Monika Borzym - Girl Talk

MonikaBorzym - Girl Talk
2011, Sony Music

Monika Borzym’s heroes have alwaysbeen trumpeters:  Miles Davis, Chet Bakerand Terrence Blanchard were her gateway into Jazz.  While there, Borzym was captivated by thedivergent voices and styles of performers such as Ella Fitzgerald and CarmenMcRae.  The Poland-born crooner studiedin the United States at Miami’s Frost School of Music, furthering her love andknowledge of jazz and classical forms under teachers such as Lisanne Lyons,Larry Lapin, Ira Sullivan and Shelly Berg.  During her time at Frost, Borzym met guest lecturer Matt Pierson (JoshuaRedman, Chick Corea, Pat Metheny), who is Borzym’s primary collaborator on herdebut album, Girl Talk.

 Borzym opens with a cover ofAmy Winehouse’s "You Know I'm No Good", showing off a sweet andsultry voice that would be right at home in a 1930's gin joint. Monika Borzymdelivers crisp lines with a polished presence that belies her 19 years, and herinstrumental accompaniment is first class. "Extraordinary Machine"finds Borzym taking on a manic, talk-sing lyrical barrage in conjunction with aminimalist arrangement. The result is an intriguing tune that will leave youdizzy yet satisfied. "Even So" stands out from a string of exceptionalperformances, with Borzym imparting a mature presence and seasoned melancholyin dulcet tones that will have you quietly on the edge of your seat.

The opening cadence of"American Boy" (Estelle) carries vague suggestions of Jobim's"Girl From Ipanema". This is no retread, however, as Borzym launchesinto a modern jazz tune that remembers its classic heritage. Borzym digs into a1970's singer/songwriter pastiche for "Field Below", which bears avague musical resemblance to Procol Harum's "Whiter Shade Of Pale".The song is elegant and refined, with a gorgeous melody, and Borzym walks ithome like a pro. “Appletree” (Erykah Badu) shows a more modern, soulful jazz sound.It feels as Borzym is a bit rushed by the arrangement here, but it all worksout well in the end. "Down Here Below" (Abbey Lincoln) is a gorgeous,blue recitative that drips with regret. Borzym's voice is never lovelier,taking on a reserved air that is full of an eloquent and desolate beauty."Gatekeeper" (Feist) is cut from similar cloth, but woven with moresubtlety.

 Borzym goes Vegas on "DryCleaner From Des Moines", a frenetic little tune that borders on thevestiges of bebop. "Abololo" (Marisa Monte) slows things down, with atentative piano leading the way for Borzym's lush vocal line. "PossiblyMaybe" (Bjork) is well intended, but becomes something of an undirectedmess in spite of Borzym's attempts to save it. Girl Talk closes on apositive note with an unconventional cover of Pink's "Thank You" thatis true to the original but puts Borzym's distinctive stamp on the song.

Monika Borzym has a captivatingvoice, and a presence that's bewildering in one so young. This is the sort ofalbum you simply can’t put down; Borzym’s call is like that of a gentle Siren,relentlessly pulling you in.  GirlTalk is one introduction you won't soon forget, as Borzym appears poised tobecome one of the next big names in vocal jazz.

Rating: 4 Stars (Out of 5)

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

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Marian Call - Something Fierce

Marian Call –Something Fierce
2011, Marian Call

When we first received Marian Call’s 2007 debut album, Vanilla, in the mail three years ago weknew we were hearing something special. The Alaskan transplant evoked thoughts of Joni Mitchell, Jewel andNellie McKay with crisp songwriting, honest lyrics and a voice that lights upthe night like a beacon.  Even in thecommissioned project, Got To Fly,Call showed an evocate and quirky personality with sweetly geeky tendencies andan impressive songwriter’s command, but nothing Call has done before can amplyprepare you for Something Fierce.  Call’s third album, a 19-song, 2-disc effort,shows a transformation from the burgeoning singer/songwriter of 2007 to amaster of her craft.  The leap forward inpresence, command of her material and pure creative magic is absolutelystunning.

Something Fierceis broken into two distinct albums.  Volume I: Good Luck With That and Volume II: from Alaska show twodisparate yet interwoven sides of Call.  Volume I shows the emergence of aconfident, mature and appealing songwriter; while Volume II is an introspective and personal affair.  Each volume is a complete work in and ofitself, but together they create a picture of the artist as person that isindelible.  Marian Call opens Volume I with “Good Morning Moon”, awonderfully catchy number full of distinct pop sensibility.  Call’s imagery here is simple and appealing,yet deep in meaning; the song flows like water and is a marketer’s dreamwithout sounding anything like the pop music you’re likely to hear on theradio.  “The Avocado Song” displays Call’sfunky, bluesy, soulful side and shows a confidence and presence that has grownby leaps and bounds over the last four years. “Dear Mr. Darcy” is a funky folk/rock song of unrequited love.  Call inhabits your head space on numbers suchas this, making a deep impression with both her voice and pure presence.

