The Latebirds - Last Of The Good Ol' Days

The Latebirds - Last Of The Good Ol' Days
2011, Second Motion Records

Helsinki, Finland might not be your first thought as a hotbed of Americana music, but it's got to get some consideration once you hear of The Latebirds.  Formed in 2000, The Latebirds are hard to classify.  Rock, folk, punk, country, gospel and R&B are all in the mix, with the band refining and smoothing the edges with each successive album.  Their latest, and first released in the U.S., is Last Of The Good Ol' Days.  The album is a socio-political treatise on the state of the world in 2011, sounding many of the same themes prevalent in the American counter-culture movement of the late 1960's. 

The Latebirds open with "Last Of The Good Ol' Days", a gentle Americana/rock number that looks to the future with blighted hope and yearns for the opportunities that once existed.  The melancholy mood of the music fits the lyrics perfectly, and vocalist Markus Nordenstreng's easy-going style implies a sort of hopeless passivity.  "Among The Survivors" is a mildly catchy acoustic/electric rocker with a subtle urgency built in.  It's a solid tune; a steady album track.  "Time To Live" relies on a simple arrangement and chunky guitar work to create an infectious garage-pop gem.  The message is simple and clear: don't sit on the sidelines, get out there and live your life.  This will be a tough tune to get out of your head.

"Summer Becomes Fall" decries consumer culture, and the human tendency to chase silly things rather than be happy with what we have.  The Latebirds stick with a simplistic arrangement that allows the melody to reign, but fill it in with layered instrumentation to fill out the sound in the chorus.  "Time Revisited" is a slower, more pensive take on the ideas in "Time To Live".  The sound here is more stark, continuing to advocate the need to live, but also yearning for a simpler time.  Hope hasn't faded here, but it's certainly struggling for purchase.  The Latebirds take on the press and big government in "Fearless" decrying the attempt by politicians and corporations to control the information we receive as a populace.  The song advocates using your brain to parse out what you hear and decide for yourself what is true.  The chorus is brilliant: "Don't believe what gets reported.  The truth has been distorted."; repeated in a hooky chorus that will get trapped in your noggin and bounce around for hours.

"Like Father Like Son" is a conciliatory number that looks back on the good memories of youth and put to rest the struggles of growing up and separating that rock the foundations of father-son relationships.  Inherent in the message is the realization that the son walks in the father's footsteps, and an acknowledgement that both have grown.  The quietly lush arrangement wraps around this tune like a blanket, making the subtle message all the more powerful in the process.  The Latebirds take a whimsical turn on "Kickin' Me", a light-hearted and repetitive garage rocker that's as catchy as it is inane.  You may find yourself decrying the song as vaguely annoying while tapping your toes to the beat.    The Latebirds slowly fade over the final four songs, culminating in the bland "Light At The End Of The Tunnel".

Even taking into account the rather ignominious final third of Last Of The Good Ol' Days, The Latebirds make a distinctive impression with their U.S. debut.  Producer Jim Scott (Tom Petty, Johnny Cash, Wilco, Red Hot Chili Peppers, Dixie Chicks) helps The Latebirds make the most of their sound with a mostly live, in-studio recording that keeps the band's delicious rough edges firmly in the forefront.  Appearances by Nels Cline (Wilco), Minnie Driver and Benmont Tench (Tom Petty & The Heartbreakers) are add intrigue to the mix, and Last Of The Good Ol' Days should find The Latebirds receiving a very warm reception in the Western Hemisphere.

Rating: 3.5 Stars (Out of 5)

Learn more about The Latebirds at www.latebirds.com or www.myspace.com/thelatebirds.  Last Of The Good Ol' Days is available from Amazon.com as a CD or a Download. 

Sheri Miller - Winning Hand

Sheri Miller - Winning Hand
2011, Sheri Miller

Sheri Miller made an impact quickly.  Her 2008 debut album, Mantra, spawned an underground hit in "Right Here, Right Now", and earned her recognition as one of Music Connection's 'Hot 100 Unsigned Artists'.  An invitation to join a group called The Delilahs resulted in a major label contract and opportunities to write songs with the likes of J.D. Souther, Jill Sobule, Shawn Mullins and Al Anderson (NRBQ).  Unfortunately the band fell apart, and Miller found herself on her own again.  She did the only thing a songwriter could do; she kept writing and performing.  The result is Miller's sophomore EP, Winning Hand, featuring a top-notch band with members who have played with the likes of Paul Simon, Neil Young, Johnny Cash, David Bowie and Suzanne Vega.  Winning Hand was produced by Kevin Killern (U2, Peter Gabriel), and represents significant growth on the excellent start Miller got off to with Mantra. 

