Grand Old Grizzly - Grand Old Grizzly

Grand Old Grizzly – Grand Old Grizzly
2012, self-released

Grand Old Grizzly is a Houston, Texas quartet that originally came together as the backing band for Katie Stuckey.  Sporting a Lo-Fi aesthetic and a tell-it-like-it-is songwriting style, lead vocalist Will Thomas writes like Johnny Cash and sings a bit like Jakob Dylan.  Grand Old Grizzly has opened for Leon Russell and Blackberry Smoke, and The Houston Press has already branded the band “The Best New Act” in town.  Grand Old Grizzly’s self-titled debut album invokes thoughts of Wilco, Tom Petty and The Old 97’s, and it’s easy to imagine them as a national headliner in the near future.

Grand Old Grizzly kicks things off with the urgent energy of “The Mad Ones”, a frenetic alt-country story of a lover gone astray.  This ramshackle runner turns into a kiss off song in the end, but Will Thomas makes a fun little journey out of the song.  “The Sundowners” is a sweet little number with rockabilly in its roots.  This is a relationship with some gas in the tank yet, and the focus is all on making it work.  “Indecision” shows a bit of Grand Old Grizzly’s wry wit in exploring an inevitable relationship meltdown.  The easy going arrangement make this a quiet draw, but this tune will get stuck in your head. 

GOG moves into the middle of their debut with a series of solid songs that form the timber of any album.  “Morning”, “Tallahassee”, and “I Was Thinkin’” are all accomplished album tracks that flesh the album out into a full-length recording.  “Marvelistic Coward Band” finds Grand Old Grizzly’s wit rising to the surface once again in a low-key story song that’s nonetheless entertaining.  There’s a comic-tragic element here that’s very subtle but difficult to ignore, and the band drives home the monotony of the life described with a loop-style Americana arrangement.

“Approaching Cars” is a quietly banjo-fueled tour-de-force, a story of desperation and loneliness is compelling.  “Lament” is a subtly crafted bit of magic.  Songwriter Will Thomas proves his depth here, and Grand Old Grizzly bring the song to life with an understated beauty.  “Pretty Little Head” starts out well enough but gets a bit rushed in the chorus.  The two song components are disparate in sound and feel, and this is the only song on the album that just doesn’t seem to work.  GOG recovers well with the closing track, “Blue Irish Eyes”.  Thomas finds a sense of desperation and impending loss here, conveying the fear of loss and the sense of holding on with a delicate urgency.

Grand Old Grizzly works both in spite of, and because of its imperfections.  Will Thomas is a compelling songwriter with an enigmatic voice.  That voice won’t work for every listener, but is a perfect match for Thomas’ low key, narrative singing style.  The band around Thomas is top-notch, never doing too much or too little to flesh out the songs.  Grand Old Grizzly is the quintessential Americana band: no glitter and no gloss with some cracks in the proscenium, but consistent in providing quality songs that take you on a journey to someone, somewhere or sometime else.  You’ll find yourself getting more hooked on Grand Old Grizzly with each successive listen.

Rating: 4 Stars (Out of 5)

Learn more at www.grandoldgrizzly.com. 

Vintage Blue - Strike The Mics

Vintage Blue - Strike The Mics
2012, Vintage Blue

Every band hits that point where they either break down or break through.  Chicago quintet Vintage Blue hit that point in early 2010, and flew through the barriers like a speeding bullet.  Formerly known as Tanglewood, Vintage Blue went through personnel and stylistic changes, first noted on their 2010 debut EP, California Road.  Vintage Blue’s second offering, Strike The Mics, due out on Valentine's Day in 2012, finds the band picking up where they left off on California Road.  Coming into the album with no stylistic preconceptions, Vintage Blue had remade themselves in the tradition of great rock n roll.  Ben Bassett (vocals, lead guitar); Ryan Tibbs (vocals, rhythm guitar, harp); Will Crowden (drums); Cesar Corral (bass, vocals); and Matt Zimmerman (sax, keys, vocals) enlisted the help of producer Jamie Candiloro (The Eagles, Ryan Adams, Willie Nelson) to help them narrow their musical focus.  Consequently, Strike The Mics is the band’s most vibrant and enduring work to date.

Drawing on a wealth of influences and sonic palettes, Strike The Mics is a cathartic experience.  The album kicks off with the horn-laden blend of classic and alternative rock that is “Set You Free”.  Featuring the sort of chorus that sticks in your head, this song is a great introduction for the band, and the sort that could launch a pleasant association with commercial radio.  “Unchained” is a high-energy rocker at full gallop.  Strong vocal harmonies and a modern rock feel complete the sound in a number you’ll find it impossible to simply sit through.  Vintage Blue strips things down for the start of “California Road”, building into a fuller sound that’s melodically pure and well constructed.  The simple chorus is easy to sing along to, and you’ll find it recurring in your head once you’ve heard it.

“Speak” is funky folk/rock with a funky back beat.  The chorus sounds like it could have been written by Rob Thomas of Matchbox 20, and it wouldn’t be surprising to see this song embraced by commercial radio programmers.  Vintage Blue has shown flashes of Americana influence throughout the album, but that influence breaks free on “Sleep On This”, a down-home rocker about being in love with an ever moving target.  The song is incredibly catchy, with a pop sensibility that simply won’t quit.  “Here To Stay” digs more into Vintage Blue’s emerging country/rock sound amidst a laid back sound and a big chorus you won’t soon forget.

