Andy Budd – Ragtop Monterey

Andy Budd – Ragtop Monterey
2011, Red Bush Records

Folk/Americana singer/songwriter Andy Budd is relatively known, but perhaps not for long.  Budd’s third album, Ragtop Monterey, finds Budd blending a delicate songwriting touch and great musicianship, while raising the bar with his impressive previous work.  There are no prolonged solos or flashy sounds, just good old fashioned songwriting with a Nashville sound that hasn’t been heard on commercial radio in decades.

Ragtop Monterey opens with the old school train song "Old Freight", an escapist fantasy in traditional country fashion with bluegrass accents in the arrangement.  Budd has a workingman's voice; not pretty, per se, but with a comfortably gruff sound that lends authenticity to the performance.  "If You Did That Today" is a catchy tune highlighting the differences between the child rearing philosophies of today compared to those of a generation or two ago.  Many of today's taboos were thought perfectly normal thirty or forty years ago, like smoking during pregnancy to riding in the back of a car without a seatbelt; things that would result in a CPS referral nowadays.  Budd's song is tongue-in-cheek, but may also leave you wondering about the sanity of such bureaucratic efforts.

"Don't Bother Calling" is a humble kiss off from a jilted lover.  She cheated on him, and he's telling her to get lost in heartfelt, articulate terms.  The arrangement is solid, but it's Budd's lyrics that really grab your attention here, "With a bullet in every chamber you played lover's roulette.  It's hard to forgive and even harder to forget."  "Ragtop Monterey" is a love song to a car his grandmother once owned, captured in a catchy, country arrangement.  This is a fun one that will appeal to the car buffs out there.  "Time Won't Do It" is a woeful heartbreaker skeptical of healing powers of time, particularly when it comes to heartbreak.  The classic country arrangement is a treat, and the chorus is inescapable.  "Bread Upon The Waters" is a catchy number exhorting listeners to live the good life but not take more than their fare share.  It's a great tune with a powerful-yet-simple message that's worth being reminded of. 

"He's Still Missing Her" is a tongue-in-cheek tune about one man's dogged determination to get rid of his sweetheart, "He's still missing her but his aim is getting better..."  Budd throws these comical curveballs once in a while just to make sure you're awake, but even if the lyrics are occasionally full of whimsy the music is deadly serious and well constructed.  "Ol' Work Truck" is full of reminiscence over a friend who has seen him through thick and thin.  The truck in question becomes a symbol of American Pride and the connection between generations of working class men; a love song and a memory of what America once was.  Budd heads back to the honky-tonk for "Baa Baa Black Sheep", a catchy number about himself and his sister and their roles as the family black sheep.  Budd once again shows a gift for turns of phrase with lines like "The two of us lived up to daddy's fears and mama's tears."  Budd closes with "Godspeed", a sweet memorial to a friend who has finally given up the fight but who fought like few others.  If you've lost someone you love dearly recently, or if the loss is still fresh in your heart, this song will be a tear-jerker.  It's an honest and heartfelt piece of songwriting that leaves pieces of itself embedded in your psyche.

Andy Budd is a great story-teller with a healthy dose of wit thrown in.  Ragtop Monterey is the sort of album you'll find yourself hitting repeat on again and again.  Budd blossoms under the steady hand of producer Chip Hardy (Waylon Jennings, Reba McEntyre, George Strait), and delivers ten songs that will get stuck in your brain and stay around long enough to petition for rights.  You'll find yourself more and more engrossed with Ragtop Monterey, and Andy Budd, with each listen.

Rating: 4 Stars (Out of 5)

Learn more about Andy Budd at www.andybudd-usa.com.  Ragtop Monterey is available from Amazon.com as a CD or Download.  The album is also available digitally via iTunes.

Sierra Hull - Daybreak

Sierra Hull – Daybreak
2011, Rounder Records

To say that 19-year old singer/songwriter/mandolin player Sierra Hull is a phenom might be an underestimation.  Today she releases her third full-length album, Daybreak, to the sort of breathless anticipation that marks the release of a superstar.  Hull’s star has certainly risen quickly in the world of traditional country and bluegrass music, where she has already made fans of Dolly Parton and Alison Krauss.  Hull has been nominated for five IBMA (International Bluegrass Music Association) awards in the past three years, and is also a recipient of Berklee College of Music’s Presidential Scholarship.

