Sound Selections

Here are thoughts on some of the cds that have passed through my player.

Will Hoge ~ Blackbird on a Lonely Wire

Will Hoge has learned his lessons well.  With a voice reminiscent of Elvis Costello and a stage presence recalling early Bruce Springsteen, it’s hard not to wish the best for Hoge.  Throw in a touch of the Byrds and Tom Petty and you’re covering most of the bases.  Blackbird on a Lonely Wire, Hoge’s long awaited new album channels the best of ‘em, but with enough freshness to stake his own claim to the mantle.

 Hoge has a knack for writing incredibly catchy melodies.  “Secondhand Heart” and “Better Off (Now That You’re Gone”), bounce along with a Byrds-ian flair.  Its hard not to crack a smile and imagine cruising the streets with these two songs blaring from the car speakers.

Need more influences?  Check out “Doesn’t Have to Be That Way” (Tom Petty) or “Someone Else’s Baby” (Bruce Springsteen).  On “All Night Long”, Hoge blasts through a riff that hearkens back to the MC5 and proves that he can challenge the Vines and Creed on the rock and roll front. 

Lyrically, Hoge focuses most of his attention on relationships – good and bad.  He tends to focus on sympathetic and humbled characters, such as in “Secondhand Heart”:  “Here it comes another lonely night I’m waking up in my clothes.  I know this place is poison but I’m coming back for a lethal dose.” 

So what’s the problem with this album?  Well, it’s the production.  Hoge’s 2001 independently released Carousel was refreshing with its light, airy production.  Now signed to Atlantic, he suffers from the major label heavy-handed production that weigh down his songs. 

Nonetheless, the quality of the songs and the honesty of the playing shine through, all but guaranteeing this album a spot on the list of the year's top releases.

For more info:  Will Hoge home page, with song samples mp3 files and live concert mp3 files.  

(Added 27 April 2003)                                                                                                                (Back to Top)

Jesse Malin ~ The Fine Art of Self Destruction

Having spent years playing in glam-punk band D Generation, The Fine Art of Self Destruction introduces Jesse Malin as a mature balladeer.  A fine introduction it is indeed, owing more to Neil Young’s Harvest than Iggy Pop’s Raw Power.

As a songwriter, Malin’s style bears a strong similarity to Paul Westerberg.  Both are extremely cynical, spinning sympathetic tales of loners and eccentrics.  Like Westerberg, Malin scratches under the surface to get at his character’s true feelings and emotions.  However, in Malin’s case he is reflecting on his own life and experiences. 

In “Downliner” Malin tries to understand a troubled relationship.  “That’s the way you know the story goes, between euphoria and the afterglow.”  Later, in “Brooklyn”, he speaks to a former lover, “You started out with nothing but lonely days, you used to like the sad songs of doom and gloom.”  The autobiographical “Almost Grown” describes a troubled childhood, “When you’re all alone, you’re almost grown.”  Each song packs an emotional punch that is filled with

Malin’s voice has a vulnerable and haunting quality that fits well with his songs.  However, the production by Ryan Adams achieves limited success.  Like too much of Adam’s own work, the album often carries the feel of a demo recording.  In Adam’s defense, the production does preserve some of the rough edges of Malin’s work.  However the instrumentation on a few tracks is sloppy and inconsistent.

Despite the production, The Fine Art of Self Destruction is a solid release that shines with honesty and character.

For more info:  Jesse Malin home page, with song samples and unreleased mp3 files (including a cover of Springsteen's "Hungry Heart").  

(Added 27 April 2003)                                                                                                                (Back to Top)

Paul Thorn ~ Mission Temple Fireworks Stand

Despite a nationally televised bout match with Roberto Duran, Paul Thorn never made it as a professional boxer.  Good thing for the rest of us.  On his latest release, Mission Temple Fireworks Stand, Thorn paints vivid pictures of rural South set against memorable melodies.

Thorn’s songs are rooted in gospel and spiritualism, without reaching the point of excess.  Many of his songs paint a picture of everyday people trying to make sense of their lives or trying to find a better life.  In “Downtown Babylon” a man finds disappointment when he leaves his home, eventually finding work stacking bibles at a church.  “I thought it was the promise land,” he says, “but something’s wrong here in downtown Babylon.”

The title track is a foot-stomping gospel song, recalling Lyle Lovett’s “Church,”  complete with a backing choir.  The protagonist runs a revival tent with an adjourning fireworks stand where “bottle rockets are 2 for 1, but salvation’s free.”  After comparing fireworks with religious fervor, Thorn concludes:  “This world is like an atom bomb, it’s ready to explode.  When the trumpet sounds and the Lord comes back I promise you one thing.  I’ll be a human bottle rocket and I’ll go out with a bang.”

Thorn’s voice, reminiscent of Marc Cohn (“Walking in Memphis”), add a soulful quality to the songs.  He’s backed by an excellent group of musicians lend texture and substance to each track.  The production is solid, adding texture and substance to the mix without overpowering the songs or Thorn’s vocals.

