philadelphia, PA.

Road opens with Long Player (Jackie's Ruse), sounding a bit like the Beatles jamming with the Knickerbockers. The song itself is very catchy, and Cleal adds an incredible amount of texture to the song with a bass line that erupts all over the place. Come Back Home has a sounds like early Who. If this song were released 40 years ago it would have been the biggest thing on radio. Little Guatemala takes on a heavier sound, digging into a serious garage realm with a fun tune about a relationship gone sour told from the third person. This is all done with a deft storytellers touch, big rock hooks and a melody that sticks around once the song is done. Don't Know Why is the song that will put Road on the map; a catchy, funky rocker with real potential for college radio and beyond. This is great pop songwriting all around.

There's a definite Beatles vibe on Count The Stars, right down to the "perfect pop song" style arrangement. You'll want to dance and sing along. The same goes for Even Real, with its funk-laden bass line and energetic interplay between the three members of Road. For pure dance-ability this the primo pick of the litter. The Sunday Song (Jackie's Demise) is a strong mix of modern sound with a 1960's Garage aesthetic. Cleal and Schumann provide a funky backbeat and bass line to drive Walters' smooth to smiteful vocal line. This is yet another great tune that would have ruled the airwaves had it been released in the late 60's or early 70's. Road closes out with Six Bottles Of Beer, a paean to the weekend and what it takes to find companionship sometimes. This one is very tongue-in-cheek and provides a good chuckle to say goodnight.

Road is one highly entertaining band; they certainly haven't forgotten the roots of Rock N Roll on Long Player. Boomers will think they've found a fountain of musical youth here, but Road keeps things fresh enough to interest younger rock fans. These are guys I'd definitely go see live, as the show would be a hoot. There's an inherent sense of humor running deep below the melody, like the band is sharing a joke that's passed back and forth between the instruments. The humor breaks loose on the final song, but that spark of mischievous wit is always there. Long Player might not be gourmet music; it's more like comfort food. You'll keep coming back.

Rating: 3.5 Stars (Out of 5)

You can learn more about Road at www.myspace.com/roadstuff or http://www.brownelephantrecords.com/. You can purchase Long Player through CDBaby.com or as a download via iTunes. If you're the brick and mortar type, Long Player is being distributed through Independent Record Stores across the US.

Review: Benjamin R - The Other Side Of Nowhere

Benjamin R - The Other Side Of Nowhere
2009, Benjamin R

Robert Selvaggio plies his musical trade under the name Benjamin R, these days. The Florida native is a singer/songwriter who took a professional detour into the production booth after an Indie release he boarded got significant praise for its sound. One thing led to another and before he knew what was happening Selvaggio was producing projects for the likes of Jewel, Eagle Eye Cherry and Puddle Of Mudd. After seven years in production, Benjamin R decided to take a step back, build his own studio and work on his own material. Aside from an ill-fated snow boarding trip that ended in a broken wrist, Benjamin R worked tirelessly to produce The Other Side Of Nowhere, a collection of 11 of the many songs he's written over the years.

Benjamin R reminds me of an extremely mellow version of The Cars' Ric Ocasek crossed with late-career Tom Petty, in a mish-mash of slick geek pop crossed with grizzly Pop/Americana. The Other Side Of Nowhere makes a very slow start, not really hitting stride until the fifth song. Not Gonna Let You Go grabs the listener with a catchy Americana arrangement with distinctive Pop hooks. Benjamin R keeps it up with Fool Myself and its vaguely urgent emotional qualities. Time Is Running Out brings to mind some of George Harrison's more Pop-oriented Folk/Rock. Benjamin R hits the heights on I Don't Need This Anymore and This Time (I Hope You're Happy). The two songs could track the same relationship at different stages, with Benjamin R realizing he just can't stay in this relationship anymore in the former, and recapturing that realizing after falling off the relationship wagon some time later in This Time. Letter has a couple of awkward moments lyrically, but has a distinctive Celtic/British feel that will draw you in.

Benjamin R spent a lot of time producing music for others, knowing that an outsider can often find the hidden gems in music that the folks who write it and live with it can't always see. Like many producers he may not feel this applies to him, leading him to produce his own album. While Benjamin R is well-renowned behind the boards, a doctor should never treat himself and a producer should never self-produce his own solo-effort. There are some strong songs here (particularly the second half of the album), but the lack of creative tension leaves some of that potential in the studio instead of bring it out on The Other Side Of Nowhere. It's a decent album in its own right; I was just left with an impression that it could have been much more.

Rating: 3 Stars (Out of 5)

You can learn more about Benjamin R at http://www.benjaminrmusic.com/. You can purchase The Other Side Of Nowhere as either a CD or a download at www.cdbaby.com/cd/benjaminr.

Review: Movers & Shakers - Larrabee

Movers & Shakers – Larrabee
2009, Movers & Shakers

Boston’s Mover’s & Shakers bring on the Country grit crossed with punker energy and a Pop glaze on their sophomore album, Larrabee. Recorded in a cabin in the Maine woods, the album has the raw, unadorned quality that only a New England summer could inspire. Compared to the likes of The Replacements, Tom Waits and even Uncle Tupelo, Movers & Shakers certainly seem to have struck a chord with listeners and critics alike.