The first time you hear Sierra Hull sing you’re going to do a double take.  At first blush you’ll be certain you’re hearing a new Alison Krauss song you didn’t know existed.  Sonically and stylistically there are distinct similarities, but Hull distinguishes herself as a songwriter and by her instrument of choice, the mandolin.  The songs on Daybreak vary from pop/country to traditional bluegrass, but all shine with an effervescence that emanates from inside Hull herself.  “Easy Come, Easy Go” is a declaration of sorts; of arrival in adulthood and of a setting aside the pain of the past.  Hull’s voice is breathtaking, and her work on the mandolin is intricate, clean and full of heart.  This is an amazing tune with real commercial legs; a great way to start off an album.  “Don’t Pick Me Up” is built on a classic bluegrass sound.  Hull will remind listeners a bit of a young Dolly Parton here.  Hull’s band stands out here as well, building a tapestry around her that’s both a perfect fit and a perfect foil to Hull’s sweet voice. 

“All Because Of You” is full of a quiet heartbreak.  Hull’s voice is exquisite as always, and the mandolin and violin trade sparks, but the vocal harmonies are off the charts good and steal the show.  “Bombshell” is a thrilling number that shows Hull and her violinist, Christian Ward, at their instrumental best.   You could take Sierra Hull and her song “Best Buy” and drop her on the Grand Ol’ Opry Stage at any point in its history and she’d be right at home.  Hull’s voice is quite simply perfect in this setting; easy, light and beautiful.  “Best Buy” is a kiss off song, but is sung with such genuine sweetness that it’s a pleasant musical surprise. 

“I’ll Always Be Waiting For You” is an old time country ballad where Hull’s voice, the vocal harmonies and the instrumentation all work together to achieve new heights of sonic beauty.  Hull gets a bit of gospel in her soul on “The Land Of The Living”, a pretty and sweet number with a bit of Memphis in its roots that fits in nicely here.  “What Do You Say?” is an energetic love song; an invitation to take or leave love how you find it.  This is one of the seven originals on Daybreak, and shows that Hull has some real chops as a songwriter as well.  Hull’s voice is as sweet as ever, and the mixture of banjo, mandolin and violin here is explosive.  “Tell Me Tomorrow” is a song of hope and impending heartbreak; of putting off the pain until another day in the hope that something will change.  The song is a dichotomy of sweet naiveté and sad knowledge that is compelling, sweet and sorrowful all at once. 

“Daybreak” has future hit written all over it.  Delivered here in an all-acoustic arrangement, it is a classic country/pop ballad that could easily take over the airwaves as it is.  Sorrowful and full of heart, Hull has a winner on her hands here.  “Chasin’ Skies” is another brilliant instrumental turn that’s high energy and fun.  You won’t be able to keep your feet from tapping.  Hull closes with the wistful and sweet “Wouldn’t Matter To Me”.  The character Hull embodies here doesn’t mean a word of what she’s saying; it’s quite obvious that it matters to her a lot, but Hull is a breath of fresh air.  Rather than trade on the sort of vitriol and anger that seem to drive a lot of today’s pop/country kiss-off songs, Hull works with real emotion in her songs.  “Wouldn’t Matter To Me” is no exception.  The end result is another tune that could take Hull to the top of the country and bluegrass charts, with the distinct possibility of crossover success to follow.

Sierra Hull combines the poetic grace of a seasoned songwriter with the emotional depth and vigor of youth on Daybreak, creating a dynamic in her songs that’s compellingly honest and real.  Hull has a backup band that could sit in on any stage anywhere and be welcome, but its Hull’s sweetness and light; and that voice, that make Daybreak an album you’ll want to revisit again and again.  Her voice is angelic, and her mandolin playing is full of a fire and technical brilliance that calls to mind Rhonda Vincent.  Hull shows that she can play equally well on the fields of bluegrass, country and pop, and leads the vanguard of young artists who can play the pop game but show a deeper understanding of the roots of American music than has been seen in some time.  Don’t be surprised if Hull is still a force in the music world 40 or 50 years from now.  Daybreak is exquisite, a Wildy’s World Certified Desert Island Disc.  Don’t be surprised when Daybreak shows up on a host of year-end best-of lists.

