James Blunt - Bonfire Heart

James Blunt - Bonfire Heart
I have kind of an interesting history with James Blunt; that is to say, none.  I've heard songs of his on the radio in the past but never paid much attention to him.  His voice is certainly distinctive; an acquired taste but memorable.  The early singles I heard from him seemed a bit derivative.  He was being marketed in the same vein as artists such as Dave Matthews and John Mayer, neither of whom is a particular personal favorite.

"Bonfire Heart" is quite different in tone and tenor, however.  While it's difficult to judge from just one song, it sounds as if Blunt has found himself musically.  The same distinctive sound and approach to songwriting are here, but there's an irresistible pop sensibility at the core of "Bonfire Heart", and it sounds like Blunt is actually having fun.  The string-laden arrangement helps to contain the vibrant energy of the song, giving it the feeling of a pent up love about to burst.

"Bonfire Heart" debuted on BBC Radio 2 this morning, and is the first single from Blunt's forthcoming album, Moon Landing (October 2013).  Don't be surprised if it turns into a major summer hit on both sides of the pond.

Rating: 4.5 Stars (Out of 5)

Learn more at www.jamesblunt.com. 

Big Rude Jake - Live & Out Loud

Big Rude Jake & The Jump City Crusaders - Live & Out Loud
2012, Big Rude Records

Big Rude Jake was on the fast track.  He had moved from Toronto to New York City, and self-titled album was on a major American label.  As so often happens, the label didn’t live up to its end of the bargain.  The year was 2000.  Jake went on the release Live Faust, Die Jung, but a car accident sidelined him from touring.  Jake dropped out of the music scene for a time, returning eventually under a pseudonym as he fully explored his love for the fingerpicking style used in Ragtime music.  It wasn’t long before Big Rude Jake was back as himself, however.  Last fall, Jake released Live & Out Loud, his sixth album, with The Jump City Crusaders.  It was a shot across the bow to a music industry that had grown tired with formula and repetition.

Live & Out Loud opens with "Steppin' Out Under The Moon", a hard-edged, talk/sing monologue with a killer chorus. This is classic Jake, supplemented by a lethal horn section with ill intentions.   The solos in the breakdown are intense and vibrant, and Jake's voice is as enigmatic as ever. "Preacher's Got. A Brother" is a fun tune about the libidinous desires a preacher instills in his female parishioners, and about the preacher's brother who isn't cut from the same cloth. Jake sells the story for all he's worth, and The Jump City Crusaders surround the storyteller with an arrangement that's absolutely electric.  Jake and company keep then energy high on "Avenue Blue", even with a more traditional Boogie Jazz vocal style. 

"I'm Shakin'" walks the fine line between early rock and roll and Louis Primary style Vegas jazz. The transformation continues with "Walking Blues (Walk Right In)", a not so subtle bit of innuendo and rhyme set to a smoking small ensemble jazz arrangement.   Big Rude Jake dusts off "Lilly Christine" in a rendition as needful and sharp as the original. "Blue Pariah" is a galloping bit of fun, with Jake and his posse barreling headlong into delicious blues inflected rock and roll. 

The band takes a breather while Jake croons "The Ladies Man", telling the tale of a romantic drifter. This is one of the mellower moments on the album. This is a nice moment, and Jake maintains the atmosphere with a viciously reserved mambo in the form of "Mambo Cafe", before throwing down with the raucous pace of "The Jelly Song".  Big Rude Jake closes Live & Out Loud with “Magpie", delivering the fan favorite with style and panache. The recording includes an entertaining intro that explains how the song came to be. 

The music world is full of influencers and sound-a-likes.  The true originals are a rare commodity.  Big Rude Jake is just such a human being.  Live & Out Loud span’s Jake’s career both song-wise and stylistically.  It was the first of three new projects released over approximately eight months, and it is a testament to the Jake’s love of classic American music, and his ability to take it to new heights in his own inimitable style.  Live & Out Loud is a classic.

Rating: 4.5 Stars (Out of 5)

Learn more at www.bigrudejake.ca. 

Brian Larney - At The Starting Line

Brian Larney – At The Starting Line
2013, Nunya

 

Brian Larney has spent much of his musical career contributing to the efforts of bands.  All the while he was building up a significant catalog of songs.  Stepping out on his own, Larney revealed a refined songwriting style similar to Neil Finn and Andy Partridge.  Larney recently released his second album, At The Starting Line.  It is a quietly brilliant collection of observational songs with a distinctive 1970’s flair.