(Paul's got an impressive fan base:  Jon Bon Jovi, Carole King, Timothy B. Schmidt of the Eagles, and Mark Knopfler.)

For more info:  Paul Thorn home page, with album mp3 files.  

(Added 30 March 2003)                                                                                                                (Back to Top)

The Kickbacks ~ Blindside View

Midwest rock is alive and well… and living in Boston.  Falling somewhere between John Mellencamp and the Bodeans, the Kickbacks hit stride on their third release, Blindside View.  From start to finish the disc is filled with catchy harmonies, great melodies, and excellent production. 

The album kicks off with a powerful 1-2 punch, segueing from the melancholy opener “Spotlight Hits You” into the rocking “Goin’ the Mile”.  As a strummed acoustic guitar sets the tone in “Spotlight Hits You,” vocalist Tad Overbaugh laments an uneven relationship, “I forgot you were the main event and you see this as a partnership, spotlight hits you I’m the one it will miss.” 

His approach changes, however, on the following “Goin the Mile”.  With horns and three guitars a blazing, he sings, “I’m not goin’ the mile anymore, I’m not fighting the next little war”.   Producer David Minehan steps in during the break with one of the best guitar solos that I’ve heard in quite some time.  (I've always been partial to solos that aren't flashy, but capture the melody and mood of the song.)

Throughout the album, producer Minehan’s outstanding production lends its self superbly to Tad Overbaugh’s and Shawn Byrne’s muscular roots songwriting.  At the base of every song is a great guitar riff.  Minehan builds on each with tasty licks of organ, band member Steve Scott’s trumpet, tremelo guitar, and great vocal harmonies.  Special credit goes to bassist Matt Arnold and drummer Jon Burton who supply a strong and solid beat.

The lone cover on Blindside View, John Fogerty’s “Another Saturday Night”, fits in so well among the Overbaugh and Byrne originals that I hardly recognized it as a cover.  Great harmonies and a driving backbeat breathe new life into John Fogerty’s ode to the weekend. 

Although technically a late 2002 release, Blindside View jumped to the top of my list in early 2003.  For lovers of Tom Petty and those who miss the late, great Del Fuegos:  don’t miss this cd.

For more info:  The Kickbacks home page, with mp3 files.  

(Added 17 February 2003)                                                                                                                (Back to Top)

Various Artists ~ Trampoline Records Greatest Hits, Volume 1

Various Artists ~ Aware Greatest Hits

In an era where the music industry is in disarray, it is refreshing to know that there is still interest in developing new artists.  Aware Records was founded ten years ago in a Boston apartment by a music fan who put out compilations of his favorite artists.  Trampoline Records was formed last year by three LA musicians with the goal of highlight their friends in the LA music scene.  Although the approaches may differ, both labels understand the importance of providing opportunities for musicians to develop their craft while pursuing commercial viability.

For its first Greatest Hits exercise, Aware has culled the top tracks from its previous compilation cds, featuring artists ranging from Five for Fighting to John Mayer to Hootie and the Blowfish. 

Many of the songs on the Aware cd are the versions that you’ve heard on the radio over the years, although there are a few surprises.  You’ll find an early version of Matchbox 20’s monster hit “3am”, recorded when the band was known as Tabitha’s Secret.  The sound is very similar, but you’ll hear a more subdued vocal by Rob Thomas and almost no electric guitar in the mix. 

Even better is the demo version of Five for Fighting’s “Easy Tonight”.   The tempo is a bit slower than the “hit” version, but there are some great piano licks by John Ondrasik.  I particularly wish the later version had the fine piano counterpoint on the chorus. 

In contrast to Aware, Trampoline Records was formed last year by three friends -- Rami Jaffee (Wallflowers), and Marc Dauer (Five Easy Pieces/Jukebox Junkies), and Pete Yorn -- to highlight other musicians in the LA scene.  You may recognize Yorn from last year’s breakout “Music for the Morning After”, but Jaffee and Dauer also have strong credentials.  Jaffee is a member of the Wallflowers and a much sought after session keyboardist while Dauer founded the under-rated Five Easy Pieces and later Jukebox Junkies. 

There are lots of gems tucked among the Trampoline disc.  Dauer’s Jukebox Junkies sound like a young Wilco.  His vocals remind of Jeff Tweedy and “Sentimental Tattoo” would fit perfectly on Wilco’s debut, “AM”. 

Evan Frankfort, Jeff Trott, and Rusty Trucks are also nice finds.  Frankfort’s “Nothing New” is an edgy mid-tempo rocker.  Trott’s as a moody pop tune but breaks into a rough-hewn rocker whose chorus hearkens back to early Wallflowers or Tom Petty.  Rusty Truck’s “Never Going Back” is a perfect melancholy tune, made all the more affecting by Mark Seliger’s aching voice.

If there’s a criticism of these two albums, it’s the narrow focus of the songs on each.  With a few exceptions, Aware focuses almost exclusively on mature, acoustic-based artists.  Yet its hard to dismiss Aware’s ability to target artists with tremendous potential:  Hootie, John Mayer, and Matchbox 20 to name a few. 