Rating: 5 Stars (Out of 5)

Learn more about Sierra Hull at http://www.sierrahull.com/ or www.myspace.com/sierrahullmusic.  Daybreak is available from Amazon.com as a CD or Download.  The album is also available digitally through iTunes.

Megan Slankard – A Token Of The Wreckage

Megan Slankard – A Token Of The Wreckage
2011, Megan Slankard

Megan Slankard is relatively young in the pop music game, but has released three critically well-received albums as an Indie artist and has won numerous honors in song and songwriting competitions while still in her twenties.  Touring throughout the US and Europe supporting artists such as David Knopfler (Dire Straits), Colin Hay (Men At Work), Hootie and the Blowfish and Dishwalla (among others), Slankard has built up a solid following that’s helped her sell over 25,000 albums without a record label behind her.  Slankard’s music has been featured on TLC’s What Not To Wear, and she has been a finalist in numerous national and international competitions over the past several years.  On March 8, 2011, Slankard releases her fourth album, A Token Of The Wreckage, a 12-song cycle about growing up and making peace with the world around you.  Slankard offers up characters and situations that highlight the sometimes painful process of coming to terms with being an adult in a series of well-written and precisely performed sophisticated folk/pop songs.

Slankard wastes no time, opening with the title track.  “A Token Of The Wreckage” finds the artist picking over the remains of a broken relationship.  Slankard finds a silver lining in the pain and heartbreak, and reflects it in a pretty, ethereal arrangement that’s appealing to the ears.  “Fair Enough And Farewell” is mildly catchy, but more importantly really showcases Slankard as an artist.  Her voice, which is reminiscent of Rikki Lee Jones, is in fine form throughout, but Slankard also shows a distinctive ability to craft musical arrangements that are perfect complements to her vocal lines.  “Our Little Secret” is a great bit of folk/pop; catchy enough to insinuate itself into your brain and recur there unbidden throughout the day.  The chorus is particularly infectious.

“The Tragic Life Of Caleb” offers a perspective on life and death from someone who lives in constant fear of being forgotten once passing the veil.  This is a gorgeous exposition of fear, insecurity and hope for a love that transcends death.  The utter humanity of the character Slankard creates here is stunning.  “My Obsession With Bees” is a musically dense and appealing piece of pop songwriting.  While Slankard’s lyrics are often integral to her songs, and here they are no less important, listeners will be forgiven if they simply immerse themselves in the sound on this song and enjoy it for what it is.  “The Happy Birthday” is a bright and airy folk/pop offering; something of a musical breather where Slankard allows the ambience of the song to hold sway.

“The Pain Of Growing Up” could easily have been an alternative title for the album, and probably more fully expresses the theme that runs beneath the songs offered here.  The mid-tempo number uses distinctive imagery to explore the moving on of friends through college; the friendships that once seemed unshakeable that have just become memories to be packed away with mementos of the senior prom.  Slankard isn’t just a songwriter here; she’s an artist.  “The Pain Of Growing Up” is a wonderfully mature and articulate exploration of that moment or time when adulthood finally hits home as an intellectual and emotional tsunami, carrying with it the realities that wash away the often uninformed expectations of youth.  It’s a tremendous bit of songwriting, and one of Slankard’s best. 

“Soundtrack” increases the tempo a bit, but keeps the edgy angst that has filled the album thus far.  This is a great mid-tempo pop song; highly licensable and a great listen.  Slankard takes something of a breather on “Beautiful Makeshift” and “The Last Thing You Say”, both solid offerings but perhaps not quite in league with the rest of the album.  She returns to form, however, for the wonderfully written “You And Your Bright Eyes”, a wistful retrospective on a relationship that covers both the good and the bad.  Slankard’s aurally appealing Americana arrangement is the perfect touch for the mix of melancholy and determination that’s on display here.  A Token Of The Wreckage takes a bow with “Show Up”, looking through ambivalent eyes at a dysfunctional relationship.  Slankard explores the competing urges to see him gone for good and the almost helpless hope that arises in her heart when he turns up again.  What sounds like a done deal at first becomes more unsettled as the song progresses, with self-doubt nipping at her heels.  Slankard builds the tension in perfect measure here; it’s a tremendous way to close off the album.

