Gory Bateson - Is That Viral Enuf 4 U?

Gory Bateson - Is That Viral Enuf 4 U?

2011, Ethnog Records

Gory Bateson has lived a charmed life.  As primary songwriter, guitarist and lead vocalist for 1960's rockers The Ethnogs; Bateson has a handful of top-ten singles to his name.  In spite of a host of well-documented personal struggles, Bateson's popularity has remained relatively unscathed over the years.  While legal troubles are rumored to have curtailed touring plans of The Ethnogs during the 1970's and 1980's, the band did manage to put on a handful of "hit and run" shows stateside, while maintaining their reputation as a world class touring act.  Bateson dropped out of sight for most of two decades, playing in Ethnog cover bands and even doing a brief stint a spokesman for Viagra.  But music never stopped calling, and Bateson needed the money.  The upshot of this mutual need is Bateson's first solo album in almost a decade, Is That Viral Enuf 4 U?  Bateson embraces technology this time around, using modern recording techniques and computer effects to complete his most compelling work since his 1960's heyday.

Bateson kicks things off with "She's Got The Booty For It", a hippy-hop/pop blend that marches up the borders of family propriety and sticks around for a good, long, uncomfortable look.  It's a well-written tune with a chorus that will stick in your head; you'll be cursing Bateson for days.  "Don't Be A Drag, Man" could be called a treatise in blues, and probably explains the outlook that has allowed Bateson to escape the ups and downs of his life without getting roughed up in the process.  "Delta Breezes" is a mellow-yet-catchy classic rock number with hints of Jimmy Buffet in its lineage.  The choice of clarinet for the big instrumental solo is a bit unusual, but works out particularly well.  The song definitely sounds like something you could dance to on a Saturday night. 

"My Baby's Thong" will leave listeners scratching their heads.  You'll find yourself hoping this one is a joke, but given Bateson's reputation you can never be sure.  Nevertheless, it's a disturbing song full of imagery those weak of constitution might want to avoid.  Bateson pulls himself into the 21st century with "Is That Viral Enuf 4 U?” a semi-comic response to a new dating pitfall for the digital age.  Bateson even uses a Vocoder to make the point; an artful touch to top off a catchy arrangement.  Bateson's stab at 1960's-style Latin pop, "Guanajuato", doesn't quite mesh with the rest of the album, but it is a pleasant little diversion along the way.

Bateson daydreams about driving fancy cars in "Valet In L.A.", a cute and catchy bit of fluff that leads into the low-brau rocker "Road Rage".  Bateson's chorus is catchy enough you'll carry it with you, and will recur the next time you're cut off in traffic or have to wait for the person in front of you at the stop light to finish their call before they realize it's turned green.  "West Hollywood Blues" finds Bateson crossing economic, social and sexual tracks in a well-intended but ham-handed attempt at humor (we think).  Once again, it's hard to know for sure, as Bateson tends to have no filters, and no apparent understanding of one might look like in the first place.  Bateson offers a quick goodbye in the form of "Happy Birthday Buddy", an abrupt birthday greeting for a friend whose demise has been greatly exaggerated. 

Gory Bateson isn't impossible, but he's highly improbable.  With a schizophonic sound that shifts as quickly as his moods, Bateson is literally all over the map on Is That Viral Enuf 4 U?  Gory Bateson is an artist with a good heart and a skewed perspective on life.  He's also quite generous; his constant emails, impromptu songs left on our answering machine, digital pictures of his belly button lint collection and bundles of homegrown oregano (we think) have certainly brightened the office here at Wildy's World.  The music will brighten your day as well.  Grant, some of the lyrics are downright disturbing or funny, depending upon your proclivities, but Gory is always entertaining.  The answer is Yes, Gory, I believe it is.

Rating: 4 Stars (Out of 5)

You can learn more about Gory Bateson on Facebook or on Twitter.  Is Tha Viral Enuf 4 U? is available from Amazon.com as a CD or Download.  The album is also available via CDBaby.com and iTunes.

John Paul Keith - The Man That Time Forgot

John Paul Keith - The Man That Time Forgot
2011, Big Legal Mess Records

John Paul Keith has walked the true Indie path, choosing integrity to his musical vision over the sort of compromises that tend to breed success in the traditional music business.  Walking away from The Viceroys over concerns over the band's musical direction, Keith lived something of a nomadic musical life over a number of years before finding a home in Memphis.  The fiercely independent music scene there embrace Keith at a point when he was ready to give it all up, and has resulted in a resurgence in Keith's songwriting that is stunning.  John Paul Keith shows the fruits of his labors on his latest album, The Man That Time Forgot.

The Man That Time Forgot opens with "Never Could Say No", sounding like an alchemic compound derived from the Traveling Wilburys and Jimmy Buffett.  It's a fun, catchy tune with a definite 1960's aesthetic.  "You Devil You" is a honky-tonk number tied together with impressive piano fills.  This is a catchy, fun and danceable number that will stick with you.  "Anyone Can Do It" heads into the realm of 1960's garage pop.  "Afraid To Look" stays with that aesthetic, using a catchy arrangement to explore living life out of control and the constant fear that something is sneaking up on you. 