Winning Hand sets sails with an Americana/pop love song in the form of "Spoons".  It's a brilliant low-key pop tune featuring gorgeous harmonies and a memorable chorus.  This could be a bonafide hit for Miller, and will likely be a winner in the licensing world as well.  "Winning Hand" is a languorous Americana ballad about taking the chance to fall in love.  Miller's melody is winsome, but the overall effect is a touch bland.  "Satellite" has an acoustic southern rock feel that's appealing.  A quiet anthem screaming to have big guitar sound pumped in, the song remains an enjoyable listen even in this stripped down form.  "Everybody Feels This Way Sometimes" seems a bit out of place here.  It's a decent enough tune, but doesn't have the same energy or sense of personality as the other tracks presented here.  Winning Hand winds up with "Hungry For The Truth", a dark rocker about figuring out the meaning of life, no matter the cost.  The song is quietly impressive, sneaking up on you and growing in estimation with each successive listen.  It's probably the most impressive piece of songwriting Sheri Miller has unveiled thus far; showing a much more complex and intricate side to her songwriting psyche than one might expect.

Sheri Miller continues to impress, showing more levels and layers to her lyrics and composition than on the formidable Mantra EP.  The best way to describe Sheri Miller is to say she's a star in waiting.  In the days of major label dominance, Sheri Miller would already have a major record deal, and would be in demand as both a songwriter and performer.  Life is both easier and harder in the post-label era, but Miller's progression as a songwriter in the last three years speaks of wonderful things to come down the road.  Winning Hand has its rough spots, but when Miller is on her game there are few better.

Rating: 3.5 Stars (Out of 5)

Learn more about Sheri Miller at www.sherimiller.com or www.myspace.com/sherimiller. 

Five And Dime Cowboys - In Our Time

Five And Dime Cowboys - In Our Time

2011, Five And Dime Cowboys

Husband and wife duo Terry and Toni McCarthy have been writing songs together for about ten years now.  Under the name Five And Dime Cowboys, the Dallas, Oregon-based duo comment on life as they know it and see it in song.  The tradition of such singer/songwriters as Merle Haggard, Ian Tyson, John Prine and Johnny Cash, Five And Dime Cowboys tackle subjects such as love, family, politics and faith from a simple, real-world perspective.  The name Five And Dime Cowboys is in homage to the classic dime stores that were integral to small town life in America at one time, as well as to the old-school country music that formed the backbone of the McCarthy's collective musical education.  Five And Dime Cowboys recently released their debut album, In Our Time.

In Our Time opens with "China Moon", a sweet number written, perhaps, from father to adopted child.  Terry McCarthy delivers the story-song of new beginnings in an almost talk-sing style that sounds like a cross between Jim Reeves and Phil Harris.  "Almost Free" is a song written to a dying friend, a sorrowful look back at what is to be lost that turns to look forward into the hereafter with a hope born of faith.  Toni McCarthy takes over on vocals in an effort defined by poor tone and moderate pitch issues.  Terry McCarthy's "My Grandfather's House" is an amazing piece of songwriting that memorializes memory.  McCarthy holds up the house as a testament to all that his grandfather was; even years later when the house is gone it still stands in his memory.  There's a subtext here about our roots and the power to guide you and call you home that's powerful in its sincerity and truth.  McCarthy renders these thoughts in a simple arrangement born of two guitars and a lot of heart.

Toni McCarthy's "Gospel Song" is a minor-key hymn that underscores the darkness of life and the yearning to return home to God.  The vocal line is still a struggle here.  "In Our Time" is a speculative narrative about the end times prophesied in the Bible, stating a belief they are coming soon.  The edgy folk/country/rock arrangement is well written, and Terry McCarthy takes over vocals for a while.  "Look At You" is a meandering love ballad written from the perspective of a long-standing and mature relationship.  This song's heart is in the right place, but the pacing is nearly interminable, and many listeners may opt for the 'next' button.  "I Don't Know What I Would Do Without You" is another ballad that works a bit better in both style and sound.  Toni McCarthy takes her final turn at the mic for "The Desert", suffering the same issues she has previously.  Terry McCarthy makes the effort worthwhile with some slinky electric guitar work. 