A Token Of The Wreckage was three years in the making, and very much worth the wait.  Megan Slankard shows an advancing maturity in both songwriting and artistry; her development an almost unwitting parallel for the album’s main theme.  In spite of a couple of slow moments, A Token Of The Wreckage is the sort of transitional album that changes listener’s perspectives on an artist.  Before now, Megan Slankard was a very talented songwriter with a lot of critical praise and a solid performing.  Somewhere over the past three years, Slankard grew into the artist she was always meant to become.  Somewhere in there, she became an artist you expect to still be making albums ten, twenty or even thirty years from now.  Perhaps that knowledge is the ultimate token.

Rating: 4.5 Stars (Out of 5)

Learn more about Megan Slankard at http://www.meganslankard.com/ or www.myspace.com/meganslankard.  A Token Of The Wreckage is available digitally from Amazon.com.

Bruce Cockburn – Small Source Of Comfort

Bruce Cockburn – Small Source Of Comfort
2011, True North Records

Bruce Cockburn has based his life on deep experience.  Over the years, Cockburn has travelled to the world’s trouble points, to see the truths of human existence for himself.  Cockburn has documented these experiences on thirty albums over the years, with a sense of subtlety and musicality that is rare in rock n roll.  An Officer of the Order of Canada and a member of the Canadian Music Hall Of Fame, Bruce Cockburn’s music has been covered by such artists are Barenaked Ladies, Anne Murray, Ani DiFranco, Dan Fogelberg, Judy Collins and Jimmy Buffett.  On March 8, 2011, Cockburn releases his 31^st album, Small Source Of Comfort.

Small Source Of Comfort opens with “Iris Of The World”, commenting on the tendency of humanity to grab onto meaningless things while overlooking things that matter.  Semi-autographical, the song finds Cockburn perhaps sharing his own role in the human play; recognizing the beauty of a moment and sharing it with others.  This is classic Cockburn, finding the subtle depths of an experience and exposing them in a complex, highly rhythmic and oddly beautiful arrangement.  “Call Me Rose” is a tongue in cheek story song about Richard Nixon reincarnated as a single mother of two kids living in the projects.  It’s something of a Great Reversal concept (“the last will be first and the first will be last”) born of Judeo-Christian theology, but is very amusing and is written from a very human perspective.  In Cockburn’s musical daydream Nixon sees himself for who he was and is a better person for it, even if he continues to long for the old days.  Cockburn sticks to a fairly straight-forward folk-rock arrangement this time around in order to let the story shine through.

“Bohemian 3-Step” is a pretty instrumental that plays like a slow waltz, relying on cross-rhythms, or a variant, to create an intriguing sense of rhythm.  The piece has great energy, and is beautifully crafted.  “Radiance” is a musical meditation on beauty, both in lyrics and music.  Cockburn impresses with unusually beautiful guitar work, capturing an abject loneliness in both his instrument and voice as he looks on from afar.  The cello is a nice touch, completing the tragic displacement of the vocal line in dark and dulcet tones.  This is a musical ‘wow’ moment; a song that’s both heart-breaking and uplifting in its beauty.  “Five Fifty-One” is an edgy story song that plays on the edges of folk, rock and blues.   The story here is a bit disjointed, a calculated effect given the state of mind of the story teller.  The cops show up at his house in the wee hours of the morning and we’re never entirely certain why, but the overall impression is of someone who is dancing on the edge of madness.  Cockburn creates a highly rhythmic arrangement that leaves ample room for acoustic guitar-driven sidebars that will make the most of the would-be guitarists out there wish they could play like that.

