Great American Robber Barons – Reno Nevada and Other Songs of Gambling, Vice and Betrayal

Great American Robber Barons – Reno Nevada and Other Songs of Gambling, Vice and Betrayal
2013, Great American Robber Barons

Some bands you can see coming from miles away, while others sideswipe you like a bread truck emerging from a dark alley at 4:00 a.m.  Great American Robber Barons fall into the latter category, but in sometimes subtle measures.  Led by Keith Dion (Ponsonby DC’s, The Ophelias, 3:05 AM and Corsica) and Diana Mangano (Jefferson Starship), Great American Robber Barons leave an impression.  Reno Nevada and Other Songs of Gambling, Vice and Betrayal is a cathartic and occasionally surreal musical journey that is much better experienced than described.

Keith Dion is an enigmatic vocalist, displaying a talk/sing style on Reno Nevada… that is a cross between Fred Schneider (The B-52’s) and John Plymale (The Pressure Boys, The Sex Police).  His sound is perhaps something of an acquired taste, but there is a stoic, geeky quality about his delivery that is ultimately charming.  On the other end of the vocal spectrum is collaborator and foil Diana Mangano, who has the sort of pipes that stop people dead in their tracks.  Their talents intertwine throughout the album, with sometimes amazing and sometimes mixed results.

Great American Robber Barons open up with “At The Hands of the Robber Barons”, a delightfully campy and catchy rocker with killer pop instinct.  Mangano belts this one out with aplomb, and the smooth guitar lead and backing instrumentation make this an instant winner.  The first class musicianship demonstrated here is apparent all throughout the album, with Great American Robber Barons never overplaying their musical hands.  “Reno Nevada” is an intriguing little story song, but how deep you dig into it will have much to do with how you respond to Dion’s voice.  Try to overcome any initial misgivings and focus on what he has to say, as Dion raises observational songwriting with wry wit to new heights at times.  The highlight of the album is “I Know You Just Don’t Want Me Anymore”, a bluesy, piano-based rocker ala Ray Charles.  Mangano gets a bit torchy here and sings her heart out.  It’s a goose bumps moment.

The band shows off their instrumental chops on “Nowhere Left To Go”, a smooth and pretty rocker with some pizzazz.  Like many rock instrumentals it outstays its welcome a tad, but it still manages to be a great listen.  Mangano takes another solid turn on “It’s All My Fault For Ever Trusting You”, a bluesy folk/rocker that feels slightly repressed.  Solid songwriting and strong performances all around make this work, but you can almost feel the band wanting to open up the throttle a bit here.  “Shut Up And Deal” has some of the best piano work on the album, but Dion’s angular talk/sing style makes this tune feel a little out of place.  Great American Robber Barons right the ship with “Hoo Hoo Man”, a classic bit of Saturday Night classic dance and roll. 

Things get a little uneven from here on out.  “Nobody Saw It Coming”, “Cemetary” and “What Were They Thinking” all enjoyable, if a bit off the wall at times, but the remainder of the second half of the album has more of a filler feel than anything else.  The 16 songs offered here could easily have been condensed to 11 or 12 and improved the overall listening experience.

Great American Robber Barons offer up some delightful turns on Reno Nevada and Other Songs of Gambling, Vice and Betrayal, with a few missteps along the way.   Keith Dion is a consummate musician and bandleader with a distinct persona and sound.  Diana Mangano, on the other hand, could fill concert halls with just the sound of her voice.  This seemingly strange pairing has a gravitational draw that is hard to ignore.  Reno Nevada… is driven by top-notch songwriting, first class musicianship and the fire and rain contrast of the two lead vocalists.  Great American Robber Barons are one lucky break away from being household names.

Rating: 4 Stars (Out of 5)

Learn more on Great American Robber Barons’ Facebook page.

Lanes - Disengaged 2013 Live Set

Lanes – Disengaged 2013 (live set)
2013, Andrei Lanes

Andrei Lanes is a Brooklyn-based EDM musician who has played live sets in and around Williamsburg.  With an expanded live set coming for shows this fall, Lanes is building a library of unique and lively original EDM compositions.  The tracks reviewed here are not officially released, and Lanes has no plans for formal album releases, preferring the give and take atmosphere of the stage.

“Hysterical Sobriety” is driven by a killer beat and ethereal counter melody.  Lanes structures this around a series of riffs that are certainly dance worthy, and this tune has its own gravity that is difficult to escape.    Lanes makes an effort to explore the theme he’s concocted here, making “Hysterical Sobriety” more involved than your typical EDM track.  “Noctilucent”, inspired by Liz Nielsen’s “Egg Galaxy”, once again blends the ethereal with the primal.  The net effect this time around is more subdued, but Lanes manages a mellow groove.  With “Disengaged”, Lanes moves into more surreal territory, bringing Eastern sounds into the ether over a double-timed clockwork rhythm.  The result is infectious and driven, but with a measured feel that is not urgent, yet feels inevitable.  “East Coast” captures the frenetic pace of New York City’s West Side Highway, or perhaps any stretch of open road on the I-95 corridor.  The construction is coherent, but Lanes suggests between the lines that chaos is never more that a hair’s breadth away.  “RTT” has an incessant feel, like the onrushing of time in an urban landscape, where nothing changes but everything is always moving, circling, building…  Lanes constructs primary in 4/4 time here, but manages to build a techno/musical march that will get under your skin.

Lanes surprises and captivates with an unusually lively set of electronic compositions in his Disengaged 2013 live set.  Ethereal themes and energetic compositions are the rule of the day here, with Lanes showing no fear as a composer.  His tracks delve deep into thematic exploration without ever losing their EDM credentials.  If all EDM music were this original and energetic it could go main stream.