For more info:  Aware Records description, with Quicktime audio.  Trampoline Records home page with streaming audio. 

(Added 17 February 2003)                                                                                                                (Back to Top)

Peter Stuart ~ Propeller

You might remember Peter Stuart as the singer-songwriter behind 1995’s “Everything Falls Apart”, recorded under the nom-de-plum “Dog’s Eye View”.  After two solid but under-rated albums, Stuart lost his record deal and disappeared from the scene. 

He’s finally returned with Propeller, an album that picks up pretty much where he left off with 1997’s solid Daisy.  Stuart has a knack for writing classical pop songs.  His hallmarks, whether writing ballads or mid-tempo numbers, are catchy melodies, big crescendos, and soaring choruses. 

Innocence” is a great example.  The ballad opens with crisp piano chords backed by a quiet acoustic guitar, with drums and a string section kicking in as the verse continues.  For the chorus, Stuart breaks into a falsetto backed by an ethereal choir as he laments a failed relationship, “I wish I was innocent, there’s blood on my hands… we’ve gone too far and seen too much to ever get back to innocence.”  

Stuart’s lyrics are almost singularly focused on relationships, generally of the troubled or failed variety.  In “Vertigo”, Stuart tells his lover, “Take this fear and call it love,” while a tasty George Harrison-style slide guitar wails in the background. 

Stand-out track “With My Heart in Your Hands” offers similar lyrical content but with a great happy-go-lucky tune.  You’ll find it hard not to tap your foot along with the melody as Stuart sings, “Don’t disappear with my heart in your hands.” 

If you listen closely, you’ll hear Adam Duritz of the Counting Crows singing background vocals.  Duritz helped Stuart get his Dog’s Eye View record deal.  Beyond friendship, however, the two share a similar singing style.  Both use the full range of their voices –emotionally and literally.   I’ll leave it to you to decide whether this is a good thing. 

For more info:  Peter Stuart home page, with streaming audio.  Record company site with streaming audio samples. 

(Added 18 January 2003)                                                                                                                (Back to Top)

Bleu ~ Redhead

This is one of 2002’s best albums, and you probably won’t hear it.  Although it was scheduled for release in early October on Aware/Columbia Records, it is currently only available at shows or via the Aware website.  ‘Tis a shame as this is an extraordinary pop album that glistens with a late 1970’s/early 1980’s guitar rock vibe wrapped in a slick 2000’s sound. 

If this sounds like an odd combination, check out “Could Be Worse.”   The melody is reminiscent of Thin Lizzy’s “Boys are Back in Town” with shades of Steely Dan’s “Reeling in the Years,” with guitars that recall the classic Queen sound.  Yet the tempo and production give the song a contemporary edge, much in the way that Lenny Kravitz has updated his sound in recent years. 

Bleu’s collaborators on Redhead include several pop luminaries, including Andy Sturmer (the late, great Jellyfish) and Dan Wilson (Semisonic).  Not bad for an emerging artist.  Yet Bleu clearly demonstrates that he is equally adept on his own on tracks like “Feet Don’t Fail” and “Ursula Major, Ursula Minor”.

Musically, Bleu constructs most of his songs around dual guitars and power drums.  To build out the pop sound, many songs feature polished background vocals and a range of keyboards, including a great-sounding Wurlitzer organ.  The production sound is muscular, giving the songs some additional power and pop sheen.

Bleu surrounds himself with a solid group of musicians who share his pop sensibility.  A running gag throughout the disc finds Bleu shouting, “Show ‘em how it’s done, Bill” before guitarist Bill Guerra launches into a guitar solo. 

For more info:  Bleu home page.  Record company site with streaming audio samples. 

(Added 4 January 2003)                                                                                                                (Back to Top)

Will Kimbrough ~ Home Away  

Several years back I was shocked to see Will Kimbrough’s name in Fortune magazine.  I don’t usually read Fortune for music news, but tucked away in the back was a short review of Kimbrough’s new solo release.  That album, This, saw active rotation in my player and showcased Kimbrough’s knack for writing classic pop. 

Happily, Kimbrough returns with another pop gem, Home Away.  As pointed out by the Fortune writer, Kimbrough employs a songwriting style similar to Neil Finn (Crowded House, Split Enz).  His songs are generally short and focused, featuring smart and witty lyrics backed by catchy melodies.

Kimbrough writes songs about His songs portray self-effacing characters that somehow maintain a hint of optimism despite their many failures and shortcomings.  Kimbrough portrays them with a sympathetic touch that fits well with the catchy melodies that are his hallmark. 

On “Modern World,” for example, he sings about being behind the times, “I’m just an old fashioned boy, strictly kicking it old school.  I don’t think that I can compete in this modern world.”  Later, in “Champion of the World,” Kimbrough offers a love song for the meek, declaring,  “My daddy always told me, you throw like a girl, but when my baby holds me I’m the champion of the world.”

