Wildy's World

Meghan Cary - Building This House

2012-01-29T06:35:00.001-05:00

Meghan Cary - Building This House
2012, Meghan Cary

Meghan Cary was Indie before Indie was cool. The former theater actress fell intosongwriting through personal tragedy in the late 1990’s. What began as catharsis and tribute to herthen-recently deceased fiancé turned into a win of Billboard Magazine’sCritics’ Choice for Best Newcomer in1998. Cary was quickly drawn into thefolk scene, touring extensively and recording/releasing three criticallyacclaimed albums. Cary met her husband,Peter Farrell (The BlackTails) at a Meghan Cary show at CBGB’s Gallery, at atime when touring was becoming old hat. She settled down and built a home and a family, but music was neverreally gone from her life. Cary returnson January 31, 2012 with her first album in eight years, Building This House. A storyof recovery, rebuilding and ultimately, happiness, Building This House is a personal tale full of the resilience ofthe human spirit. And while Meghan Caryhas been rightly compared to the likes of Shawn Colvin, the Indigo Girls,Natalie Merchant and Stevie Nicks over the years, on Building This House she offers a voice that’s influenced by thoseabove, but distinctly her own.

Cary gets started with the title track, a refreshinglysmooth and mature piece of pop songwriting that’s an ode to family to be. Cary’s voice is mildly soulful, and thealmost harpsichord style sound from the synth gives this something of abaroque-pop ballad feel. “Lost You InThe Light” is a brilliant marriage of poetry and music. Cary’s mildly soulful pop arrangement wrapsitself around lyrics about the human tendency to lose sight of what’s importantfrom time to time. This organic blend ofthought and muse reflects an artist who spends a lot of time inside her ownthoughts, yet still manages to convey the output in an artful manner. “Responsibility” is a morality tale told froma personal perspective, reflecting on those we see around us in hardship everyday. The message is solid and poignantin difficult economic times, but the subject has been covered many times overwith more power. Nevertheless, thewonderfully jazzy piano work underscores an arrangement that will get this songsome attention.

“I Might Miss You” shows off Cary’s ear for melody in no uncertainterms. A song about discovering what youreally want after you’ve already cast it aside, the song’s theme unrolls inyour brain like it was always written there and therefore refuses to leave. This sort of honest, sweet love song isalways appealing, but Cary delivers it with a sincerity and simple power thatis compelling. Cary digs into adelicious blues/rock arrangement with lots of soul for “Through Walking”. This catchy number builds slowly, and willlikely become a live favorite. It would benice to hear Cary open this one up a bit more vocally, but the song sits wellas delivered.

“Invitation” is a powerful love song that might be aboutopening your heart to love, or perhaps something a bit more carnal. Either way, Cary plays it straight andmanages to create one of the most intriguing listens of the newborn 2012. The compact pop/rock arrangement delivers thesong with an economy of style that allows the raw desire of the song to be thestar. “Darker Song” is all about theunstable emotional ground that leads to a breakup. This woeful, haunting tunefinds Cary coming to terms with what her heart has known for some time. The universal appeal of this song will comefrom the fact that almost anyone who hears it will have been there once in theirlife, and Cary captures the moment in a near-perfect blend of poetry andmusical scenery.

“Moon Song” explores the complicated emotions that arisefrom learning a former love has moved on. In this case he is getting married. This is all about the emotional turmoil thatturns up at such a time, particularly when unsettled feelings still in play,and about the phone call or letters that happen at such times that rarely turnout of the better. Cary plays this as ifshe’s lived it, and her representation in song is compellingly human, mixingdesire, need, desperation and pain with that one little drop of hope thatdrives humanity to seek the impossible. This is a brilliant, if raw, piece of songwriting that will hauntyou. Cary closes with “Live!”, a Sundaygo to meeting song with a single message: seize the moment. The energy here is tremendous, and punctuatesthe collection of songs about chances lost and gained with a simple directive:never give up on yourself.

Meghan Cary has lived both dreams and nightmares, andreflects upon them all in artful and symbolic songs on Building This House. Thisalbum is a study in remembering that not only are good experiences build us,but that the ones we’d rather forget are often even strong shapers of the peoplewe are to become. Cary shares her storyin honest and uncontrived language throughout the album, and blends thesestories with arrangements that often perfectly shadow the mood of each moment. The only possible complaint about the albumis that it took Meghan Cary eight years to put it all together. Listeners will find themselves ferventlyhoping that it won’t be eight years until the next one.

Rating: 5 Stars (Out of 5)

Learn more about Meghan Cary at www.meghancary.com, where you can pre-order Building This House, as well as as purchase copies of her albums New Shoes, Onion Dream and Live At Your House. You can also get a free song download from the new album for signing up for Cary's mailing list.

Haikaa - Work Of Art

2012-01-29T06:00:00.000-05:00

Haikaa - Work Of Art
2011, Haikaa

Haikaa Yamamoto is a pan-cultural pop-star in themaking. Born in Brazil, Haikaa wasraised in Japan and has studied both there and in the United States. Her music shows influences from all threecultures and beyond, and her message is classically eastern: peace, love andrespect. Haikaa’s album Work Of Art is undeniably warm andsweet, and the songs are delivered with a voice that gets inside of yourhead. Haikaa breaks down barriersthrough her understanding of the world, but she also projects the sort ofpersonality as a performer that will draw listeners in and help them feel moreopen to ideas they might not have considered otherwise.

At the outset of WorkOf Art, before you even really take notice of her songwriting, you’ll beenthralled with Haikaa’s voice. It’scharming and out of the ordinary, with a warm sound and unusual tone that’sinherent both in herself and in her multi-cultural exposure. In this day and age it’s not always possibleto know whether a voice is doctored on a recording, but the end result is quitewonderfully unique. Haikaa wastes notime impressing with her songwriting ability either, launching into “EverythingI Know About Love”, a solid, low-key pop ballad that’s wonderfullyconstructed. There is awkwardness in thelyrical constructs at times, but this fits well with the young and uncertainvoice the song is written in. Theharmony vocals here feel out of synch with both Haikaa and the arrangement, andtherefore become more of a distraction than an organic part of the whole. “Work Of Art” finds Haikaa demanding to beseen for who she is. It’s a positivemessage that parents will like their daughters to hear from pop music, and itmanages to avoid cliché to become truly meaningful. The message itself is wrapped in a pretty poparrangement with Alan Parsons’s style vocal harmonies. It’s simply gorgeous.

“Call Me By Name” continues in a similar thematic vein, andcontinues the wonderfully-constructed pop path that Haikaa has embarkedon. It would be easy to see this songserving as a soundtrack component for a teen television drama or even for amovie. “Happy” has a positive, feel-goodvibe. It’s a piece of fluffy pop musicthat isn’t ashamed to be what it is, and is ultimately enjoyable. “I’ll Wait” finds Haikaa digging into a sweetlove song that could have serious commercial potential if it gets airplay orother exposure. From the sweetly honestaffirmation of love to the wonderfully constructed pop arrangement and memorablemelody, all the elements of a great pop ballad are here.

“Vision” shows off a slightly more mature sound fromHaikaa. She captures a Stevie Nicks vibehere, although you can understand everything she sings. There’s something of an edge to this numberthat shows avenues Haikaa may follow on future albums, but the vaguely sensualsweetness that runs through the album survives even in this maturingsound. Work Of Art winds down with “You And Me”, a solid love song withgood energy and approach. It’s a goodeffort, but not as strong as much of what’s come before, and perhaps not thebest way to say ‘until next time’.

Haikaa shows talent, maturity and youth on Work Of Art. She is a compelling young songwriter with areal gift for melody and pop construction. That’s not to say everything works perfectly on Work Of Art, but Haikaa is on-target most of the time, andoccasionally delivers moments of brilliance. The most compelling aspect of the album is Haikaa’s voice, which ismainstream enough to fit in on pop radio dials, but unique enough to standout. Don’t be surprised if Work Of Art is just the start forHaikaa.

Rating: 4 Stars (Outof 5)

Learn more about Haikaa at www.haikaa.com or www.myspace.com/haikaa.

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Charity Chapman - Gordon The Northern

2012-01-25T06:11:00.000-05:00

Charity Chapman –Gordon The Northern
2006, Charity Chapman

Charity Chapman is just this gal, ya know? Granted, she’s an incredibly talentedsongwriter… and she has this incrediblysweet and vaguely smoky voice that makes you stop what you’re doing and findout just who that is singing on the radio. But the young woman who lived her early live in Pensacola, Florida andthen finished growing up in the verdant valleys of Colorado is as down to earthas they come. It’s one of the reasonsher songwriting is so clear and honest; there are no pretensions with CharityChapman. What you see, and what youhear, is what you get. Its why, in spiteof remaining an Indie songwriter and performer, she’s seen her music featuredon Oprah, Felicity, Ugly Betty, andboth the US and UK versions of The XFactor. Chapman’s EP, Gordon The Northern, is a collection ofold and new songs that are guaranteed to impress, and are likely to begin along artist/listener relationship.

The EP opens with “If I Could Fly”, a song with manylevels. A gorgeous love song with avaguely dark temperament, it is also a song of hope. The song was featured in season 4 of Felicity, and has the distinction ofbeing the tune that Keri Russell’s character graduated to. The mixed sense of unrequited love and dreamsbreaking upon new shore is dizzying, but perfectly maps the collision of oldand new desires and hope that are the watershed of adolescence on adulthood. The song succeeds on the genuine sense ofstanding at the precipice of a new world, but looking back with the door to anold world not yet closed. Chapmanherself sounds very much like Canadian chanteuse Maren Ord, and ingratiatesherself with her sweet, sweet voice.

“Free” is an intriguing declaration of a movable self. The song has a solid melody, and is packagedin an arrangement that is mellow on the surface but full of a deep energy. Chapman’s voice shows many colors and shadingshere, and it’s easy to get wrapped up in the sound of her voice. “In My Room” is a song of heartbreak; ofsearching for an answer where none is to be found. Chapman’s essential question, why he walkedaway, seems to pale in the face of the search itself. The pain here is palpable, with a dramaticsense that is theatric in presentation and yet organic and real. This mix is incredibly difficult to find; nota matter of craft but of honesty in the songwriting process. Chapman maintains a strong pop sensibilitywithout sounding like she’s trying to write a pop song, an impressive achievementin and of itself.

Gordon The Northernis an intriguing perspective on the artistic development of a songwriter leftto her own devices. Charity Chapmanopens with her most well-known song, and then moves on to two more recenttunes. You can hear the depth andcomplexity of her talent and of her intellect sprout before your very ears on Gordon The Northern. What’s most intriguing is that throughoutthe process, she never loses the twin roots of her talent: A delicious ear formelody and an integrity and honesty in her songwriting that is compelling. Chapman manages to have it all on Gordon The Northern; she is an artistwho is creating meaningful and aesthetically pleasing art that just happens tobe commercially viable. Take one listen,and you’ll be hooked.

Rating: 4.5 Stars(Out of 5)

Learn more about Charity Chapman at www.charitychapman.com or www.myspace.com/charitychapman.

Vintage Blue - Strike The Mics

2012-01-21T06:35:00.000-05:00

Vintage Blue - Strike The Mics
2012, Vintage Blue

Every band hits that point where they either break down orbreak through. Chicago quintet VintageBlue hit that point in early 2010, and flew through the barriers like aspeeding bullet. Formerly known asTanglewood, Vintage Blue went through personnel and stylistic changes, firstnoted on their 2010 debut EP, CaliforniaRoad. Vintage Blue’s secondoffering, Strike The Mics, due out on Valentine's Day in 2012, finds theband picking up where they left off on CaliforniaRoad. Coming into the album with nostylistic preconceptions, Vintage Blue had remade themselves in the traditionof great rock n roll. Ben Bassett(vocals, lead guitar); Ryan Tibbs (vocals, rhythm guitar, harp); Will Crowden(drums); Cesar Corral (bass, vocals); and Matt Zimmerman (sax, keys, vocals)enlisted the help of producer Jamie Candiloro (The Eagles, Ryan Adams, WillieNelson) to help them narrow their musical focus. Consequently, Strike The Mics is the band’s most vibrant and enduring work todate.