Pedal steel accents prove a perfect counter-point to Call’svoice in “All New (Heart Shut Tight)”, a gorgeous confessional about theconflict of wanting to fall in love but not being able to let go and let ithappen.  “Free Bird” has a jazzy feel,and Call dazzles with the range and tone of her voice over a stark, pizzicatoguitar.  This is a WOW moment, the firstof many.  Call doesn’t make you wait longfor the next one, either, launching right into “Temporal Dominos” andunleashing the full power of her voice. The prog/folk arrangement is ingenious and the run-on style melodybecomes analogous with the stream-of-conscious lyrics, making both seementirely natural.  Call pulls back for “HighwayFive”, a Joni Mitchell-esque love song written to the coast that bore andsustains her.  The deeply personalballad/soliloquy features just Call’s voice and guitar, and speaks to longingfor home that never leaves the heart, no matter how far away home mightbe.  “Press Or Say Three (Your Call IsImportant To Us” is a solid album track that paves the way for Volume I closing track “Ina Flew TheCoop”.  This one has been kicking aroundCall’s live set for some time; a song about moving on and the mix of new-found freedomand captivity that follows in the wake of a relationship.  The story is told in third person with agentle mix of envy and fear; an amazing observation that has a vaguelyautobiographical feel.

Volume II openswith “Whistle While You Wait”, a personal exploration of confidence, reticence,and making the most of each moment.  Call’smix of intellect and heart hear is stunning, moving beyond singer/songwriterpastiche into the realm of pure art.  Itbecomes difficult to imagine the singer separated from the song, or viceversa.  “Early Is As Early Does” looks atlife as a journey or series of side trips, deeply shaded by an intellect thatspends much time in self-conversation on such subjects.    Thisis among the most intriguing works on the set, showing Call reaching for anever-higher level in mind, heart and song. Such depth deserves a lighter turn, and Call doesn’t disappoint.  “I Wish I Were A Real Alaskan Girl” is an odeto the hearty women born of the 49^th state that pokes gentle fun whileoffering respect for those who live close to a hard land.  This song could go either way, depending onthe listener, but Call weaves an entertaining and humorous narrative you won’tsoon forget. 

“The Underground (One Bird At A Time)” explores theanachronism of losing your senses in a state of perpetual light.  It’s a gorgeous turn that makes the most ofthe colors of Call’s voice, and the sense of dislocation that comes from livingin a land where (albeit temporarily) the sun never goes down.  “Coffee By Numbers (Faon’s Song)” is a jazzypiano-driven number about personal collections and taking the time to nurturethem.  Coffee is the focal point of thesong, but it’s Call’s voice that carries the connection.  “Equinox” is a personal soliloquy on turn thepage.  Hope for the future and hesitationmix in intriguing fashion in a darkly, lovely tune that will leave an impression.  “E.S.B.” is most memorable for Call’svoice.  You simply have to listen to thisone for yourself.

“Perilous Road” uses personifies the human experience ofputting yourself out there for the world to see as a difficult drive.  The image of cliffs and blind turns brings tomind the concepts of faith and self-confidence, darkening the sky with doubtsthat seek to blot out the light of hope. Despite the seemingly simple message, there are many layers here thatwill reveal themselves over successive listens. “Aurora Borealis” features a simple, roiling beauty in a guitar-drivenarrangement that swells and fades like deep water.  Call’s vocal performance is nothing less thanentrancing.  Volume II concludes with “Anchorage”, a gorgeous quasi-duet betweenCall and cello.  The song has a quietcenter, and Call fills it up with her heart and her voice.

There is a power in simplicity.  Marian Call harnesses that power and burnishesit with heart, honesty and deep intellect on Something Fierce.  Call’s presence grows by leaps and bounds on Volume I, displaying a persona that’sfun, powerful and eminently real.  Volume II encompasses more of Call’sinner dialogues; delving into mature insecurities born of past failures, newsuccesses and a hope that one of these times will be different.  The compositions and arrangements on Something Fierce are absolutely stellar;Call seems to have a knack for marrying the perfect lyrics to the perfectmelodies, and encompassing them in arrangements that fit like gloves.  The usual superlatives don’t seem to applyhere, but it’s fair to say that when the year-end lists come around, the smartmoney is going to be on Something Fiercebeing highly placed.  Marian Call hascreated a masterpiece.  Something Fierce is nothing less than a Wildy’sWorld Certified Desert Island Disc.