“Just Breathe” is a smooth, classic-rock power ballad with refinement, originating more from a working-class rock lineage than the glam rock sound that so often characterizes classic power ballads.  This is the highlight of the album, both compositionally and instrumentally.  The guitar work is primo, and the vocal harmonies absolutely click.  “Help Me See” is one of those quietly catchy tunes that sneak up on you.  Solid on the first listen, but it will grow on you with each successive pass through.  Vintage Blue sounds like a cross between Toad The Wet Sprocket and Wilco here, displaying the mellow pop sense of the former and the full Americana influence of the latter.  “Great Divide” is an “Ah” moment; a forlorn love song built around a lovely finger-picked guitar core.  Do not be surprised if you end up with this number on repeat.  Vintage Blue bows with “True”, a musical epilogue that plays like the closing credits for a movie.  Catchy and upbeat, this song will get stuck inside your head and stay there.  The horns come back here and support a sound that’s danceable and pop-radio friendly while showing some songwriting substance all at the same time.  This should be a concert favorite; and in an era where great pop music was truly appreciated this would be a top-10 hit on the radio.

Vintage Blue does so much well on Strike The Mics that it’s difficult to summarize.  Ranging from singer/songwriter balladry to classic rock to modern rock and alternative, the band is eclectic in its range and songwriting talent.  Vocalists Ben Bassett and Ryan Tibbs are both capable front men, and the band plays with an energy and chemistry that are absolutely undeniable.  Vintage Blue has managed to take the core experience of the band’s history and mix it with new energy and new blood to come up with a winning rock and roll formula.  In another era these guys would be mega stars.  As it is, this is the sort of band you don’t soon forget.  A live show is bound to be an experience you won’t forget, and Strike The Mics is likely to become a treasured and oft-played part of your collection.

Rating:                  4.5 Stars (Out of 5)

Learn more at www.vintagebluemusic.com.

Cabin Dogs - Midnight Trail

Cabin Dogs - Midnight Trail
2011, Cabin Dogs

Twin brothers Rich and Rob Kwait found their muse in Mountain Cabins from Vermont to Tennessee in the late 1990's, taking in the grit and stubborn beauty of Americana and Appalachian folk from its homeland.  The Philadelphia natives would return home, under the name The Kwait Brothers would begin to find a sound that incorporates these styles into a sub-stream blend of folk/rock that is as close to original as anything in the public marketplace.  Later changing their collective moniker to Cabin Dogs, the brothers met producer Aaron "Professor Louie" Hurwitz (The Band, Rick Danko), who helped shape their debut album, Electric Cabin.  The band grew with time, adding Ira Race (guitar); Stephan DiVincenzo (drums/vox); Jeff Levinsohn (drums/percussion) and Jeanine Reed (percussion/vox).  With growth came success, including appearances at the Newport Folk Festival, Apple Farm Festival and Full Circle Fair).  Cabin Dogs gear up for great things with impending release of Midnight Trail on August 30, 2011. 

Midnight Trail is an intriguing listen from start to finish.  There aren't a lot of highs and lows here, but more of a steady ramble that runs the gamut from Folk/Americana to stylishly smooth rock and roll and even a touch of R&B.  "Blue Train" gets things started nicely, adding a modern twist to the folk/Americana blend that's Cabin Dogs' wheelhouse.  The vocal harmonies here are a thing of beauty, and add to the lonely tenor of the song.  Cabin Dogs build a solid groove on "Bloom", a low key rocker that's catchy and smooth and the same time.  "Out To The Country" is an old country waltz that box steps its way into your ears; a song that grows on you with successive listens.

"Twilight" shows a fine singer/songwriter style over a 1960's folk/rock style, as if Paul Simon were jamming with The Band or even Wilco.  Cabin Dogs even seem to take on Pink Floyd with the enigmatic "Dark Moon - Sunrise".  A funky bass line enlivens the minimalist arrangement, supporting a plaintive vocal that tugs at the ears.  Cabin Dogs gear up again with the Wilco-esque "Bringin' Me Down", a swaying mellow country/rocker that just sort of picks you up and takes you along for the ride.  Cabin Dogs close with the catchy, up-tempo folk/pop of "New Morning".  Everything here works, from the bright melody to the catchy arrangement to the intriguing vocal harmonies.  This is a great way to close an album that itself borders on greatness.

Cabin Dogs make a distinctive impression with Midnight Trail.  Gently rolling melodies and quietly distinctive arrangements make this an album that plays well the first time and gets better with age.  Some might argue that Cabin Dogs haven't 100% found themselves yet, but if true it only means they'll be scary good when they do.  The sound does bounce around a bit stylistically on Midnight Trail, but there's a flow here that belies the apparent gear shifts.  Midnight Trail establishes Cabin Dogs as a songwriting and performing force in an unmarked corner of the Americana super-genre.  It'll be interesting what sort of space they carve out for themselves over time.

Rating: 4 Stars (Out of 5)

Learn more about Cabin Dogs at www.cabindogs.com or www.myspace.com/cabindogs.  Midnight Trail was released digitally in March of 2011, but gets its CD release on August 30, 2011.  The digital release is currently available from Amazon.com or iTunes.