Rating: 4 Stars (Out of 5)

Learn more at www.lanespro.com. 

Candice Russell - So Much More

Candice Russell - So Much More
2013, Candice Russell

 

Candice Russell is a 21 year old singer/songwriter for Tualatin, Oregon.  The last time you saw her was on Hollywood Week of American Idol season 11.  In spite of getting sent home early, Russell has continued to refine her craft.  Shortly thereafter she met producer Dave Lubben (Kutless).  With Lubben and her brother, Aaron Russell, Candice wrote the ten songs that comprise her debut album, So Much More.

 

Russell sets off with the bubblegum country/pop of "Too Into You", a catchy but overproduced attempt to gain airplay at the artist's own expense. Producer Lubben utilizes significant vocal effects here and throughout the album, making Russell sound like a technical creation rather than a human being. "Escape" is a middle of the road pop ballad that leaves Russell stranded in an emotional and musical wasteland. The run-on feel of the chorus is maudlin at best. Russell picks up the pace a bit with "Good Luck With That". A catchy arrangement and a catchy bridge buoy the song, but the repetitive chorus drowns the listener.

 

Russell is joined by an unnamed male vocalist on the sweet duet "Loved By You". The song is a gem, inspired by the life-long love of her grandparents. This is a potential hit in spite and arrangement that is too present and too full. "My Friend" is a song full of need and longing that would work much better Ina stripped down arrangement. "Remember" is a down-tempo dream pop number with an ethereal feel. 

 

"So Much More" explores the journey of becoming who you want to be and not giving up in the face of criticism. This is perfunctory pop music, canned for pop radio but without the spark to catch on. "Someday" is a solid piece of songwriting with a memorable chorus. It's a song of overcoming and moving on, and Russell is convincing here.  Russell heads back into 1980's bubblegum pop with "Summer Nights", a pro-forms pop tune that's solid but a little too much like too many other things already out there. So Much More closes with "When I See You", a cookie cutter pop ballad. Russell means well and sings from the heart, but there's little originality or energy here. 

 

Candice Russell gives her best on So Much More, but never fully engages the listener in the process. It's hard to tell throughout the album how much of the vocals are really here and how much are courtesy of production tricks. The album is wholly over-produced, with electronics overcoming any human element. It would be nice to hear Russell’s voice in a stripped down setting. So Much More aims for a marketable sound, yet the heart that is so obvious in Russell’s lyrics can’t overcome all of the electronic paraphernalia that went into crafting the sound.

 

Rating: 2.5 Stars (Out of 5)

 

Learn more at www.candicerussell.com. 

Claudia Russell - All Our Luck Is Changing

Claudia Russell - All Our Luck Is Changing
2013, Claudia Russell

 

Claudia Russell is a singer, songwriter and stage actress with a distinctive voice and a gift for writing substantive, evocative songs.  Russell has shared stages with the likes of Willie Nelson, Loudon Wainwright III, Steve Forbert and Kris Kristoffersen, to name a few.  Russell recently released her fourth album, All Our Luck Is Changing, a collection of remembrances and stories set to song.  Russell’s voice and songwriting style blend perfectly as she sculpts words and notes into images both simple and profound.

 

Russell opens with "Pirate Girls", a sweet reminiscence of the innocence of youth. Russell's voice is pleasant on the ears, and her subdued storyteller's style strikes all the right chords here. "All Our Luck Is Changing" remembers a family vacation from her childhood both as a benchmark of happiness and as a corner turned toward adulthood. The folk/country setting is an appealing backdrop for this moment.  "Silver Bird" brings a bluesy element into the adult contemporary pastiche, loaded with a subtle melancholy beauty.   Russell delivers the weight of loss in dulcet tones, carving beauty out of heartache with a delicate ease. 

 

"You Are The Light" finds Russell in a duet with her husband and longtime collaborator Bruce Kaplan.  The song has real potential, but Russell’s vocal style is much tighter here, and the end result sounds emotionally flat. Russell snaps back on "Hey Hey", with a lively little folk tune about the last gasp of summer. Russell sings with the quiet joy of remembrance, and the magic of her memories is palpable.  "So You'll Believe" is a melancholy ballad with a country/folk flavor that's pleasant on the ears. This is Russell's forte, as she is adept at painting pictures with words, and backing them up with velvet arrangements that always seem the perfect fit.  

 

Russell takes a jauntier pose with the southern swing of "Charleston". Russell reflections are both happy and sad, seeing dark and light as all part of a wondrous whole. "Follow Your Tail Lights Home" is a wonderfully obscure love song reflecting on a simple act as definitive of a lifetime of love. This is a brilliant piece of songwriting set in a lively Celtic arrangement. 

 

"These Shoes" is an artful kiss off song that dwells deep in symbolism without engaging in the pedantic anger that so often riles this sub genre. Russell says goodbye with class and with an artist's touch.   Russell returns to a swinging blue sound for "I Remember The Wind", pulling off a quietly powerful performance that would be amazing in a love setting. Russell closes with the explosive quiet of "I Can't Stand The Rain", exploring the small reminders of a relationship that's run its course. Russell brings the emotional darkness of this moment to palpable life with a vocal performance you won't want to miss. 

 

Claudia Russell is a rare talent. He voice isn’t perfect, but it’s perfect for her, and perfectly fit to the songs she writes.  All Our Luck Is Changing is a wonderfully well-crafted and mature song cycle, delivering on Russell’s talent as a songwriter and storyteller, as well as on her personal charisma.  If this album doesn’t win Russell awards in 2013 it will be an injustice of epic proportions.

 

Rating: 5 Stars (Out of 5)

Learn more at www.claudiarussell.com. 

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.