Larrabee opens with Adventures In Unrealistic Life, a big old Americana pub tune if ever I've heard one. You could almost see the cast of Cheers breaking into this song while Coach Ernie Pantuso serves up another round. Take Your Time is a great upbeat acoustic/electric tune that leans more toward the rock side of the scale. This is a great pop tune but retains enough of a garage sound to be palatable to Indie fans. All Of My Lines sticks loosely within the Americana realm, but struggles to break free into a virulent post-punk rock tune at times. This is swaying on the lawn of an amphitheater in summertime with your lighter raised music.

Find A Reason is a classic country rocker that will get in your head and dance around for days, reminiscent of what The Heartbreakers might sound like if Shane MacGowan were singing instead of Tom Petty. The Evidence, The Proof rips the roof off in a style that I can old describe as Punktry/Americana. This is the best written track on the disc and should appeal to fans across several genres. In The Eyes finds Movers & Shakers back in Tom Petty's neighborhood, with lead vocalist Matt Price providing a rough edged vocal that fits the sound perfectly. Boomsplat gets a little Texas Blues guitar styles going in a fun tune that will make you want to get up and dance. The album closes out with Take Me Home, a classic pop/rock tune dressed up in Americana trappings that will dance around your brain for days after listening.

Movers & Shakers offer up some delicious Americana with Punk energy and Rock N Roll flare on Larrabee. This is perhaps one of the most pleasant musical surprises thus far in 2009. Here's hoping Movers & Shakers keeps coming back with more!

Rating: 4.5 Stars (Out of 5)

You can learn more about Movers & Shakers at www.myspace.com/moversandshakers, where you can purchase a copy of Larrabee, or you can download it from iTunes.

Review: Kim McLean - Rapunzel's Escape

Kim McLean – Rapunzel’s Escape
2009, Kim McLean

Kim McLean mixes Appalachian Country/Folk with an occasional dollop of Blues and a bit of sass on Rapunzel’s Escape. Perhaps best known as a songwriter, McLean is a pretty mean performer in her own right. Her soulful, homey voice is a pleasant listen. Her guitar skills are very apparent, and her attitude is the perfect mix of sass and maturity. Rapunzel’s Escape opens with Ain’t No Glory, the first single and arguable the most commercial track on Rapunzel’s Escape. Born To Be Happy sounds like the big winner here, however. Born To Be Happy is born for country radio, and McLean’s performance is the perfect mix of old country spice and modern Country’s pop orientation. My personal favorite song on the CD is Beautiful Goodbye. It’s a song about making the right decision in spite of what your appetites may be telling you, and how good it feels taking the right path. Cracks In The Concrete is a close second, mixing some old school country with a bit of Memphis Blues for the most entertaining and danceable track on Rapunzel’s Escape. Other highlights include Break The Glass, A Beautiful Day With You, Always Know and Because God’s Good.

Kin McLean is a talented singer and songwriter. Her ability to cover so much ground musically without ever sounding out of place is a true gift. McLean doesn’t so much bend herself to each style she plays; rather she makes each style and sound her own with a signature flair. There’s a bit of Bonnie Raitt in McLean, but with a wider musical range. Rapunzel’s Escape is destined to be featured on several year-end “Best Of” lists.

Rating: 4 Stars (Out of 5)

You can learn more about Kim McLean at http://www.kimmclean.com/ or www.myspace.com/kimmclean. You can purchase a copy of Rapunzel’s Escape at www.cdbaby.com/cd/kimmclean6.

Review: Stephen Luke - No Man's Land

Stephen Luke - No Man's Land
2009, Sweet Lucy Records

Cincinatti's Stephen Luke returned to music as a form of physical therapy after severing two tendons in his left hand. Taking lessons from guitarist Kelly Richey, Luke quickly reignited the fire he once felt as a teenager performing at local dances in the 1970's. In the process of learning from Richey, Luke started writing songs that caught his teacher's attention. Once fully recovered, Stephen Luke signed with Richey's Sweet Lucy Records and has released his debut CD, No Man's Land. Filled with classic roots rock sounds reminiscent of Tom Petty, Steve Earle or James McMurtry, No Man's Land also features Kelly Richey on guitar.

The CD opens with the title track, a straight-up classic rock tune with great harmonies. Long Way From Home has a funky/blues feel to it that's a pleasant listen. Powered By Love is the standout track; a Clapton-esque blues rocker with a rough feel. The second half of the album is a bit on the slow side, although Santa Ana Winds, I Must Dreamin' and Hurricane are all decent. Stephen Luke has a pleasant if not overly dynamic voice, but the guitar work here is excellent. Overall the disc is a pleasant listen but didn't bowl me over by any means. Guitar players, particularly those interested in electric blues will find a lot to like here. No Man's Land is a decent listen.

Rating: 3 Stars (Out of 5)

You can learn more about Stephen Luke at http://www.stephenlukemusic.com/. You can purchase a copy of No Man’s Land at www.cdbaby.com/cd/stephenluke.