Paper Thick Walls - A Thousand Novels

Paper Thick Walls - A Thousand Novels
2011, Paper Thick Walls

Paper Thick Walls had a busy year in 2010.  The quintet of Eric Michaels (vocals/guitar/motif); Kate Schell (vocals/piano/trumpet); Roger Sherman (upright bass); Andrew Sabo (drums) and Jacques René (fiddle/mandolin/guitar) graced the stage at SXSW, NXNE and CMJ Music Marathon.  In the process they came to the attention of sound engineer Mike Hagler (Wilco, Neko Case) with a sound that's been compared to Sufjan Stevens and Arcade Fire.  Hagler took the boards to help Paper Thick Walls create their debut album, "A Thousand Novels", out May 3, 2011.  Mixing intricate orchestral folk/pop arrangements with articulate tales born of fancy, Paper Thick Walls cut an intriguing musical path.

A Thousand Novels hits the ground with the lush folk/pop blend of "Old Weathered Dock".  The song is a collection of visual mementos set to a catchy and quirky orchestrated arrangement.  Between Kate Schell's exceedingly pleasant vocal lead, Eric Michaels' Peter Gabriel-esque secondary vocal and the airy, orchestrated arrangement, "Old Weathered Deck" is a breath of fresh air.  "Sighs Of Relief" is a painted poem set to music about meeting someone new and falling in love, diverting into the healing power of love as an aside.  It's a pretty, piano-based tune fleshed out into full, layered orchestration.  Schell and Michaels duet on "Orange Tree", an optimistic song sung on the run from the law.  This memorable tale matches an occasionally bitter circumstance against a sweet and dreamy arrangement that reflects the unreality of the situation.  Don't be surprised if you fall in love with the chorus on first listen.

"Nyquil" is quasi-psychedelic folk, extolling the beauty of one to a host of heavenly bodies.  The song has an odd-yet-charming quality wrapped up in its abstract exploration of consequence.  "A Thousand Novels" is a love story of two people torn apart by war.  This is not your typical song of love overcoming any circumstance unless you're into the metaphysical outcome.  The focus here is how love will be memorialized, and is touching if a bit out of the ordinary.  "Desolate Place" explores the transformation of a relationship's aftermath into rebuilding.   The musical arrangement parallels the story in loneliness and loss with an intriguing theatrical feel in spite of the almost ethereal melancholy that pervades the song. 

"Portrait" is a duet about love and beauty in the abstract, as it exists in our minds but oft times not in our realities.  The media here are paintings, words and memories, but the connection evades in a gorgeous arrangement born of guitar, percussion and bass.  "Overgrown" is a catchy acoustic rocker that finds Eric Michaels out in front.  It's a solid love song that's a bit wordy for its own good, but overcomes this with a pragmatic and catchy arrangement that grabs your attention.  Paper Thick Walls say goodnight with "Infinite", a number that vacillates between introspective, depressive verses and a jaunty chorus.  The mix is jarring, but works well as varying motifs on the theme of falling apart.

Like Belle And Sebastien before them, Paper Thick Walls have found a sound that is both articulate in composition and lyrically melodic.  The converse is so obvious it need not be stated.  A Thousand Walls sucks listeners in the way a great book envelopes your mind.  Musically, lyrically and dramatically, Paper Thick Walls challenge listeners to listen actively and participate on an intellectual and emotional level.  A Thousand Walls will keep you coming back for more.

Rating: 4 Stars (Out of 5)

Learn more about Paper Thick Walls at www.paperthickwalls.com or www.myspace.com/paperthickwalls.  A Thousand Novels is due out May 3, 2011 and is available for digital pre-order from Amazon.com.  Expect wider availability to follow in both digital and traditional formats.

Fun With Atoms - Smart

Fun With Atoms - Smart
2010, Blurb Records

Green Bay, Wisconsin's Fun With Atoms bring their edgy Americana pop sound wherever they go.  Inspired by their mid-western, working class roots, Fun With Atoms inject a pop sensibility into everything they touch.  Rick Smith (vox/guitars/keys); Dan Collins (vox/bass/keys) and Curt Lefevre (drums/percussion/vox) have crafted a sound that takes in a wealth of influences but matures as a sound that doesn't really sound like anyone.  There third album, Smart, captures the energy and angst have gained Fun With Atoms so much attention from their first two efforts.

Smart opens with "Walking The Razor's Edge", an Americana country/rock blend that is reminiscent of Blue Rodeo or Wilco with a Gin Blossoms chaser.  It's a catchy tune about the dangers of falling in love when your life keeps you on the road.  The lead vocals are serviceable, but sound better in the context of the vocal harmonies offered here.  "Really Happy" evokes Peter Case with a catchy, distinctive pop feel.  The chorus is highly memorable and the song is well-paced throughout.  It's a bit light in the lyrics department; more of a stream of conscious style than anything else, but solidly entertaining.  Things slow down significantly mid-album, but Fun With Atoms recovers in time to deliver some jangly country/rock on "Mystery".  This time it's as if the Gin Blossoms and The Beatles are battling it out, and for a change the bridge makes the song.  "Ringing In My Ears" sounds a bit more like garage Americana, as if the Skydiggers seriously electrified their sound.  It's entertaining, but serves as a sort of last gasp for Fun With Atoms and Smart.

Smart starts well, but Fun With Atoms seem to have had a hard time compiling enough material for a full length album.  The filler here, while not bad, doesn't measure up to the four or so songs that really make Smart worth checking out.  A four or five song EP may have been a wiser move, but Fun With Atoms show definite potential on Smart.

Rating: 2.5 Stars (Out of 5)

Learn more about Fun With Atoms at www.funwithatoms.com or www.myspace.com/funwithatoms.  Smart is available digitally from Amazon.com and iTunes.

