Wildy's World Sunday Singles: Revis Mindwalk Blvd Hollie LA

Revis - Save Our Souls
2011, NRG Artists

L.A. rockers Revis will be charging up the New Orleans film festival this fall with the song "Save Our Souls", written for a documentary of the same name documenting the burlesque scene in post-Katrina New Orleans.  Recently released on Revis' album Do We Have To Beg?, "Save Our Souls" is a tasty blend of hard rock and pop, Edge-friendly but with enough pop sensibility go mainstream.  Vocalist Justin Holman has that front-man thing, with a charismatic voice that reaches through the speakers, grabs hold of you and lets you know you better listen. 

Rating: 4 Stars (Out of 5)

 www.revisrocks.com. 

 iTunes

Mindwalk Blvd - Reach / Bite My Tongue

2011, Mindwalk Blvd

Boston-based teen rockers Mindwalk Blvd return this spring with two singles, "Reach" and "Bite My Tongue", the first new material since we first heard from the band two years back.  Bigger, more mature and full of a new confidence, Mindwalk Blvd expand their sound by reduction on "Reach".  The melodic, acoustic-based power pop song features strong harmony vocals.  Lead vocalist Ian Hayes has definitely grown into his voice, which is powerful but full of nuance.  There's definitely more of an alt-rock commercial edge to this tune than in the band's past work, but the transformation stays true to their progressive rock roots.  "Bite My Tongue" is a progressive-rock anthem with big pop hooks and distinctive triadic harmonies.  There's an introspective feel hidden inside of the heavy rock approach that's appealing, and Mindwalk Blvd effectively blends the non-traditional segmentation of progressive rock with a modern alternative edge.

Mindwalk Blvd continues to develop their sound in impressive fashion.  The little boy next door has grown up, and he swings a mean guitar.  "Reach"/"Bite My Tongue" is an impressive pairing.

Rating: 3.5 Stars (Out of 5)

http://www.mindwalkband.com/

Reach:      Amazon.com       iTunes

Bite My Tongue:    Amazon.com     iTunes

Hollie LA - Hard 2 Get
2011, Unlocked Records

LA pop chanteuse Hollie LA returns with two singles for the first half of 2011.  "Hard 2 Get" is a song of sour grapes from one who played hard to get and now finds the roles reversed.  Driven by a big, bass-filled dance beat, this is fairly straight-forward commercial dance pop.  Hollie L.A. has a nice, powerful alto voice that shines even in the midst of a sugar-drop pop song.  "Poison - The Remix" is a bit more driven; dance material with a heavy bit.  This isn't quite as catchy or fun as "Hard 2 Get", but Hollie L.A.'s voice is worth sticking around for.

Rating: 4 Stars (Out of 5)

 www.holliela.com

 Amazon.com 

iTunes

Hollie LA - Poison (The Remix)
2011, Unlocked Records

Hollie LA's "Poison - The Remix" is a driven, heavy dance number with techno/house ambitions.  The song itself is formulaic dance pop, fluffed up with drums and bass.  Forgettable in and of itself, the song is made memorable but Hollie LA's voice.  In this day and age, it's hard to know how much of that is Hollie LA and how much is computer chip, but if that voice is for real then Hollie LA is using a wonderful instrument to create fluff.  This sort of voice deserves a lot more exposure than it will get from "Poison".

Rating: 2.5 Stars (Out of 5)

www.holliela.com

Amazon.com

iTunes

The Krista Parrish Trio - Playing With Pendulums

Krista Parrish Trio - Playing With Pendulums

2010,

Krista Parrish comes across as two distinct artists on her debut album, Playing With Pendulums:  The fingerstyle guitarist who impresses with both her finger- and fretwork on a series of instrumentals that show both technical skill and an advance lyric and melodic sensibility; and the singer/songwriter with an untrained and pleasant, though occasionally pitchy voice.  The two roles alternate throughout the album, which features six instrumentals out of the twelve tracks presented.