Rating: 5 Stars(Out of 5)

Learn more about Marian Call at www.mariancall.com or www.myspace.com/mariancall.  You can order Something Fierce directly from Marian Call.  Ordering information is available on Marian Call's website.  If you want to hear the full album, you can stream it on Wildy's World, or on Call's website.

Brittany Campbell - Nerd [EP]

Brittany Campbell - Nerd [EP]
2011, Brittany Campbell

New York City-based singer/songwriter, multi-instrumentalist and producer Brittany Campbell walks the musical edge.  Stylistic boundaries fall aside in Campbell’s path on her debut EP, Nerd. 

Nerd shows an artist on the verge of finding something great, but perhaps still caught in her own pre-conceptions of what she should sound like to find the sound ticking around inside of her songs.  "Clown" is a catchy dance number that's a bit sophomoric lyrically, but is highly entertaining.  Campbell builds a great dance vibe here, and her voice is distinctive and original.  The "Turn me on/turn me off" repetition is a bit too much, but will probably play well in the dance clubs where music is more about feel than sound.  "So Cold" and "DJ" both play on the edges of consumable pop music, with "DJ" standing out among the two.  Campbell builds in some nice vocal harmonies here in a solid dance tune.

Campbell stretches her vocal range upward on "Maybes", an exercise that doesn't work out to her benefit.  The tone and sound of her voice is an exquisite and easily acquired taste, but the effort and marginal melody here just don't make a good fit.  "Goody Goody" is a wonderfully quirky and accessible pop tune, and Campbell is at her best vocally here.  This song has real potential, and could get some serious looks from pop, dance and urban programmers.  "Nerd" might just be the counter-culture pop anthem of the year, with Campbell's distinctive voice playing off against a catchy dance beat.  Nerd closes with a dance mix of the title track; a likely effective single for the club circuit, but not really an improvement on the original.

Brittany Campbell has a voice that's instantly distinguishable, the sort you'll remember forever after hearing once.  Her vocal style is quirky and fun, but song selection will always be key for Campbell, as her voice occasionally finds musical wells where it just doesn't play as well.  When Campbell is on her game she's incredibly entertaining and fun.  The songwriting plays to lighter fare, but is generally quite well done throughout Nerd.  Brittany Campbell has big potential.  Nerd shows that she can use her talents and quirky sensibilities in concert to create enjoyable tunes, but it does sound as if Campbell is still working to distinguish herself and her muse from her own pre-conceptions.  When she finally makes that break, look out.

Rating: 2.5 Stars (Out of 5)

Learn more about Brittany Campbell at http://www.brittanysoup.com/ or www.myspace.com/brittanycampbell1.  Nerd is available for download via Amazon.com and iTunes. 

Rachel Wagner - Untold

Rachel Wagner - Untold
2011, Rachel Wagner

Roseville, California singer/songwriter Rachel Wagner has a reputation for putting listeners at ease.  Wagner may take the stage in an auditorium or coffeehouse, but the atmosphere as if she’s sitting in your living room; telling stories to a good friend, guitar in hand.  Wagner’s third album, Untold, features her sweet, breath voice, her personal style, and winsome songs that walk the line between Sarah McLachlan, Enya and Joni Mitchell.

Wagner opens with "Untold", an ethereal ballad that nicely features her pretty, breathy soprano voice.  The cascading vocal harmonies build the song into a lovely sonic experience.  "Blackberries" is a song about thankfulness; this simple concept is explored in a complex arrangement that's pretty but certainly not what you might expect.  "She" is a water color in sound; Wagner paints with a musical brush, layering vocal parts to create amazing sounds in a song about a dreamer and the power of pretend.  "I Won't Be The One" is a lush, gorgeous statement of intent.  Fans of early Sarah McLachlan will dig the ethereal nature and layered sounds Wagner uses here.

"Hide And Seek" is a swaying number about finally being found.  Wagner's gorgeous arrangement builds the joy of the song like the blooming of a flower.  On "Something Happens", Wagner explores a reticence to give herself over to love.  When the breakthrough finally comes it is as a light, lilting them; pretty and pure.  Wagner ventures into the ether again for "Clean", before closing with the inspiring "Psalm 131".  Wagner's melody and lead vocal are pure beauty.  The interposing supporting vocals are a bit distracting however.  It's clear what Wagner was trying to attain here, but the song would play much cleaner with just her lead and the present instrumentation.