Among the standout tracks are “Letdown”, where savvy listeners can play a nice game of “count the influences”.  The song is a classic combination of Brian Wilson meets the Byrds, interrupted only by a solid George Harrison-esque guitar solo.  Give Kimbrough credit for packaging a happy, jangly melody with lyrics about loneliness, “it’s the disappointment that gets in the way,” he sings, “makes a Monday morning of Saturday.”

On Home Away, Kimbrough demonstrates that he is a much a craftsman as a producer than he is as a songwriter.  He and co-producer Lij package his songs in a broad array of instruments – ranging from strings to electronic samples and the occasional wine glass (!).  Kimbrough also demonstrates why he is a high demand session guitarist in Nashville.  His playing is tasteful and supportive of the song, but never overpowering.

To my ears, the only shortcoming of Home Again is its inconsistency.  The songs on the second half of the album are not quite as strong or sharp as those on the first half.

Regardless, if the music industry were just, Kimbrough would make the cover of Fortune.

For more info:  Will Kimbrough home page with streaming audio samples. 

(Added 28 October 2002)                                                                                                                (Back to Top)

Steve Earle ~ Jerusalem  

Jerusalem is really two albums in one.  Or perhaps its two sides of Steve Earle on a single album.  Either way, the result is a satisfying, if slightly discomforting, release from one of America’s premier singer-songwriters.

The first half of the album bristles with Earle’s take on current events – touching on everything from the war on terrorism to the state of American society.  His temper flares on “Amerika v6.0”, which jumps right out of the speakers with a resonating and angry drum beat, followed by a guitar riff reminiscent of the Stones’ “Jumpin’ Jack Flash.”  When Earle’s scratchy voice takes over, he unleashes a range of indictments against American society and the decline of social activism.  “I remember when we was both out on the boulevard, talkin' revolution and singin' the blues,” he grumbles, “Nowadays it's letters to the editor and cheatin' on our taxes is the best that we can do.”

Earle garnered some pre-release notoriety for the “John Walker’s Blues,” told from the perspective of American Taliban fighter John Walker.   Though he doesn’t excuse Walker’s actions, Earle attempts to put things into perspective.  In his view, Walker is a misguided 21 year-old who is searching for his identity.  On the Today Show recently Earle commented that many of us followed our convictions in our youth, only to look back with regret and embarrassment later.  Earle has the credibility to make such statements – he spent several years in a Federal penitentiary resulting from the drug habit he picked up in his youth.

The second half of the album loosens up a bit.  Offering stronger (and less angry) melodies, the songs center on Earle’s typical rough but honest characters trying to make the best of their lives.    “What’s a Simple Man to Do,” the tale of a Mexican man caught dealing drugs in San Diego, sounds like it would fit well on a Nick Lowe album.  “Go Amanda”, a collaboration with the omnipresent Sheryl Crow, features a rollicking Doug Sahm Texas vibe. 

Both sides fittingly come together in the title track, which closes the album.  It combines the best qualities of each – the  classic rootsy Earle melodies of the second half with the lyrical content of the first half.  A more reflective Earle contemplates the current state of affairs in the Middle East while taking extremists to task.  “Well maybe I’m only dreamin’ and maybe I’m just a fool,” he sings, “But I don’t remember learnin’ how to hate in Sunday school.”   Yet he ends on a note of optimism:  “And I believe that on that day all the children of Abraham will lay down their swords forever in Jerusalem.

When Earle first burst on the scene over 15 years ago, he wrote, “There ain’t no peace for an angry young man”.  Lucky for us, Earle is still looking for that peaceful moment and is bringing us along for the ride.  

Standout tracks:  Amerika v 6.0 (The Best We Can Do); John Walker’s Blues; Go Amanda; Jerusalem.

For more info:  Steve Earle home page and fan site.  Record company site with streaming versions of five tracks. 

(Added 13 October 2002)                                                                                                                (Back to Top)

Bruce Springsteen ~ The Rising   

Leave it to Bruce Springsteen to set the standard for songs about September 11^th.  As a songwriter, Springsteen has always excelled in capturing the inner struggles of characters facing pivotal moments in their lives.  On his latest release, The Rising, he continues this tradition by capturing both the pain and suffering as well as the hope for strength to overcome the loss. 

Springsteen is clearly focused on the healing process – for both his characters and his audience.  Songs like “Waitin’ on a Sunny Day,” “Lonesome Day,” and “My City of Ruins” focus on overcoming the grief.  In the opening “Lonesome Day,” Springsteen describes a character struggling to remain strong, “Let kingdom come, I’m gonna find my way through this lonesome day.” 

In concert, Springsteen has often drawn on the legacy of gospel music and the great soul singers such as Otis Redding.  It is clear that Springsteen looked to this heritage as inspiration for much of The Rising.  Spiritual imagery abounds in the lyrics of this album.  Further, many tracks employ the vocal call-and-response that is a gospel hallmark. 