"Prayer 2012" is a monologue on the state of the world that turns into a prayer asking God how much longer we'll have to wait for his return.  It's a solid effort, but surprisingly uninspired, from the lyrics to the straight-forward, uninflected style of play.  Politics breathes some life into "Writing's On The Wall", a diatribe detailing how government exists to support itself and its brother corporations while the working class continues to pay and pay.  There's a great blues protest number feel to this song, which is catchy and fun in spite of the subject matter.  McCarthy sings the two-guitar arrangement just a bit, ending with an anecdote about how many in California are now supplementing their income by growing pt.  "Wind In The Poplar Trees is a pretty, old-school ballad singer tune delivered in Terry McCarthy's distinctive talk/sing style.  A song of reminiscence, McCarthy relies on deep imagery for effect to display regret for steps untaken and words unsaid.  In Our Time closes with "1954", a reflection on the changes to small town life over the years.  The transformation from towns full of prosperity and hope to barren places stripped of what they once were is stark, turning the universal optimism of youth into the bitter resignation of today.

Terry and Toni McCarthy tell the tale of American decline on In Our Time, remembering a time when the world was full of opportunity and light, and marking how quickly these things have failed.  Terry McCarthy shows flashes of greatness as a songwriter, and has an affable talk/sing style hewn from the golden age of country music.  As a guitarist he is very much above average, displaying a fine hand and sense of melody.  Toni McCarthy's guitar style is more the awkward, straight ahead style of a folk singer who learned to play guitar simply as a means to accompaniment.  Vocally, Toni McCarthy suffers from poor tone and distinctive deficits in pitch.  The three songs she heads up on the album are tough listens.  In Our Time is written in the form of universal truth-isms about a world that has seen its better days.  While dated in sound and perspective, Five And Dime Cowboys' In Our Time will appeal heavily to fans of 1950's and 1960's country music, as well as to fans of folk music of the same era.

Rating: 3 Stars (Out of 5)

Learn more at www.fiveanddimecowboys.com.  In Our Time is available digitally from Amazon.com and iTunes.  CD copies are available from CDBaby.

Ron Hawkins - Straightjacket Love

Ron Hawkins - Straightjacket Love
2011, Ron Hawkins

There is a point in time and space where music, art and life intersect in mysterious ways.  It is a place where truths are lost and found; a place where magic happens.  All great songwriters strive for this marriage of time, place and muse, and even the greatest miss it more often than not.  Ron Hawkins has been dancing about the edges of this vortex for the past two decades, quietly carving out a niche as one of the finest songwriters of his generation.  First as a member of legendary Canadian rockers Lowest of the Low, and later in various solo incarnations, Ron Hawkins has built an impressive catalog of songs built on raw honesty and a master craftsman's ear for words and melody.  Hawkins recently released his 8th solo album, Straightjacket Love, drawing from country, rock and blues styles to create one of his most dynamic and satisfying works to date.

Straightjacket Love opens with "One Hundred Five", a comfortable country/folk/rock number that wastes no time showing off Hawkins' talent at turning a phrase: "And we tug our time like ragged sleeves / and our days we wear 'em thin / we scatter them like pumpkin seeds / oh breath into the wind."  It's a song of love built from long survival together and filled with an acceptance of profundity and imperfection side by side, illuminate by the light of life's limitations.  With a simple arrangement and amazing depth, Hawkins outlines what will become an album born of love songs, but rooted in the real world understanding of someone who has seen the trenches and knows that every moment is a real gift.  "Corner Room" explores distances that can never be overcome, even from one room away.  References to history are both personal and musical, and Hawkins creates a moment of angst in music that's so real it's painful.  The song is a gorgeous testament to the emotional baggage that we all carry when something good falls apart.

"The Sickness (That's What They Call Love)" is a wonderful little alt-country celebration of love.  Catchy and sweet without ever stepping into cliché, the song features a swaying chorus you can't help but sing along to.  "Hong Kong Station" is a love song written far from home on a long train ride, where contemplation turns to truth.  This one feels like it could have been a Lowest of the Low number, but is gussied up here with an Americana sound.  Hawkins has always had a talent for romanticizing the desolate moments in song, and repeats the feat with "Waitin' On Something That's Already Here".  It's a gentle calling out of someone afraid to commit that's well-written and performed with a bare honesty that's heartbreaking. 

Hawkins returns to the blues-influenced folk/rock of his early solo career (Secrets Of My Excess) with "Black".  It's a bit of musical self-flagellation decorated with remorse and hope for forgiveness, and surrounded by wonderful instrumental cameos that create a distinctive impression.  This song will get stuck in your head and stay there, and it wouldn't be at all surprising to find this song licensed for a movie somewhere down the line.  "Kill The Lights" seems to vacillate grandly between trying to get better and giving up the fight, in a life where demons both inborn and acquired bear down on the narrator's soul.  The quietly edgy guitar work serves as a counter to the almost dirge-like incantation to hold off the night, and Hawkins delivers chants the chorus with an urgency that's chilling.