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

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

“Just Breathe” is a smooth, classic-rock power ballad withrefinement, originating more from a working-class rock lineage than the glamrock sound that so often characterizes classic power ballads. This is the highlight of the album, bothcompositionally and instrumentally. Theguitar work is primo, and the vocal harmonies absolutely click. “Help Me See” is one of those quietly catchytunes that sneak up on you. Solid on thefirst listen, but it will grow on you with each successive pass through. Vintage Blue sounds like a cross between ToadThe Wet Sprocket and Wilco here, displaying the mellow pop sense of the formerand the full Americana influence of the latter. “Great Divide” is an “Ah” moment; a forlorn love song built around alovely finger-picked guitar core. Do notbe surprised if you end up with this number on repeat. Vintage Blue bows with “True”, a musicalepilogue that plays like the closing credits for a movie. Catchy and upbeat, this song will get stuckinside your head and stay there. Thehorns come back here and support a sound that’s danceable and pop-radiofriendly while showing some songwriting substance all at the same time. This should be a concert favorite; and in anera where great pop music was truly appreciated this would be a top-10 hit onthe radio.

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

Rating: 4.5 Stars (Out of 5)

Learn more at www.vintagebluemusic.com.

The Wildy's World Top 40 albums of 2011

2011-12-31T23:59:00.000-05:00

Yes, we're on the cusp of a new year, with new experiences out in front of all of us. But before the tide turns again, let's take a look back at the top 40 albums we reviewed on Wildy's World during 2011. No big fanfare or drawn out countdown this year. Just the facts, ma'am.

Rank	Artist	Title
40	Amy Black	One Time
39	Anna Atkinson	Mooniture
38	Monika Borzym	Girl Talk
37	Andy Statman	Old Brooklyn
36	Ron Sexsmith	Long Player, Late Bloomer
35	Jeneen Terrana	See The Light
34	Hannah Miller	O Black River
33	Gattis	E.P.
32	OST	Catch Me If You Can - Original Broadway Cast
31	Laura Roppe	I'm Still Here
30	Renee Wahl	Cumberland Moonshine
29	OST	Anything Goes - New Broadway Cast Recording (2011)
28	The 23 String Band	Catch 23
27	Beth Bombara	Wish I Were You
26	Tally Hall	Good & Evil
25	Imelda May	Mayhem
24	Sarah Jarosz	Follow Me Down
23	Eric Church	Chief
22	Sutton Foster	An Evening With Sutton Foster: Live At The Café Carlyle
21	Forrest Day	Forrest Day
20	John Shipe	Villain
19	Abbie Barrett & The Last Date	The Triples: Volume I [EP]
18	Mark Erelli	Little Vigils
17	Jason Plumb And The Willing	Alive & Willing
16	Skyler	Take You Away
15	Zaz	Zaz
14	Sierra Hull	DayBreak
13	Shayna Zaid & The Catch	Lighthouse
12	Seth Glier	The Next Right Thing
11	Jeannine Hebb	Whileaway
10	Bruce Cockburn	Small Source Of Comfort
9	Bess Rogers	Out Of The Ocean
8	Grace Stumberg	To Whom It May Concern
7	Sunday Wilde	Whay Man!? Oh That Man!!!
6	Emmanuella Grace	London Stories
5	Tommy Shaw	The Great Divide
4	Brandon Schott	13 Satellites
3	Marian Call	Something Fierce
2	Paul Simon	So Beautiful Or So What
1	Ron Hawkins	Straightjacket Love

Adam Cross - Sirens

2011-12-30T06:00:00.000-05:00

Adam Cross – Sirens
2011, Adam Cross

Aiken, South Carolina singer/songwriter Adam Cross has seenhis heartbreak. This is evident on Cross’self-released debut album, Sirens. Whether you take the title as a warning, orperhaps as a treatise on the things that draws us out of ourselves (andsometimes pushes us back in), Sirensis a remarkably mature and subtle disclosure of vulnerability and strength,healing and pain.

Sirens opens withthe pure pop rock of “Dance”, a catchy-yet-reserved statement of intent that isthe perfect intro to Sirens. Cross has an appealing voice; staying withina comfortable range that doesn’t restrict his ability to deliver a quietlydynamic performance. “A Feeling” is amelancholic reflection on love as faith, in a love that, if not requited,certainly isn’t available. Cross buildsthe song nicely throughout, growing in intensity through the final bridgebefore drawing back. “Scared To Pieces”is a love ballad written from a less than tenable romantic position. The smooth, radio-ready chorus is full ofsound and sonically appealing. Cross isreminiscent of an edgier Rob Thomas here, both for his sound and for his pop sensibilities.

Cross engages in a confessional style on the stripped-down“Save Me”, punctuating the effort with a jump into his upper vocal register onthe chorus. This last leaves him a bitexposed with a sound that’s less than ideal, but the song has great flow andworks on many levels. “Time Of OurLives” is a wonderfully upbeat love song, although the verse has a stilted feelthat’s somewhat distracting. Theexecution here doesn’t quite match the intent, but it’s a solid, pop-friendlyeffort. “Thursday” is a song of loss,written through the perspective of time, although Cross’ deliberate vocal styleoffers the impression of a suitor who is choosing his words carefully. He’s still in love, you see, and still pursuingher even if he isn’t certain what it is he wants from the pursuit. There’s a stylistic grace to this song thatworks, even with its somewhat awkward pace, as he struggles with the competingfeelings of love and hatred.

“Burning Castles” wants to a big pop/rock song but neverquite lives up to its pretensions. It’sa solid tune, but just never fully becomes. The chorus is mildly catchy, and Cross builds the musical tensionappropriately, there’s just never a payoff. “Time Wasted” laments a relationship that didn’t work out, seen again,through the lens of time. This one has anice, Adult Alternative sound that will play well with radio programmers andfans alike. “Tragedy” finds Crossintroducing more of an electronic element into the arrangement. The result is a somewhat uninspired soundthat seems ripe for pop radio but fails to live up to either the melodic orcreative potential Cross seems to possess. Sirens closes with “Lost”, asix-minute acoustic number that’s among the best on the album. There’s a prayerful melancholy that pervadesthis number, as Cross laments both a past lost and a seeming lack of future. The chorus is gorgeous and slow, dressed indark musical timbres.

Adam Cross impresses with Sirens, even if he doesn’t always hit his mark. There’s a distinctive musicality in Cross’songwriting that has an edgy, Indie-feel, yet a melodicism that pop sensibilitythat make him accessible to the commercial market. Musical melancholia fans will enjoy Cross’tales of love lost, just missed or never gained. All of this is delivered without a sense ofself-pity, but rather with a clinical eye that has assessed the past andpresent, and in spite of the pain, taken something of a logical approach toeach heartbreak. If Sirens is any indication, there are great things to come from AdamCross.

Rating: 3 Stars(Out of 5)

Learn more about Adam Cross at www.adamcrossmusic.com or www.myspace.com/adamcrossmusic.

Jeremy Schonfeld – Iron & Coal

2011-12-28T00:06:00.002-05:00

Jeremy Schonfeld –Iron & Coal
2011, Jeremy Schonfeld Music

Growing up in a family of Holocaust survivors, JeremySchonfeld has a different perspective on life than many Gen-Xers. His understanding of the world around him isshaped by the tales of suffering of an entire generation of European Jews atthe hands of Nazi Germany. This darknesshas occasionally entered into his songwriting over the years, but Schonfeld hasshown a remarkably bright side as well. His musical Drift (writtenwith Craig Pospisil) had a two-year run at the New York Musical Theater Festival. He is also a founding composter and lyricistsfor A-Train Musicals. Schonfeld’sperformance style is enigmatic and powerful, as audiences at such venerated NewYork venues as Joe’s Pub, Birdland, B.B. King’s, CBGB’s and Lincoln Center havecome to know. Schonfeld’s must recentwork, Iron & Coal, is his mostpersonal to date, however. It is arecast of his father’s memoirs of Auschwitz; a highly personal and powerfulstory born of his father’s experiences, his own emotions, and that fine linebetween fact and art that breeds the best of stories.

Schonfeld himself is an enigma. If Gordon Lightfoot had gone into musicaltheater instead of folk/rock they’d sound quite similar. Whatever imperfection you might perceive in Schonfeld’svoice become a part of his larger persona, i.e. Randy Newman or Bob Dylan. The theatrical flair in his songwriting isalso never far from the surface. Schonfeld knows how to create moments in song. Opening with “I Gotta Song”, Schonfeld offersup an exultant and beautiful prayer of thanksgiving for “borrowed time”. The song is in movements like a classicalpiece, but is a folk/pop/Broadway blend than runs nine minutes without everfeeling tired. “Story Of Love” is aninspired tune that thrums with Schonfeld’s persona. This is a true performer’s moment that makesyou wish you could take in the song from the third row of a concert hall withthe lights low and just Schonfeld and a piano on stage. “The Mourner’s Kaddish” opens in Hebrew butturns into story-song full of the oft-complicated love of a song for hisfather. Love and the drive todifferentiate are at war here, but it’s not the sort of battle that does harmto anyone other, perhaps, than the one writing it. It’s a powerful tune that will cut deep forthe male listeners in the audience.

“Dead Beat Heart” finds Schonfeld moving more into a 1980’srock sound. Big guitars and even biggermelody are built around a mellow groove for a very enjoyable listeningexperience. “Good Stuff” is a rock androll party song, pure and simple. Verycatchy and danceable, this one is likely to become a guilty pleasure for fansof Kim Mitchell of Cheap Trick. “SaveMe” is an angry and argumentative number that asks for succor but seems tofight it with every note and every word. Schonfeld uses the percussion here to give the song a deeply unsettledfeel – a theatrical contrivance that’s quite effective. “Yedid Netesh – Good Man” fades quickly intothe glam, funk and soul of “Bad Man”. While the song itself is catchy and entertaining, Schonfeld’s backupsingers provide the perfect counterpoint that makes the song fly.

Schonfeld is emotionally lost on “Piece Of Me”, a solidpiece of pop/rock songwriting that is sonically pleasing: a high quality albumtrack that holds its place by advancing the story and very quietly holding moreof your attention than you might at first expect. “Nothing Really Matters – Stop, Stop” begins asa musical soliloquy and turns into a frenetic rockers. This one will get stuck in your head with itsmanic feel. “If Ever” opens with anintriguing pizzicato string arrangement and turns into one of the bestnon-traditional ballads to come out of 2011. Don’t be surprised if this song gets covered many times over down theroad. “Time”, the penultimate track onthe album, advances the story, but feels like its simply holding place. This isn’t inappropriate in the story line,but it is something of a pause musically that’s simultaneously distracting andpossibly necessary to the story line. Schonfeld brings down the curtain with “Yet”, a song of self-convictionabout moving forward and remember that things will somehow be okay. It’s a quietly powerful moment that exploresthe resilience of human heart in the wake of inescapable tragedy, wrapped up ina stunning arrangement that’s perfect for the Broadway stage, but easilytransmutable to the pop/rock/folk world.

Jeremy Schonfeld lives on the edge of death for much of Iron & Coal, but like hisprotagonist he truly lives. The factthat the lines at times become blurred between protagonist and story-telleronly makes the story more powerful. Schonfeld’s compositions are golden – everything flows as if time itselfwere the driver. You could easilyimagine this cycle being reworked into a show, although it perhaps flows bestas it is. A successful musicalpresentation would force too many changes, but as a single work of art, Iron & Coal is a thing of beauty.