A standout on the album is “You’re Missing”.  Perhaps the darkest song on the disc, it chronicles a family dealing with the loss of a father and husband.  Over mournful strings, Springsteen perfectly captures the emptiness of sudden loss in the context of walking through a house filled with constant reminders of the person lost.

So what are the flaws?  The biggest is the lack of presence for the E Street Band.  With few exceptions, the band has been relegated to a minor supporting role.  In fact, if the album wasn’t credited to the E Street Band, one might think that the band was merely a group of crack session players.  I was really hoping for more guitar interplay between Bruce, Nils and Steve, more of Steve’s rousing backing vocals, and a greater role for Clarence’s sax.

A couple of the tracks also miss the mark.  “Mary’s Place” has the undercurrents of a rousing rocker in the “Rosalita” tradition.  Yet, it never quite builds up enough steam.  The song does, however, earn points for lyrics that focus on a momentary escape from the grief through an impromptu party. 

For more info:  Bruce Springsteen home page, featuring audio clips.    

(Added 18 September 2002)                                                                                                                (Back to Top)

Superdrag ~ Last Call for Vitriol

Its always great to see a band survive several years on a major label and emerge stronger than ever.  In fact, it’s a bit of divine justice when considering a label system that is bloated and out-dated.  That’s what’s so exciting about the latest Superdrag release, Last Call for Vitriol.  From the moment that they left Electra Records, Superdrag has re-discovered the qualities that made their early work so powerful.

Like many of the songwriters to whom I gravitate, John Davis of Superdrag has a talent for crafting memorable pop songs.  You can’t help but hum along, even as the band cranks up their guitars to blast through the song.  Not to mention that Davis has a knack for combining wit and intelligence in his lyrics. 

The album begins with a strong contender for the summer single derby crown, “Baby Goes to 11”.  The song begins with strummed acoustic guitars as Davis croons a string of accolades to his lover, “She’s perfect and previous.  Her kisses delicious.”  A crack of drums signals the chorus as the electric guitars scream to life.  Like many of the tracks on this disc, “11” has the band walking a tight balance between soothing acoustic tones and full-blown electric cacophony. 

A welcome addition to the Superdrag arsenal are a couple of ballads in the middle of the album.  “Way Down Here Without You” and “Her Melancholy Tune” both capture the essence of Revolver/Rubber Soul-era Beatles.

Stand-out Tracks:  Baby Goes to 11; I Can't Wait; The Staggering Genius; Feeling Like I Do; Safe & Warm.

For more info:  Superdrag home page, featuring audio clips.   Record company site with mp3 clips. 

(Added 19 August 2002)                                                                                                                    (Back to Top)  

Marah ~ Float Away with the Friday Night Gods

Don’t blame Marah for setting the bar so high.  Their last album, Kids in Philly, was one of the top albums in 2000.  From start to finish the album captured a near-perfect combination of Nashville roots sensibility with Philly soul.  Not to mention a swagger to the music that would have made Mick Jagger proud.

Thus it would be easy but mis-leading to say that Marah missed the mark on their latest, Float Away with the Friday Night Gods.  The confident swagger that permeated Kids has been replaced with a sonic wall of guitar.  The musical and lyrical nuance that made Kids in Philly so special is nowhere to be found.

That shouldn’t come as a total surprise, given the history of the latest album.  Looking for a change, the brothers Bielanko replaced their rhythm section, hired producer Owen Morris (who has worked with Oasis and other brit-rockers), and recorded the album in Wales. 

Not surprisingly, comparisons to Oasis have already been made numerous times, but they seem to fit.  The Oasis formula of nonsense lyrics washed out by loud guitar describes much of this album.  One exception is “Soul” which takes a page from the SmashMouth formula of happy pop, right down to the sandpaper vocals.

However, there are some shining moments for those who are patient.  There is a taste of the previous album’s strut and attitude buried in the opening track, “Float Away”.  Enough so that I wonder what the song could have sounded like if it wasn’t washed out with heavy rock guitars and synthesized strings.  Listen to this track closely and you’ll hear guest guitarist and vocalist Bruce Springsteen. 

In “Float Away” and in several other tracks, Marah clearly demonstrate their talent for writing great melodies and guitar riffs.  In fact, “Soul” and “What 2 Bring” are two of the most hum-able songs you’ll hear this summer.  “For All We Know We’re Dreaming” would be up there, too, except it’s a single riff masquerading as a entire song. 

Stand-out Tracks:  Float Away; Soul; What 2 Bring; Out in Style.

For more info:  Marah home page, featuring audio clips.  

(Added 5 August 2002)                                                                                                                    (Back to Top)  

Mike Errico ~ Tonight I Drink You All

I first saw Mike Errico at a fundraising show in New York.  If memory serves, he was sharing the bill with artists ranging from Patti Smith to Phoebe Snow to Marshall Crenshaw.  Throw in a full house of fairly drunk New Yorkers and it was a raucous affair.  Yet the place went silent a few seconds after Errico began to play.

