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

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

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

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

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

Rating: 4 Stars (Out of 5)

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

Mark Erelli - Little Vigils

Mark Erelli - Little Vigils
2011, Hillbilly Pilgrim Records

Mark Erelli is a songwriter's songwriter.  His attention to detail and song structure is as complete and thorough as is his lyrical construction.  The singer/songwriter impressed critics across the country, including those of us here at WW, with his 2008 album "Delivered".  Erelli has continued to grow as a songwriter since then, and has become more conscious of the world around him and the small details that make up each event and moment.  His musical growth and growing understanding of the world catalyze on his latest effort, Little Vigils.  Erelli once again enlisted the services of producer Zach Hickman, but otherwise let go of the fine control he has practiced over his recordings in the past.  Erelli built the song structures, and then brought in great musicians with whom he had chemistry and let the songs take life as they would.

Little Vigils opens with "August", a low-key Americana number about finding one of life's perfect moments, and not messing it up by wishing for more.  This momentary respite in song represents gorgeous songwriting, and is transformational for Erelli as an artist, who seems to have found the next rung on his own musical Jacob's Ladder.  "Everything In Ruin" is written from the depths of despair, but is full of hope for renewal.  The catchy arrangement is a dead giveaway, and the chorus will stick with you for days.  "Kingdom Come" is a well-constructed humanist anthem that takes a classicist perspective on questions of truth with regard to religion.  Even if you don't buy Erelli's Darwinian perspective, the song is well-written and has a smooth flow that belies its intellectualism. 

"Columbus Ohio" is an intriguing song about a man leaving home because there's nothing left there to sustain him.  Erelli captures a painful truth of life in the American rust belt and beyond, where the dreams of generations of families are left behind because the jobs that long sustained them have disappeared.  "Basement Days" is an Americana 'glory days' tune, exploring memories of teenage rock bands and a desire to go back to simpler times.  Erelli fills the song with 60's and 70s song references, including such greats as the Rolling Stones, Pink Floyd and Jimi Hendrix.  Erelli takes listeners on a sudden left turn with the darkly beautiful "Hemlock Grove", an aurally sweet musical experience you'll be glad to make the acquaintance of.

Erelli gets back to questions of faith on "Mother Of Mysteries", exploring humanities need for a belief in the "hereafter".  Erelli writes well here, presenting the questions that have incited epistemological and cosmological arguments for centuries in straight-forward, accessible form.  "I Took The Moon For A Walk" is a wonderful little flight of fancy with the soul of blues lying deep within its heart.  Erelli is a master story-teller here, and constructs an absolutely beautiful arrangement around his words.  "Same For Someone" relays the advice of a father to a small child against a gentle Americana arrangement that's part lullaby and part secular hymn.  The love that flows quietly from this song is palpable.  "Coming Home" is gentle and sweet, an acknowledgment that no matter how far you travel, you really can go home again.  Little Vigils fades to black with live, solo acoustic "Pauline", a gently cascading ballad about the geography of the human heart.  Erelli touches on truths both subtle and sublime in a plaintive singer/songwriter style that is refreshing and pure.

Mark Erelli writes plays and sings with utter conviction throughout Little Vigils, pouring every ounce of himself into his songs.  The result is stunning; a significant step forward for a guy who seemed to already have it all together the last time we heard from him.  Little Vigils deserves consideration for yearend lists, even if the currently fractious music market rarely allows artists to receive sufficient exposure to actually get what they deserve.  If you're looking for a singer/songwriter who can blow you away with his power, yet summon the subtlety to rock you to sleep when called for, the Mark Erelli is an artist you need to get to know.  Little Vigils represents significant growth for Erelli as an artist, and it can be nothing less than a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Mark Erelli at www.markerelli.com or www.myspace.com/markerelli.  Little Vigils is available from Amazon.com as a CD or Download.  The album is also available on iTunes.

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. 

Kathryn Williams - Relations

Kathryn Williams - Relations
2010, One Little Indian

Not too long ago we received Kathryn Williams' The Quickening, a charming album that showed a deep sense of songwriting acumen and a highly focused performance style that digs deep into the moment of each song. On October 12, 2010, Williams returns with Relations, a collection of thirteen cover songs that finds Williams channeling her performing energies into the muse of others. In the process, Williams seems to get in touch with the inspiration of each songwriter and song while bending and blending each tune to make it uniquely here own.

Relations opens with "In A Broken Dream" (David Bently), with Williams delving into human emotions with a clinician’s eye. Her delivery is both feeling and clinical at the same time in a lyric, melancholy arrangement that captures and lulls the listener. "Birds" (Neil Young) is given a lovely reading here. Williams sticks with a simple arrangement of guitar with just a breath of strings now and again. It's a beautiful moment where the Young's poetry and the poetry on the instruments converge and intermingle as equals. Williams lights up the night with a cover of Big Star's "Thirteen", culling the innocence, angst and loneliness of a teenager in both Alex Chilton's lyrics and her own voice.

Williams takes Leonard Cohen's "Hallelujah" to another level, interpreting it as a reverent, secular prayer that's both carnal and at peace. Williams has already shown a talent for playing on dichotomies, and excels here in a remembrance of events both violent and tragic; human and divine. Williams throws listeners a delightful curve with Ralph Rainger's "A Guy What Takes His Time", teasing with gentle innuendo and the subtle delivery of an ingénue in a blues/folk arrangement that's absolutely memorable. Williams transforms Lou Reed's "Candy Says" into a dreamy art house ballad, surfing the musical seams of the song with a grace and strength that is impressive.

Stephen Malkmus' "Spit On A Stranger" is surprisingly charming and well-performed; you can almost hear Williams straining at the bit to break out and give this song a more solid airing out - the sort that can really only happen on stage. But the energy and the tension in this song are significant, making for an enjoyable listen. The most surprising, and gratifying performance on Relations is Williams' take on Nirvana's "All Apologies", a baroque lamentation on the pointlessness of life and human institutions that's even more stark and affecting that the original. While Nirvana's version was angry and wracked with social guilt, Williams makes it a sonic diagnostic with personal implications, both of the moment and outside of it. "Beautiful Cosmos" (Ivor Cutler) explores the atmosphere and comfort of knowing you are loved; a pleasant but somewhat awkward transition to the closing track, "These Days". Williams makes the most of the Jackson Browne tune in a love cover that amplifies out fear of change and our tendency to build shelves around our lives. Williams shows a British detachment and grace here that's both charming and distinctive.

Kathryn Williams makes friends on Relations with some under-represented nuggets from an impressive list of singers/songwriters. Perhaps the strongest quality Williams possesses with regard to covers is her ability to pay tribute to the original while crafting interpretations that are distinctly her own. Some of the songs here you might be hearing for the first time, and if so you'd never guess they didn't come from Williams' heart. For the songs you know, Kathryn Williams offers you an opportunity to re-imagine what you've heard and see it in a different light.

Rating: 3.5 Stars (Out of 5)

Learn more about Kathryn Williams at http://www.kathrynwilliams.net/ or www.myspace.com/kathrynwilliams.  Relations will be released in the US on October 12, 2010 on CD, but the album was originally released in 2004 in the UK.  You can pre-order the CD from  Amazon.com, but the import version is actually a dollar cheaper than the US pre-order.  Digital is available from both Amazon.com and iTunes.