A House For Lions - I Want Us To Be Remembered

A House For Lions - I Want Us To Be Remembered
2011, A House For Lions

Daniel Norman headed to Los Angeles with the idea of being an actor.  He never dreamed he might end up fronting a band.  After becoming disillusioned with the actor's life, Norman headed to Berlin for a while to clear his head.  One day, while walking through the park, a melody parked itself in Norman's brain and wouldn't let go.  By March of 2010, Norman had drawn in kindred spirits Mike Nissen (guitar) and Eric McCann (upright bass, keys), and the connection was instantaneous.  A House For Lions was born.  Just a scant year later, A House For Lions releases their debut EP, I Want Us To Be Remembered.

I Want Us To Be Remembered opens with the song that started it all.  "Let Back" grew from the wayward melody that caught Daniel Norman by surprise in Berlin, and is a mildly catchy though highly repetitive alt-pop number that will play well to radio programmers doesn't have a lot of commercial oomph.  Norman's voice has a lazy, sleepy quality to it that is moderately appealing, but his lack of enunciation and his tendency to sing just a bit flat are distracting.  "Come On Let's Go" is a bit catchier and may have a chance at commercial radio.  The song is a bit bland lyrically but is quite sound otherwise. 

"Ease My Mind" is a mellow rumination on someone he hopes will wait for him.  The Americana/60's rock tune is very well written, although runs a bit too long given the lack of dynamic variation.  The protagonist here keeps to the road as an escape, even as he looks forward to returning home to ones he loves.  "Evolution Calls" is a great blend of pop and Americana that is certain to get toes tapping.  Daniel Norman juxtaposes the concepts of love and moving on all at once, and slaps on an atypical chorus with buzzy guitars and a melody line that will stick to the inside of your skull.  This is the best writing on the disc.  A House For Lions closes with "How Many Times", a solid number that would fit well in the middle of an album but is perhaps a bit anti-climactic here.

A House For Lions stalks the hinterlands between California Country, Wilco-esque Americana and alt-rock on I Want Us To Be Remembered, creating musical moments that are accessible and unique.  Daniel Norman isn't much on vocal technique or precision, but his sleepy vocal style fits well in the atmosphere that A House For Lions creates.  I Want Us To Be Remembered is an EP that gets better with successive listens.  It's not an EP that's going to blow you away, but rather keep picking at your sub-conscience until you turn around and pay attention.

Rating: 3.5 Stars (Out of 5)

Learn more about A House For Lions at www.ahouseforlions.com or www.myspace.com/ahouseforlions.  I Want Us To Remembered is available digitally from Amazon.com and iTunes.

Sherman Ewing – Single Room Saloon

Sherman Ewing – Single Room Saloon
2011, Okindalia Records

Sherman Ewing walked through hell and lives to tell the tale.  Tell it he does on his latest album, Single Room Saloon.  The Columbia University grad, who once played in a band called Sherman And The Bureaucrats with John “Jojo” Hermann of Widespread Panic, grew up in British boarding schools during the birth of the punk movement.  His songwriting evokes some of that attitude infused into a blend of pop, rock and country.  With an all-star band at his back (members have worked with Bob Dylan, Spin Doctors, Hank Williams, Jr., Phish, Keith Richards and Widespread Panic), Ewing opens an emotional vein for all the world to hear.

Single Room Saloon opens with “Heaven Waits”, an intriguing commentary on materialism and the corruption it breeds.  Ewing points to a light in the distance in a delicious blend of country guitars and sophisticated rock n roll.  “Single Room Saloon” has a distinctly urgent feel; imagine the Beatles playing in an Americana style.  The result is an edgy sound that will stay with you.  “Grey Skies Blue” is catchy, but its Ewing’s guitar work that most stands out.  It’s a tune about that one person who makes even the darkest day bright, and brings to mind some of the better works of Wilco.  “Flatlands” is a dreamy Americana blend that’s as pleasing to the ear as it is pointed in message.

“Walk On” is all about making your way in the world and finding your place.  It’s a delicious bit of soulful, buzzy rock and roll.  Things slow down for a couple of songs, but Ewing gets back on track with “Bye Bye America”.  Ewing laments those who would stand by and watch America’s decline as long as they get what they feel is coming to them.  Ewing keeps up the social commentary on “The Mission”, delving into the growing gap between rich and poor and the inability of the latter to keep up.   Ewing closes with “Marilyn”, an inconspicuous final track that plays like an epilogic vector.

Sherman Ewing shows a distinctive ability in the crafting of songs on Single Room Saloon.  The material presented here is, for the most part, cogently written and melodically sound.  Ewing’s special talent is in the musical details, which he wraps around the melodic core in layers both distinctive and refined.  Not all of the songs here work on all levels, but there’s more than enough here to make Single Room Saloon worth your time.

Rating: 3.5 Stars (Out of 5)

Learn more about Sherman Ewing at www.shermanewing.com.  Single Room Saloon is available digitally from Amazon.com or iTunes.

Colin Gilmore - Goodnight Lane

Colin Gilmore - Goodnight Lane

2010, Colin Gilmore

Texas singer/songwriter Colin Gilmore isn't looking to trade on his dad's legacy, so while the comparisons to Jimmie Dale Gilmore are bound to be made, it is a decidedly distinct style and sound that Gilmore brings to his latest album, Goodnight Lane.  Gilmore's Texas roots are unmistakable, but Gilmore increasingly finds his own voice on Goodnight Lane.  Gilmore has shown flashes of what he might become on previous releases such as 4 Of No Kind and The Day The World Stopped and Spun The Other Way, but with Goodnight Lane Colin Gilmore has come fully into his own.