Rachel Wagner shines on Untold.  Even with a couple of mis-steps along the way, this is a very promising introduction to an artist who is a bit off the beaten path.  Wagner's penchant for musical imagery is unusual, as she bends and shapes notes and passages as a sculptor might shape clay.  Wagner's songs dance forth from a garden of beauty, capturing the essence and form of ideas that generally complement her lyrics very well.  This is an exciting start.

Rating: 3.5 Stars (Out of 5)

Learn more about Rachel Wagner at http://www.rachelwagner.com/ or www.facebook.com/rachelwagnermusic.  Untold is available via Amazon.com as a CD or Download.  The album is also available via iTunes.

Laura Joy - What I Know

Laura Joy - What I Know

2011, Laura Joy Music

In a world full of dark affectations and third and fourth guesses, Laura Joy is a breath of fresh air.  With a percussive fingerstyle guitar reminiscent of Ani DiFranco and a songwriting flair that recalls the likes of Joni Mitchell and Rebecca Martin, Laura Joy crafts personal tales in song that are both touching and entertaining.  The Phoenix native who has most recently prowled the stages of bars and coffee houses in New York shines with brilliance both on stage and in the recording studio.  Her upcoming third album, What I Know, shows this same propensity for writing personal yet accessible folk songs but also shows a growing maturity as a songwriter and artist.

What I Know opens with "Fallin'", and emotionally urgent number that decries falling in love.  Joy's almost conversational singing style is the perfect touch here.  This is how you start an album; with a well-written, emotionally committed song gull of energy.  "Breathe" keeps things simple, while attempting to stay afloat in difficult emotional waters.  Joy gives a biopic in song with "Lizzie", channeling her inner Ani DiFranco on a vibrant story song.  Laura Joy's vocal tone is exquisite here, and the songwriting is spot on. 

"What I Know" is written in a barreling, stream of thought style, exploring the doubts of an artist in contrast to the idea that if you keep pushing you can make your dreams come true.  Anyone who has ever created art and had someone else knock it down will identify with the sentiments expressed here.  Joy builds great energy into the acoustic guitar accompaniment.  Joy revives "Six Flights" from her previous album of the same name, detailing the minutiae of everyday life in the city and wonder found somewhere in between the details.   The song hasn't changed, but Joy's voice and perspective continue to mature, giving the song a fuller, richer sound this time around.

"Arrive" is a long-form, pensive speculation on life and direction that's more about journey than destination.  It underscores a maturity in Joy's songwriting that seems to have advanced since she released Six Flights in 2008.  "Score" wants to be a bluesy number; while not quite attaining the sound, Joy imbues the song with a sensibility that's not dissimilar, and a vibrant energy that's relentless.  There's a sense of finality to this song, where the narrator has spent a lot of time building to this point and is more invested in any answer than a particular one.

 Joy closes the album with three holdovers from her previous album, Six Flights.  "Rose Remains" was beautiful last time around and little has changed.  "Plan" has a dancing energy to it that's irresistible.  Where the original was plainspoken and sweet, Joy sings it this time with a sense of soul and perhaps even a bit of reverie.  The song isn't quite so rushed this time around and works even better than the original.  What I Know bows with "Ride Home", a song of emotional survival and uncertainty.  Laura Joy's voice is full and warm and utterly gorgeous on this number, caressing the sweet chorus like a mother holding her child. 

Listening to "What I Know" is like watching a flower that's been growing in the corner of garden finally come into full bloom.  Laura Joy has made the transition from burgeoning singer/songwriter to artist.  While Joy has always displayed a distinctive talent for song craft and a sweet disposition as a performer, now she shows the depth and warmth of a seasoned artist and singer of songs.  For Laura Joy life will always be a journey, but if "What I Know" is any indication, it's a ride that listeners will want to follow along.  "What I Know" is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Laura Joy at http://www.laurajoymusic.com/ or www.facebook.com/laurajoymusic.  What I Know is due for a late spring/early summer release, although a hard release date has yet to be established.  Keep checking Laura Joy’s website(s) for more information.  Photo by Ivana Olson.

Grace Stumberg - To Whom It May Concern

Grace Stumberg - To Whom It May Concern
2011, Popadelic Records

Grace Stumberg is a 22-year old singer/songwriter from Buffalo, New York who proves that appearances can be deceiving.   But when you hear the big voice that emanates from her 4’11” frame you will be floored.  Stumberg, a graduate of Robbie Takac’s (Goo Goo Dolls) Music In Action career training program, is ready to take on the world with her debut album, To Whom It May Concern.  Showing a depth of songwriting talent you don’t often find in one so young, and a presence that recalls some of the great singer/songwriters of the past, Stumberg is just a break or two away from national recognition.