Hawkins changes pace with "Company Ink", a story-song where a chance meeting and time create the circumstances for a deep fall full of competing uncertainties and profound truths.  The song explores the dichotomy of love, of being lost and found all at once.  Hawkins wraps it all up in a cute, 1970's singer/songwriter pastiche, and delivers some wonderfully subtle lyrics in the process: "I met you in July as they showed you around the floor / I filed your name away but it rattled in my drawer."  The song is a true wow moment on an album full of them.

"Straightjacket Love" heads for the honky-tonk in a catchy country/rock exploration of love, freedom and attachment.  Don't bother trying to sit still, and forget getting this number out of your head for some time to come.  "Lucky Street Lazarus" is a kiss-off song to a prior romantic offender trying to waltz back into his life.  This is pure Ron Hawkins in a bouncy, rock arrangement that would be at home in either a solo or Lowest of the Low set.  Once again, try to get this song out of your head; it's next to impossible.   

Hawkins saves his most powerful works for last.  "Diamonds In The Water" finds the narrator coming to terms with a rough history while making amends and dealing with the mental and emotional detritus of a hard life.  Here we see a man exploring his current frame of reference while making sense of the past; afraid of losing both in a wash of tides he has little or no control over.  This is songwriting at its most powerful and raw, even when steeped in imagery and ideas open to wide swings interpretation.  The image of the title, the letting go of valuable thoughts by someone for whom memory is a valuable commodity is gut-wrenching and brilliant.  Hawkins wraps things up with a silly little love song, in his own fashion, with "Prairie Girl".  It's a charmingly catchy little number that grabs you by the lapel and pulls you along; knowing no matter how dark the past may have been, right now the sun is shining bright.  And that's enough.

Ron Hawkins continues to dig closer and closer to his own personal truths on Straightjacket Love, striving like a miner to find what's real in the structure of song.  On what is perhaps his most personal and compelling work to date, Hawkins delivers an entertaining blend of celebration, rumination and remorse from the building blocks of country, rock, folk and blues.  Magic both lyrical and melodic abounds on Straightjacket Love, an album that captures you like a great book and is over before you realize a moment's passed.  You'll find yourself returning again and again, looking for the subtle, ineffable gems Hawkins uncovers in his continued search for understanding.  Straightjacket Love is mesmerizing, a Wildy’s World Certified Desert Island Disc, and an album you simply cannot afford to miss.

Rating: 5 Stars (Out of 5)

Learn more about Ron Hawkins at www.ronhawkins.com.  Straightjacket Love drops May 31, 2011, but you can order it now in both CD and instant download versions from VictimlessCapitalism.com.  Be sure to poke around VictimlessCapitalism.com while you’re there – it’s a great site for artists to sell their music while keeping most of the proceeds.

Amy Black - One Time

Amy Black - One Time
2011, Reuben Records

Amy Black made her mark in the business world before embarking on a career in music.  Her debut album, Amy Black & The Red Clay Rascals was a tribute to Black's favorite songwriters, and earned Black notice for a compelling voice.  The voice is back on Amy Black's sophomore album, One Time.  This time around, Black penned nine original tunes to show off her distinctive love of storytelling in song.

One Time opens with "Run Johnny", a classic murder song that's surprisingly catchy.  Black's sultry voice falls somewhere between Bonnie Raitt and Jeannie C. Riley, with wonderful tone and just a bit of grit in the seams.  The tight and catchy arrangement presented here features top-notch instrumental work and shows off Black's presence as a performer.  "Whiskey And Wine" is a loved ballad about a doomed affair.  Black's gorgeous alto illuminates an exploration of a time when perhaps the pleasure is worth the pain.    "Stay" is a fun rockabilly number featuring an assist from Black's sister Corrie Jones.  Self-promotion is the name of the game in this soulful story song.

"Molly" is a melancholy ballad that plays like a letter written to a friend.  The arrangement and instrumentation here are exquisite.  Black mixes honky-tonk and old-school country on "You Ain't Woman Enough (To Take My Man)."  This song has hit written all over it; being incredibly catchy, especially for a mid-tempo song.  It has one of those choruses you'll find yourself singing along with the first time you hear it.  "All My Love" blends blues, country and rock with the addition of some funky guitar work.  Black's voice is utterly sensual here, dripping with emotion and charisma.  "Meet Me On The Dance Floor" is an upbeat and catchy flirtation in song.  Don't be surprised if this is the breakout track of the album.