Goodnight Lane opens with “Circles In The Yard”, the story of someone with the dream of a life in music who goes to New York City and finds the Big Apple takes a bite of him.  The song is catchy and displays a distinct story-teller’s style.  Gilmore sounds a lot like Canada’s Luther Wright while displaying his own distinctive style.  “Goodnight Lane” displays classic country melancholy in a song of regret over love lost that shows the potential for beauty to grow even in the darkest of hours.  “Hand Close To Mine” is a charming country/rock love song from the perspective of the one in love with a wandering soul.  Think Blue Rodeo meets Wilco.  “Abigail” is a deep and nuanced love song about traveling together.  Uncertainty abounds but faith is essential in a profession of love and devotion that asks the same in return.

“Laughing Hard Or Crying” is catchy and danceable; a paean to living life in a space where spontaneity is the rule rather than the exception.  Gilmore captures a great dynamic here.  “Essene Eyes”  has a classic pop song feel; a light listen that’s a nice change of pace.  Gilmore digs into his instrumental side with the 1950’s rock-guitar style of “Teeth, Hair & Eyeballs”.  Gilmore takes the roots of rock n roll and infuses the birth notes of the surf style in a brilliant blend of sounds that’s at once classic and original.  Goodnight Lane closes with “Raindrops In July”, and affable blend of easy listening pop and country.  It’s a gentle close to a dynamic album that’s highly enjoyable, a sweet goodnight.

Colin Gilmore has always had his own distinctive style, but on Goodnight Lane he sets himself apart.  There’s a large constituency of artists out there practicing in the continuum of Americana music, but there’s little doubt that Goodnight Lane must be considered amongst the cream of the crop of Americana releases for 2010.  Colin Gilmore combines an impressive feel for melody and arrangement with a well-defined story-teller’s style.  Goodnight Lane is an entertaining affair that will keep you coming back again and again.  

Rating: 4.5 Stars (Out of 5)

Learn more about Colin Gilmore at www.colingilmore.com or www.myspace.com/colingilmore.  Goodnight Lane is available from Amazon.com as both a CD and Download.  The album is also available digitally 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.

Jenn Franklin - Girl Invisible (Vol. 1)

Jenn Franklin - Girl Invisible (Vol. 1)
2010, Groove House Records

Nashville singer/songwriter Jenn Franklin will get you with her voice and keep you with her songwriting. A warm, soulful sound full of deep texture will greet you in the opening moments of her sophomore EP, Girl Invisible (Vol. 1), and draw you in like an old friend. Once in, the songwriting will hook you. Franklin dwells in the darker places of human emotion, drawing inspiration from some of our weakest moments and lifting them up to the light. It's a cathartic process for Franklin, who is both counselor and counselee in the songwriting process, learning as much about herself as about the people she writes about. The buzz on Jenn Franklin has been building since the release of her debut EP, Errors & Omissions, which saw two songs placed on MTV's "Real World Hollywood" and helped Franklin score a slot as a showcased artist at SXSW as well as headline slots with the NY Songwriters Showcase and various Festivals around the country. Co-produced by Jim Reilly (The New Dylans), Girl Invisible (Vol. 1) features musicians Ken Coomer (Wilco), Charlie Chadwick (Shelby Lynne, Steve Earle), and Bryn Davies (Patty Griffin) backing up Franklin on her most impressive work to date.

Opening with "Seven Again", Franklin explores the darker impacts that parents can have on their children with careless words. Franklin admonishes the subject of this song to get him/herself worked out for the sake of the child, who is losing their childhood to the fears and insecurities of the parent. "Most Beautiful Man" warns about beauty and the dark secrets it might cover; a peppy-yet-dark tune that seems to mix the dark/light elements it warns of. "Hold Up The World" is presented here as a piano ballad; but it’s a song of consolation and love, offering respite to one in need. The simple piano arrangement marries to strings throughout for a simple, beautiful sonic mix. Franklin closes with the soulful gospel/blues arrangement of "Courageous", an ode to the one who gives her the strength to carry on. It's a love song that's both worldly and full of emotion that allows Franklin to show more of her soulful side.

Jenn Franklin is on an upward trajectory with a great deal of potential. Girl Invisible (Vol. 1) is a bit dark thematically, but the music is good for your soul, full of earthy emotion and themes that are accessible to everyone. Franklin throws herself into each song, and that commitment comes out in the performances on Girl Invisible (Vol. 1). Don't be surprised if Jenn Franklin wins you over.

Rating: 3.5 Stars (Out of 5)

Learn more about Jenn Franklin at http://www.jennfranklin.com/ or www.myspace.com/jennfranklin. Girl Invisible (Vol. 1) drops on June 22, 2010. You can order the CD now though Franklin's webstore. Expect availability from Amazon and iTunes as well. Photo courtesy of Jenn Franklin & Shutter Creek Photography.

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: Fictionist - Lasting Echo

Fictionist - Lasting Echo
2010, Fictionist

Utah post-genre rockers Fictionist deliver more than mere reflection on Lasting Echo, their second-full length album recently released independently. Featuring the cultured baritone of Stuart Maxfield as well as his Wilco-esque guitar work, Lasting Echo is the sort of album that legitimizes a small market band's reputation and helps them gain regional and perhaps even national stature. Fictionist dwells in a delicious mix of vibrant creation and introspection where melody is king.