 

Larney opens with the catchy energy of "You Me and Allison".  The song is a moment of escapist fancy amidst strumming guitars and a melody line that won't quit. "Solace" is a quiet country-fueled number about a young lady who struggles to maintain faith in a world governed by Hobbesian actors. . Larney’s melody is catchy, and the arrangement wraps perfectly around it.  "Closed Door" stumbles along in uncomfortable fashion, relying on a memorable melody to pull a troubled and messy arrangement through. 

 

Larney digs into an early rock sound somewhere between The Beatles and Elvis Costello on "Whistling Past The Graveyard". Larney turns up the wattage on charm on a song you'll have difficulty getting out of your heart. Things take an angular turn on "The Plaintiff", with Larney laying down some deliciously discomfiting guitar licks. The transition into a catchy chorus is a brilliant turn.  "Before The Shadows Grow Too Long" is a pensive love song that underscores Larney's talent for sweet melodies. His writing style is reminiscent at times of James Taylor, and his sound would have sold a lot of records in the late 1970's. 

 

"Dogma (On A Leash)" has a bluesy feel that's accessible and fun. The "don't tread on me" message is delivered in low key fashion to the ups and downs of a dynamic and memorable melody. "Why God Why" is a gentle folk/pop anthem with a deceptively catchy chorus. Larney rises up into a sweet tenor voice here, gliding along on a melody that's as smooth as silk.  "Chain Of Words" lopes along at a fast walk, with Larney pacing the song with an accusatory but well voice vocal. The song intrigues based on its mix of musical lightness and emotional disturbance. "Chance" has an urgent feel, like an appeal not made but nonetheless hoped for. Larney rails against the unfairness of it all over a dynamic, guitar driven arrangement that's a real treat. Larney brings listeners back to Earth with "Never Argue With The Devil", a singer/songwriter ballad that dwells in melancholy. There's a baroque beauty to the arrangement that is teased out by the Larney's metronomic acoustic guitar. 

 

Brian Larney is a pleasant surprise on At The Starting Line. He manages to write accessible songs with melodies you'll walk away humming. Larney misses once in a while, perhaps, and his occasional pitch issues are a distraction, but his charisma and voice are distinctive enough to pull off anything he wants to do. 

 

Rating: 4 Stars (Out of 5)

 

Learn more at www.brianlarney.com. 

Zain Lodhia - The Leap

Zain Lodhia - The Leap
2013, Zain Lodhia

 

Lodhia opens with the rhythmic feel of "Lost For Words". This is a catchy number that's a bit messy in composition, but one is left with a sense that this is stylistic rather than a reflection on talent. Lodhia has a low-key voice that fits well in the instrumental wrap he's constructed, and there's great energy in this little tune. "Beautiful Devotion" is presented as a low key dance tune that's quietly frenetic. This will probably do well on the dance floor, but the style is a bit too formulaic for serious listeners. "Lifetime" is another formula pop tune, this time an upbeat ballad built on Caribbean rhythms. This transitions into "The Leap", a solid pop/rock number awash in effects. This dressing might be sonically appealing to some, but they distract from the quality of the songwriting. The lyrics are a bit rote, perhaps, but the melody is memorable, and Lodhia ties it all together with one of his best vocal performances on the album. 

 

"I Wonder" is a song of reflection on love's discovery. It plays to the sort of simplified formulae that are successful on commercial radio, but the poetry is trite and ham handed. "Send Me Away" is bland, even with the addition o guest vocalist Katie Foster in the chorus. Lodhia strips things down a bit at the outset of "Keep Breathing", one of the better moments on the album. It seems that when Lodhia is able to keep the arrangements unfettered by electronics he makes more of an impression. The desire to play with the sound too much holds away all too often on The Leap, all too often drowning out Lodhia's best moments. 

 

This happens again on "Long Run", a simple ballad with wall of sound pretensions. Lodhia is overpowered by his own arrangement, which manages to turn messy a times.  "Close" is a nice radio-ready ballad that soars in Zain Lodhia's sweet tenor. The song works because Lodhia lets the song be, not bathing in it in the usual electronic wash.   "Shadow Of Your Light" is an angst-filled pop song with bubblegum pretensions. The juxtaposition of message and style is a bit jarring in this instance. 

 

"Dreams Out Loud" is a messy and I'll-fit love song that never gels. Lodhia  follows up with "Make It Through", a list song variant with a cookie cutter chorus. Lodhia proves the point with his acoustic version of "Lost For Words". This is a nice piece of songwriting that works much better in an acoustic setting. Lodhia closes with a hidden track entitled "Perfect World", a bland afterthought.