“Lois On The Autobahn” is an energetic instrumental that plays off Cockburn’s guitar against a dancing dervish of a violin, capturing a sound not dissimilar from that of Django Reinhardt and Stéphane Grappelli.  “Boundless” is a spiritual exploration in song; exploring the similarities between the boundlessness of space and of belief.  Cockburn creates an ethereal feel at the opening with a multitude of bells, but moves quickly into an urgent vocal line over (for Cockburn) a relatively simple arrangement.  The imagery used here has many levels; delivered in poetic prose that is laced deep with references both cultural and theological.  Wit takes over on “Called Me Back”, a humorous take on a call that never comes, and the resulting anxiety over what might have happened to a close friend.  It’s an entertaining turn; a well-placed moment of levity that both highlights Cockburn’s depth as a songwriter and works in much the same fashion as a comic song placed in the middle of a big Broadway musical. 

“Comets Of Kandahar” is a dark instrumental that again pairs Cockburn’s guitar with violin; this time the result is dark with a disturbed energy.  The composition itself is amazing, and was inspired by Cockburn’s trip to Afghanistan to play for Canadian troops in theater.  “Each One Lost”, inspired by the same trip, is a somber tribute to those who have given their lives.  The song is full of heartbreak and plays like a lonely hymn, punctuated by a lonely accordion.  “Parnassus And The Fog” finds Cockburn’s guitar once again paired with violin in a lilting instrumental ballad that plays like a love song.  “Ancestors” is a gorgeous, haunting instrumental full of staccato guitar against a dreamlike background of musical ether.  The affect of the piece is subtle and compelling, as Cockburn builds a story into the rhythm of the song.  Small Source Of Comfort closes with “Gifts”, a quiet celebration of the moments in life that illuminate an emotion, person or place and define meaning for us.    It’s a gorgeous, quiet arrangement that whispers quietly to you about the truth of what’s important in the world.

Bruce Cockburn is a rare gem in the world of singers and songwriters.  His depth and subtlety as both a musician and lyricist puts him in rarefied air.  Small Source Of Comfort is an album that, if not at peace with the world around it, has certainly found the peace that comes with understanding hard truths.  A decade or two ago Cockburn would have railed at government and political machines in a mad frenzy, driving the intricate beauty of his music into exile under the constant barrage of verbal artillery aimed at the injustices of the world.  Small Source Of Comfort takes deadly aim at the same sort of social inconsistencies, but with a subtle grace and veracity that cuts far deeper that some of his past efforts.  Where a younger Bruce Cockburn would have imbued his message with the power of righteous indignation, the songwriter now allows the simple power of truth to blend with the intricate beauty of his musical creations to reach beyond the defenses of even the most politically hardened psyche.  Small Source Of Comfort stands amongst Cockburn’s finest works, and is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Bruce Cockburn at www.brucecockburn.com or www.myspace.com/officialbrucecockburn.  Small Source Of Comfort drops in the US on March 8, 2011.  You can order the CD or Digital album through Amazon.com.  The album is also available digitally from iTunes.

Mark Growden - Lose Me In The Sand

Mark Growden - Lose Me In The Sand
2011, Porto Franco Records

Mark Growden grew up in a logging town in the rural mountains of California.  His earliest musical memories are of the sort of American roots music cultivated through hard work, complex problems and simple pleasures.  Growden is a multi-instrumentalist, singer and songwriter who was shaped by this pioneering spirit and for his latest album has chosen to commemorate his roots.  Growden's Lost Me In The Sand features the banjo as the lead instrumental voice, recalling the essence of poverty, resilience and fortitude across ten songs that speak to heart of America's working class.

Growden opens with "You Ain't Never Been Loved", a song of bravado and vulnerability.  A man with a roving eye challenges his partner with the idea that she'll never leave him because the loving is so good, even if he doesn't treat her well.  It soon becomes clear that it's not confidence but fear that drives his challenge.  The song is very well written and performed, and picks at the complexity of human emotion in the midst of human imperfection with a deft eye for detail.  "Settle In A Little While" is a stuttering song is a silly bit of fun that picks at a social taboo without mean intent.  Growden handles the subject with enough panache to probably avoid the whip-lash-like reactions that often accompany such songs.