Rating: 4.5 Stars(Out of 5)

Learn more about www.jeremyschonfeld.com or www.facebook.com/jeremyschonfeldmusic.

Scotty Alan - Wreck And The Mess

2011-12-19T07:05:00.002-05:00

Scotty Alan - Wreck And The Mess
2011, Spinout Records

Scotty Alan lives on the south shoreof Lake Superior in Michigan, in a log cabin he built himself. Alan lives very much on his own labors,hunting, fishing and farming. Livingwithin two-and-a-half miles of the house he grew up in, Alan is part of anextended family. While his ruralexistence didn’t expose him to a lot of music over the years, Alan has beenmaking his own since his early teens. From punk to singer/songwriter, Scotty Alan has always shown a penchantfor understanding and commenting on the world around him through song. Scotty Alan’s latest effort, Wreck And The Mess, finds Alan treadingthe backwaters of country, Americana and pop.

Wreck And The Mess opens with "Goodbye", a rustic song of partingwith a messy, organic feel. Amidst the violin, slide guitar and perfunctorypercussion, Alan plies an amiable, off-kilter voice that's part Luther Wright,part Roger Waters and part Mike Scott. "Your Hero?” a swaying littlecountry rocker, has a hypnotic appeal and a chorus that will get caught in yournoggin; you'll be singing along by the second time Alan runs through thechorus. "Ain't Much" blends spoken word and sung vocals in anyincredibly catchy number built on a minimalist arrangement with its roots inrockabilly. "Barn Dance" has a plaintive, relentless feel; a sense ofbelonging as palpable as it is ever-present.

"Not Ready To Be"describes a pair of star-crossed lovers in cliché-ridden imagery. In spite ofthis, there's a stubborn authenticity to the song that demands to be heard. On"Do It Alone", Alan takes a comically DIY perspective on his nextgreat love. The song is incredibly catchy and entertaining; the sort that wouldplay well on a movie soundtrack or on the old Dr. Demento Show. "Was ItEver?" looks back on a relationship in sadness, questioning everything andunderstanding little. The emotional impact of the tune is striking, especiallygiven the plaintive, almost rock-a-bye feel to the arrangement. Scotty Alanfinds a mild Pogues vibe on the country-flavored "So Loud". Startingout as a promising love song, "So Loud" descends into an emotionaldestruction that seems inevitable even if the song's narrator never saw itcoming. The song is catchy, with rudimentary pop hooks that snag your attentionand won't let go.

"Dusty Hollow" reflects aseemingly eternal angst born of having better places to go but no motivation toleave a place with little left to offer. The song ends in an almost spokenresolution, but it's not clear whether momentum ever changes in thefatalist-melancholy that pervades. Similarly, "Sinkin' In" wallows ina deepening sorrow over a goodbye that may or may not be final. Alan'sarrangement is sorrowful and dark yet retains a distinctive melodicism in spiteof its plaintive, dirge-like feel. Wreck And The Mess winds down withthe exuberance of "Someone To Fight", driven by a rapid-speak vocalstyle that's entertaining and raw.

Scotty Alan brings a unique andentertaining charisma to Wreck And A Mess, rough around the edges yetpossessing a distinctive, hard-won polish that simply can't be practiced. Itcan be difficult to stay with Alan through some of his more depressing countrynumbers, as the mood that pervades often surpasses melancholy quickly on theway down. Yet when Alan is changing up speeds between his darker and lightmaterial, and using his not inconsiderable wit to highlight the spaces inbetween, the results can be very entertaining. Wreck And A Mess is certainlynot an album you take lightly, for the darkness of mood here is more than justpalpable at times, but Alan has a way of throwing in the occasion backroomanthem with a wink and a nod just to let you know that everything is going tobe alright. Maybe.

Rating: 3.5 Stars (Out of 5)

Learn more about Scotty Alan at www.scottyalan.com or www.myspace.com/oldkilnroad.

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

2011-12-16T00:14:00.000-05:00

I am writing to you today with a mixture of sadness andexcitement. All good things musteventually find their terminus, and so it is with Wildy’s World. Wildy’s World has been a labor of love forthe past four years. With over 2,600 reviewsand closing in on 400,000 distinct visitors, the site managed to carve its ownlittle niche in the Indie Music landscape. Wildy’s World has been a resource for Indie musicians, major labels andeveryone in between. So it is with somesadness that I announce you today that Wildy’s World will cease publication asof December 31, 2011.

The last few weeks have been inconsistent. I’ve been sitting with the decision for awhile, wanting to make sure it was the right one. But at this point in my personal andprofessional life I have so many other priorities that I cannot dedicate thetime to Wildy’s World that it needs to continue to successfully serve the musiccommunity at large. I’d rather go outwell than feebly. To that end, there arestill reviews to be published this year, and we will close it all out with ourtraditional year-end countdown of the Top-50 albums reviewed by Wildy’s Worldin the past year.

As many of you know, Wildy’s World was always a hobby; onethat found a place alongside my professional duties in the working world (awayfrom music) and my family. Because ofWildy’s World I have also been offered opportunities to write commercially,writing the occasional review for pay for various publications and ultimatelywriting artist biographies and project pitches. I have been writing bios for a NYC-based agency on a free-lance basisfor over a year now, and have done a handful of on-demand projects privately aswell. Going forward I will be focusingmore of my energies in that direction. Iwill also continue to publish music reviews through BlogCritics, although at amuch less frequent rate than with Wildy’s World (likely 1-2 per week). I may also look to start something else inthe social/digital atmosphere after I’ve taken a couple of months away frompublishing every day. We shall just haveto see.

So if you wish to submit material for review on BlogCritics,I suggest you send me streaming or sample files so I can check them out. If I choose to review, I will, as always, askyou to submit a hard copy for that purpose. But as I am previewing the music, I won’t ask for a hard copy unless Iplan a review. To that end, the emailaddress wildysworld@gmail.com, andthe physical address will not change. Ifyou need the address just drop me a line. If you’re an Indie or established artist whose trying to do DIY, but youneed help with a bio or one sheet or need a one time writing project done,please drop me a line and we’ll see if I can help you out. If you work in PR or the industry and needsomeone to craft bios, liner notes, pitches or other such projects, get intouch with me and we’ll see how we can help each other out.

It’s been a lot of fun spending almost every day with youover the last four years. I’d love tokeep it going, but I just don’t have the time or energy to do this the rightway anymore. I hope to continue to be aprofessional resource for the creators and purveyors of Indie Music. And you never know, I may get bored and startsomething else up down the line.

In the mean time, if you’ve contributed to Wildy’s World inany way over the last four years, thank you. Whether you’re an artist who has submitted music to be heard, a PR rep,a label rep, a music fan or even the multitude of spam bloggers in Asia andRussia who continue to pepper the blog with spam comments, you’ve all made itinteresting. I wouldn’t trade theexperience for anything, and I’ve even made a few new friends along theway. So thank you. We’re still here for two more weeks, and we’llclose out the year counting down to the best album of 2011, just likealways. Until then, my friends, be well.

Wildy

Andy Statman - Old Brooklyn

2011-12-16T00:02:00.000-05:00

Andy Statman - Old Brooklyn

2011, Shefa Records

Andy Statman is the sort of talentthat only comes along once or twice a generation. The Flatbush Brooklyn resident grew up in afamily full of cantors and professional musicians, and seemingly was born withan insatiable love of music. Klezmermusic was an early love, but once Statman discovered the work of Flatt &Scruggs he was forever hooked on bluegrass. An artist in the traditional sense, Statman can play anything, but heseems to come just a bit more alive when he digs into the roots of Americanculture, while never forgetting the Klezmer music from his own culturalroots. Andy Statman recently releasedthe double album Old Brooklyn. It’s a revelation.

Statman opens with "OldBrooklyn", alternating between traditional bluegrass forms and bouts ofmessy, improvisational noise. Some Celtic flavoring gets added into the mix.The picking is incredible, but the manic-aggressive tendencies of the breakdownsmay put off some listeners. "Pretty Little Gal" is a hot littleinstrumental that burns bright, and sets stage for the deeply nuanced andintriguing "The World Will Provide". Ricky Skaggs sits on as guestvocalist, offering a fluid guide to offset Statman's edgy and unusualinstrumentation. The result is a gorgeous and haunting piece with asurprisingly crisp backbone.

Statman explores the delta wherejazz and Middle Eastern styles meet on "Totally Steaming", aninteresting musical backwater that allows his ensemble to show off theirtalents. "Zhok Mahoney" keeps the Mediterranean flavor but is morefree-form in nature. Statman's progressive tendencies get the better of himhere, however, as he tries to do too much at times to fill up space. "EitanAnd Zaidy" blends 1970's rock, bluegrass, funk and jazz into an intriguingmusical hybrid. The musicianship is excellent throughout, and music theoryfanatics will have fun pulling this one apart.

Statman kicks back with a blend ofback porch jazz and R&B perfect for a lazy summer afternoon in "SinceI Met You Baby". There's an unrefined sound here that's not quite as messyas it might first sound. Brooklyn goes country on "A Brighter Day", amischievous little waltz that's easy going and fun. "Life Cycles" isan introspective and pretty solo piece for clarinet that is a must-hear.Sometimes just a solo voice or instrumental can tell the whole story, with apanache that the largest orchestra just can't touch. This is one of thoseperformances.

The slow country waltz comes aroundagain on "Bourbon In Jackson Hole", but Statman is ready to shake offthe mood and get down to some good, old-fashioned rock and roll. This happenson the wonderful "A Boppin' Crib", which finds Statman and his bandweaving together a mix of R&B, jazz and early rock in subtle measure. Thesong is fun and danceable, and will refuse to get itself out of your brain.Things get tricky on "Waltz For Mom". Guest Bruce Molsky and Statmanare true to the title, facing off two fiddles on the bifurcated melody line,but there's an Irish jig dancing around inside screaming to come out.

Bela Fleck makes an appearance,lending his prodigious banjo to "Shabbos Nigun". "Mah Yedidus(How Beloved Is Your Rest)", however, features some of the finest instrumentalwork of the album. That lazy afternoon feel returns on "Blues In 3",a song with great sound and little ambition; and a great listen. Molsky returnsfor another fiddle faceoff on "Uncle Mo", a catchy and danceable reelyou simply cannot ignore. Statman closes with "Long Journey Home", anamped up acoustic instrumental that blows the roof off and leaves no doubtersbehind.

Andy Statman is consistentlyinconsistent on Old Brooklyn, refusing to be hemmed in by considerationsof genre or style. The result is an eminently pleasing and entertain gin listenthat should garner some real attention from critics and on year-end lists.Statman's sound is varied enough to work against him from a commercialperspective, but placement on a soundtrack or popular compilation would explodeStatman into much wider recognition. Statman certainly deserves the exposure.Even with a few bumps, Old Brooklyn still stands to be one of the finestefforts in Americana and World music of the year.

Rating: 4.5 Stars (Out of 5)

Learn more about Andy Statman at www.andystatman.org.

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

2011-12-03T07:11:00.001-05:00

Ashley Brooke Toussant - Sweetheart
2011, Ashley Brooke Toussant

Kent, Ohio's Ashley Brooke Toussant is a modern singer/songwriter with a deep love and respect for old-time sounds and genres. Moving to Chicago and back over the last few years, Toussant has continued to explore his musical gifts while amassing a number of songs. These creations come to life on Sweetheart, the follow-up to the 2008 EP, All Songs In English. This time out, Toussant's work has more of a country feel, but the singer/songwriter pastiche has not been forgotten.