To Whom It May Concern opens with "Change The World", an anthem of inspiration and aspiration about making dreams come true.  Stumberg shows solid pop sensibility on what turns out to be the weakest offering on the album.  Commitment overcomes the arrangement.  The high point of the song is Grace Stumberg's voice, a gorgeous, velvety alto that works well for folk, pop and rock n roll.  "Happier Side" is a bluesy rocker looking for the bright side in a rough start.  It's a great tune, with big energy and an even bigger sound.  By the end of the tune you'll be thinking may Stumberg is the real deal.  By the end of "To Whom It May Concern" you won't even question it.  Stumberg goes for a more Americana setting this time around, with accordion, violin, acoustic guitar, bass and drums.  Stumberg sings for her own dreams here, declaring a trajectory she won't back down from; her voice is gorgeous and Stumberg creates a moment here.

"Steady" starts from a simple, acoustic guitar led look back at how things and people change over time and turns into a polyphonic, multi-layered anthem of hope.  Stumberg builds the song by layering orchestration and vocal harmonies on a bit at a time, culminating in a grand crescendo of sound and melody that's breathtaking.  "The Roses" shows off the singer/songwriter side of Stumberg.  The ode to her grandmother or to a grandmother-like figure gorgeous details enough aspects of her life to make it real and is a compelling testament of love.  Before it's over there is a lovely, baroque-style orchestration that blends in to what is essentially a folk ballad, creating a moment of beauty so rich and touching you'll be moved whatever your constitution.

"Change My Color" is a live, in-studio recording that likens the changes of seasons to personal transformations, pointing out that both are as unstoppable as any other natural law.  The song features a pretty, singular and stoic melody that is unforgettable, and Stumberg's voice fills it out to perfection.  "Sticks And Stones" is a refreshingly poetic kiss-off song with a quiet undercurrent that is surprisingly catchy.  Stumberg's use of imagery and children's rhymes is novel in the context of someone finally opening her eyes to the truth.  This conceptual coming of age is buttressed by Stumberg's velvety, sultry alto.  It's an amazing piece of song craft.

"My Love", an internal exploration of love gone bad, is matter-of-fact in the telling, but underscored with a touch of regret that makes the song compellingly human.  Stumberg seems to have a knack for using each song as a vessel of truth, whether expressing views of the world around her or matters of the heart.  This ability to enliven ideas marks the great songwriters for who they are, and early indications are that Stumberg has the gift.  "Home" blends Americana, pop and classic rock in a Bruce Hornsby-meets-Bonnie Raitt mashup that's amazing.  It's a catchy, mid-tempo number about finding out where your roots belong.  Stumberg is in fine voice here, and listeners may be left thinking that Stumberg has found something of a home in this sound.  Refusing to be pigeonholed quiet so easily, Stumberg launches into the edgy rocker "Miscommunichicken".  The chorus is almost comical: "Don't spread yourself too thin, cause just like bread on butter you're only gonna get eaten".  Get beyond that, however, and you have a Ben Folds Five inspired rocker marked by heavily percussive piano and a correspondingly raw sound.  It's not Stumberg's best, but is an intriguing window on the breadth and depth of Stumberg's songwriting talent.

"Wartime" is a vibrant piece of rock n roll; full in sound and stark in melody.  What Stumberg has done with finesse up until now, she accomplished with inundating force of sound here.  It's an overloaded classic rock feast that will make a great jam tune for live shows, bordering on the neighborhood of progressive rock without losing the singer-songwriter pastiche.  There are hints of Neil Young here that are impossible to ignore.  To Whom It May Concern closes with "Change The World (Woody Mix)".  The mix is just Stumberg, her guitar, and occasional vocal harmonies.  The song is much more powerful in this stripped down setting, conveying the struggle to make a better world more powerfully as a solitary voice.

Wow.