 

Zain Lodhia shows off a distinctive talent on The Leap, although it’s all too often buried under too many layers of sound.  The composition and production on The Leap is distracting.  When a song features Lodhia with stripped down instrumentation he has a very appealing sound.  The Leap  generally seems built around a conceptualization of style that is intended to be commercial, but actually works to distill the talents of the artist. 

Rating:           3 Stars (Out of 5)

Learn more at www.zainlodhia.com. 

Arlon Bennett - World Of Possibility

Arlon Bennett - World Of Possibility
2013, Red Sea Records

 

Arlon Bennett lives by the credo, “Shoot for the moon and ask questions later.”  The Long Island based singer-songwriter has an evocative, personal story-telling style that incorporates elements of Harry Chapin and James Taylor, but Bennett is an American original.  His latest album, World Of Possibility, should end up being considered one of the finest singer/songwriter efforts of 2013.

 

Bennett sets sail with the title track, a formulaic list song set in a nice arrangement. Bennett signals a keen musical sensibility here, even as he shows a certain lyrical awkwardness.  Listening further will reassure this is a matter of story and character rather than Bennett’s style. "Carry Me" has a class folk/Americana feel and a pleasing melody. The chorus will get stuck in your head. This is a great recovery from the opening track. "Nothing Like A Song" celebrates the uplifting power of music, be it religious or secular. It's well written and catchy without being over the top. 

 

"Question For Einstein" poses the study if the human heart for one of the greatest minds in history. Bennett does an amazing job of storytelling in song, sketching out a character and a moment in breathtaking detail. The simple arrangement is enhanced with strings, but the song is the thing here. Prepare to be quietly blown away.  "Sal" is another fabulous bit of story-telling, a biography in son of a school janitor who made an impression. Bennett finds magic in the past and brings it to life in song. "Everything He Says" is an upbeat rocker lamenting a friend’s inability to talk about anything other than his new daughter. This piece of observational writing seems more bemused than anything else, and is very entertaining. 

 

"A Little Faith" is a beautiful piece of songwriting about hidden beauty and how it can be found. "A Friend In You" is a love song between friends, an acknowledgment of what they share that's sweet without ever sounding trite.  "The Christmas Tree On Salem Street" paints a Rockwell-esque picture of middle America a Christmas time. It becomes difficult with Bennett to identify a single highlight, but this song must be in the running. "I America" is an autobiographical monologue from the United States, personified as an imperfect yet perfectly viable nation. Bennett gives voice to a nation without rancor or exclusion, a matter not to be taken lightly. Bennett winds down with the utter beauty of "Even When She Cries".  This is a song of adoration for his daughter that is amazing in its poetry, rhyme and melody. This is how you close an album with an utter "wow" moment. 

 

Arlon Bennett writes and sings like a throwback from another age. With a cool, clear voice that falls somewhere between Paul Simon and James Taylor, and adeptness with words that comes along but rarely, Bennett raps up listeners in the silky chords of his song craft.  World Of Possibility might get off to a slow start, but don't be fooled, Arlon Bennett is one of the finest singer/songwriters you'll have heard in a long time. World Of Possibility is an easy pick as a Wildy’s World Certified Desert Island Disc.

 

Rating: 5 Stars (Out of 5)

 

Learn more at www.ArlonBennett.com. 

 

Luck Be A Lady Tonight – Steven Page live at Canalside – June 20, 2013

 

Luck Be A Lady Tonight – Steven Page live at Canalside – June 20, 2013

A band is an organic unit made up of the sum of the members’ talents.  A band losing a primary member is sort of like a person losing a limb; it changes the entire tenor and tone of the band.  Fans of Barenaked Ladies have lamented the loss of Steven Page since he left the band a few years back.  Page has released two solo albums (one while still with BNL), as well as an intriguing collaboration with The Art Of Time Project.  This past Thursday he brought his new band to Canalside in Buffalo, NY.

Page began by alternating songs from his latest album, Page One, with BNL classics.  Opening with “A New Shore”, Page seemingly set the stage for a night of new material.  Early on, he alternated new songs such as “Indecision”, “She’s Trying To Save Me”, “Over Joy”, “Marry Me”, and “Entourage”.  The best performance of the night might have been reserved for Page’s non-album track “A Different Sort Of Solitude”.  This tune is a rocker seriously pop sensibility, and was an incredibly vibrant surprise.