Toussant has an unusual voice; almost a bit uncomfortable at first, but she grows on you. Imagine Jewel with Dolly Parton's vibrato and you're getting close. Distinctive enough to stick with you, and after an initial adjustment, really quite appealing. The songwriting on Sweetheart is anything but uneven; in fact, it's perhaps too consistent to really maintain listeners' attention. Toussant starts off well on the title track. "Sweetheart" shows Toussant's voice at its sweetest and most supple in a folksy country number reminiscent of early Jewel. "Without Feathers" is full of unusual and striking imagery, promising, perhaps, great an unusual things to come. Unfortunately, the suggested greatness never quite materializes.

Toussant settles in for a consistent run through songs full of love and melancholy, all played against the backdrop of country-ized folk/pop arrangements. The songs are solidly written and performed, but there's a general lack of dynamic here that's suggested by the two opening tracks. Toussant may remind listeners more of Cowboy Junkies during their popular phase; boxed into a sound that is appealing on some level, but suffers from a lack of contrast, and thereby losing the subtle nuance and detail for lack of aural backlighting. Toussant does surprise us in the end with a well-thought cover of Henry Mancini's "The Sweetheart Tree", but unfortunately some listeners may have tuned out by then.

Ashley Brooke Toussant is a talented singer/songwriter with a distinctive sound. In spite of the initial displacement at her sound, Toussant's inherent sweetness of sound will draw you in. Sweetheart is well-intended, but the lack of real stylistic or sonic variation, outside of the first two tracks, dooms the album to background listening. It's a shame, because Toussant and her band employ intriguing imagery in her lyrics, and some wonderfully subtle, reverb-washed instrumental work in support. But the lack of dynamic variation may cause these subtle details to become lost in the wash.

Rating: 2.5 Stars (Out of 5)

Learn more about Ashley Brooke Toussant at www.ashleybrooketoussant.com or ashleybrooketoussant.bandcamp.com.

Fallon Cush - Fallon Cush

2011-12-02T07:21:00.001-05:00

Fallon Cush - Fallon Cush

2011, Fallon Cush

Fallon Cush was born almost inspite of front man Steve Smith's stubborn individualism. Smith, a twenty-plusyear veteran of the Australian Indie scene, went into the studio to record witha group of long-time friends and collaborators including Scott Alpin (keys);Josh Schubeth (drums); Bill Gibson (bass); Matt Galvin (guitar) and BertThompson (drums). The songs had never been heard before; really just roughoutlines of melody, lyrics and guitar. What started out as a recording sessionturned into a Kafka-esque transformation, and before long a new band, FallonCush, was born. Smith has long had an almost preternatural fear of bands,stepping away from Catherine Wheel before they could sign with a major label ashe feared they had reached their creative peak. But even Smith knows betterthan to walk away from the siren song of The Muse. The band's debut album, alsocalled Fallon Cush, was released this summer.

One of the advantages of thecreative process used by Fallon Cush is the loose, organic sound that oftenresults. Fallon Cush captures this aura in a catchy Americana-style medium,evident from the opening notes of the first track, "Tiny Town". Thesong has a solid, commercial sound with distinctive pop sensibility and akiller chorus. "The Trouble With A Moonlit Night" features plussongwriting and an affably informal style. The melody here drives the song,with sonically appealing rough edges ala early Badfinger or Beatles recordings.Fallon Cush impresses with the simple force of songs such as "Kiss YouAwake" and "Disintegrate", and the sweet melodies of"Sleeping Giant" and "Dog Day Afternoon". Perhaps thehighlight of the album is "The Great Divide", a catchy, messy andloose tune that's as close to a live-to-tape experience as you'll find. FallonCrush closes with the solid sensibility of "Postcard", a perfectbookend for an experience that might be fleeting but will last in memory.

Fallon Cush may not stand the testof time. There's no telling when Steve Smith might pull the plug, as he wouldconsider it dishonorable to continue any band beyond its creative peak. Butthere's a sort of low-level magic that thrums through the songs on FallonCush. Even in its quieter moments, Fallon Cush is filled with acreative energy and drive that's palpable. Smith's willingness to surrender thedevelopment of the songs on Fallon Cush to a group creative process hasraised his art a notch, while retaining the individualism he so fiercelyprides. By all accounts, Fallon Cush is an artistic success.

Rating: 3 Stars (Out of 5)

Learn more about Fallon Cush at www.falloncush.com or www.myspace.com/falloncush. Fallon Cush is available as a CD or Download from CDBaby.

Gregory Douglass - Lucid

2011-12-01T07:33:00.000-05:00

Gregory Douglass - Lucid
2011, Emote Records

Gregory Douglass defines the modernconcept of an Indie artist. The Burlington, Vermont singer/songwriter releasesalbums through his own record label, Emote Records. He's also maximized his fanbase over eight albums, with fans funding some or all of his last five albumsthrough pre-orders and donations. Douglass' 2008 album, Battler,inspired by a particularly dark season of HBO's Six Feet Under, was acollaborative effort. Douglass worked with Righteous Babe Records' AnaisMitchell and singer extraordinaire Grace Potter to craft an album that resultedin universal acclaim. The album spawned a video for "Hang Around"that charted for six consecutive months on LOGO TV's Click List Top 10Video Countdown, and appearances with artists such as Jason Mraz, ReginaSpektor, Margaret Cho and Melissa Ferrick. Gregory Douglass' latest album, Lucid,is a much more personal affair. Long a fan of dream interpretation, Douglassdecided to put his dreams to music. But this time out Douglas worked with AbletonLive, creating electronic layers and depth around his compositions,resulting in his most sonically ambitious work to date.

Lucid opens with "The Night", a dark, dream-likesoliloquy that plays like a lullaby for those who cannot rest. It's anintriguing start, simultaneously soothing and subtly disturbing."Lucid" is a solid album track. This is the first time Douglassreally digs into his more electronic sound, and the song is compelling for thechoices he makes as he layers sound upon sound. Like most first steps, the songhas some rough edges, but Douglass' distinctive ear wins out in the end."White Out" blends soul, electro and rock in compelling fashion,although there is an overly recursive nature to the tune that asserts itself.

Douglass strips things down a bitfor "Naysayer", building on a simple arrangement in subtle fashion.This is the most sonically compelling piece on the album. Listeners will sitand wait for the big breakout that never comes, but Douglas continues to buildin small, almost imperceptible detail, fulfilling the social contract of thesong but always leaving you wanting a bit more. It's brilliant. Lucidfalls into a bit of a rut in the middle, recovering on the intriguingmelody of "Raven”. Douglass creates tremendous movement in the melodyline, buttressing it with the dark timbres and shading of the starkarrangement. This musical climax winds down slowly through two additionaltracks, "One True Thing" and "From Now On", both musicalaperitifs that slowly draw the album to a close.

Gregory Douglass brings hisintriguing voice to bear against the stark backdrop of dreams on Lucid.The result is downright compelling at times. Douglass creates musical intriguewith a newfound love of electronic layering, but this is a double-edged swordat times, as it also fills in the nuance of his songwriting at times, levelingthe sonic landscape and creating a sense of continuity that is, at timesoppressive. Like many experiments, Lucid has its moments of grandeur andglitz, as well as moments soon forgotten, but the album marks the continuedevolution of Douglass as an artist. There's little doubt that Douglass learnedas much from this project as listeners will from listening, and will continueto build on those lessons as he moves forward. For now, Lucid, remains acompelling experiment from a prodigious artist; one very much worth exploring.

Rating: 3.5 Stars (Out of 5)

Learn more about Gregory Douglass atwww.gregorydouglass.com or www.myspace.com/gregorydouglass.

The 23 String Band - Catch 23

2011-11-30T07:12:00.000-05:00

The 23 String Band - Catch 23
2011, The 23 String Band

Eastern Kentucky is the home base ofThe 23 String Band, an acoustic quintet consisting of Chris Shouse (guitar,lead vocals); Curtis Wilson (banjo, vocals); David Howard (mandolin, vocals);Scott Moore (fiddle, vocals) and T. Martin Stam (bass, vocals). In spite oftheir acoustic approach, the band brings electric energy to modern songs withtraditional bluegrass stylings. A live set from The 23 String Band could easilyfollow a traditional bluegrass tune with a Beastie Boys cover; theunpredictable nature of the band has earned them a significant following in ashort time. And their "original hillbilly music" has earned them therespect of bluegrass fans both modern and traditional. The band released Catch23 earlier this year. The only surprise here is that they haven't receivedwider acclaim.

Catch 23 opens with "Fat Frankie", the frenetic tale of asmall time drug dealer. The dark and urgent modern bluegrass arrangement iscompelling, and The 23 String Band has created a classic story song. The violinwork of Scott Moore is particularly amazing. "Long Hot Summer Days"features solid, deliberate pick work. Shouse gets soulful on the lead vocal,and there's a distinct blues feel blended into the bluegrass arrangement."Catch 23" is a dynamic instrumental that breaks out into a jazzifiedbreakdown. Once again, fiddler Scott Moore is a standout. The band is forwardand fun on "Leave Everything To Me", an amusing little love song witha memorable melody.

"Listen To Her Heart" is asoliloquy sung to a romantic interloper; an attempt to hold on to the one heloves. The arrangement here is pure gold, with tremendous instrumentalinterplay and absolutely gorgeous vocal harmonies intertwining throughout. The23 String Band goes old school on "Bees Knees", getting back to deepbluegrass roots so completely you'll think you're in a time warp. "HeyPretty Mama" is a tongue-in-cheek come-on song that's fun andentertaining. It's followed by the vibrant instrumental clinic of "DeerTick". It's the barrelhouse for "Raleigh & Spencer", aprohibition era fiddle tune that's relentlessly entertaining. The band getsreal props for their original read on "Cripple Creek", in a renditionthat's vaguely reminiscent of the Grateful Dead's version, but has a more lyricfeel.

The 23 String Band are a marketer'sdream. Riding the high energy of youth, this finely tuned musical machineapproaches traditional bluegrass with great reverence, but can also kick outthe jams and update their sound to the minute. With the rise of Americana musicas an over-arching pop form, it's a matter of time before a band from its ranksbreaks out into pop-culture stardom. That band could easily be The 23 StringBand, and Catch 23 could be just the vehicle to take them there.

Rating: 4.5 Stars (Out of 5)

Learn more about The 23 String Bandat www.the23stringband.com or www.facebook.com/the23stringband.

Yael Meyer - Everything Will Be Alright

2011-11-23T05:00:00.003-05:00

Yael Meyer - Everything Will Be Alright
2011, KLI Records

Santiago de Chile native Yael Meyer was drawn to music at a young age. She began studying at a classical conservatory at the age of 5, and at 18, Meyer set her sights on Boston and the Berklee College of Music. Unlike to many of her contemporaries, Meyer has always seemed to understand that the space between the notes is as important to melody and composition as the notes themselves. Meyer writes songs blending a level of complexity and subtle finesse that’s rare in modern music. Meyer recently released Everything Will Be Alight, a sometimes brilliant collection of brilliantly understated songs.

Everything Will Be Alright is as optimistic as its name. Yael Meyer has a sweet and light quality to her voice that makes it difficult not to play along. Kicking things off with "Fire", Meyer strikes a catchy, simple pop pose. It's a solid start, catchy but subtly so. "Backbone" is a love song sung with the cadence and feel of a lullaby. The all-electronic arrangement casts an ethereal cloud on which Meyer's voice simply floats, the perfect fit for the moment. "Used To Be" is a catchy and upbeat song about change and regret. The tempo and energy suggest bright intentions, but there's a quiet melancholy laced through the song that can catch you by surprise. Meyer keeps the vibe going with the soul-searcher "I Wonder How". Exploring her own inability to give her heart completely, Meyer grabs a particularly vulnerable moment, steeped in gentle neurosis, that's remarkably sweet and real.