Lasting Echo opens with always, a dark and eerie Prog Rocker resplendent in synth and guitar-driven light. The emphasis here isn't sound and fury so much as it is nuance and change. Human Wings is reminiscent of some of the softer fare from 1970's Canadian rockers Max Webster; a mellow rock ballad with ample guitar fills. The sound is a bit closer to Pink Floyd on Sunshine Of A Shell; layered guitars balance off the tension of the vocal line in smooth peaks and troughs of sound that begins and ends in the ebb and flow of a church organ. Maxfield's voice is the perfect complement to the instrumental sounds created on Lasting Echo, often aiming for a plain, easy singing style but occasionally breaking out to punctuate a moment or emotion.

Strangers In The Dark is one of those songs that seem to take on its own distinct vibrancy; as if the song were playing Fictionist rather than the other way around. Structural, key and rhythm changes drive this musical conversation between a narrator and Fate; both aware and wary of the other. As always, Fate wins out by inertia, but the narrator still holds on to the hope that a "spark" could change it all. Time To Time digs into the emotions surrounding a relationship that's ended but which one of the parties can't quite let go of. The arrangement is full of delicious tension and more than a few fun lyrical turns "It's been awhile since I've had your mascara on my sleeve.") The guitar work here is exquisite; you could hear Time To Time playing on big AOR stations alongside 1970's stalwarts like Frampton, ELO, Zeppelin and BTO and Fictionist would sound like they were never elsewhere.

Fictionist brings in a distracted, mellow Jazz vibe on Deeper And Deeper, one of the more intriguing compositions on Lasting Echo. Rhythmic variations in the percussion drive against the plaintive wall instrumentation to create interesting moments of tension against unusual vocal harmonies and lead into a distinctive organ solo that ranks among the best instrumental turns on the album. Lasting Echo closes with Have Mercy, a plaintive plea built into a lovely, stripped down arrangement that lulls you out of the album and back into the real world.

Fictionist delivers a highly nuanced and compelling listening experience on Lasting Echo, delivering on the title with an album that will speak to you well after the disc stops spinning. Gentle rock with Progressive tendencies and patient, deliberate songwriting is sure to please listeners across several genres, and should ensure that Fictionist does the album thing at least one more time. Lasting Echo is a tremendous start.

Rating: 4 Stars (Out of 5)

You can learn more about Fictionist at http://www.fictionist.com/ or www.myspace.com/fictionistband.
You can purchase Lasting Echo on CD from CDBaby.com. Downloads are available via iTunes.

Review: Tyler Blanski - Out From The Darkess

Tyler Blanski - Out From The Darkess
2008, Ezekiel Records

Tyler Blanski is a Minneapolis born and based singer/songwriter whose goal is telling stories in his songs. His muse seems to stem from the inspiration of artists such as Bob Dylan, Neil Young, Elliott Smith and even Jeff Tweedy. Blanski’s debut album, Out From The Darkness has been a work in progress since his earliest demo in 2006. Released in 2008, it may be a bit dated at this point, but is a fair representation of Blanski as an artist finding his voice.

Out From The Darkness opens with Two Inches Apart, the highlight of the album. Blanski's strong guitar intro serves as the backbone of the entire song, and is a beautiful thing heard through the ears of a guitar player. Blanski's lyrical style appears to be stream of consciousness and takes on a bland consistency early on. Out From The Darkness is a messy tune done in the style and tenor of Bob Dylan. It's a decent effort that gets bogged down in its own weight but shows some of the songwriting potential of Blanski. Hard Water is a tasty lilting tidbit that has a vaguely whiney feel (think REM meets Wilco). Whippoorwil is upbeat and driven with a lot of finesse shown on the acoustic guitar. It is also the musical outpost of the album, leading into a monochromatic and monotonous diaspora of songs lost in their numbing monochromatic sound. Much of the rest of the material on Out From The Darkness ranges from bland and innocuous to plodding cliché. The Sparrow tries to break free and fly with solid songwriting but gets lost in its own monochromatic sound. Laydee similarly tries to break the mold, picking up a more clearly Americana sound, but ultimately can't escape the inertia of the 2nd half of Out From The Darkness.

Tyler Blanski shows flashes as a writer, although lyrically he might benefit from collaboration, but he tends to get so mired in a single sound and style that he isolates himself from a lot of potential listeners. I'd love to hear Blanski take the songwriting talent that clearly exists and put it into use under slightly less serious and strident circumstances. Until then, Out From The Darkness is an interesting start.

Rating: 2.5 Stars (Out of 5)

You can learn more about Tyler Blanski at http://www.tylerblanski.com/ or www.myspace.com/tylerblanski. Blanski recently re-released Out From The Darkness digitally. It is available for free download from Blanski's web page, but donations are welcome. There is also an option to purchase copies on CD.

Review: Tupelo - Live In Studio

Tupelo - Live In Studio
2009, James Cramer/IMRO

Dublin, Ireland’s Tupelo have taken to the Rhythm & Roots movement in much the way the fictional band The Commitments took to Motown in the film of the same name two decades ago. Playing some of the finest venues in Dublin and beyond, Tupelo brings their original compositions to life in a sound that would be called Americana on this side of the pond. Tupelo recently sent us a disc called Live In Studio. This appears to be a demo for an upcoming album, done primarily in one take without overdubbing. The mix is a bit rough at times, but the songwriting and play are high quality.