Review: Low Red Land - Dog's Hymns

Low Red Land – Dog’s Hymns
2008, Low Red Land

Yet another expatriate band from Boston, Low Red Land relocated to San Francisco and took up a heavy touring schedule. A dynamic songwriting style has garnered them significant attention and gains them new fans at every show. In the same musical vein as folks like Lucero, Fugazi and Crazy Horse, Low Red Land exploits unfluences ranging from Rock to country to folk to hardcore. Their debut album, Dog’s Hymns, hit shelves in 2008. Their reputation as a big rock band precedes them; let’s see how Dog’s Hymns plays.

I found Dog’s Hymns to be a very experiential album. In a case like this it becomes less important to talk about specific tracks than it does to discuss the general mood, affect and experience of the album itself. My initial impression is that Low Red Land is in some ways a throwback to the AOR Era of music (not in sound, per se, but in style and approach). The closest comparison I can come up with for Low Red Land is Canadian legends the Rheostatics. Vocalist Ben Thorne sounds like Glen Phillips of Toad The Wet Sprocket, and this easy vocal approach is set up against the vibrant rock sound of the band. My personal favorite track is Hunt Song. Big guitar and a driving rhythm sell this rocker with a distinct pop sensibility. That is the other thing that sticks out about Low Red Land; their pop sense. Even the most rhythmic rock tune has a light and airy feel about it like it has been kissed by the pop gods. Dog’s Hymn is an off-center example of this quality. Also a potential winner is Landmark. Battles goes the Americana/Rock hybrid route, sounding like Tom Petty & The Heartbreakers but with a fuller sound.

The most unusual song on the CD is Goodnight Moon; this extremely inventive composition makes use of unusual and distinct chord progressions to alter the soundscape; sufficiently capturing the attention of even the most casual listener. Other highlights include Better Angels, Wovoka and Duke.

Low Red Land is a little out of the mainstream sonically, but has such a delicious sense of pop musicality that they might just pull the mainstream their way. Dog’s Hymns displays the type of unique song craft that is both the bane and boon of popular music. Make sure you take a few minutes to check out Low Red Land online. Not everyone is going to like it, but I am betting more will than won’t. A strong debut.

Rating: 3.5 Stars (Out of 5)

You can learn more about Low Red Land at http://www.lowredland.com/. You can purchase a copy of Dog’s Hymns at www.cdbaby.com/cd/lowredland2.

Review: Ryan Delmore - The Spirit, The Water And The Blood

Ryan Delmore - The Spirit, The Water and The Blood
2008, Varietal Records

Ryan Delmore has been a worship leader at the Five Cities Vineyard Church in Arroyo Grande for the past fifteen years. In that time he’s written scores of songs while leading worship in his church, and even managing to tour once in a while. Infusing country, folk, gospel, rock and soul with a Christian message, Delmore crafts a steely blend of religious Americana Delmore’s latest album; The Spirit, The Water and The Blood hints at influences as diverse as Bob Dylan, Sam Cooke, Tom Petty and The Staples Singers.

Ryan Delmore has either created one of the best gospel albums I've heard thus far in 2009 or one of the best Americana albums I've heard in 2009. It's hard to say which, because it's both. The Spirit, The Water and The Blood was born out of Delmore's love of God, but also pays direct homage to classic Americana sounds. Delmore's love of the sounds of artists such as Bob Dylan, Tom Petty and Neil Young is evident and shines through clearly here. Delmore's love of God is equally evident, and I suspect that the religious community will embrace this album enthusiastically. Delmore is supported on the album by guitarist Marc Ford (The Black Crowes, Ben Harper) and his wife Kirsten Ford on backing vocals.

Delmore opens with Mercy, a pure singer-songwriter take on forgiveness and redemption. This is a classic country arrangement that may have commercial potential in secular markets as well. Sing Like Mary Sang plays more into the gospel realm, and Delmore's slightly gruff vocals are perfectly at home here. Provide For Me goes down the country path once again in a fairly straight up country/rocker. The guitar work here is amazing. Country fans will dig this song even if they don't buy into the lyrical content. Teach Me All Your Ways is a quiet ballad that is as much a prayer as it is a love song. Harmony vocals from Kirsten Ford enlighten this song with a sense of quiet beauty.

Sacred has a Ryan Adams/Whiskeytown sound that is both tired and inspired. The energy level on this one doesn't really match the lyrical content, but the arrangement is gorgeous. Jesus' Name is a classic country/pop tune that could garner significant play on pop/country radio. Other highlights are Nowhere To Be Seen, True Religion and Love Of God.

Ryan Delmore is the sort of artist who could bring Gospel music more fully into the popular realm. A great songwriting talent and a strong, soulful voice help Delmore make The Spirit, The Water and The Blood an eye-opening experience. Even if you're not into message you'll respect the music here. Ryan Delmore is a special talent.

Rating: 4 Stars (Out of 5)

You can learn more about Ryan Delmore at http://www.ryandelmore.com/. You can purchase a copy of The Spirit, The Water And The Blood at Vineyard Music.