"I Wonder How" marks the album's apex. The rest of the way it's slow and steady pop for Meyer. Songs that are pleasing in a background-music fashion but don't really grab your attention. It's as if Meyer wrote two EPs: a 5-song number with some very solid songwriting and endearing performances, and a 6-song albumette with gentle story songs that would probably play better in a house-concert or coffee shop than in the studio.

Yael Meyer spends much of Everything Will Be Alright exploring self-doubt and dysfunction as it pertains to love and relationships. Featuring supple, and occasionally overly-subtle songwriting, Meyer makes a quiet mark on each listener. At her best, Meyer's almost-shy presence is quietly engaging. Other times she fades into the background like an eternal wall-flower. There is power in this approach, but Meyer front-loads the best material on Everything Will Be Alright, giving listeners an all-or-nothing experience rather than the gentle up-and-down that so mirrors life. So if the album misses the mark, it's more a matter of song ordering than of songwriting or performance. Meyer has the fundamentals in place, and seems to know her sound and limitations well. This is a very good effort that's mildly flawed by decision making, but not fatally wounded.

Rating: 3 Stars (Out of 5)

Learn more about Yael Meyer at www.yaelmeyermusic.com or www.myspace.com/yaelmeyer.

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The Good Intentions - Someone Else's Time

2011-11-22T05:00:00.000-05:00

The Good Intentions - Someone Else'sTime

2011, Boronda Records

Liverpool trio The Good Intentionsare born of the blend of folk, Americana and bluegrass. Husband and wife teamR. Peter Davies and Gabrielle Monk are joined by longtime friend FrancescoRoskell, blending their instruments and voices with the help of friends fromboth Nashville and Los Angeles on their latest album, Someone Else's Time.

The album is a solid, lovely listenfrom start to finish. The interplay of instruments and voices on Someone Else's Time is truly worth tuning in for, yet the album is so subtlycrafted and well-blended that those who do not listen carefully will let itpass as pleasant background and nothing more. Opening with melancholy"Gone So Long", The Good Intentions paint subtle pictures with abroad musical brush. This approach continues unabated throughout the album.It's difficult to point out true highlights on the album, as the sound,approach and quality are utterly consistent throughout. The swaying feel of"Everybody Loves A Drinking Man" is notable, but otherwise you need toreally dig into the consistently excellent musicianship and gloriously blendedvoices of The Good Intentions.

Well-written, well-played andsonically appealing, Someone Else's Time actually suffers from its ownconsistency. This is the perfect example of an album that is excellent in allaspects, but likely to be passed over by most listeners because it is what itis very quietly. If you have the time to spare to repeated careful listens, SomeoneElse's Time will bear significant rewards. Unfortunately the utter lack offlash, or even the up and down banter of The Good Intentions live performances,likely doom a really fine album to relative anonymity. And that's a shame.

Rating: 4 Stars (Out of 5)

Learn more about The Good Intentionsat www.thegoodintentions.co.ukor www.myspace.com/thegoodintentionsmyspace.

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Laura DiStasi - Laura DiStasi [EP]

2011-11-21T05:00:00.001-05:00

Laura DiStasi - Laura DiStasi [EP]
2011, Laura DiStasi

Laura DiStasi is a songwriter ofsubstance; the sort who makes an impression that stays with you long term. Born of southern New Jersey and now callingNew York City home, DiStasi captures the urban landscape in song, both in the hardshipof a granite city and the loneliness of the many walls. Her third EP, Laura DiStasi, digs at the wounds of a life spent living so closeto so many and yet so far away, ultimately closing on a moment of beauty withinthe madness.

DiStasi opens with "Colors AndShapes", an intriguing comparison between anonymity in a large city and ina relationship. It's all about getting lost in something that distracts youfrom what you want or need to do. DiStasi shows a distinctive lyrical subtletymarried to a solid, melancholy pop arrangement. "Humming Along" is arun-on rumination on a relationship in a rut. DiStasi shares this internaldialogue in song, displaying conflicting senses of frustration and desire. Thelush, folk/pop setting is the ideal complement. "Go On" is meanderingand melancholy, a reproach of a partner who simply won't commit. DiStasi cyclesthrough disenchantment, monotony, realization that things won't change, andultimately separation. The incessant nature of the song overmatches the messagehowever, as pacing and intentions struggle to match one another. DiStasi closeswith "Covered In Snow", a musical water-color exploring the illusionof rebirth at the first snowfall of the year. DiStasi celebrates the sense thatthings might be better, even while not letting go of the reality of before.

Laura DiStasi proves to be the realdeal on her self-titled, debut EP. With a gorgeous, dulcet voice, and a lyricalrefinement that's both intelligent and elegant, DiStasi crafts highly personalstories that are colorful and universally accessible. DiStasi does struggle abit with the pacing on one track, but otherwise delivers consistentlywell-written songs, and performances full of presence and personality. Get toknow Laura DiStasi. You're going to be hearing a lot more from her.

Rating: 4 Stars (Out of 5)

Learn more about Laura DiStasi at www.lauradistasi.com or www.myspace.com/lauradistasi.

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Alpine White - The Hale E.P.

2011-11-20T05:00:00.000-05:00

Alpine White - The Hale EP

2011, Alpine White

San Francisco rock quartet AlpineWhite is born of the road. First generation German immigrants Colin (leadvocals, guitar, piano, drums) and Ian Denker (bass, vocals) formed the core ofAlpine White, and were joined by friends Ivan Wence (guitar, vocals) and JavierBenavides (drums, percussion) in April, 2011. Songwriter Colin Denker strivesto capture feelings in song, nearly eschewing traditional storytelling stylesfor the colors and nuance of emotion. Alpine White's debut EP, The Hale,is clear evidence of this mission.

Alpine White opens with "WhenShe Gets Home", a nice bit of low-key pop/rock songwriting. Ultimatelytuneful and driven with a solid chorus, The Hale EP gets off to asolid start. It does become evident; however, that Alpine White never reallycame to a solid conclusion to the song. The sudden cut-off chosen hear isjarring and essentially destroys the mood of the song. Alpine White strugglesto capture the same energy and panache and the three remaining songs. "TheEvidence", "Days And Nights" and "All The Weight" areunfocused musically, and never really establish premise nor presence.

Alpine White has something, althoughit's hard to define what exactly that is on The Hale EP. Colin Denker'smiddle-of-the-road pop/rock voice is solid and engaging, but doesn't reallystand out in the crowd. Likewise, the musicianship is solid, but never reallysteps out of the safe zone on the four tracks presented here. There is acharisma that runs through The Hale EP, however, that is hard to ignore.It will keep you engage in spite of a sound that reflects a band that's stilltrying to figure out who they are. It's much too early to define Alpine White,and honestly, it was probably a bit early for an EP. A little time on the roadtogether to let the dynamic of the full band set in would season the sound andapproach. It will be interesting to see what Alpine White puts out next.

Rating: 2 Stars (Out of 5)

Learn more about Alpine White at www.alpinewhiteband.com or www.myspace.com/alpinewhite. Alpine White's website indicated The Hale E.P. will be available on November 1, 2011, but the EP appears to not yet have been released. Keep chcking their website for more information.

Gina Sicilia - Can't Control Myself

2011-11-19T05:00:00.004-05:00

Gina Sicilia - Can't Control Myself
2011, Swingnation Records/Vizztone

Philadelphiasinger/songwriter Gina Sicilia has been making waves in Blues, R&B, rockand country now for four years. The25-year-old has already been nominated for a “Best New Artist Debut” at theBlue Music Awards in Memphis, Tennessee. Sicilia recently released her third album, Can’t Control Myself, showing off her distinctive voice, and ablend of original songs and classic covers.

Sicilia kicks things off with"Addicted", showing off an impressive, deep and smooth alto voice.There's a lot of sound to hang onto here, even if Sicilia sticks to a verycompact range. A more soulful sound works its way into "Crazy Bout YouBaby", and Sicilia works the song through with good energy. There'ssomething missing here, though. Sicilia sounds great, and no one can say shedoesn't put herself into the performance, but for someone whose songs are sosteeped in the blues; you never quite get the sense that Sicilia feels thatfundamental fatalism that underlies the genre. Much the same impression is wonby "Members Only" -- once again Sicilia sounds wonderful, but shedoesn't sell the soul of the song the way she might.

"Before The Night IsThrough" is a great vehicle for Sicilia's voice, and might just be thebest pure vocal performance of the album. "Can't Control Myself"plays in the same territory. Sicilia plays the relentless, heavy cadence of thesong well, although this is perhaps a bit overdone in the end. Listenersfinally get to hear a different dimension of Gina Sicilia on the closing track,"Once In A While". Sicilia opens up voice, showing off some wonderfultimbres in her upper range. The distinctly country feel of the song also is anice change of pace, and fitting for where Sicilia lives musically. This is themost nuanced performance of the album, and bodes well for the future.

Gina Sicilia impresses on Can'tControl Myself. She's got a knockout voice, and a bit more range than youmight think after listening to most of the album. Her more blues and soul basedperformances have an almost academic air at times, seemingly separated from thedeep emotions that underwrite the respective genres, but Sicilia wraps hervoice around you in waves and suddenly it doesn't seem to matter quite so much.The country turn at the end of the album is a great sidebar, and shows off aslice of Sicilia's voice that might be even more intriguing than the big soundshe practices on much of Can't Control Myself. Sicilia has a real futurewith her voice, and while this is a great start, she might have a bit ofsoul-searching to do on her sound. She's definitely one to watch.

Rating: 3 Stars (Out of 5)

Learn more about Gina Sicilia at www.ginasicilia.com or www.myspace.com/ginasicilia.

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Arty Hill And The Long Gone Daddys - Another Lost Highway

2011-11-18T06:45:00.003-05:00

Arty Hill And The Long Gone Daddys -Another Lost Highway
2011, Arty Hill

Arty Hill is well-known insongwriting circles, with songs of his recorded by the likes of Jason & TheScorchers, the Kenny and Amanda Smith Band, Marti Brom and the Sapphires, butHill is a pure performer as well. Drawing crowds from his home base inBaltimore to Austin, Texas, Hill takes honky-tonk country to a new level. Thistranscendence is abundantly clear on the latest effort from Arty Hill And TheLong Gone Daddys, Another Lost Highway.

Another Lost Highway soars, and the reason becomes apparent in the opening track.Hill explores the pure joy of music in "Roll Me A Song", blendingrockabilly, blues and the sort of exuberant pick work usually reserved forbluegrass circles. "Roll Me A Song" isn't just a song, but a missionstatement that describes what is to come. "Mae Dawn" is a love songto a call girl, full of the hope and tragedy that seems like it should becliché but somehow is not. Hill recounts time in detox in "OmahaICU", wrapping a nifty arrangement around a harsh subject painted insubtle undertones. Hill gets back to a love of music on "King Of ThatThing", an ode to a pedal steel man. The six-string guitar work here is sosubtle and refined you'd think that Hill was channeling Chet Atkins.

"Another Lost Highway" isa classic-style country trucker's lament. Hill has constructed a wonderfulmelody here, and a joyously feckless violin dances and fills thecounter-melody. Rock and country blend on "Big Drops Of Trouble",featuring, once again, some seriously notable guitar work. Hill puts onsomething of a clinic here, and the guitar players out there will be dissectingthe song for hours. Hill actively works to nullify heartbreak on "12 Pack Morning",in a classic bit of country pique, before moving into "HalfwayHouse". This is a great tune that bears the essence of Johnny Cash. Anentertaining number, Hill again reminds listener of how good he is with asix-string in his hand.

"Breaking-Up Party" is asolid bit if blue country with a healthy dose of optimism woven inside.