Tupelo opens with The Blue Gardinia, a feel-good drinking song. The style here is somewhere in the neighborhood where Folk and Country meet. Vocalist James Cramer has a pleasant, anachronistic sound. Firefly is gentle but catchy. You may find yourself wanting to dance along but not sure if you should. I did find it curious that one of the violins on this song appears to be just a bit out of tune. Man Like Me and San Francisco Bound are decent if a little bland. Tupelo comes to life on Figure It Out, imbuing the song with a bit of fiddle-tune energy. Leaving On Tuesday is a decent tune; a mellow song with real energy inside.

Tupelo comes fully alive on Little Rosalie, a moderately upbeat love song with a hint of Pop sensibility. Little Rosalie will get your toes tapping. Katrina is a highly personal look at the effects of Hurricane Katrina. The hurricane itself has become something of a cultural icon for songwriters, particularly in the Folk, Country and Blue genres. Katrina is a decent song, but there comes a point when a subject has been picked clean and every recapitulation highlights the same skeleton. Tupelo goes where they've wanted to go all along on My Daddio. The song is a joyous ode to Dads where the musicianship and energy are at the top of the meter, and My Daddio is the highlight of the album. Tupelo keeps the Celtic spirit up on My Family's Land, although this time it's a mournful tune about returning to our roots. Tupelo closes with the Bluegrass flavored I'm Going Home, a song about a wrongfully convicted man who is finally getting out of prison. The song is full of joy in spite of all that's gone wrong.

Tupelo follows an interesting path on Live In Studio. You get the live energy of the band in a somewhat reserved recording that may not do Tupelo complete justice. I am guessing that this recording was done in a series of single takes with minimal dubbing, which is fine, but the production and recording produces some uneven mixes at times and may have been managed a bit better. On the whole, however, Live In Studio is convincing. If Tupelo ever passes through town, I'm there.

Rating: 3.5 Stars (Out of 5)

You can learn more about Tupelo at http://www.tupelo.ie/ or www.myspace.com/tupelomusicireland.

Review: Norah Jones - The Fall

Norah Jones - The Fall
2009, Blue Note Records

Norah Jones is back with her latest effort, The Fall. The album has been hailed as a departure for Jones from her usual smooth sound, but they may be more sound and fury than reality. The Fall does find Jones with a bit more edge to her than in the past, but it's not so much a departure as a progression in sound. The smooth feel and gorgeous melodies that have always driven Jones' music are still there, but there's a more worldly sense about the artist that comes through.

The Fall opens with Chasing Pirates, a mildly funky tune Pop tune that announces a new, more complex sound from the mistress of smooth Jazz/Pop. Jones delivers this sound with the same cool, sultry voice she introduced the world to on Come Away With Me, but with a bit more texture and outward energy than in the past. Light As A Feather has a slightly edgy sound hidden beneath the surface, but plays as a potential single. It's one of the more intriguing songs on the album, playing in a slightly darker light than we've come to expect from Jones. Young Blood is a catchy-yet-mellow tune that will make you think a bit. Jones is charming in her sense of urgency here, mining a different set of emotions than in the past.

I Wouldn't Need You is an in-your-face love song; a Mix-Tape tune that leaves little to imagination. It offers enough of what we might consider classic Norah Jones to appeal to long-time fans but enough of the new spunk to widen her face base prodigiously. Jones stays with her mellow appeal on Waiting, a stark and beautiful melody built on the classic image of the one who keeps the lights lit for the one out there on the road. Jones goes for broke on It's Gonna Be, the edgiest rocker on the album. We're still talking a fairly mellow sound, but the energy and urgency in It's Gonna Be are unprecedented on a Jones album. This is a potential chart hit, although it's more likely to show up in a soundtrack somewhere due to the putrid state of Pop radio.

Jones goes a bit off the beaten track to create one of the best love songs of the year in You've Ruined Me. The message sounds a bit negative on first brush, but the more you listen you realize that this state of ruination is all about the sort of love that leaves us powerless. The melody is gorgeous and the arrangement in general is unforgettable. December finds Jones at her most basic place as a singer/songwriter, reminding us that despite the branching out of sound she can still draw us in the a near-lullaby wrapped around a simple, gorgeous melody with her dulcet voice. Tell Yer Mama brings in a hint of country flavor on perhaps her best vocal performance on the album. Tell Yer Mama certainly carries a bit of attitude with it, almost a sort of grit, if you can imagine it. Jones closes out with Man Of The Hour, a love song written to a (Wo-)Man's best friend. It's a comical turn but sung with such commitment you might be fooled at first.

And of course, if you're lucky enough to score The Deluxe Edition from Target, you get a bonus disc called Live At The Bottom Line, a 6-song EP that's very much worth forking over the extra $3. Jones opens the set with It's Gonna Be, a delicious tune full of more than a little attitude that shows off her piano playing, her voice, and Jones' crack band. The live version certainly illuminates the song in a way that the album version does not. The same can be said for Waiting, which has a much more raw, needful feel than the studio cut. You've Ruined Me likewise comes alive on stage, although the gap between here and the studio isn't nearly as wide. Jones' cover of Wilco's Jesus Etc. is definitely worth hearing, as is her cover of The Kinks' Strangers, but it's the cover of Johnny Cash's Cry, Cry, Cry that will have you trying to track this edition down. Jones wades in like she was born to sing country music, bringing a soulful element to the song that The Man In Black himself would have appreciated.