 The biggest responses of the night, however, we for BNL classics such as “Jane”, “The Old Apartment”, “What A Good Boy” and “Enid”.  Beginning with “Enid”, Page went on a run of BNL tunes to close out the night.  I caught “Break Your Heart”, “It’s All Been Done” and “Brian Wilson”.  The little ones ran out of gas and so we had to leave, but one more song was forthcoming.  If anyone wants to add a note about that I’d be grateful.

The fact is that Page was engaging on stage, although not as wild and funny as in his BNL days.  Indeed, the suit he wore spoke more of a Vegas style stage show than a rock concert.  Nevertheless, Page used humor and reminiscences of more than 20 years of performances in Buffalo to connect with the crowd.  There’s no doubt that the old BNL material was what the crowd came for, and I have to admit that the songs Page played still sound best in his voice.

The show had two opening acts.  First up was Buffalo’s own Son Of The Sun, whom I’ve written about in the past.  Their set was very solid, and vocalist Zak Ward did an outstanding job of establishing himself in the big open space along the Erie Canal.  The band created a big wall of sound that helped get the early crowd in the mood for the night.

Pittsburgh rockers The Truth had the middle spot, and their set was eye opening.  Performing a mix of covers and original tunes, the band showed off some serious songwriting chops.  Much of their original material was co-written with legendary Nashville songwriter Bernie Nelson, and is very radio friendly with elements of classic rock and country woven throughout.  Co-lead vocalists Paul Michael Benson and Ayesha Scott make for a great vocal mix.  Benson is an accomplished vocalist and front man, but Ayesha Scott lit up the night with a voice that could stop a stampede.  Benson’s presence is key, but Ayesha Scott is a star in waiting.

Rob Morsberger - A Gesture And A Word

Rob Morsberger - A Gesture and a Word
2013, Hieroglyph Records

Reviews should rarely be written about anything other than the music, but an artist’s story can be compelling outside of the music.  To that end, Rob Morsberger’s battle with Stage 4 Gioblastoma has been well-documented.  Over time, so has his prodigy as a songwriter.  What is perhaps overlooked is the way in which Morsberger has chosen to live the last two years of his life.  With extraordinary courage and joy, Morsberger has tended to his family, his friendships and his music as the most precious gifts life has to offer.  This understanding is the basis for Morsberger’s final album, A Gesture and a Word.

The album opens with "Mystic Redemption", a sort of post-reality daydream of Heaven, where the holy and the mundane blend in images and memories of youth in an incredibly moving reflection on coming home.  Morsberger's cover of "Raindrops Keep Falling on My Head" is haunting. Each verse kicks off with dissonant piano accompaniment, but resolves slowly to the chorus as the singer finds hope in the moment. The parallels between this rendition and Morsberger's own journey are stark and clear.  "Margot" was written for a young cancer survivor by Morsberger as part of a fundraiser for the American Cancer Society, and finds a singular sense of joy expressed in a Beatles-esque piano arrangement that gets stuck in your brain. This is perhaps one of the finest pop songs Morsberger has written over the course of his career. Against this backdrop falls the existential loneliness of "Falling", a rumination on the sense of loss in facing a life cut short.

Just as quickly he transitions back to hope and self-determination with "The Hero of Your Life". Morsberger implores listeners to not wait for a hero, but to go out and make the most of their lives. There's no self-pity here, just a pragmatic sense of what can be.   It's a beautiful moment in song with anthem like qualities.  "Count on You" sounds at first like an expression of insecurity, but holds a much deeper grace. It is the expression of need to a loved one thy is full of love and respect. Morsberger captures the pain and beauty of one of the most difficult life transitions here.

"Studio Lane" is a living still life and a tribute to the family dog. The simple joys of boyhood are enshrined here around the companionship of a good dog. Morsberger makes poetry out of simple love in a magical bit of reverie. The album slips into darkness with "Blessed Unrest" averts the issue of goodbye with a paean to the afterlife, however one might envision it. It's a brief but powerful number that expresses hope for a new day and a new adventure.

On A Gesture and A Word, Rob Morsberger reflects on the past as well as the future in a wonderfully dreamy and transcendent musical experience.  For an artist who is facing death to write a work that is full of such abundant life is a blessing for his fans, friends and ultimately, his family.  Rob Morsberger takes his final bow with class and grace; just as he has lived all along.

Rating: 5 Stars (Out of 5)

Learn more at www.robmorsberger.com.