Infidelity is the subject of "Victoria's Secret Is Safe With Me", asolid story song that's perhaps a bit trite, but nonetheless entertaining."Blackwater Wildlife" is a danceable honky-tonk party that breaks outinto fits of raucous rockabilly. You won't be able to get this one out of yourhead. Another Lost Highway closes with "The Last Time I'll Ever GoAway", a sad tale about a travelling man who gains the road but loses hisfamily in the process. When push comes to shove, he realizes that what he'slosing isn't worth what he's gained, and in an unlikely turn in country music,he gets a second chance. This positive lift at the end is perfect closure foran album that turns expectations on their heads.

Arty Hill And The Long Gone Daddyshit new heights on Another Lost Highway. Rather than an apex, however,the album suggests a band continuing to rise. Hill is a masterful songwriterand storyteller, and he is surrounded by first class musicians. Another LostHighway was checked along the way by illness, death of a band member andarguments with Hill's former record label, but you'd never know it from the endproduct. Another Lost Highway is utterly brilliant.

Rating: 5 Stars (Out of 5)

Learn more about Arty Hill at www.artyhill.com.

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Grant Atlantic - Constellations

2011-11-17T07:15:00.001-05:00

Grand Atlantic - Constellations
2011, Grand Atlantic

Brisbane, Australia rockers GrandAtlantic have big ideas. Taking their name from The Grand Atlantic Hotel, GrandAtlantic evokes thoughts of the psychedelia and shoe gaze blended in a DavidBowie meets The Dandy Warhols pastiche. All of this is rooted in a distinctmelodicism born of influences such as The Beatles, Ray Davies and Brian Wilson.After playing SXSW and Canadian Music week in 2010, Grand Atlantic touredacross North America and released the album How We Survive. The reactionfrom commercial radio was positive, with more than 50 stations picking up GrandAtlantic. The band struck gold when featured on Gossip Girl.

Thankful for the exposure, but notwanting to lose track of their creative purpose, Grand Atlantic returned homeand undertook the writing/recording of a new album, the recently released Constellations.Recorded at the Seacliff Lunatic Asylum, an abandoned psychiatric hospital nearDunedin, New Zealand, Constellations has a sparse, psychedelic castthat's attention grabbing.

Constellations kicks off with "Carved From Stone", featuring awall-of-sound fullness that washes over the listener. Behind this is a somewhatbland core, but the song is an effective first impression with which to open."Control Station Blues" is an intriguing juxtaposition of styles.Imagine mid-career, techno pop U2 trying to achieve the same feel as a garageband. After numerous listens it's still not entirely clear if this mix"works", but the attempt is so compelling, and the song is driven bysuch a bitter energy it stays with you. "Searchlights" is aslow-grinding monster, shoe-gaze power-pop that pulls you along in itsrelentless wake.

This general mood of slow andinexorable music progress plays out over several tracks, including"Constellations", "Mountains Too Steep" and "Poison ToThe Vine". Grand Atlantic finally breaks out on the high-energy"Fresh Ideas In Home Security", bringing a chutzpah and charisma tomatch the big sound they convey. Things slowly settle through "Voyager"and "No Man's Land", ultimately subsiding in the dispassionate"Queenie."

Grand Atlantic struggles to matchbig sounds, big ideas and sufficient energy on Constellations. Loadedwith talent and good intentions, Grand Atlantic seems to shoot for the stars onevery track. An admirable goal, but sometimes a softer approach can serve tohighlight the true highs.

Constellations shows the outline of the sort of band Grand Atlantic willeventually become; with flashes of greatness visible in the clouds. As theydevelop their own path further, they'll fill in the gaps that become apparenton Constellations. In the mean time, this is a great effort, even if theband's energy and enthusiasm are ill-managed at times. A good producer whounderstands and will work with the band's vision, but also can manage theircollective vision and energies into a narrower focus would transform an albumwith great potential into a great album. That is the ultimate moral of Constellations.

Rating: 3 Stars (Out of 5)

Learn more about Grand Atlantic at www.grandatlantic.org or www.myspace.com/grandatlantic.

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Abbie Barrett & The Last Date - The Triples: Volume 1

2011-11-16T03:30:00.000-05:00

Abbie Barrett & The Last Date -The Triples: Volume 1
2011, Beige Bomber Records

Abbie Barrett grew up in New YorkCity attending private schools. A professional career and upward mobility werethe clear goal. Even through college, Barrett was on target. But once free fromformal education, Barrett jumped around from town to town anything but.Eventually landing in Somerville, Massachusetts, she first picked up a guitarand began writing down the songs that kept running through her head. This was awatershed moment, both a continuation of her rebellion against the expectationsshe was raised with, and an embrace of the person she would become. Drawing oninfluences as disparate as Pink Floyd, Radiohead, Neil Young and Aimee Mann,Barrett continues to write songs about underdogs, unsung heroes and rebels.Along with her band, The Last Date, Barrett recently released the first in aseries of EPs called The Triples.

The Triples, Volume 1 opens with "Here To Stay", a low-key, but highenergy rock n roll fight song that's part Chrissie Hynde and part SaraBareilles. Featuring a memorable chorus, the song shows off Barrett's distinctvoice, which is distinctly beautiful but contains a formidable toughness that'snot to be ignored. "On The Range" is a drearily ethereal spaghettiwestern in song. Barrett's voice and the vocal harmonies of her band help tocreate a distinctive sound that is both uplifting and haunting. The EP closeswith "Draw Me In", an elongated and smooth ballad that sounds likeHope Sandoval singing along to Pink Floyd. The ultimately sad feel of the songholds its own unique beauty, and avoids the neuroses that pervade "sadpop" music.

Abbie Barrett is a distinctive voicein Indie Pop music. Together with The Last Date, Barrett has created threememorable and likeable songs that run the gamut stylistically. The Triples:Volume 1 is a wonderful introduction to an artist who shows a lot ofpromise. This EP will ensure that careful listeners are likely to be waitingfor the release of the other two volumes in the series.

Rating: 4 Stars (Out of 5)

Learn more about Abbie Barrett & The Last Date at www.abbiebarrett.comor www.myspace.com/abbiebarrett. The Triples, Volume 1 was scheduled for a November 8, 2011, but as of this review does not appear to have made it to market yet. Keep checking Barrett's website for release details.

Christine Salazar - On To Something

2011-11-15T07:22:00.002-05:00

ChristineSalazar - On To Something

2011,Christine Salazar Music

Christine Salazar is a bright lighton Puget Sound. The youngsinger/songwriter has been sharing her music around the sound since 2009, buthas been active in area bands since her high school days. Salazar’s warm alto voice delivers herpersonal and intelligent story songs with a depth that belies her youngyears. Salazar released her debut album,On To Something, over thesummer. The title is aptly chosen.

Salazar has a wonderful smooth,lyric alto voice. There's an interesting juxtaposition of warmth and distancein her sound; a classic singer/storyteller sound reminiscent of Shawn Colvin orDenise Culhane. Salazar gets things moving with "No Time ForWorrying", a pessimist's love song that's charming in its own innerdarkness. "Anyway" is a mature love song written from the perspectiveof one who understands she needs to let go to find the love she seeks. Theplaintive melody is lovely, and delivered with the quiet reserve that seemsSalazar's vocal trademark. Salazar lightens the mood a bit with "AlwaysWith You", a quietly uplifting number celebrating a perfect day. Salazarstruggles a bit with the high notes here, but otherwise delivers acharacteristically strong performance.

Salazar slips into a melancholy airfor "My Friends", "At Peace" and "On ToSomething", before coming alive on "Mirror World". The energy inthis last is very positive, even if the darkness never truly abates. Listenerswill hear more color and accents in Salazar's voice here than previously, withthe mild sonic revelation worth tuning in for. "Find Me Now" is asolid pop love song, imploring the right one to come along right away. Thesongwriting here is solid, and the straight-ahead pop arrangement features amild, funky flavor that is appealing. Salazar closes with the mild, blue jazzof "Tangled", a near-perfect venue for her silky-smooth voice.Salazar ends in particularly dark territory, mulling murder in the aftermath ofa failed love affair. The imagery here is chilling and evocative, the harshconcept blended in smooth sounds like hard burn of a smooth whiskey.

On To Something finds Christine Salazar poised on the precipice ofheartbreak. Even her lighter moments are often cast against the backdrop offatalistic intentions or moods. She nearly slips over the edge at the close,but holds on much as she has throughout the album; by her fingertips. On ToSomething is an intriguing experience, from the darkness of Salazar's songsto the vibrant warmth and quiet reserve of her voice. The songwriting is a bituneven at times, but shows real promise. Salazar will stay with you, and OnTo Something is certainly worth spending some time on.

Rating: 3.5 Stars (Out of 5)

Learn more about Christine Salazarat www.christinesalazarmusic.comor www.myspace.com/salazarguitar.

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Video: Sheri Miller - Spoons

2011-11-11T06:00:00.000-05:00

Check out the new video from Sheri Miller, Spoons.

Learn more at www.sherimiller.com or www.myspace.com/sherimiller.

Video: Kate Miller-Heidke - The Tiger Inside Will Eat The Child

2011-11-09T06:44:00.002-05:00

Here's a great performance from Kate Miller-Heidke on Australian program Q&A.

Howie Newman - You Shoulda Been There

2011-11-09T06:38:00.000-05:00

Howie Newman - You Shoulda BeenThere
2011, Major League Records

Brooklyn-bornHowie Newman moved to Boston in 1968 to attend Northeastern University andnever looked back. His love of sports ledhim to nearly two decades as a sportswriter, and as a part time color analystfor the Lowell Spinners (Boston Red Sox minor league team.) Oh, and by the way, Newman is also one of themost engaging singer/songwriters on the New England folk circuit. His humorous and ultimate human observationalsongs put listeners at ease, and his live presence is as folksy and down homeas you could imagine. Newman recentlyreleased a new captured live EP, You Should Been There, a highlyentertaining 6-song cycle featuring Newman at his best.

You Shoulda Been There opens with "Products On TV", a cute and comicaltake on infomercial fare written before the advent of the remote control.Newman brings his usual charm in the live performance, although the recordingsetup leaves something to be desired. "My Baby Can't Parallel Park",a song Newman wrote for his wife, is full of pep and humor, and would have fitperfectly on the old Dr. Demento show. Done in a 1950's rock and roll style onacoustic guitar and harmonica, the song is highly entertaining and fun. Newmanturns to sweet reminiscence on "Our Kids Aren't Kids Anymore", aheartfelt ode to a father's love and how quickly the time you have with yourchildren fades. Newman does a stand-up cover of The Lovin' Spoonful's "DoYou Believe In Magic?” a solid rendition that's absolutely faithful to theoriginal. Newman immortalizes a late night road trip with his brother from 1970in "My Last Cup Of Coffee". It's a sweet and funny remembrance inclassic, folk singer/songwriter style. Newman's anecdotes are worth listening toas well, particularly the 'music consultation' (you'll have to listen to findout.) Newman closes with "That Old Car", a folk and rhythm and bluesode to the memories an old, rusted-out bucket can represent. What might seemcheesy in another's hands out plays as sweet and sentimental from Newman.

Howie Newman keeps things simple on YouShoulda Been There, letting the sweet authenticity of his songs speak foritself. While Newman's songwriting generally stays on the lighter side, there'sa palpable heart to his work that you simply can't ignore. You Shoulda BeenThere is highly entertaining. There will always be coffee house stageswaiting for performers like Howie Newman.

Rating: 3.5 Stars (Out of 5)

Learn more at www.howienewman.com or www.myspace.com/howienewman. If you’d like to purchase You Shoulda Been There on CD, you canget it directly from Newmanvia a PayPal payment, or from CDBaby. Digital links are below.