Playing With Pendulums opens with "Happy Guitar", with Parrish showing an intriguing mix of melodicism and drive on what sounds like a souped-up Windham Hill recording from the late 1980's.  It's a nice start, letting you know that an hour spent with Krista Parrish won't be like your typical Indie Folk/Rock album.  Parrish shows mild-to-moderate pitch issues on both "Hola Nino Hemoso" and "Skywatching".  The latter is a dreamy folk number that's quite a pleasant listen in spite of the occasional vocal misstep.  "The Mind's I" is a circular instrumental that relies on repetitive passages and heavy drum and bass influence to drive it.  Parrish's guitar work is technically proficient, but this track gets stuck in a rut. 

"When The Day Is Done" is solid, built in a simplistic arrangement with some sweet vocal harmonies blown into the mix.  "The Ground We Lay On" is the star composition on the album, with Parrish pulling out all the stops on a chorus that would sound about right from a heavy metal band.  The acoustic presentation here is intriguing, but Parrish positively rocks out in a complex turn with progressive rock tendencies.  "Playing With Pendulums" shows Parrish's softer side, a pastoral and dreamy guitar-led number that's pretty and contemplative.

"When" is a song of heartbreak from the deliverer's perspective.  Painted in barre chords, the melancholy air here is substantive.  Parrish's unvarnished voice is the perfect complement.  "Mexico" starts on a mix of fingerstyle and hammer-on techniques, quickly evolving into a fast-paced rock instrumental.  Fun and fast-paced, it's a positive mood-shifter at just the right time.  Parrish says farewell with "Head First Heart Last", a melodically laconic and meandering instrumental full of pretty atmosphere.  It's a mellow lullaby that puts the entire project to bed quite nicely.

The Krista Parrish Trio mostly delivers the goods on Playing With Pendulums.  Parrish is impressive on guitar, laying down complex and interesting compositions in fingerstyle while maintaining a pop/rock sensibility most of the time.  As a vocalist, Parrish is solid, although she does run into pitch issues from time to time.  It's actually refreshing to hear someone brave enough to say, "here's my voice, take it or leave it", rather than give in to the temptation of pitch correction software.  To the left, the maintenance of pitch issues on a finished album does give the affair a less professional feel.  All in all, Playing With Pendulums is a positive experience.  There's certainly some room for growth here, but Parrish is off on the right foot.

Rating: 3 Stars (Out of 5)

 Learn more at www.kristaparrish.com or www.myspace.com/kristaparrish.  Playing With Pendulums is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Laura Joy - What I Know

Laura Joy - What I Know

2011, Laura Joy Music

In a world full of dark affectations and third and fourth guesses, Laura Joy is a breath of fresh air.  With a percussive fingerstyle guitar reminiscent of Ani DiFranco and a songwriting flair that recalls the likes of Joni Mitchell and Rebecca Martin, Laura Joy crafts personal tales in song that are both touching and entertaining.  The Phoenix native who has most recently prowled the stages of bars and coffee houses in New York shines with brilliance both on stage and in the recording studio.  Her upcoming third album, What I Know, shows this same propensity for writing personal yet accessible folk songs but also shows a growing maturity as a songwriter and artist.

What I Know opens with "Fallin'", and emotionally urgent number that decries falling in love.  Joy's almost conversational singing style is the perfect touch here.  This is how you start an album; with a well-written, emotionally committed song gull of energy.  "Breathe" keeps things simple, while attempting to stay afloat in difficult emotional waters.  Joy gives a biopic in song with "Lizzie", channeling her inner Ani DiFranco on a vibrant story song.  Laura Joy's vocal tone is exquisite here, and the songwriting is spot on. 

