Ashley Brooke Toussant - Sweetheart
2011, Ashley Brooke Toussant

Kent, Ohio's Ashley Brooke Toussant is a modern singer/songwriter with a deep love and respect for old-time sounds and genres. Moving to Chicago and back over the last few years, Toussant has continued to explore his musical gifts while amassing a number of songs. These creations come to life on Sweetheart, the follow-up to the 2008 EP, All Songs In English. This time out, Toussant's work has more of a country feel, but the singer/songwriter pastiche has not been forgotten.

Toussant has an unusual voice; almost a bit uncomfortable at first, but she grows on you. Imagine Jewel with Dolly Parton's vibrato and you're getting close. Distinctive enough to stick with you, and after an initial adjustment, really quite appealing. The songwriting on Sweetheart is anything but uneven; in fact, it's perhaps too consistent to really maintain listeners' attention. Toussant starts off well on the title track. "Sweetheart" shows Toussant's voice at its sweetest and most supple in a folksy country number reminiscent of early Jewel. "Without Feathers" is full of unusual and striking imagery, promising, perhaps, great an unusual things to come. Unfortunately, the suggested greatness never quite materializes.

Toussant settles in for a consistent run through songs full of love and melancholy, all played against the backdrop of country-ized folk/pop arrangements. The songs are solidly written and performed, but there's a general lack of dynamic here that's suggested by the two opening tracks. Toussant may remind listeners more of Cowboy Junkies during their popular phase; boxed into a sound that is appealing on some level, but suffers from a lack of contrast, and thereby losing the subtle nuance and detail for lack of aural backlighting. Toussant does surprise us in the end with a well-thought cover of Henry Mancini's "The Sweetheart Tree", but unfortunately some listeners may have tuned out by then.

Ashley Brooke Toussant is a talented singer/songwriter with a distinctive sound. In spite of the initial displacement at her sound, Toussant's inherent sweetness of sound will draw you in. Sweetheart is well-intended, but the lack of real stylistic or sonic variation, outside of the first two tracks, dooms the album to background listening. It's a shame, because Toussant and her band employ intriguing imagery in her lyrics, and some wonderfully subtle, reverb-washed instrumental work in support. But the lack of dynamic variation may cause these subtle details to become lost in the wash.

Rating: 2.5 Stars (Out of 5)

Learn more about Ashley Brooke Toussant at www.ashleybrooketoussant.com or ashleybrooketoussant.bandcamp.com. 

Kristina Westin - In The Back Of My Mind

Kristina Westin - In The Back Of My Mind
2010, 7P Machine AB

Swedish vocalist Kristina Westin first rose to prominence as lead vocalist for The Valets, who took Popstad '98 by storm.  Later as an alt-country vocalist, Westin was a finalist in the Swedish Championship of Country Music, but Westin has found her home in pop music.  Westin is a big deal in Stockholm, with regional television appearances and in-demand gigs on a regular basis.  But Westin has set her sights westward with the release of her newest CD, In The Back of My Mind.  With a voice that's been described as a cross between Norah Jones and Dolly Parton, Westin will grab your attention quickly, but it is the subtlety and depth of her songwriting that will make you want to stick around.

Westin opens with "I'm At War", a wonderfully honest and straight-forward song of anger.  Westin avoids the aggression and histrionics that often pass for dramatic embellishment with an honest statement of intent that is compelling and refreshing in a brilliant pop song that is the perfect introduction.  "What A Night" is a solid pop number that finds Westin dancing through the upper notes in a fluttery, breathy voice that is atypically lovely, and contrasts with the solid alto she delivers in mid-range.  The song is a bit repetitive, with a percussively melodic chorus that works well as a counter to the circular lyrics.  "Fever" is a pure pop/country number about desire that could cross over easily to the US country charts.

"Stay Another Year" is a beautiful, dreamy pop number with cascading vocal harmonies that are reminiscent of Fleetwood Mac.  Westin's unaffected voice is beyond beauty at times, particularly so on this tune.  "Up In The Air" is built on a rock-solid melody, contrasting this against the uncertainty of returning to a relationship that's failed before.  The narrator has set herself straight, but doubts if her former partner has.  Westin reaches resolution with "I'm Walking Away", a wonderfully catchy tune that's a potential hit in waiting.  The narrator calls out a lover and kicks him to the curb for his behaviors.  Once again, Westin takes the refreshing route of telling the story and dealing honestly with emotions as a storyteller rather than trading in the currency of vitriol.  Westin's lyrics are cogent, and are married to an arrangement, and particularly a chorus, you simply cannot shake. 