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Chris Cubeta And The Liars Club - Chris Cubeta And The Liars Club

2011-11-08T05:00:00.000-05:00

Chris Cubeta And The Liars Club -Chris Cubeta And The Liars Club
2011, Chris Cubeta

Chris Cubeta And The Liars Club ispractically a New York City institution. Not only have the Brooklyn-based roots-rock trio have played some of thehottest clubs in New York, they’ve also toured extensively in support ofartists such as The Wallflowers, Suzanne Vega, Will Hoge and others. This summer, the band released their thirdalbum, an eponymous, 11-song collection that is in the spirit of the band’spast work, but stretches the band’s musical boundaries more than just a littlebit.

The album sets sail with a briefintro, a sonic prologue to the first song, "All We Are". "All WeAre" is a striking Americana exploration of how we are lost in found innew cities, new experiences and new smiles. The catchy, active arrangementleads to a circular realization that nothing changes in spite of our attemptsto hide from who we are. "Truth Be Told" is a compelling and catchynumber full of dark need, from the mournfully energetic verses to thePolice-style breakdown at the end. The song is full of angular guitar work andscreams for you to listen closely and dig into the depths of its layeredsounds. Chris Cubeta And The Liars Club strip down the sound on "Approach",a straight-forward rocker with a quiet pop sensibility and relentless buildinto a chorus that gets stuck in your head. Cubeta's voice won't floor you, butis affably pleasant and easy to listen to throughout the album.

"Lana" opens with a catchyguitar-driven run, reminiscent of the Gin Blossoms (right down to Cubeta'svocals.) This song is a sure winner, a pop-inflected, Americana-flavored rockerthat you won't be able to get out of your skull. "Midnight" is aninteresting change of pace; an orchestrated, lush arrangement with an air thatcan only be described as optimistically melancholy. This quiet moment isabruptly upended when Cubeta launches into the urgent "I Need YouThere". The crunchy, sparse song construction provides the perfect edge,competing to complement and contrast to Cubeta's lyric rock voice.

Cubeta quietly explores the feelingsof sorry and abandonment of a relationship lost in "No Idea", tryingto explain to the one who wronged him what she's done. The lyrics are factualand representative without anger. The arrangement more than makes up for thelack, as Cubeta lays down blistering guitar runs and solos to accentuate everytempestuous spike of anger. "Apathy" is a solid album track,exploring the intricacies of an emotion more complex than it might first appearin a relentless arrangement. "I'm Sorry" has a laid-back, vaguelypsychedelic feel that comes across in the stripped-down, acoustic-ambientstructure. There's a pensive sorrow here that's almost more intellectual thanemotional, and plays itself equally in the arrangement and the vocal line.Cubeta winds things up by continuing the thoughts of "I'm Sorry" into"You Should Be Too", transitioning from acoustic to full-scaleelectric arrangement without giving up the essential flavor of the song. Thisswitch up is an intriguing way to say goodbye, a parting shot and words ofwisdom all rolled into one.

Chris Cubeta And The Liars Clubcraft dusty diamonds from mundane soil on their self-titled album, living inthe valley that exists between Americana and edgy rock and roll. Even with theoccasional ambient intervention, the pop sensibility that pervades this albumis irresistible. Cubeta's everyman voice is appealing, and he always plays itoff to best affect against arrangements that range from quiet ruminations tocrunchy, roots-based rockers. This is one of those albums that will get itshooks into you early, and keep getting better with time.

Rating: 4 Stars (Out of 5)

Learn more about www.chriscubeta.com or on Facebook.

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Carley Tanchon - Leave The Light On

2011-11-07T05:00:00.000-05:00

Carley Tanchon - Leave The Light On
2011, Carley Tanchon

New York-basedsinger/songwriter Carley Tanchon has made her success the old fashionedway. She’s earned it with relentlesstouring and hard work. The Cleveland,Ohio native has lived in Boston and Nashville, with a side-trip to Australia,but settled in NYC in 2010. For herlatest album, Leave The Light On,Tanchon enlisted the production and songwriting assistance of Felix McTeigue(Lucy Wainwright-Roche, Katharine McPhee, Madi Diaz, Anais Mitchell). The result is a mixed blessing, with Tanchonfinding a solid sound but getting too caught up in her own musical safety zone.

Leave The Light On opens with "Missing You", a regretful, down-tempopop ballad that finds Tanchon yearning for someone from the past. Tanchon has apleasant voice, although she sounds a bit breathy on the higher notes here."The Great Unknown" is an apologist, multi-level love song, writtenin a classic singer/songwriter style. Tanchon gives an intriguing vocalperformance here, and the emotional Diaspora that characterizes the song isamazingly clear. "I Guess I Know" is a soulful pop number, strippeddown and wide open in arrangement. Tanchon's voice inhabits the middle as if itwas born there, and the funky rhythm that underlies it all will get your toestapping.

After a strong start, Tanchonsettles into a comfortable zone that's aurally appealing but doesn't really standout, and stays there for much of the rest of the album. "Blues In C(Fearlessly)", is a minor exception, and the almost country strains of"Walk Away" are appealing. Tanchon is almost at albums end with"On The Road" before she breaks out of her rut with the almost peppy,yet absolutely catchy tune. Tanchon takes her leave with "Love Will",an optimistic love song that's solid enough, although once again Tanchonstruggles a bit with her tone when she ascends the scale.

Carley Tanchon gives fair effort on LeaveThe Light On, but gets too bogged down in a sense of musical complacencythat is likely to wear on the listener. Tanchon starts strong, but just cannotmaintain the momentum across the full album. Even in the lull the album suffersin the middle, Tanchon's voice is enjoyable as long as she doesn't try to gotoo far up the scale. This is a solid effort that is pleasing to the ear butnever really distinguishes itself from the pack of indie singer/songwriters.

Rating: 2.5 Stars (Out of 5)

Learn more at www.carleytanchon.com orwww.myspace.com/carleytanchon. Leave The Light On is available digitally via iTunes, or on hard copy directly from Carley Tanchon.

Bess Rogers - Out Of The Ocean

2011-11-06T06:46:00.000-05:00

Bess Rogers - Out Of The Ocean
2011, Bess Rogers

Some people write great melodies. Others craft lyrics that leave you breathless. There are even some in the music world who build arrangements that go beyond day-to-day to comprehension. Any one of these talents can make an artist a household name. Any two may well make them a legend. On her prior EP, Bess Rogers Presents: Bess Rogers, we found an artist who showed flashes of these types of brilliance. Fourteen months later, Rogers returns with Out Of The Ocean, making unbelievable strides as an artist, and transforming herself quickly from a singer/songwriter with big talent and tremendous potential into a maturing, brilliant artist you simply can’t ignore.

Rogers has built her reputation on several fronts. The Brooklyn-based multi-instrumentalist has been involved in numerous projects over the years, playing nearly every style of music imaginable. A few years back she was picked to be Ingrid Michaelson’s guitarist, and has earned a well-deserved reputation as a dynamic performer with a flair for the dramatic and the technical chops to back it all up. Rogers began building her name as a solo performer through her web presence and technical savvy, but it’s the music that speaks for Rogers.

Out Of The Ocean opens with "One Step Free", the song snippet that gives the album its name. Rogers makes an impressive start here, although it may leave you wishing she'd finished the song. "Standing Tall" opens with a plaintive verse that resolves into a beautiful, lush and lustrous pop chorus. Roger's voice is pure ear candy for those with rich musical tastes, and she bends and shapes the melody line here like a true artist. The song itself is one of safety and confidence in love - a nice change of pace from the glut of starry-eyed pop songs and anguish filled navel gazing ballads that fill up the airwaves. "Weak Link" is an anachronistic invitation from one who views her own imperfections as the perfect complement to the object of her desires better qualities. There's a romantic, tongue-in-cheek element here that's charming, and the full, active arrangement makes it a pop gem.

Rogers bemoans the relegation of romance and attraction to chemical processes on "Math And Science", yet indicates a continued willingness to play her part. Rogers draws you in here with a chorus that simply will not get out of your head. "Anchor" goes up-tempo, running along at a gallop while Rogers keeps pace with a flawless vocal line. The melody line here is brilliant, and once again, Rogers will stay in head for days. Don't be surprised if this is a break out hit. Rogers slows things down a bit with "In The Waves", a utopian invitation from a mermaid to a broken man that parallels immersion in water and falling in love with artful delicacy. Rogers creates a gorgeous sonic landscape here with layered voices and synth over a sparse arrangement. The song closes in haunting fashion, fading away into the depths.

Water And Dirt" is another wonderfully catchy pop/rock rumination on love. Rogers plays with the theme of elements, and the almost hopeless part we play in the human dramas of love throughout the album, but here she creates a bit of musical and lyrical magic that's impossible to ignore. "The Fittest" is another example of the sort of diluvian, edgy pop that Rogers is capable of creating. The arrangement is beautiful and lush, but with a backbone as hard as iron. Rogers rocks out on "I'll Be Gone", throwing down the gauntlet in a relationship where the sharing is no longer equal. This is done not in angry tones, but in a driven melody with honest lyrics that are more intelligently questing than spiteful. "Second Chance" is the most stripped-down and personal of the offerings on Out Of The Ocean, showing off Rogers' voice in a more open arrangement that reveals its simple beauty in broad daylight. Similarly, "Brick By Brick" sticks to an unfettered musical formula, whereby Rogers explores the minutiae of relationships in affecting and intelligent imagery. Rogers builds the intensity of the arrangement back to where she started in a conveyance of the building process, before falling back to the simple strains of a guitar string that fades as if leaving a story in progress.

Bess Rogers showed herself to be a special talent with her debut EP, Bess Rogers Presents: Bess Rogers, but Out Of The Ocean is light years ahead of first effort, showing a fast-maturing talent for melody, lyrics and song construction, all wrapped up in a voice that resonates in your mind. Rogers shares the love of lush arrangements apparent in the work of Sarah McLachlan, as well as the willful, independent narrative lyrics found in Aimee Mann's work. This all comes together in a fashion that is comfortingly familiar yet excitingly original. Very quietly, and without warning, Bess Rogers will knock your socks off. Out Of The Ocean is a Wildy’s World Certified Desert Island Disc, and figures to be featured heavily in year-end lists.

Rating: 5 Stars (Out of 5)

Learn more about Bess Rogers at www.bessrogers.com or www.myspace.com/bessrogers.

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Check out with current tour-mate Allison Weiss in the first episode of "Van Jams", below:

Bryan Johnson And Family - Brian Johnson And Family

2011-11-05T06:58:00.000-04:00

BryanJohnson And Family - Bryan Johnson And Family
2011, Bryan Johnson And Family

There’s a lot to be said for complexcreations in rock and roll. Theintellectual crossroads of music theory, the raw energy of rock and roll, andthe hubris to take an art form known for simple, recursive structure is anintriguing playground that can be wonderfully refreshing or disastrouslyawful. Then again, there’s also a timeto just let loose and have fun with the music. That’s what Buffalo, New York-based Bryan Johnson And Family doesbest. Their latest EP, The self-producedand self-released Bryan Johnson AndFamily, brings listeners back to the early days of rock and roll, when thebiggest problems were simple heartache, and what to wear to the party thisweekend.