Wow moments happen in music.  You might hear a certain song and be floored by the message, or the melody, or a turn of phrase.  But it's pretty rare to have that reaction to an entire album; to an artist as a whole.  Grace Stumberg is young and still lacks some of the polish of a seasoned songwriter, but she has a gift that most songwriters would kill for.  Stumberg makes her songs come to life for those willing to listen.  To Whom It May Concern lives and breathes from start to finish, touching on people, places, thoughts, emotions and events with a subtlety and grace that is surprising in an artist so young.  Stumberg can blow out the amps as well, when called for.  It's that knowing when to and not to that marks the dividing lines between a great songwriter and someone who might just be discussed one day in hallowed tones.  It's much too early to tell what Grace Stumberg's final trajectory will be, but she certainly seems to have greatness in her sights.  To Whom It May Concern is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Grace Stumberg at www.gracestumberg.com or www.myspace.com/gracestumbergmusic.  To Whom It May Concern is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

S.J. Tucker - Mischief

S.J. Tucker - Mischief
2010, S.J. Tucker

S.J. Tucker fell into music at the age of three. The was The Beatles' Magical Mystery Tour that gave her the gentle shove that changes lives.  A veteran of bands such as Skinny White Chick, Tricky Pixie and The Traveling Fates, Tucker has ten albums under her belt.  A severe illness in 2008 and 2009 knocked Tucker off her feet and off the road for a time, but Tucker is back at with her tenth album, Mischief. Released in 2010, Tucker continues to mature as a songwriter while offering perhaps her most subtle work to date.

Mischief opens with "Ravens In The Library", an interesting personification of society and the roles that we take up in the course of human interaction.  Role are portrayed here as birds out of their element, with the laws of nature and social pecking orders asserting themselves immediately.  It's a cautionary morality tale exploring the effects our words and actions can have on others.  The simple, energetic acoustic guitar-based arrangement is remeniscent of Ani DiFranco, while the vocal line is more Sarah McLachlan.  "Cheshire Kitten (We're All Mad Here)" is an energetic folk number with real energy.  Tucker builds tremendous rhythms into a single acoustic guitar part, supporting herself both musically and rhythmically.  This is an anthem about being yourself in a world that ostracizes individualism, reminding us that we're all born a little off-kilter.  The chorus here is atypical and will stick with you.

"Were-Owl" explores the dangers, and thrills, of romancing darkness.  Tucker delivers her thoughts in a sultry, sensuous vocal line wrapped in stark harmonies.  "Love Lies" is a soulful acapella number that's deliciously arranged.  It's a short tune but full of sparks.  "Don't Get My Hopes Up" features Tucker solo with an acoustic guitar.   If ever a song were perfect for a singer is this one right here.  Tucker transitions through her vocal range with an interesting blend of confidence, insecurity and an unwillingness to waste her time on anything less than the real thing.  The dark and eerily beautiful textures of Tucker's voice will blow you away.

"Neptune" explores falling in love with someone new while looking back on a love that fell out.  The arrangement has a dark, unkempt feel that's strangely beautiful.  "Girl With The Lion's Tail" is a statement of self.  Tucker wants a romance, but doesn't want to be an object or curiosity in that context.  This isn't her best songwriting, but the exploration is an intriguing one.  "September's Rhyme" is another gorgeous acapella piece, this time with a baroque feel.  The vocal harmonies on this one are flat out amazing.  "Salad Of Doom" is tongue-in-cheek take on the healthiest choice on the menu; a highly entertaining moment of lightness.  "Witchka" is a sultry, witchy love song sung with the lusty abandon of young love.  Tucker closes with "To My Valentine", a simply gorgeous love song that could easily become a staple for mix tapes and wedding receptions.  Tucker keeps it simple in both arrangement and sentiment; there's nothing saccharine or contrived here.  An amazing performance.

S.J. Tucker doesn't say no; doesn't back down.  She practices the musical insistence of Ani DiFranco, the melodic intensity of Sarah McLachlan and the parenthetical approach to songwriting that fuels Tori Amos.  Mischief is off the beaten path just enough to intrigue, but not so much as to scare away casual listeners.  Tucker has the charisma and force of personality to wrap you in her charms and have her way with you, and the musical talents to make you love every minute of it.  Mischief is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about S.J. Tucker at http://www.skinnywhitechick.com/ or www.myspace.com/sjtuckerskinnywhitechick.  Mischief is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Halie Loren - After Dark

Halie Loren - After Dark

2010, White Moon Productions

 The past year has been a momentous one for Halie Loren.  Winning the Just Plain Folks Award for Best Jazz Vocal album to becoming a major label artist in Japan (her album They Oughta Write A Song went to #1 on the Amazon Japan charts and stayed in the top-10 for several days.  The crowds in Japan have been growing, and would seem to portend the success that seems inevitable back home in the States.  Loren also released a successful live album, Stages, showing off the line energy that makes her an in-demand performer.  Loren returns on November 16, 2010 with a new album of studio recordings.  After Dark mixes original and cover tunes and shows a somewhat lighter side of Loren, who is again joined by capable skills of pianist Matt Treder, bassist Mark Schneider, Chris Ward on guitar and Brian West (percussion), with guest appearances by guitarist Jack Jezzro.