"Where Do I Go" finds Westin exploring her next steps in a relationship; knowing better but wanting to trust him again.  The chorus is a bit repetitive but otherwise solid.  "Reasons" finds Westin trying to understand all that has happened in a melancholy ballad that alternates between fatalism and hope.  The singer/songwriter vibe here is impeccable.  "Please Get Away" finishes the cycle, so to speak, allowing Westin to move on to a new phase.  That phase starts with the delicious pure pop of "Pretty Girls".  Westin acquires a sultriness to her voice born of confidence, and a Holly Hunter sibilant S that's appealing.  In The Back Of My Mind closes with the "Untitled", a simple, gorgeous love ballad that's stripped bare, leaving just guitar, Westins voice and a subtle musical fringe that simply underscore the beauty of the melody.

Kristina Westin displays the subtlety and grace of a pure songwriter on In The Back Of My Mind, combined with class and presence of a professional performer.  In understated and personal fashion, Westin wraps listeners in tales of love lost, love found, and the myriad emotions that fill the spaces in between.  In The Back Of My Mind is the sort of album you live with for a while; it certainly qualifies as a Wildy’s World Desert Island Disc.  This is an instant classic.

Rating: 5 Stars (Out of 5)

Learn more about Kristina Westin at www.myspace.com/kristinawestin or www.facebook.com/kristinawestinmusic.   In The Back Of My Mind is available digitally from Amazon.com and iTunes.

Sierra Hull - Daybreak

Sierra Hull – Daybreak
2011, Rounder Records

To say that 19-year old singer/songwriter/mandolin player Sierra Hull is a phenom might be an underestimation.  Today she releases her third full-length album, Daybreak, to the sort of breathless anticipation that marks the release of a superstar.  Hull’s star has certainly risen quickly in the world of traditional country and bluegrass music, where she has already made fans of Dolly Parton and Alison Krauss.  Hull has been nominated for five IBMA (International Bluegrass Music Association) awards in the past three years, and is also a recipient of Berklee College of Music’s Presidential Scholarship.

The first time you hear Sierra Hull sing you’re going to do a double take.  At first blush you’ll be certain you’re hearing a new Alison Krauss song you didn’t know existed.  Sonically and stylistically there are distinct similarities, but Hull distinguishes herself as a songwriter and by her instrument of choice, the mandolin.  The songs on Daybreak vary from pop/country to traditional bluegrass, but all shine with an effervescence that emanates from inside Hull herself.  “Easy Come, Easy Go” is a declaration of sorts; of arrival in adulthood and of a setting aside the pain of the past.  Hull’s voice is breathtaking, and her work on the mandolin is intricate, clean and full of heart.  This is an amazing tune with real commercial legs; a great way to start off an album.  “Don’t Pick Me Up” is built on a classic bluegrass sound.  Hull will remind listeners a bit of a young Dolly Parton here.  Hull’s band stands out here as well, building a tapestry around her that’s both a perfect fit and a perfect foil to Hull’s sweet voice. 

“All Because Of You” is full of a quiet heartbreak.  Hull’s voice is exquisite as always, and the mandolin and violin trade sparks, but the vocal harmonies are off the charts good and steal the show.  “Bombshell” is a thrilling number that shows Hull and her violinist, Christian Ward, at their instrumental best.   You could take Sierra Hull and her song “Best Buy” and drop her on the Grand Ol’ Opry Stage at any point in its history and she’d be right at home.  Hull’s voice is quite simply perfect in this setting; easy, light and beautiful.  “Best Buy” is a kiss off song, but is sung with such genuine sweetness that it’s a pleasant musical surprise. 

“I’ll Always Be Waiting For You” is an old time country ballad where Hull’s voice, the vocal harmonies and the instrumentation all work together to achieve new heights of sonic beauty.  Hull gets a bit of gospel in her soul on “The Land Of The Living”, a pretty and sweet number with a bit of Memphis in its roots that fits in nicely here.  “What Do You Say?” is an energetic love song; an invitation to take or leave love how you find it.  This is one of the seven originals on Daybreak, and shows that Hull has some real chops as a songwriter as well.  Hull’s voice is as sweet as ever, and the mixture of banjo, mandolin and violin here is explosive.  “Tell Me Tomorrow” is a song of hope and impending heartbreak; of putting off the pain until another day in the hope that something will change.  The song is a dichotomy of sweet naiveté and sad knowledge that is compelling, sweet and sorrowful all at once. 

“Daybreak” has future hit written all over it.  Delivered here in an all-acoustic arrangement, it is a classic country/pop ballad that could easily take over the airwaves as it is.  Sorrowful and full of heart, Hull has a winner on her hands here.  “Chasin’ Skies” is another brilliant instrumental turn that’s high energy and fun.  You won’t be able to keep your feet from tapping.  Hull closes with the wistful and sweet “Wouldn’t Matter To Me”.  The character Hull embodies here doesn’t mean a word of what she’s saying; it’s quite obvious that it matters to her a lot, but Hull is a breath of fresh air.  Rather than trade on the sort of vitriol and anger that seem to drive a lot of today’s pop/country kiss-off songs, Hull works with real emotion in her songs.  “Wouldn’t Matter To Me” is no exception.  The end result is another tune that could take Hull to the top of the country and bluegrass charts, with the distinct possibility of crossover success to follow.