"I Can't Play This Game" explores the beginning of moving on.  Sorrow and regret mix with an unwillingness to be wronged once more in a statement of self.  This is a solid album track, but the songwriting is surprisingly subtle and deep for a song of this type.  "Words Fail You" is pure country sorrow, complete with the plaintive cries of a pedal steel.  Melancholy blends into sorrow over the tragically beautiful melody.  One Time closes with "Ain't No Grave (Gonna Hold My Body Down)", giving Johnny Cash a run for his money.  Blues, gospel and Americana mix with a swing feel to provide the most dynamic moment on the album.  You'll get a glimpse of what Black is live here.

Amy Black, where have you been?  One Time shows the presence and professionalism of an artist who's been in the music game much longer than Black has been.  Credit producer Lorne Entress (Lori McKenna, Bittertown) and a cast of musicians including Mark Erelli (guitar, vocals, and lap steel) and Stuart Duncan (fiddle) for helping to build a sound around Black that's both classic and fresh.  But don't forget to credit Amy Black herself.  One Time is destined for a lot of "best of" lists at the end of the year.  Performers this fresh and real and yet so polished come along rarely.  You'll be glad that Black finally put her musical dreams first.

Rating: 4.5 Stars (Out of 5)

Learn more about Amy Black at www.amyblack.com or www.myspace.com/amyblackmusic.  One Tine is available as a CD or as a download directly from Amy Black's webstore. The album is also available digitally from iTunes.

Big Tobacco & The Pickers - Big Tobacco & The Pickers

Big Tobacco & The Pickers - Big Tobacco & The Pickers

2010, Big Tobacco & The Pickers

Big Tobacco & The Pickers are a Southern Ontario-based sextet that blends the outlaw country of Johnny, Merle, Waylon and Willie with the folk/rock sensibilities of The Band and occasionally the offbeat feel of Luther Wright & The Wrongs.  Songs of hard living, hard drinking and occasional forays over the line of legality are the order of the day, delivered in a no-nonsense manner that is full of the charisma of lead vocalist Jamie Oliver.  Big Tobacco & The Pickers, the band's self-titled debut, delivers on the promise of the band's live shows, and announces Big Tobacco & The Pickers as one of the bright new stars on the alt-country horizon.

Big Tobacco & The Pickers open with “The Drunker You Get”, a musical take on the classic joke about the quality of the band’s music in direct proportion to the amount of alcohol consumed.  Vocalist Jamie Oliver shows tremendous charisma and showmanship, and the band matches him step for step.  “Whispering Palms” is a northern-dweller’s lament missing his home in the south.  The song has a nice, classic-country feel, like something you might have heard on country radio a generation or two ago.  “Time Ain’t On Your Side” laments the time spent as a young kid/adult ‘running from the mines’.  It’s a song about big dreams, the wasted pursuits of youth and never quite ending up where you intended.  This particular story/song includes a side bar in prison and a lot of regret, but also a thread of pride and fond remembrance deep beneath the surface.  The arrangement is a thing of beauty, and the vocal harmonies sublime. 

“Return To Sender (Say It Ain’t So)” is a monologue from a man who has been untrue and has been exiled from his marriage and children.  Now he has been served with divorce papers and is suffering the ultimate regret for his past actions.  The song is delivered in a straight-forward country arrangement with a fine melody.  “Lonesome, On’ry And Mean” is pure fun; a likely favorite in the live set.  This is the sort of deep album cut that can become a cult favorite.  “My Own Hell” is about two lost souls drinking to their misery together. He somehow shows enough judgment, however, to leave her sleeping on the bar rather than going home with her and making things worse.  It’s a sorrowful but pragmatic turn that’s a bit atypical for popular music in any genre.  “No Good Gal” is pure singer/songwriter/country about a lady who is nothing but trouble.  Three years in and he’s finally moving on, but the tongue-in-cheek story telling makes it clear she’s been nothing but trouble.

“I’m Fine” is all about getting over true love.  Set to a waltz, he acknowledges not being over her, but consoles himself with women, whiskey and the road.  “Livin’ By Rolling The Dice” is catchy, bluesy rock n roll; an outlaw country tune with a classic rock pedigree.  This one’s a lot of fun, a sure-fire hit in Big Tobacco & The Pickers’ live shows.  “Beans For Breakfast” sounds like something that might have grown out of a jam session between Johnny Cash and Luther Wright.  It’s a tongue-in-cheek song about a man living on the dregs of life.  “The Legend Of Ma Barker” is a great story song about the notorious maven and her criminal activities.  Edgy and entertaining, this is the sort of song that will inspire whoops and hollers in a southern bar on a Saturday night.  It’s flat out great songwriting and a sharp performance.    “Big Tobacco & The Pickers” closes with “Sing Me Back Home”, commemorating the power of music to take us back in space and time to home.  It’s a touching and heartfelt tune without a bit of schmaltz. 