Such is the power of Errico as a songwriter and a performer.  His songwriting is witty and intelligent while his live performances are always captivating.  Recorded live over three nights at New York’s Mercury Lounge, Tonight I Drink You All, is an excellent introduction to his work.

Errico performs with an acoustic guitar, harmonica, and a few techno gizmos.  He utilizes loops on some songs, but knows better than to let them overpower the song.  On tracks such as “Be Your Man”, the loops give the song a funky feeling while on the beautiful “Sooner or Later” they add a haunting quality.

On many songs, Errico keeps his tongue firmly in cheek.  On the fan-favorite opening track, “Daylight”, he scolds a former lover, “If my life were a movie, you’d be buried in the credits.  You’d be woman #2 with her head up her ass.”  In the closing live track, “Happy,” he pokes fun at New York City, “and the cabbies yell their languages, I guess they’re yelling ‘hi’”.  (Perhaps you have to have experienced a New York cab ride to appreciate that one…)

Still, Errico is equally adept at capturing a sentimental moment.  In “When She Walks By,” he takes the persona of a regretful 80-year old man reflecting back on the missed opportunities in his life.  When the neighborhood kids taunt him, he says, “My job in life is to be a man who’s old and broken and to scare them into making sure they’ve spoken when she walks by.”

For more info:  Mike Errico home page, featuring rare audio clips and record company audio clips page.  

(Added 23 July 2002)                                                                                                                    (Back to Top)  

Kevin Salem ~ Ecstatic

Ecstatic is an ironic title for this album, Salem’s first in five years.  The eleven tracks (plus one hidden track) on this album explore life’s hardships and the complications that result.  Over a rich and highly textured musical backdrop, the inhabitants of Salem’s songs deal with addictions, soured relationships, and failed lives.  Through it all Salem focuses on the melancholy and isolation of his characters, offering muted optimism for the future.  Ecstatic, indeed. 

Salem grabs you right out of the gate on the opening track, “1000 Smiles.”  The song begins with a rich piano bass line coupled with the distant-sounding wail of an organ and a jazzy piano riff.  Over the mournful reverb of an electric guitar, Salem sings, “Its no holiday, its no walk along the wall.”  Not since “Round Here,” from the Counting Crows 1993 debut, has an opening track been so engaging and so flawless in setting the tone for an entire album.

“It’s Only Life,” one of the stand-out tracks of the album, continues the downhearted view of life.  “Every sun fades and rises, careful as you let the world pass by,” Salem laments, describing destitute mothers existing alongside Hollywood dealmakers.  Here, as in many of the tracks, the characters are tired and have an air of resignation about the state of their lives.

Before you write off this album as a tour of depression, take the time to appreciate Salem’s talent.  Ecstatic bristles with complexity from start to finish.  As a producer, Salem has a deft touch for layering a broad range of instruments and vocals to create an appropriate aural landscape for each song.

In the end, it’s the complexity – both lyrical and musical – that makes this album so powerful. 

Stand-out Tracks:  1,000 Smiles; The Medicine Down; Kindness; It's Only Life, Magnetic.

For more info:  Kevin Salem record label page and audio clip (scroll half-way down the page).  

(Added 15 July 2002)                                                                                                                    (Back to Top)  

David Baerwald ~ Here Comes the New Folk Underground

2002 brings a welcome return for David Baerwald with the release of Here Comes the New Folk Underground, his first full album since 1993’s Triage.  Not that he hasn’t been busy.  Baerwald was a charter member of Sheryl Crow’s Tuesday Night Music Club, writing or co-writing seven tracks on Crow’s debut of the same name.  More recently he has written songs for numerous soundtracks, including the Golden Globe-nominated “Come What May” from Moulin Rouge.

 However, Baerwald writes best when he writes for himself.  His voice, ravaged by years of cigarettes and whiskey, is well suited to capture the rough-hewn edges of the characters that inhabit his songs.  Like Randy Newman, a songwriter with similar lyrical style, his songs are peppered with world-weary characters whose emotions range from skepticism to bitterness. 

 With this latest release, Baerwald’s well-traveled cynicism is present in abundance.  In “Why” he sings, “You still believe in Eden, someplace better down the road, but seems like it’s when the door is open wide that the walls begin to close.”  Yet, in “Compassion,” a more accepting Baerwald declares, “I say live and let live, forget and forgive, that may be why I am still standing.”  

 Musically, Baerwald mines the rootsy sound that one would expect from an Austin-based musician.  His band, the New Folk Underground, include some of the top local musicians, including Will Sexton (brother of Charlie, Bob Dylan’s current guitarist). 

 Most tracks are anchored by acoustic guitar but are complimented by diverse instruments, ranging from the banjo and accordion on the opening “Why” to the New Orleans sounding trombone and tuba on “Nothing’s Gonna Bring Me Down”.  “Compassion” features a hearty back-beat punctuated by a Van Morrison-esque “sha la la” while “Hellbound Train” is the type of blues-gospel rave-up that one would expect from a song about a speeding train.   