"What I Know" is written in a barreling, stream of thought style, exploring the doubts of an artist in contrast to the idea that if you keep pushing you can make your dreams come true.  Anyone who has ever created art and had someone else knock it down will identify with the sentiments expressed here.  Joy builds great energy into the acoustic guitar accompaniment.  Joy revives "Six Flights" from her previous album of the same name, detailing the minutiae of everyday life in the city and wonder found somewhere in between the details.   The song hasn't changed, but Joy's voice and perspective continue to mature, giving the song a fuller, richer sound this time around.

"Arrive" is a long-form, pensive speculation on life and direction that's more about journey than destination.  It underscores a maturity in Joy's songwriting that seems to have advanced since she released Six Flights in 2008.  "Score" wants to be a bluesy number; while not quite attaining the sound, Joy imbues the song with a sensibility that's not dissimilar, and a vibrant energy that's relentless.  There's a sense of finality to this song, where the narrator has spent a lot of time building to this point and is more invested in any answer than a particular one.

 Joy closes the album with three holdovers from her previous album, Six Flights.  "Rose Remains" was beautiful last time around and little has changed.  "Plan" has a dancing energy to it that's irresistible.  Where the original was plainspoken and sweet, Joy sings it this time with a sense of soul and perhaps even a bit of reverie.  The song isn't quite so rushed this time around and works even better than the original.  What I Know bows with "Ride Home", a song of emotional survival and uncertainty.  Laura Joy's voice is full and warm and utterly gorgeous on this number, caressing the sweet chorus like a mother holding her child. 

Listening to "What I Know" is like watching a flower that's been growing in the corner of garden finally come into full bloom.  Laura Joy has made the transition from burgeoning singer/songwriter to artist.  While Joy has always displayed a distinctive talent for song craft and a sweet disposition as a performer, now she shows the depth and warmth of a seasoned artist and singer of songs.  For Laura Joy life will always be a journey, but if "What I Know" is any indication, it's a ride that listeners will want to follow along.  "What I Know" is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Laura Joy at http://www.laurajoymusic.com/ or www.facebook.com/laurajoymusic.  What I Know is due for a late spring/early summer release, although a hard release date has yet to be established.  Keep checking Laura Joy’s website(s) for more information.  Photo by Ivana Olson.

Megan Barbera - Zig Zag To The Sea

Megan Barbera - Zig Zag To The Sea
2010, Megan Barbera

If you're going to have a conversation about Megan Barbera it's going to start with her voice, which is an idiosyncratic blend of Edie Brickell and Sarah McLachlan.  Barbera's distinctive talent for songwriting is quickly evident, and her maudlin, melodic style evokes thoughts of Hope Sandoval.  This latter is either good or bad, depending on a listener's personal taste.  Barbera writes in imagery and rhyme, but can occasionally lose touch with the listeners at home.  With all of these thoughts in mind, let me introduce you to Barbera's debut album, Zig Zag To The Sea. 

Barbera opens with the mellow Americana/country sound and deep vulnerability of "Anywhere But Here".  In an age of computerized management of vocal quirks, Barbera's plaintive and unadorned vocal performance is a breath of fresh air.  From a songwriting perspective, this is the class of the album; subtle and nuanced without ever losing touch with the reality that lay behind it.  "Can't Love Yourself" is insightful and well-written, although Barbera tries to squeeze too much content into the melody at times.  This effort stands out, as the rushed feel this gives stands starkly at odds with the relaxed and melancholy air of the arrangement.  "Wasted" is a smooth melancholy country number with a hopeful side.  The melody on this tune is simply gorgeous; the sort to recur in your dreams.

"Shallow Well" highlights the comparison to Brickell and McLachlan above.  Barbera's vocal performance is unforgettable, although the song itself is too drawn out and slow for its own good.  Barbera recovers nicely with "A Little Hokey Pokey", a quietly catchy and fun bit of folk n roll that stands out.  Much like its name, Zig Zag To The Sea essentially meanders the rest of the way through pretty and understated songs that fail to make a big impression one way or the other.