Big Tobacco & The Pickers are the real deal.  Mixing elements of classic country, southern rock and down home, self-deprecating humor, Big Tobacco & The Pickers have created an album that stands on its own.  Vocalist Jamie Oliver is personality plus, selling every song as if his life depends on it, and the band is as tight and interconnected as you could hope for.  Big Tobacco & The Pickers has one or two slow moments, but overall is a great reminder of what country music was meant to be.

Rating: 4 Stars (Out of 5)

 Learn more about Big Tobacco And The Pickers at www.myspace.com/bigtobaccoandthepickersband.  Big Tobacco & The Pickers is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

One Ton Pig – Big Norm

One Ton Pig – Big Norm
2010, One Ton Pig

Jackson Hole Wyoming is a skiing Mecca and all-around party town.  It takes a special sort of band to really rock such a swinging party scene.  Luckily for Jackson Hole, One Ton Pig broke and broke hard on the local bar scene several years ago.  Featuring the songwriting and vocals of Michael Batdorf, the band is an all star cast including Justin Smith (Mandatory Air) on guitar and vocals; Jason Baggett on drums; Andy Caldar (Banyan) on bass and Tim Farris (Jet Black Ninja Funkgrass Unit) on mandolin and vocals.  If a song is danceable and you can drink to it, you’re likely to find it in a One Ton Pig set.  In November of 2010, One Ton Pig released their second album, Big Norm, a joyous mix of outlaw country, Americana and gin-laden fun.

One Ton Pig practices the KISS principle on Big Norm, letting the inherent catchiness and vibrant melodies of the songs rule.  One Ton Pig gets things started with “Looking For Springs”, a solid blend of bluegrass, country and folk.  Batdorf’s vocals are as smooth and pleasant as always, and the guitar and mandolin work here are superb.  “Let Me Rattle” blends into Appalachian style folk, a train song about going back home to West Virginia.  “Time Rolls On” features some of the finest instrumentation on the album, offering up an urgent, catchy feel that will draw you into its quasi-existential message.    “Cruel Words” plays like water, washing over the listener like a second skin.  The melody is catchy and simple; the arrangement intricate yet easy to follow.  The guitar work here is outstanding.

“Butterfly In A Hurricane” has a talk/sing style that focuses on the concept of a rambling life.  You could easily remove the vocals from this song and have a wonderful jam/instrumental tune.  As it is, the lyrics are here more to provide internal structure around which the members of One Ton Pig jam.  “Cold Water Blues” mixes alt-folk, rock and perhaps the spirit of the blues in a song about surviving on the lamb.  There’s a mix of joy and resignation here that is intriguing, as if a choice is made and the path is welcome but the hardships are frustrating.  “Sonoma” is a vibrant instrumental that pays tribute musically to Sonoma, California’s roots as a Mexican state.  As elsewhere on the album the instrumental work is over the top, with Tim Farris in particular standing out on Mandolin on this track. 

“Drunk To The Bone” is a bluesy folk/rocker that is perfect for the bar scene; energetic and fun and built around an infectious riff.  This is the sort of tune that regular fans will likely chant back to the band; a sort of bar room camaraderie that can’t quite be captured on a studio album but would not be surprising live.  “Murder In The Hole” is a tragic song full of mischance and foolishness.  The songwriting is solid, and fits in nicely with a long line of similar songs in American folk music.  “Song In The Kitchen” is another occasion where the lyrics don’t seem to matter quite so much.  This is a jam tune with lyrics added for form, and One Ton Pig does it up big.  “Load Up And Be Gone” strips things down a bit, built around a simple chord progression on guitar.  The premise here is somewhat banal, with a highly repetitive chorus that is more thematic than story based, but the instrumental work continues to shine.    “Chilhowie Mountain Blues” takes it roots from the country/rock of Johnny Cash and expands upon this sound in one of the catchiest turns on the album.  Try to sit still for this one.  It can’t be done.  One Ton Pig closes with “Burn It Down”, a rowdy tune that takes on the sort of progress that has seen the rise of strip malls across the country.  It’s a killer closing tune, raucous and musically dynamic; showing off the extreme instrumental skills of the entire band.

Big Norm is the sort of album you through in your CD player or call up on your playlist and leave it there for days at a time.  From an instrumental standpoint it would be difficult to find a finer working group today.  Some of the lyrics offered up on Big Norm work essentially as filler, providing a trellis over which One Ton Pig’s instrumental magic can spread.  John Batdorf is an accomplished songwriter and storyteller, but it’s clear that in some instances on Big Norm he and One Ton Pig were willing to allow the music to speak for itself.