"Bones" is a dark, desolate, bluesy number that's dark and unsettled.  This is among the most intriguing songs on the album; don't be surprised if you hit repeat over and over again.  Growden's cover of Bruce Springsteen's "I'm On Fire" takes on a country flavor as he brings out the deep-seated, quiet need of the original.  "Killing Time" looks at time spent in a town where hope for the future is in short supply.  There is a sort of melancholy determination here that surprises, while Growden's instrumental work is good enough to cause a stir on its own.  "Lovin' Emma" is a song of unrequited love with a Celtic feel, and is among the best songwriting on the album.

"Takin' My Time" features bluesy guitar work in a classic call-and-response style number.  The cello is a nice touch, and Growden manages to bring out the urgent feel of the song amidst an unhurried and occasionally repetitive arrangement.    "John Hardy" is an old school song of murder and life on the run.  Growden's songwriting is stellar.  "Shady Grove" is a solid album track, revisiting the Celtic undertones Growden brought forth earlier.  Lose Me In The Sand winds down with "Star Spangled Benz", an interesting conglomeration of "Mercedes Benz" and "The Star Spangled Banner" that has to be heard to be believed.

Mark Growden delivers on his somewhat eclectic songwriting style and distinctive musicianship on Lose Me In The Sand.  As a songwriter he is esoteric and intriguing; capable of playing in practically any style or sound under the sun.  This falling away of borders invades Growden's other songwriting chores in sometimes unpredictable ways.  Even when you might not dig what he's got going on, you have to admire the attention to detail, hard work, and pure flashes of inspiration that Growden blends into an alchemy of song. Lose Me In The Sand may not bowl you over on first listen, but it will keep pulling you back for more.

Rating: 3.5 Stars (Out of 5)

 Learn more about Mark Growden at http://www.markgrowden.org/ or www.myspace.com/markgrowden.  Lose Me In The Sand is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Nate Marshall - Stowaways, Throwaways & Drifters

Nate Marshall - Stowaways, Throwaways & Drifters
201, Nate Marshall

Nate Marshall may be familiar to readers of Wildy's World as one half of Upstate New York duo Nate & Kate.  A lot has gone on in the world of Nate Marshall since we reviewed Now & Then; but the essential character of his songwriting hasn't changed even as continued touring and the cascade of life events have deepened his perspective on the world around him.  Marshall recently returned with Stowaways, Throwaways & Drifters, a collection of eleven tracks that documents Marshall's continued development as a songwriter and storyteller.

Marshall opens with "Smile That Smile For Me", a folky love song with something of a mid-1970's Paul Simon flair to it.  You'll find yourself hitting repeat on this track, which combines great songwriting with vibrant energy and a subtle sense of musical timing.  "River Of Liquor" is a bit muddled and messy; reflecting an attempt at recovery from alcoholism and the restoration of a relationship.  "Anything, Anytime, Anywhere: Free" is a sociological take on how the prevalence of technology has blurred the line between "needs" and "wants".  It's an apt observation planted in a blues/folk/American arrangement you can't shake.  "Here To The Midnight Shore" changes pace a bit; a love song embossed with Beach Boys-style harmonies.  It's a sweet number that's pretty and airy but manages substance in spite of it all. 

"Architects Of Destiny" is like a messy Blood Sweat & Tears jam.  The horns are jarring and the arrangement has an uncomfortable feel; which may be by accident but more likely seems an instrumental allegory for deep discomfort with the direction of the world.  "Turn The Key" opens with an instrumental take on "Oh Susanna" that grows through variation and embellishment into a tune about the imperturbable draw of home, even from within the unrelenting walls of prison.  Marshall descends into inspired silliness for "I Love U More", a love song that includes references to George Bush, Saddam Hussein, Jesus, Burger King, McDonalds and nudism.  It's hokey and fun and may even evoke a chuckle or two.