Zig Zag To The Sea shows Megan Barbera's strengths and weaknesses as a songwriter and performer in bold lines.  At her best, Barbera is engaging and insightful, but she also appears to still be getting comfortable with herself as a songwriter.  Barbera gets so caught up in her own sense of musical melancholy at times that the she seems to forget the listener.  While artistically honest, Barbera occasionally loses her sense of song craft in the process.  Zig Zag To The Sea shows a lot of promise, but as always, promise comes to fruition with a lot of work.  There's more than enough potential evident on Zig Zag To The Sea to convince listeners to stick around to see how it all turns out for Megan Barbera.

Rating: 2.5 Stars (Out of 5)

Learn more at http://www.meganbarbera.com/ or on Facebook.  Zig Zag To The Sea is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Ron Hawkins - Straightjacket Love

Ron Hawkins - Straightjacket Love
2011, Ron Hawkins

There is a point in time and space where music, art and life intersect in mysterious ways.  It is a place where truths are lost and found; a place where magic happens.  All great songwriters strive for this marriage of time, place and muse, and even the greatest miss it more often than not.  Ron Hawkins has been dancing about the edges of this vortex for the past two decades, quietly carving out a niche as one of the finest songwriters of his generation.  First as a member of legendary Canadian rockers Lowest of the Low, and later in various solo incarnations, Ron Hawkins has built an impressive catalog of songs built on raw honesty and a master craftsman's ear for words and melody.  Hawkins recently released his 8th solo album, Straightjacket Love, drawing from country, rock and blues styles to create one of his most dynamic and satisfying works to date.

Straightjacket Love opens with "One Hundred Five", a comfortable country/folk/rock number that wastes no time showing off Hawkins' talent at turning a phrase: "And we tug our time like ragged sleeves / and our days we wear 'em thin / we scatter them like pumpkin seeds / oh breath into the wind."  It's a song of love built from long survival together and filled with an acceptance of profundity and imperfection side by side, illuminate by the light of life's limitations.  With a simple arrangement and amazing depth, Hawkins outlines what will become an album born of love songs, but rooted in the real world understanding of someone who has seen the trenches and knows that every moment is a real gift.  "Corner Room" explores distances that can never be overcome, even from one room away.  References to history are both personal and musical, and Hawkins creates a moment of angst in music that's so real it's painful.  The song is a gorgeous testament to the emotional baggage that we all carry when something good falls apart.

"The Sickness (That's What They Call Love)" is a wonderful little alt-country celebration of love.  Catchy and sweet without ever stepping into cliché, the song features a swaying chorus you can't help but sing along to.  "Hong Kong Station" is a love song written far from home on a long train ride, where contemplation turns to truth.  This one feels like it could have been a Lowest of the Low number, but is gussied up here with an Americana sound.  Hawkins has always had a talent for romanticizing the desolate moments in song, and repeats the feat with "Waitin' On Something That's Already Here".  It's a gentle calling out of someone afraid to commit that's well-written and performed with a bare honesty that's heartbreaking. 

Hawkins returns to the blues-influenced folk/rock of his early solo career (Secrets Of My Excess) with "Black".  It's a bit of musical self-flagellation decorated with remorse and hope for forgiveness, and surrounded by wonderful instrumental cameos that create a distinctive impression.  This song will get stuck in your head and stay there, and it wouldn't be at all surprising to find this song licensed for a movie somewhere down the line.  "Kill The Lights" seems to vacillate grandly between trying to get better and giving up the fight, in a life where demons both inborn and acquired bear down on the narrator's soul.  The quietly edgy guitar work serves as a counter to the almost dirge-like incantation to hold off the night, and Hawkins delivers chants the chorus with an urgency that's chilling.

Hawkins changes pace with "Company Ink", a story-song where a chance meeting and time create the circumstances for a deep fall full of competing uncertainties and profound truths.  The song explores the dichotomy of love, of being lost and found all at once.  Hawkins wraps it all up in a cute, 1970's singer/songwriter pastiche, and delivers some wonderfully subtle lyrics in the process: "I met you in July as they showed you around the floor / I filed your name away but it rattled in my drawer."  The song is a true wow moment on an album full of them.