If, at times, Baerwald stretches the boundaries a bit too much with songs like “Bozo Weirdo Wacko Creep”, the album remains a satisfying reminder of Baerwald’s song-writing prowess.

Stand-out Tracks – Why; Compassion; Wondering; The Crash; Nothing’s Gonna Bring Me Down; Hellbound Train.

For more info:  David Baerwald home page (Note:  There are several concerts from several points in Baerwald's career available in MP3 format on this site.), audio clips.  

(Added 8 July 2002)                                                                                                                    (Back to Top)  

Drive-By Truckers ~ Southern Rock Opera

Talk about ambition:  a band without a recording contract creates a 2-cd “rock opera” chronicling the history of Lynyrd Skynyrd.  No doubt after seeing the Trucker’s electric performance at this year’s SXSW conference, it appears that the folks at Lost Highway Records would agree:  they’ve signed the Truckers to a deal and will be re-releasing Southern Rock Opera in July.

The album’s ambition is most visible in its lyrics.  Woven through the tale of Lynyrd Skynyrd is a history of southern culture and philosophy.  “The Three Great Alabama Icons” offers a sympathetic view of famed southern politician George Wallace, claiming that his political ambition, rather than his personal beliefs, was the primary catalyst for his racist views.  (Bear Bryant and Ronnie Van Zandt/Lynyrd Skynyrd are the other two icons, in case you were wondering.)

Musically, the Truckers stake their claim to the classic Southern rock throne.  “Ronnie and Neil”, opens with a dual guitar riff that, if played at the right volume, could knock a man down.  “Cassie’s Brother,” featuring guest vocals from Kelly Hogan, packs a swagger that would please any Black Crowes fans.

There’s a tradition in musical theater called the “9:30 number”.  This song arrives at the appointed time to re-focus the audience on the key elements of the story and is an upbeat number designed to energize an audience for the conclusion of the show.  “Life in the Factory” is the Drive-By Trucker’s version of a “9:30 number.”  Over a triple guitar assault, the narrator summarizes the rise of Skynyrd from northern Florida and foreshadows the tragic plane crash that would take the lives of several founding members of the band:  “Let me tell y’all a story that more or less is the truth.  From the swamps of Northern Florida to the swamps just north of Baton Rouge.”

Stand-out Tracks:  Ronnie and Neil; 72 (this highway’s mean); Dead, Drunk, and Naked; Let There Be Rock; Life in the Factory.

For more info:  Drive-By Truckers home page, audio clips (hosted by MP3.com).

(Added 24 June 2002)                                                                                                                    (Back to Top)  

Candy Butchers ~ Play with Your Head

Mike Viola is the Rodney Dangerfield of pop:  no respect.  With a track record that includes co-writing and singing the theme song to Tom Hank's "That Thing You Do", you'd expect to hear Candy Butchers' tunes playing on top 40 radio.  No such luck.

Nonetheless, the Butchers latest release continues their classic pop traditionalism in a time when pop metal is on the rise and pop teens are on their way down.  From start to finish the album crackles with the meaty hooks and quirky lyrics that are Viola’s trademark.  Call me sentimental, but I’m glad to have the Butcher’s back after a break of several years.

“Ruby’s Got a Big Idea” captures it perfectly.  With a buoyant melody line, including backing chorus and rounds of “la la la la”, Viola defies you to frown, singing, ”he’s got no friends, he’s got no fear, but Ruby’s got the big idea.”  A classic dot-com tale perhaps? 

After a few listens, it’s the album’s ballads that really stand out.  Backed only by acoustic guitar, Viola tells two tales of love lost.  In “Make No Mistake” he tells of a failed relationship in the context of filming a movie, cautioning his ex, “Its not a flashback, it’s a memory”. The closing track, “Call off the Dogs”, conjures up classic Beatles balladry and aptly concludes, “Hush baby, hush, It’s almost over.”     

If you’re tired of what you’re hearing on the local pop station, give Play you’re your Head a spin.  It’ll remind you how pop was meant to be.

Standout Tracks:  Never Worry My Dome; You Belong to Me Now; Make No Mistake; Call off the Dogs.

For more info:  Candy Butchers home page (including audio clips).

(Added 17 June 2002)                                                                                                                    (Back to Top)

Dave Alvin ~ Out In California                                                           

Paul Kelly, the Australian singer-songwriter, summed it up best when he said, "I'm a legend, not a star."  Such is the tale of Dave Alvin.  Alvin’s storied career, which began with the Blasters and has continued on through X and an extensive solo career, has demonstrated the breadth of his talent yet is almost certain to have fallen short of selling a fraction of Britney Spear’s record sales. 

 For the uninitiated, Out in California provides a great overview of Alvin’s talents as a songwriter, singer, and guitar player.  The disc samples two live performances, one acoustic and one with his crack band, both recorded in, you guessed it, California.  Together these performances capture the magic of seeing Alvin live as he moves seamlessly from folk to rhythm-and-blues to roots rock-n-roll.