Loren opens with “After Dark”, a theatrical ballad of forbidden love perfected in secret.  Loren burns with desire, the many levels and textures of her vocal sound sparkling in the dark light of sensuality and longing.  This is an amazing start full of power and emotion.  Loren sings in English and Spanish on Jobim’s “Waters Of March”, finding a place that is subtle and refined but thoroughly in the moment of the song.  “Gray To Grand” is a Loren-penned piece of sweet and breezy jazz/pop with a pretty melody and a light feel; a nice change of pace with a developing worldview full of optimism.

“La Vie En Rose” is one of those songs that artists tackle almost at their own peril.  Edith Piaf being the icon that she is, her signature song is one that gets butchered more often than not.  Halie Loren gives a bravura performance in flawless French, as if she were born to sing it.  “Thirsty”, another Loren original, is a song of unequivocal longing and desire with an arrangement that sounds like it might have come out of a Sting recording session circa 1988.  It’s an amazing bit of songwriting and seems to represent a step forward for Loren as a songwriter.  Loren goes a bit free form in her take on Ray Henderson and Mort Dixon’s “Bye Bye Blackbird”, offering a highly interpretive vocal.  Loren works this for all it’s worth in a flawless performance.  The band is right there with her at every step, with pianist Matt Treder in particular standing out. 

Loren interprets Bobbie Gentry’s “Ode To Billie Joe” as a slinky blues number and absolutely inhabits the song.  This is one of those performances after which you simply sit back and say, “Wow.”  Loren takes the air of mystery of the original and raises it a notch.  John Shipe joins Halie Loren for a duet on “Beyond The Sea”.  This is an opposites attract pairing, as Shipe vocally sounds like a lightweight next to Halie Loren’s full voice.  The mix works because of the contrast, but they do sound mismatched at times.  Loren takes on Duke Ellington’s “In A Sentimental Mood” in another “Wow” moment that smooth and lush; artful and rife with emotion.   Loren has fun with Stevie Wonder’s “Happier Than The Morning Sun”, a celebratory love song that’s jubilant in its aspect and refined.

Loren gives Tracey Chapman’s “Give Me One Reason” a surprising read; putting her own distinctive stamp on the tune.  It might take a couple of listens to get into this arrangement, but the song will grow on you.  “It’s You” is a sensual song detailing a long distance love affair.  It’s the textures of Loren’s voice that stand out in a chill-inducing performance.  Jack Jezzro takes on final turn on “Time To Say Goodbye”, while Loren makes the chorus absolutely soar with nuance and a sort of beautiful grit.  It’s a magical moment where the artist, Loren, rises above her art into the sublime.  After Dark closes with a cover of Joni Mitchell’s “Carey”, blending Caribbean, swing and pop styles.

It’s hard to imagine Halie Loren not being a star.  With a masterful voice that’s part Etta James and part Sarah McLachlan, a subtle touch that allows her to blend vulnerability and sensuality unlike any other artist currently in jazz or pop music, and a talent for phrasing that’s uncanny, Halie Loren is the complete package.  After Dark shows a slightly lighter side to Halie Loren, but at the same time shows her gaining gravitas as a performer.  This could be the breakout album in the US; the one that takes Halie Loren from a known quantity to the status of being a big name.  Whatever happens on the charts or in the popular media, there will be little doubt to those in the know that After Dark is one of the finest vocal jazz albums of 2010.  It’s certainly a Wildy’s World Certified Desert Island Disc, a must have album.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. After Dark drops on November 16, 2010.  Pre-orders are available from Amazon.com for both CD and Download.

Morgen La Civita - Old Souls

Morgen La Civita - Old Souls

2010, Morgen La Civita

Old Souls opens with "On And On", a dark and mysterious rocker with elements of Middle Eastern music and bluegrass pick work.  This catchy tune is sort of a "witchy woman" for the 21st century, and is a great bit of songwriting with a catchy mien.  "What Love Can Do" has a funky groove and features La Civita in great voice.  It may not turn out to be a fan favorite, but survives nicely on La Civita's salesmanship as a performer.  "Who Is This Woman" is an interesting exploration of how we often lose sight of who we are as we grow.  La Civita crafts a lush and lovely melody while reminding us that often the child we remember is not the adult we become.  "Divine Grace" is a prayer and message in song; dark and hopeful and featuring an intriguing intellectual approach. 

With a solid start, La Civita struggles a bit the rest of the way.  Things get slow until she breaks out with the funky and vibrant "Whole Lotta Trouble".  This is a great bit of danceable songwriting and worth checking out.  "Grandmother's Song" makes the jump from From The Basement and is as charming as it was the first time around.  "925" falls flat, but La Civita recovers to close with a live version of "Pretty Marie" (also from From The Basement. 