"Straightjacket Love" heads for the honky-tonk in a catchy country/rock exploration of love, freedom and attachment.  Don't bother trying to sit still, and forget getting this number out of your head for some time to come.  "Lucky Street Lazarus" is a kiss-off song to a prior romantic offender trying to waltz back into his life.  This is pure Ron Hawkins in a bouncy, rock arrangement that would be at home in either a solo or Lowest of the Low set.  Once again, try to get this song out of your head; it's next to impossible.   

Hawkins saves his most powerful works for last.  "Diamonds In The Water" finds the narrator coming to terms with a rough history while making amends and dealing with the mental and emotional detritus of a hard life.  Here we see a man exploring his current frame of reference while making sense of the past; afraid of losing both in a wash of tides he has little or no control over.  This is songwriting at its most powerful and raw, even when steeped in imagery and ideas open to wide swings interpretation.  The image of the title, the letting go of valuable thoughts by someone for whom memory is a valuable commodity is gut-wrenching and brilliant.  Hawkins wraps things up with a silly little love song, in his own fashion, with "Prairie Girl".  It's a charmingly catchy little number that grabs you by the lapel and pulls you along; knowing no matter how dark the past may have been, right now the sun is shining bright.  And that's enough.

Ron Hawkins continues to dig closer and closer to his own personal truths on Straightjacket Love, striving like a miner to find what's real in the structure of song.  On what is perhaps his most personal and compelling work to date, Hawkins delivers an entertaining blend of celebration, rumination and remorse from the building blocks of country, rock, folk and blues.  Magic both lyrical and melodic abounds on Straightjacket Love, an album that captures you like a great book and is over before you realize a moment's passed.  You'll find yourself returning again and again, looking for the subtle, ineffable gems Hawkins uncovers in his continued search for understanding.  Straightjacket Love is mesmerizing, a Wildy’s World Certified Desert Island Disc, and an album you simply cannot afford to miss.

Rating: 5 Stars (Out of 5)

Learn more about Ron Hawkins at www.ronhawkins.com.  Straightjacket Love drops May 31, 2011, but you can order it now in both CD and instant download versions from VictimlessCapitalism.com.  Be sure to poke around VictimlessCapitalism.com while you’re there – it’s a great site for artists to sell their music while keeping most of the proceeds.

Rosa Wallace - Space To Be Free

Rosa Wallace - Space To Be Free
2011, Bindlestick Records

Singer/songwriter Rosa Wallace is a native of Raleigh, North Carolina who cut her chops on the local punk rock scene.  Even while rocking out for three chord glory, Wallace showed a deeper side, spending hours writing poetry in notebooks and playing on her mom's classical guitar.  Rosa eventually graduated to the sounds of folk, blues, soul and classic rock.  A student of musical theater in college, Wallace worked her way across Europe from 2007 to 2010 while writing the song that would come to make up her debut EP, Space To Be Free.  Now based in New York City, Wallace has already been featured on podcasts in both the US and UK, and has received airplay on WomensRadio Music Channel and Radio Crystal Blue.

Space To Be Free opens with "Bad Example", a catchy fit of folk rock with a memorable chorus.  Wallace shows a solid vocal range, but does struggle a bit when reaching for high notes.  The overall sound here is good, with Wallace crafting a solid musical palette that opens the album nicely.  "This I Know" is a personal narrative to a friend who needs but cannot love.  Personal demons and dysfunction are the focus in a powerfully written musical entreaty.  Wallace sings from the heart here in a convincing performance.  "Something So Heavenly" is a sing-song love song that dances on the edge of cliché.  "All Fall Down" is a solid album track, but doesn't really stand on its own.  Wallace closes with "Danger Signs", an easy-going pop number that tends to highlight the limits in Wallace's range.  The song itself is well written, but perhaps is not the best setting for Wallace's voice. 