BryanJohnson And Family opens with "Beaches", acatchy little rocker that will have your toes tapping and a smile on your face.Ironically, "Beaches" is a forlorn love song in pure 1950's rocktradition. The Lo-Fi recording style has a period-feel that works well,although the vocal discipline in both the lead and the backing vocals isquestionable, with pitch issues popping up throughout the song. "Cool YourJets" gets stuck in the monochromatic melody of the choruses, but resolveswell in the chorus. The song is catchy enough, but the chorus does wear a bit."Deck Party" is a solid filler track, set firmly in the roots of1950's rock. Bryan Johnson And Family overuses the catchy hook that is thebasis of the song, but in a style consistent with pop songs of the era."Doesn't Matter" has a wonderfully catchy chorus - radio worthy inalmost any era of rock n roll. The recording quality/production here leaves abit to be desired, but this has the potential to be a real hit. "GetOver" is a wonderfully is also virulent in nature. In spite of the sonicimperfections, Bryan Johnson And Family draws you in, and you're having funbefore you know it. "Not Having Fun" is a solid, brief number aboutrelationships and friends and the poor mixes they sometimes make. The songseems a bit out of place here, and is something of a discordant close to anotherwise consistent and enjoyable experience.

Bryan Johnson And Family brings acertain stripped-down charm to their self-titled EP, surfing the sounds andstyles of 1950's rock and roll with a subtly modern edge. The songwriting issolid throughout, and even the sometimes questionable pitch in the vocalsdoesn't seem out of character with the period sound. Bryan Johnson And Familydoes suffer somewhat from low-end production values, a choice both artistic andnecessity-driven from being an indie band with a very small budget, but theheart of rock and roll beats clearly in this deliciously rough hewn bit of earcandy.

Rating:3.5 Stars (Out of 5)

Learn more about Bryan Johnson AndFamily at www.myspace.com/wbwt or on Facebook. You can get a digital copy of Bryan Johnson And Family! Just message the band through Facebook fordetails!

Ten Year Vamp - Lust --- Win a signed copy!

2011-11-04T05:00:00.000-04:00

Ten Year Vamp – Lust
2011, Ten Year Vamp

Albany, New York rockers Ten YearVamp would appear to be on an inexorable rise. For an Indie band working outside of the major label framework, Ten YearVamp has been extremely successful at getting their music placed/licensed, andhas even managed to chart in Billboard magazine. The band itself is as tight as a wire, andlead vocalist Debbie Gabrione is the type of front woman who can captivate anaudience from the first note. The band’slast album, 2009’s Don’t Act Like YouKnow Me, received top billing on year end charts, and had several tracksvoted best song of 2009 across the Mediaverse. Ten Year Vamp returned recently with a five-track EP entitled Lust, exploring the human conditions oflove in lost in highly catchy modern rock arrangements.

Lust opens with "Got 2 Me", an amped up love songabout the power of love to turn her head. The high energy rocker is full ofhonest vulnerability meshed with toughness that's appealing in a 1980's PatBenatar style. "Thinking Of Me" keeps the temp and energy going witha catchy rocker that seems ripe for use in a edgy romantic comedy. Gabrione'svocals are superlative as always, and you simply won't be able to sit or standstill. Ten Year Vamp slows things down a bit for "No Risk", apassive, maudlin ballad that overstays its welcome. The song is well-played,and the vocals are excellent, but the song seems sorely out of place here.Gabrione and company rev it up again with "Making Me Want You", aferal rocker full of love and lust. Amazing pop sensibility and fiery rocksound are perfect complements here. Ten Year Vamp wrap things up with"Don't Be Alone With Me", a solid rocker that fits in with thegeneral theme of the EP but doesn't have quite the same energy level.

Debbie Gabrione and Ten Year Vampare impressive as always. Her vocals are matched step-by-step by strong playfrom the rest of the band. Lust is an uneven experience, with Ten YearVamp running full throttle on three of the five songs presented here. Theslower moments don't reflect poorly on the band, but just don't seem to fitwell together with the other tracks.

Rating: 4 Stars (Out of 5)

Learn more at www.tenyearvamp.com or www.myspace.com/10yearvamp. Purchase information is below, but if you are one of the first ten people to email Ten Year Vamp at info@tenyearvamp.com, with a subject line of "FIRST TEN", you'll win a signed copy of Lust!

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Wise Words

2011-11-03T07:36:00.000-04:00

I recently came across this article published by Dave Huffman over at The Indie Launch Pad. It's all about the human connections one makes while working in the music business. Huffman is a great writer on the subject of small business and promotion, whether the business is brick and mortar, internet-based, or one person (or a group) touring the country in a van to play 45 minute sets in clubs and living rooms.

Huffman really gets back to the basic human element of doing business, in this case the music business. If you're trying to make a living off of your music, or any small business venture, I highly suggest his blog in general, and this article in particular.

Sharon Kenny - My Name Is Sharon

2011-11-03T05:00:00.000-04:00

Sharon Kenny - My Name Is Sharon
2011, Sharon Kenny

Sharon Kenny is a singer, songwriterand composer based in New York City who just seems to keep getting better withtime. The former Musical Director of Off-Broadway smash Tony N Tina’s Wedding is working on a new musical and has givenconcerts at the Kennedy Center, Joe’s Pub, The Gramercy Theater andFeinstein’s. My Name Is Sharon is the first of two EPs Kenny released in 2011,and displays her unique combination of intelligent and humorous lyrics withmelodies that just get stuck in your head.

Kenny opens with "My Name Is Sharon",tracking the course of a child who grows into a woman while learning all of thethings she isn't supposed to do. There's an intriguing, urgent air to th songthat's emphasized in Kenny's catchy, stream of conscious style. Kenny's levelof honesty in "Fallout Shelter" is stunning, as she dissects her owninner thoughts on self-sabotage in relationships. "Different Bodies"shares a similar sense of urgency. Kenny settles in for the long haul, offeringa series of songs full of thought, emotional analysis and humor."Oxytocin" is urgent, relentless and fun, while "Sterilize"explores the attempt to lose all traces of another in intriguing fashion.

"Restart" is an apologyand request to try again set to music. Kenny uses plaintive guitar, cello and alovely melody to couch the entreaty, one of the most moving songs on the album."Nerd Playa" is a blatant statement of feeling, brilliantly writtenand fun in the execution. Kenny is at her best when employing humor onotherwise serious subjects; her sense of mischief and fun shines through evenon CD. "Necessary Roughness" alto intrigues, paving the way for"Quiet Violence". Kenny acknowledges real violence, but points outthat silence in a relationship can be far more damaging than open hostility.Kenny closes somewhat weakly with "Granite", which plays more like anafterthought than an upright part of the album.

Sharon Kenny shows a surprising mixof wisdom and humor in the songwriting on My Name Is Sharon, blending itwith a musicality that's quirky and fun. Kenny lapses into her own comfortablegroove from time-to-time, but generally keeps the energy high and the moodentertaining on My Name Is Sharon. If Sharon Kenny has escaped yourattention before now, My Name Is Sharonis a worthwhile introduction.

Rating: 3 Stars (Out of 5)

Learn more at www.sharon-kenny.com or www.myspace.com/sharonkenny.

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Morgan Bracy - The End Of Cinderella

2011-11-02T07:00:00.004-04:00

Morgan Bracy - The End Of Cinderella
2011, Morgan Bracy

Morgan Bracy grew up in a small townin Tennessee, singing in church and writing songs from a young age. It wasn’t until she left home for MiddleTennessee State University that Bracy truly bloomed as an artist, however. Working with the group Broken Pottery, Bracyfound her own voice as a songwriter. Shereleased her debut album, Dirty Laundry,in 2007, and was introduced to producer John Merchant (Barbra Streisand, TheBee Gees, Celine Dion). Merchant likedwhat he heard, and wanted to help Bracy find the full potential of hersound. The two began working on thealbum The End Of Cinderella, a songcycle centering on tales of fairy tales gone awry. It is in this emotional wellspring whereBracy shines brightest, portraying each story and character as if it weresomehow her own.

"The End Of Cinderella" isa coming of age song; a heartbreaking realization that real life is not afairytale. Bracy's performance here is fully committed, and here powerful,sometimes tinny voice (ala Susanna Hoffs or Jess Klein) is compelling."She Believes" is a middle of the road pop/country number aboutdomestic violence, and how the belief in fairytales can keep someone in a badrelationship. Bracy concocts a solid melody and a memorable chorus here, in asong with moderate commercial appeal. "Silence" decries someone whois absent even when he is there. It's a self-realization that things aren'tgoing to change, wrapped up in an edgy pop arrangement that gets your toestapping. Bracy's lyrics flow like water, and her voice punches the melody linewith conviction.

"The Looking Glass"examines self worth and insecurity in a powerful, musically dense ballad thatwalks the line between pop and country in style and sound. Bracy continues toshow vocal power, but also shows a subtlety of phrasing that contrasts wellwith her pure force as a singer. Bracy's interpretation of Randy Newman's"When She Loved Me" (from Toy Story #?) is lovely and lush, full ofstrings and a wonderful counter-melody in the piano part. Bracy ventures intofull soprano range at one point in the song, and it sounds, at first, if thingsmight fall apart, but she holds it together and turns in a nice performance."When The Spell Is Broken" has a more soulful feel, with Bracy'ssoulful alto getting more exposure. The verses are solid, but the chorus isvery memorable - the type you don't shake right away.

"Real Life Fairytale" is abuoyant little love song with distinct pop sensibilities. When Bracy singsabout the quiet ecstasy of falling in love, it's as if she's experiencing itall right in the moment. This is a brilliant tune. "Between TheCovers" is about the anticipation of what is to come in life and thetransformation from looking ahead to living in the moment. Bracy closes with"Love, Believe In Me" is a song of longing from one who sees love allaround here but hasn't found it herself. The simple, guitar-based arrangementis simple and lovely, playing the perfect complement to Bracy’s voice and tothat of her vocal counterpart.

The End Of Cinderella is the musical portrait of an artist who deserves much moreexposure than she's gained to date. Bracy's songwriting is compact andpolished, but full of heart. She performs each song as if the ideas andemotions within are occurring at that very moment. If Bracy carries this kind of presence to thestage, then concert goers will never want her shows to end. Morgan Bracy is thereal deal, and The End Of Cinderellais an essential album

Rating: 4 Stars (Out of 5)

Learn more at www.morganbracy.com or www.myspace.com/morganbracy.

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Jason Waters - See This Through

2011-11-01T07:51:00.001-04:00

Jason Waters - See This Through [EP]
2011, Jason Waters

JasonWaters’ path as a songwriter has been shaped by everyone from the Beatles andBob Dylan to Coldplay and Ray LaMontagne. Emerging in the New York City singer/songwriter scene in 2005, Waterswrites and plays with a style that, if not entirely original, shows a greaterdepth than generally found on top-40 radio. Waters has gigged and recorded demos, but has never put out an officialrelease, until now. Waters venturesforth with his debut EP, See This Through,showing a 1980’s rock-inspired sound that has steeped in Americana.

Opening with "Late NightTelephone", Waters rocks out with a song of hopeful support. The

high-energy chorus is infectious,and the message is one to the heart. There's a definite 1980's aesthetic herethat quickly gives way to the Americana rock of "Darkness Of TheDay". Waters' easy vocal style is reminiscent of Tom Petty or laterSpringsteen, though his voice is his own. Waters shows off a bit more of his1980's guitar rock muscle on "Ready To Fly", a solid, upbeat rockthat's pleasing to the ear. Digging into the emotional depths, Waters finds"Honey Lips", a mid-tempo singer/songwriter style story-song. Thismild tale is a solid album track, and leads into the philosophical love song"When I See This Through". The energy here runs a bit low, as Watersdwells in an almost non-committal melancholy that's partly convincing.

Jason Waters starts off strong on SeeThis Through, and settles into a comfortable musical style that standsneither out nor down. There's a bit of Jakob Dylan in Waters' deep reflectionsand blend of straight-up America and, occasionally, 1980's rock. See ThisThrough doesn't maintain the momentum that Waters sets sail with, but it'snot a bad first step into the world of music.

Rating: 3 Stars (Out of 5)

Learn more at www.jasonwatersexperience or www.myspace.com/jasonwatersexperience.

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Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.