Marshall displays depth with "Piano Overture", a bluesy pop piano piece that sounds like it was recorded in a restaurant at dinner time.  Marshall impressive with a lyrical style, a sense of dynamics and vibrant personality that plays out through the keys.  Horizons continue to broaden on "Fiery, Desolate Day", which dawns stylistic guitar work that feeds into a high octane acoustic blues tune you won't soon forget.  "That Ain't Us, Ain't That Us" is a story song about the things we all say we don't do in relationships even as we do them.  It's an indictment of human behavior and sincerity that relies on human tendency as the primary indictment.  It's a smooth bit of songwriting that is likely to stick around Marshall's live sets for years.  "Not In My Name" is a political protest song, calling out the U.S. government for waging wars her people don't support.

Nate Marshall doesn't have a perfect voice, but he has the perfect voice for the songs he write and the style he purveys.  There's something gritty and knowing about the man as a songwriter that puts listeners at ease right away.  Stowaways, Throwaways & Drifters is a varied collection that shows off some of Marshall's strengths as a writer and performer, but also manages to unearth some sides to the artist you might not have expected.  In a crowded Indie singer/songwriter marketplace, Nate Marshall stands out.

Rating: 4 Stars (Out of 5)

Learn more about Nate Marshall (and Nate & Kate) at www.nateandkatemusic.com or www.myspace.com/nateandkatemusic.  Stowaways, Throwaways & Drifters is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

John Shipe - Villain

John Shipe - Villain
2010, Involushun Records

Villain opens with "Lion", an interesting reflection on culpability, responsibility and choices.  Delivered in a folk style, Villain displays a story-teller's flair and an aurally pleasing voice that calls to mind thoughts of Paul Simon and Elvis Costello.  "Villain" finds Shipe exploring the human tendency to root for the bad guy, whether in romance, movies or real world events.  It's a cute bit of songwriting, displaying a sense of wit that will appeal to fans of Lyle Lovett and Randy Newman.  "Love Belongs To Everyone" invokes images of a melancholy Elvis Costello, as Shipe engages in a good old fashioned dose of mutual self-pity.

Shipe entertains guest, and 2010 Wildy's World Artist of the Year Halie Loren in a duet on "Hard To Believe", an intriguingly sad love song.  Shipe sticks to his easy-going vocal style, while Loren offers a gorgeous husky alto sound to the mix.  The best moments come when Shipe and Loren blend their voices in harmony; the dichotomy of their respective sounds blends almost in spite of their distinct differences.  "What Right Do We Have To Fall In Love?" finds Shipe exploring the dysfunctions of love from the other side of the looking glass.  It's a unique perspective that works well.  Shipe deeps dig into romantic dysfunction with "Another Disaster", creating an incredibly catchy pop song in the process.  The comparisons to Costello are never stronger than they are here, and never more well deserved.  You'll be hearing this one in your head at inopportune times for days.

"No Use Crying Over A Spilt Life" blends apt, intelligent, lyrical prose with a thoughtful singer/songwriter arrangement that waxes and wanes with the emotional angst of the song.  This might be Shipe's finest songwriting to date.  "Dead Kite" is an emotional still life, a musical monologue written from the edge of a relationship's abyss.  Shipe examines the carnage from outside for the first time, waxing poetic on what drew him and what finally drove him away.  Villain closes with "Feel Good Song", a subtly cynical exploration of humanity's ability to make themselves feel better by burying themselves in ideas and reminiscences of the past and using them as an excuse for inaction in the present.  Shipe's focus here is religion, but may not be an outright attack on faith so much as an attack on people's desire to hide behind it.

John Shipe attacks social constructs with shadows and light on Villain, exploring the human weaknesses that drive mankind to do bad things rather than berating humanity for being anything other than it's cut out to be.  Shipe mixes cynicism and hope in unlikely measures while invoking thoughts of Paul Simon, Randy Newman, Lyle Lovett and Elvis Costello across the eleven songs presented on Villain.  The album is somehow more than the sum of its parts.  While Shipe's songwriting and musicianship are worthy of note, he possesses a quiet cult of personality that occasionally raises his performances to sublime.  There are certainly some quiet moments on Villain, but those quiet moments fade with successive listens.  This is one Villain that will grow on you.

Rating: 4 Stars (Out of 5)

Learn more about John Shipe at www.johnshipe.com or www.myspace.com/johnshipemusic.  Villain is available from Amazon.com as a CD or Download.  The album is also available from iTunes.