Morgen La Civita has a voice that's full of context and character.  You might not describe it as pretty so much as full of a regal beauty.  Like royalty, there's a distance between La Civita and the listener, but her performances are informed and heartfelt in spite of that slight separation.  When La Civita is on her game the songwriting is above average, and she can occasionally save a song on the strength of her egalitarian grace, but a handful of songs on Old Souls seems uninspired.  This is one of those occasions when a highly above average EP gets turned in an average or slightly above full-length album.

Rating: 3 Stars (Out of 5)

Learn more about Morgen La Civita at www.morgenlacivita.com or www.facebook.com/morgen.lacivita.  Old Souls is available digitally from Amazon.com, iTunes and CDBaby.

Singer/songwriter and voiceover artist Morgen La Civita returned on Halloween this year with her second album, Old Souls.  The effort finds La Civita expanding on the sound she debuted on her first EP ­­­From The Basement, showing growth as both a songwriter and lyricist. 

Chip Taylor & Carrie Rodriguez - The New Bye & Bye

Chip Taylor & Carrie Rodriguez - The New Bye & Bye

2010, Train Wreck Records

It was a fated meeting at SXSW in 2002 that brought Carrie Rodriguez and Chip Taylor together.  From 2003 through 2005 the duo put out three critically acclaimed albums on Taylor's Train Wreck Records and toured the world together.  In that time Rodriguez blossomed as a singer and solo performer, and Chip Taylor found his passion for songwriting and recording reborn.  In 2006 the duo parted ways to pursue their own interests, with Rodriguez going on to become a successful recording artist in her own right and Taylor reclaiming his mantle as a legend-in-waiting of Americana music.  On October 12, 2010, Train Wreck Records will release The New Bye & Bye - The Best of The Train Wreck Records 2002 - 2007, featuring 13 tracks from past releases and four new songs.

The New Bye & Bye really isn't an album you analyze but one you let wash over you.  Taylor & Rodriguez don't so much tell stories as create moments for the listener to experience, the sort that usually might only be found on a back porch on a Texas summer night (with gracious nods to Appalachian folk).  Highlights include "Your Name Is On My Lips", a mournful love song with a sense that the narrator has been here many times before.  The song is full of sorrow without a sense of being overdone.  Rodriguez chips in on vocals but it's here violin in the break that highlights the sorrow as if interpreting the heart of it all.  "The New Bye & Bye" is a fight in song, with Rodriguez spitting fire while Taylor plays the placating miscreant in an old-school country musical play.  "Don't Speak In English" is the utter highlight of the disc; a tune about breaking out of the ordinary where such is made unimaginable by life circumstance.  The mix of toughness and vulnerability here is stunning, and Taylor and Rodriguez both run with it.  "All The Rain" is a rambunctious turn, the best instrumental work on the album and a highly danceable number you won't soon get out of your noggin.

The New Bye & Bye features two live versions of Taylor classics.  "Angel Of The Morning" is done in the same vocal split employed throughout the album, with Taylor slightly in the lead.  While this may be appropriate considering Taylor wrote the song, Carrie Rodriguez lights up the stage in the moments when she's alone at the mic.  This would have been one time to allow here to have the whole stage.  "Wild Thing" is offered up here in a low-key version that paints the song in a very brush than the version made famous by The Troggs.  Taylor sings it like a love song sung by someone whose been beaten around by life.  The context illuminates aspects of the song you might not have before considered.  The two live tracks are performed by an all-star band that includes Taylor, Rodriguez, pedal steel master Greg Leisz (Robert Plant and Alison Krauss, Joni Mitchell), Bill Frisell and Buddy Miller.  The album closes with a reprise of "The New Bye & Bye", an apt closer.

If your taste in music runs to the roots of country, rock and folk as played on back porches across post-frontier frontier then you need to be listening to Chip Taylor and Carrie Rodriguez.  The New Bye & Bye is a great place to start, offering the best work of their years together and some nice new surprises.  Taylor and Rodriguez are very capable of making magic on their own.  Together they combine those collective talents with the sort of chemistry you can't buy or force.  The New Bye & Bye is essential listening.

Rating: 4 Stars (Out of 5)

Learn more about Chip Taylor and Carrie Rodriguez at http://www.chiptaylor.com/,  http://www.carrierodriguez.com/ or  Train Wreck Records.  The New Bye & Bye drops on October 12, 2010.  Pre-orders of the CD are available from Train Wreck Records and Amazon.com.  A digital version is available via iTunes.