 What really stands out in on this album and in all Alvin’s work is the richness of the tales he tells.  His rich baritone amplifies the hard-living, love-lorn characters in his stories.   “Andersonville” vividly captures the anguish of Alvin’s great-great-great uncle life as a Union soldier during the Civil War.  In “Haley’s Comet”, he imagines Bill Haley’s final days living in a small Texas town, culminating with a cop, “finding a body of that old guy who said he was famous long ago.”  

Stand-out Tracks:  Haley’s Comet; Andersonville; Blue Boulevard; Wanda and Duane; Fourth of July.

(Added 17 June 2002)                                                                                                                    (Back to Top)  

Caitlin Cary ~ While You Weren't Looking                                           

Caitlin Cary's new release provides a new perspective on Whiskeytown, the group she co-founded with over-rated wunderkind Ryan Adams.   The qualities that made Whiskeytown memorable -- well-crafted songs about relationships good and bad all captured in well-arranged performances -- are amply present on Cary's "While You Weren't Looking."  

Cary's voice has a relaxed airy quality that floats above the arrangements.  Chris Stamey's production does an excellent job of surrounding her voice with subtle highlights ranging from chiming guitars on "Thick Walls Down" to a lilting dobro on "Sorry" to punchy horns and vibes on "Too Many Keys".  The result is a smooth and relaxing sound. 

Lyrically, Cary mines the same ground as Whiskeytown:  the ups and downs in relationships.  In "Thick Walls Down", a tale of love found, Cary counsels, "you left your back door open, cracked just right.  She slipped in in the middle of the night, to let the day in -- and now she's staying."    

In fact, comparing Cary's While You Weren't Looking together with Adam's new Gold helps put Whiskeytown's legacy in perspective.  Where Cary has a smooth, melodic sound, Adams tries to rough up the edges.  Both have their positive moments, but I'll take While You Weren't Looking over Gold.

Standout Tracks:  Thick Walls Down; Sorry; Too Many Keys; Please Don't Hurry Your Heart.

For more info:  Caitlin Cary home page (including audio clips).

(Added 17 June 2002)                                                                                                                    (Back to Top)  

Jim Boggia ~ Fidelity is the Enemy                                                           

Do you remember Harry Nilsson?  Nilsson had personality.  Whether signing the songs of Randy Newman, drinking with John Lennon, or scoring children's cartoons, Nilsson captured the imagination with quirky lyrics, catchy melodies, and a pleasing voice.

Do you remember Jellyfish?  They were the quintessential under-appreciated power pop band in the early 1980's.  They only released two albums, but their legacy can still be found, not the least of which through the surviving members, including Jason Faulkner and Roger Manning.  To my ears, Jellyfish found a way to make music colorful.  If ever music could be colorful, Jellyfish Yet I digress.  Its taken nearly 20 years, but Jim Boggia has zoned right in on the qualities that Jellyfish embodied:  sweet pop melodies, quirky intelligent lyrics, and random sounds and samples that keep you engaged and entertained.

If you drew a line from Harry Nilsson through Jellyfish, you'd end up at Jim Boggia.  Sweet pop melodies?  Check.  Quirky and intelligent lyrics?  Yup.  Boggia's got it right down to the random sounds and samples that are sure to keep you engaged and entertained.

Stand-out tracks are:  Toyboat; Several Thousand; and O/P (Optimist/Pessimist).  The last track is a personal favorite with the lyric, "You're crying about your half glass of milk before you've even spilled it.  I've got a glass that's half empty too, but I know life refills it."  

For more info:  Jim Boggia home page; audio clips (hosted by CD Baby).

(Added 17 June 2002)                                                                                                                    (Back to Top)  

Will Hoge ~ Will Hoge                                                                                     

This is my pick of the year for 2001.  Recently signed to Atlantic Records (but don't hold that against him), Will Hoge combines a voice reminiscent of Elvis Costello, the pop sensibility of Marshall Crenshaw, and the performing style of Bruce Springsteen.  Whether lampooning modern rock stars in "Rock and Roll Star" or crafting power pop ditties like "I'm Pretty Sure (That I'm Over You)", he rarely misses his mark.  

Stand-out Tracks:  Rock and Roll Star; I'm Pretty Sure (That I'm Over You); Let Me Be Lonely; Heartbreak Avenue.

(Added 17 June 2002)                                                                                                                    (Back to Top)  

Brian Charles ~ sadderdaydreaming                                                       

In a perfect world, Matthew Sweet would be bigger than Eminem.  Unfortunately, the world ain't perfect.  Having spent years producing and engineering legendary Boston pop and rock bands (The Sheila Devine and the Figgs), Charles blew them all away with his solo debut.  Honey sweet melodies and sharply crafted lyrics, all performed to pop perfection by his crack band.  

Ironically, Charles can now claim to be "big in Japan."  This album was just released in Japan where it is garnering attention.  Maybe the world ain't so bad after all.  

Stand-out Tracks:  Impossible; Heartshipped.

(Added 17 June 2002)                                                                                                                    (Back to Top)  

Date Last Updated:  09/23/2003