Sierra Hull combines the poetic grace of a seasoned songwriter with the emotional depth and vigor of youth on Daybreak, creating a dynamic in her songs that’s compellingly honest and real.  Hull has a backup band that could sit in on any stage anywhere and be welcome, but its Hull’s sweetness and light; and that voice, that make Daybreak an album you’ll want to revisit again and again.  Her voice is angelic, and her mandolin playing is full of a fire and technical brilliance that calls to mind Rhonda Vincent.  Hull shows that she can play equally well on the fields of bluegrass, country and pop, and leads the vanguard of young artists who can play the pop game but show a deeper understanding of the roots of American music than has been seen in some time.  Don’t be surprised if Hull is still a force in the music world 40 or 50 years from now.  Daybreak is exquisite, a Wildy’s World Certified Desert Island Disc.  Don’t be surprised when Daybreak shows up on a host of year-end best-of lists.

Rating: 5 Stars (Out of 5)

Learn more about Sierra Hull at http://www.sierrahull.com/ or www.myspace.com/sierrahullmusic.  Daybreak is available from Amazon.com as a CD or Download.  The album is also available digitally through iTunes.

The Grascals – The Grascals & Friends – Country Classics With A Bluegrass Spin

The Grascals – The Grascals & Friends – Country Classics With A Bluegrass Spin
2011, BluGrascal Records/The Cracker Barrel

The Grascals had quite the year in 2010, releasing the wildly successful The Famous Lefty Flynn’s and earning 10 SPBGMA Award nominations.  This after winning Bluegrass Band Of The Year in February of 2010.  Rather than sit back and celebrate, The Grascals charge forth into 2011 with a dynamic new album entitled The Grascals & Friends – Country Classics With A Bluegrass Spin.  Available only through Cracker Barrel Restaurants, The Grascals & Friends unites the band with some great musical names such as Dolly Parton, Dierks Bentley, Tom T. Hall, Charlie Daniels, Brad Paisley and Hank Williams, Jr. 

The Grascals & Friends opens with a great cover of “Tiger By The Tail”, featuring Brad Paisley.  Offered with strong energy and superb musicianship, this is the perfect opener.  Johnny Cash’s “Folsom Prison Blues” is up next, featuring Dierks Bentley.  The song is well performed and attempts to capture Cash’s mystique.  In this the song is not entirely successful, but on its own it’s a fine listen.  Dolly Parton sits in on “The Pain Of Lovin’ You” and “I Am Strong”.  “The Pain Of Loving You” is overly reserved but solidly performed.  “I Am Strong” isn’t convincing, but musically is all a Grascals fan would expect.  “Louisiana Saturday Night” has a down home feel and celebrates the simple life.  The arrangement is full of gorgeous harmonies and has an entrancing quality that will grab you.

“The Year That Clayton Delaney Died” features legend Tom T. Hall and is a solid old school story song.  “White Lightning” sounds a bit like Chuck Berry done bluegrass style.  The song features Darryl Worley and the amazing fiddle work of Jeremy Abshire. The inimitable Charlie Daniels sits in on “The Devil Went Down To Georgia”.  The song loses a bit of fire in the translation, but is solid all around.  “Mr. Bojangles” is performed with an air of quiet reverence.  Joe Nichols sits in amidst a sweet arrangement focused on bringing out the simple beauty of the melody.  Hank Williams Jr. stops by for “Born To Boogie/All My Rowdy Friends” in perhaps the highest energy outing on the album.  The arrangement offered here steps back from the almost rock n roll feel of the original, but loses nothing in the translation.  “Cracker Barrel Swing” shows off The Gracals’ instrumental chops in a relaxed, laid-back setting while throwing a nod to the album’s sponsor/distributor.  Grascals And Friends closes with a bonus track of “I Am Strong” that fails to make up ground on the previously offered version.

Grascals And Friends mostly delivers on the promise of the dynamic pairings it offers.  The Grascals are uncanny in their ability to craft arrangements that sometimes seem more natural than the original song versions.  It seems likely that the run of awards will continue for The Grascals.  And if the food from The Cracker Barrel isn’t reason enough for you to stop by, Grascals And Friends certainly is.

Rating: 3.5 Stars (Out of 5)

Learn more about The Grascals at http://www.grascals.com/ or www.myspace.com/thegrascals.  The Grascals & Friends drops on January 10, 2011, and will be available through Cracker Barrel restaurants.  A portion of the proceeds from The Grascals & Friends will be donated to St. Jude Children's Research Hospitals.