Rating: 4 Stars (Out of 5)

Learn more about One Ton Pig at http://www.justinsmithmusic.com/ or www.myspace.com/onetonpig.  Big Norm is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

John Connolly - The Wind

John Connolly - The Wind

2010, John Connolly

Prince Edward Island, Canada singer/songwriter John Connolly began travelling to Nashville in 2008 to develop his song craft.  Connolly developed a friendship with producer Brian Ahern (Emmylou Harris, Roy Orbison, Johnny Cash) over the course of time, and in early 2010 called on his friend to produce Connolly's debut album, The Wind.  While the process of recording in a Nashville mansion amongst vintage gear and a sense of the city's history may have been daunting for some, it appears to have provided Connolly with deep inspiration.

The Wind opens with "Unfinished Business", a simplistic secular parable about learning to live life for yourself.  Connolly is folk singer/songwriter with a smooth sheen and an amazing voice; drawing you in with a purity of sound that makes you want to listen.  "Here You Are" captures both the surprise and sweetness of finding love unexpectedly and or reality passing expectation.  The folk/country arrangement offered here is very mellow and features a melody you won't be able to escape.  "The Wind" is a song of comfort that sounds like a blend of traditional country and an almost Eagles-style California country sound.  "Country Stars" is an ode to old-time country and a lamentation that the country stars of yesteryear are nearly forgotten nowadays.  "Does It Show?" is a halting love ballad that is a study in musical aesthetics while providing an equally adept vocal line.  Connolly closes with "Ancient City", recollecting a youthful love affair far from home.  Connolly is masterful as a story place, building a time and place in song and inviting the listener in to be a part of the experience as memory recalls it.

The Wind introduces John Connolly as a riveting story-teller with a mesmerizing voice and an almost magical ability to feed the listener's senses beyond sound.  John Connolly's songwriting has a timeless quality that can't be bought; a gift that will likely keep on giving as Connolly continues to pursue life in music.  The Wind is the sort of album that keeps you coming back, and chomping at the bit for whatever else Connolly might have up his sleeve.  If The Wind isn't on year end critics' best of lists, it's because they haven't heard it.

Rating: 4.5 Stars (Out of 5)

 Learn more about John Connolly at www.johnconnolly.ca or www.myspace.com/johnnyprovince.  The Wind is available digitally from Amazon.com and iTunes

Tim O'Connell - It's My Song, Dammit!

Tim O'Connell - It's My Song, Dammit!

2010, Tall Man Records

Tim O’Connell has been a songwriter living on the fringes of Nashville since the 1970’s.  O’Connell is perhaps not well known amongst the Music Row establishment, but he was good enough to gain the attention of Johnny Cash.  A version of O’Connell’s “A Singer Of Songs” appeared on the Cash Unearthed box set not long after his death.  The song was written by a 29-year old O’Connell and showed a maturity and depth surprising for his stage of life at the time.  O’Connell has continued to mine the highways and byways of middle Tennessee for inspiration, and returned earlier this year with his latest album, It’s My Song, Dammit!

O’Connell opens with “Without You” a simplistic run of similes that expresses what a lost cause he is without the love of his life.  It’s a cute tune in an early country/folk arrangement with an almost conversational singing style.  “Little Radio”  is a bluesy rocker all about the inspiration for O’Connell’s muse.  It’s an entertaining tune, and while O’Connell doesn’t have the prettiest voice, it’s full of character and O’Connell always seems to sing from the heart.  “Talking ‘Bout Love” is a good nature love song, an old-school duet with the incomparable Jill Walsh.  “Us Old Folks At Home” displays an old school family attitude about a miscreant child.  There’s a touch of humor here balanced with a touch of disgust; an entirely human and vaguely crotchety feel that’s entertaining. 

“This Must Be Love” is a straightforward and simplistic love song with a classic feel.  “Thank You For Being A Friend” and “There’s Nothing You Can Do” have similar feels, dealing with friendship and the inevitability of love, respectively.  “The Righteous Road” is a dynamic gospel tune with a non-traditional perspective.  The song is irreverently reverent; fun and entertaining and dancing on the slippery line between misunderstanding and well-intended blasphemy.  O’Connell closes with the anti-climactic “its Hard To Believe That It’s Over”.