"The Man That Time Forget" is a melancholy, Roy Orbison-esque number built on a strong melody and a world-weary sense that is palpable.  A bit of Beatles influence shows through on the catchy "I Think I Fell In Love Today", splitting that catchy British-style melodicism with the garage, alt-country sound Keith seems to be comfortable with.  Rock N Roll presides on "Dry County", a catchy little number that could turn into a roof-raiser in concert.  "Somebody Ought To Write A Song About You" is a sweet and sentimental 1970's-style AM radio ballad that may play well to traditional Adult Contemporary formats.  Keith revs things up with the rockin' rhythm and blues of "I Work At Night" before closing with a classic-style drinking tune, "The Last Last Call".  This last is buoyed by a sort of happy communal desolation that can only be found in the collective brotherhood of a neighborhood watering hole, where dreams and regrets are lined up on the bar and knocked down as easily as shots at happy hour.

John Paul Keith sings with a quiet charisma on The Man That Time Forgot, using an easy delivery to explore songs that themselves flow like water.  Keith's integrity to his own musical vision is impressive; a breath of fresh air in the music business.  The Man That Time Forgot is definitely worth remembering.

Rating: 3.5 Stars (Out of 5)

Learn more about John Paul Keith at www.johnpaulkeith.net or www.myspace.com/johnpaulkeith.  The Man That That Time Forgot is available from Amazon.com as a CD, on Vinyl, or as a Download.  The album is also available via iTunes.

The Ray Renzi Project - Oldzkool

The Ray Renzi Project – Oldzkool
2011, Oldzkool Records

In an age of genre hyphens, there are acts out there that blend so many styles they make the word genre practically obsolete.  Rhode Island's The Ray Renzi Project is one such act, blending jazz, rock, blues, country, R&B, Celtic, folk and more than a little Jimmy Buffet into an ever shifting musical patois that is as unpredictable as it is appealing.  All of this is evident on The Ray Renzi Project's album Oldzkool, a solidly appealing conglomeration of anything and everything you ever could have wanted out of the pop music era.

Oldzkool opens with "As Simple As", a catchy, straightforward rocker with Americana and blues in its ancestry.  It's philosophical and mellow song of love with a philosophical bent, supported by some impressive guitar fills.  "How Strong Is My Love" is a straight-ahead rockin' blues tune that is more entertaining musically than lyrically.  Renzi and his band have an ear for catchy blues/roots based rock n roll, with nods to both Mark Knopfler and Eric Clapton for style.  "Love Will Find It's Way" is a 1960's-style pop ballad with a memorable melody and a classic feel.  The song may sound a bit bland up against the material that precedes it, but is refreshing in its melodicism and pure pop sensibility. 

Renzi channels Jimmy Buffett on "A Cold Margarita" while working in references to artists such as Buffett, Alan Jackson and Bertie Higgins, amongst others.  It's a bit of kitschy fun that's part tribute and part parody, but very well played.  "Jazzette" is a brief instrumental diversion that makes the most of saxophone and guitar in a convincing jazz turn.  It's a solid change of pace that highlights the range and depth of the band.  "Come On Over" is 1950's rock/R&B with a walking bass line.  Catchy and enjoyable, the song features some of the best vocal work on the album, both in the lead and in harmonies.  "I Don't Know Why" moves forward into the mid-1960's with a roots-rocker built on a post-Beatles melodicism and a catchy beat.

Renzi goes for the heart on the Orbison-esque "So Alone Tonight", a song of sadness underscored by the mournful steel guitar that fills space between vocal lines.  Beautiful in its dark emotion and shading, the song is a time-machine moment that will bring you back to the days when artists such as Orbison were regulars on the Billboard charts.  "Flanagan's Shannon View" is a dose of pure Irish-Caribbean stew, a Jimmy Buffett-style number played with country instrumentation and deep Celtic influences, it's certainly an aural experience you won't forget.  It's actually not bad, although so many steps off the beaten path it might be something of an acquired taste.  Oldzkool goes out in a blaze of surf guitar, on the Dick Dale-styled "Surfette".  It's a solid, guitar-led instrumental rant that is so out of flow with the album it belongs.

The Ray Renzi Project has but one focus on Oldzkool, crafting original tunes inspired by some of the great artists and styles of the 1950's, 1960's and early 1970's.  The band is very competent, with Renzi solid on vocals and guitar, and the rest of the crew backing him note-for-note through an extremely varied set of songs and styles.    The Ray Renzi is the ultimate cover band playing songs you've never heard before, but which sound suspiciously familiar the first time you listen.  This is done with an amiable presence that shines through even from the recording studio; a care free attitude that could only be born of the golden age of rock n roll.

Rating: 4 Stars (Out of 5)

Learn more about Ray Renzi on his website.  Additional information about the Oldzkool project is available here.  Oldzkool is available from Amazon.com as a CD or Download.  The album is also available on iTunes.

Bruce Cockburn – Small Source Of Comfort

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

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

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

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

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

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

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

Rating: 5 Stars (Out of 5)

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