Norah Jones has a stack of Grammy Awards, Gold and Platinum Record Awards and millions in both album and ticket sales, but she may have offered up her finest work to date on The Fall. The sound isn't such a big jump from where Jones started, reflecting more of a development of sound as an artist than a departure. The songwriting is subtle, occasionally lush and always en Pointe. Jones herself has an easy style that will surprise you, and as the bonus EP shows she's a killer on stage. Make sure you check out The Fall, even if you're not a huge fan of her past work. And try to track down the Deluxe Edition if you can; this is one of those times when that bonus disc is essential.

Rating: 4 Stars (Out of 5)

You can learn more about Norah Jones at http://www.norahjones.com/ or www.myspace.com/norahjones. You can purchase The Fall from Amazon.com as either a CD or Download. If you want the Deluxe edition with the Live At The Living Room CD, you can order it here.

Review: Atomic Solace - Left To Lead

Atomic Solace - Left To Lead
2008, Atomic Solace

Central Kentucky is the place for Atomic Solace. What started out as a jam session among four bored friends has turned into juggernaut. Atomic Solace (formerly named Solace) has built quite a buzz in the past year or so, culminating in a lights out performance at SXSW 2009. The band continues to tour in support of their 2008 debut album, Left To Lead, while beginning the writing process a new project. Joe Ryan lends his impassioned vocals to the instrumental core of Kyle Moon (bass, vox); Brandon Coots (guitar, vox) and Ben Williamson (drums), dialing up the creative and musical tension to eleven.

Left To Lead opens with Over You, revealing an unusual and intriguing sound that seems to combine the Southwestern rock of The Refreshments and the Americana smooth of Blue Rodeo or even Wilco. Atomic Solace isn’t your typical Americana/Rock band, winning over listeners here with a subtly catchy tune that will stick with you. Summer Breeze continues the display of strong songwriting on a thoroughly enjoyable transition to the Latin Lounge-cum-Rock N Roll of Devil In Disguise. I really like the writing choices these guys are making thus far, and the execution is spot-on. Brandon Coots' guitar work is especially enjoyable. Atomic Solace hits a bump on Hold On, a fairly stereotypical rock ballad that finds the band losing their energy just a tad, but they rebound nicely on Left Behind. This might just be Ryan's perfect song as a vocalist, and the band rises up for their best all-around performance on the disc.

Oh, if they'd only stopped there. Don't get me wrong, there's nothing really wrong with the rest of the disc; the songs are decent and listenable, but won't light up radio dials or listener's ears to any great measure. Just Believe is a heartfelt love song, and Demon has some great vocal harmony work going on, but the songs in between just don't register much energy or interest from the band. Perhaps that's not the way it played out in the studio, but on CD it sounds like they lost direction. Atomic Solace rebounds a bit on the catchy West Coast, but it's just not up to the level that Atomic Solace established over the first six songs.

Left To Lead isn't a bad album by any measure, but it is a study in contrasts. Atomic Solace blows in like a lion and goes out like a lamb, nearly sounding like two difference bands in the process. This is one of those occasions when an EP might have been the right first step instead of pushing for enough songs to complete a full-length album. Either way, however, Atomic Solace establishes themselves as a band capable of big things on Left To Lead. They should definitely be on your radar.

Rating: 3 Stars (Out of 5)

You can learn more about Atomic Solace at www.myspace.com/atomicsolace or http://www.solacemusic.net/. You can purchase a copy of Left To Lead from CDBaby.com.

Review: The Nadas - Almanac

The Nadas - Almanac
2009, Authentic Records

The Nadas are coming back with new material in 2009, an album entitled Almanac that might just be their best work yet. Almanac is being recorded as a year-long project with one new song available through the band’s website on the last day of each month. Coming off 2008's transitional The Ghosts Inside These Walls, The Nadas are in top form on the nine songs completed thus far for Almanac. We here at Wildy's World recently had a chance to check them out.

The Nadas open Almanac with a radio-ready hit in Bitter Love. The melody is highly memorable and the production is solid. Mike Butterworth shines on vocals. Dodged A Bullet is a glass half empty about a relationship that's going someplace. There's real pop sensibility here and the string arrangement makes the song. Wrecking Ball is catchy and perhaps even danceable. Butterworth's vocals stand out as a highlight. Call Me could be a big song for The Nadas. It's a theme for anyone who's been dumped and is looking for a second chance. You'll find yourself singing and nodding along, as the chorus has a universal feel to it that suggests the universality of the lyrics.

Last To Know is a mid-tempo number about being in a relationship with someone you simply cannot read. The tune is mildly catchy and is very well-written. Hear That Sound gives The Nadas a third song with real commercial pop; a Wallflowers-esque number that could do well both with radio and in the licensing realm. Crystal Clear is an understated-yet-powerful little Rock song. The emotional content here is high; with real tension and deep-seated anxiety wrapped in a carefully adventurous spirit. The Nadas close out with All I Want, a great piece of Rock N Roll. The melody here is memorable and the vocal harmonies are gorgeous.

The Nadas take a big step forward on Almanac, their seventh studio album. While not complete, we were able to review 9 songs of an expected 12 or so. They could stop now and have a hit album. The Nadas have come a long way in a year, and Almanac promises to be brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Nadas at http://www.thenadas.com/ or www.myspace.com/thenadas. The Nadas have several packages available for the purchase of Almanac. Check them out here!

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.