Rosa Wallace puts forth a solid effort on Space To Be Free, showing off a pleasing voice with a limited range, but sometimes failing to take that range into account when writing/selecting songs to perform.  Wallace does show something of a touch for story-telling in song, but the performances offered here just fall flat at times.  Space To Be Free is a solid start that shows some real potential, with real work to be done.

Rating: 2.5 Stars (Out of 5)

Learn more about Rosa Wallace at www.rosawallacemusic.com or www.myspace.com/rosawallace.  Space To Be Free is available digitally via iTunes.  If you prefer an old-school CD, you can order one through Wallace's webstore.

Baby Brother - Strange Things

Baby Brother - Strange Things
2011, Four Jerks In A Basement

Baby Brother comes from all over the map, whether it be stylistically or in terms of personnel.  The Brooklyn-based quartet effortlessly blends rock, rhythm and blues and country styles and sounds on their debut album, Strange Things.  Led by vocalist and lead guitarist Jeremy Beazlie, Baby Brother gets down and dirty in their pit-jumping, face-melting glory while alternating between the raw, unadorned anger of punk rock and the classy, articulate pop of the late 1950’s and early 1960’s. 

Strange Things opens with "Texas", a messy piece of Low-Fi rock n roll reminiscent of The Figgs or a cross between Violent Femmes and George Thorogood.  Vocalist Jeremy Beazlie performs with a distinctive conversational style.  "Abuse" is a high energy rocker full of crunchy guitar and a killer melody.  The result is highly danceable and entertaining.  "Go For It" is a predictable post-punk anthem about getting the most out of life.  The song is an entertaining listen, but the lyrics are so cliché you might find yourself able to sing along on first listen.  "Strange Things", on the other hand, is a catchy rocker with a brilliant chorus.  The blend of Low-Fi sound, a distinctive pop sensibility and an almost 1950's pop style should make this song extremely appealing in the licensing world. 

"Sad Kid" is a mildly catchy number that may not take with some listeners, but acts as a solid buffer between "Strange Things" and the eclectic early pop style of "Til The Phone Died".  The melody here is key, and the song stands out as one of the best pieces of songwriting on Strange Things.  "Long List" finds Baby Brother going mainstream in style without kicking the garage sound to the curb.  The effort here is a solid one, but doesn't sound as fresh or honest as much of the rest of the album.  Baby Brother does show a distinctive ear for melody throughout the album, a fact that is highlighted here.  Baby Brother compensates with "Crisis Issis", a raging song for the lovelorn with a relentless, repetitive chorus. 

"Lived On A Farm" gets back to the early rock n roll style in a repetitive number that's well constructed but could use more than one thought to drive it.  "David" is a solid story song with a mild early rock feel.  Beazlie is outstanding on the vocal line; his best performance on the album, and his guitar work stands out here as well, dressed up in a deliciously distorted and crunchy sound.  Baby Brother channels a bit of Big Rude Jake on "Ghost Train Robbers", a punkabilly number full of ghostly antagonists and bad luck.  The tune is very entertaining, and would be a lot of fun live.  Baby Brother closes with a recklessly played cover of "Rodeo Song".  It's surprising this song isn't covered more often in the (post)punk genre(s), but Baby Brother makes the most of every word in an over-the-top performance.

Baby Brother manages to be both surly and appealing on Strange Things, strutting with a punk attitude but showing a surprising melodic pop sensibility in spite of their Low-Fi garage rock sound.  If Brian Setzer had gravitated more to the punk rock sound he might have sounded quite a bit like Baby Brother.  Strange Things is a rough starting point for band likely to do some pretty interesting things in the future.

Rating: 3 Stars (Out of 5)

Learn more about Baby Brother at www.myspace.com/babybrotherbaby.  Strange Things is available digitally from Amazon.com and iTunes.