Tim O’Connell is certainly an accomplished songwriter.  Writing from the heart, honesty and integrity of thought and emotion inform O’Connell’s songs throughout It’s My Song, Dammit!  Even where O’Connell doesn’t quite manage to connect it’s certainly not for questions of heart.  It’s My Song, Dammit! Is a solid singer/songwriter album, worth spending a little time on.

Rating: 3 Stars (Out of 5)

Learn more about Tim O’Connell at www.talldarkranger.com.  It’s My Song, Dammit! is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Centrevol - Momentum

Centrevol - Momentum
2010, Centrevol Music

Long Beach, California rockers (by way of Boston) Centrevol made a splash with their 2008 debut album, the Wyn Davis (Sublime, No Doubt) produced Beggars And Thieves showed a propensity for grand rock songs with distinctive melodies in the tradition of bands such as U2, The Police, The Killers and Coldplay. Centrevol returns on September 29, 2010 with their third EP, Momentum. Produced by Eric Palmquist (The Ataris), Momentum is likely to be a self-fulfilling prophecy.

Momentum opens with "Don't Hear Me Wrong", showing off an open sound with great pop sensibility that's reminiscent of U2 (or U2 jamming with the Geoff Downes version of Asia. The chorus here is brilliant, the sort that catches attention on the radio. "Ready To Go" is a bit more mundane than the opener but is a solid album track "I Walk The Line" is an intriguing cover of the Johnny Cash classic that sounds very little like the original. Centrevol brings out a different feel in the song; where Cash's version was confident and proud, the version presented here is melancholy and resigned. "Save Yourself" is very catchy, and jumps right out of the speakers into your ears. Centrevol's ability to come up with these big choruses filled with ample hooks and harmonies bodes well. The best comes last, however. "Shine A Light" is a prospective love song; hopeful in a prayer-like fashion. Melody is king here, and even if the lyrics dance on the edge of trite at times the song works for what it is.

Centrevol overcomes the sophomore jinx with Momentum. Even with a couple of tracks here that just take up space, Centrevol exceeds all expectations by blending a distinct pop sensibility with great melodies and the occasional chorus that will simply blow your over. With the right luck Momentum could be a breakout EP on the strength of a few of the tracks here. Don't miss it.

Rating: 3.5 Stars (Out of 5)

Learn more about Centrevol at www.myspace.com/centrevol.  Get Involved drops September 29, 2010.  You can pre-order your digital copy from Amazon.com.  Expect wider availability both on CD and digitally soon.

David Gergen - The Nearer It Was... The Farther It Became

David Gergen - The Nearer It Was... The Farther It Became
2010, David Gergen

Singer/songwriter David Gergen's latest effort, The Nearer It Was... The Farther It Became can be likened to a rugged outing for a pitcher. He fights his way through without great stuff, gutting out a performance that shows some promise but is never quite enough to win the game. Solid Americana arrangements dot the landscape; and it should be noted that Gergen seems to have a talent for writing and arranging music that is pleasant but non-threatening. Vocally, Gergen struggles with both pitch and tone, sliding around notes at times like a toddler walking on ice. "Seven Miles To Sunset" shows a distinct melodic sense, but Gergen takes melancholia to the point of disaffection. "The Streets I'm Walkin'" is gentle Americana impressionism; observational songwriting with a melancholy flair. This is one of the more successful tracks on the album, and Gergen tightens up his breath control for a workable performance.

"Ore De Electro" is messy and eclectic, featuring an uneasy marriage between guitar and ambient synth. "Love Blues #11" mixes blues with space-age Electronica and slipshod vocals. The result is a sonic mess that's interesting but doesn't have the compositional clarity to hold your attention for long. Things pick up a bit on "Thru A Fairy's White Cloud". Gergen sounds a bit like Johnny Cash on downers here; a unique approach that is well framed here. "The Other Side Of The Sea" is a lost, mournful monologue. Gergen starts out with good intent, but the lack of affect here is more distracting than informative. Gergen closes with the incomplete "Your Letter", a response/monologue that is cut as short as the relationship it memorializes.

David Gergen shows some interesting signs of life on The Nearer It Was... The Farther It Became. This is certainly not a happy-go-lucky album, featuring the sort of emotional downward spiral that sometimes coalesces in the wake of a relationship. Gergen's vocal style works at times, but his tendency to sing around notes rather than hit them head on can become a distraction. The recording in general suffers from the lack of collaboration. A close listen shows an artist with much to say, but may need the creative tension of co-writers to bring the dark magnitude of Gergen's night more fully out into the open.

Rating: 2 Stars (Out of 5)

Learn more about David Gergen at www.myspace.com/davidgergen.  The Nearer It Was... The Farther It Became is available from Amazon.com as both a CD and Download.  The album is also available from iTunes.