Lee’s Listening Stack: MORE of the Best of the Rest for May
Ryan Adams
iTunes Session
(iTunes)
He may not be releasing new albums at the fast and furious pace he did just a few years ago, but that doesn’t allay the suspicion that Ryan Adams may be the most prolific artist of this generation bar none. So instead of getting a new LP every six months, our man Adams has resorted to other mediums to get his music out, among them iTunes, which released this gem of a collection as an exclusive offering a short time back. Those that missed it may find easier access now through his website, but whatever effort is involved in securing these sides is well worth the time spent in acquisition. Stripped down to bare bones – basically just voice and acoustic guitar – Adams offers up some of his most heartfelt material yet via eight songs of quiet introspection. Sounding more like a folkie troubadour than angst-intensive insurgent he once was, he imbues such songs as “Oh My Sweet Carolina” and “Houses on the Hill” with earnest emotion that begs repeated listens. Though he likely intended it as a sidebar, or perhaps a moment of reflection following the disbanding of his band the Cardinals, it actually speaks volumes… in the quietest way possible.(www.paxamrecords.com)
Bill Lloyd
King of Tokyo
(Whole in One)
Bill Lloyd boasts the kind of experience and expertise that most artists never come close to ever realizing. Finding early success in the pop country duo Foster and Lloyd, he opted to venture into rock realms following the pair’s split where. He then became a respected member of the power pop community, releasing a number of albums that have since become much sought gems of that genre. He and his former partner – who by now had etched a deeper imprint in Americana and bluegrass circles – reunited last year, releasing one of the finest albums of their collective career with It’s Already Tomorrow before once again embarking on their separate ways. Happily, Lloyd’s not wasting any time in reclaiming his former turf. As a result, King of Tokyo is as jubilant an effort as any in his career. Performed entirely solo, it belies the fact that it lacks additional accompaniment, thanks to an unabashedly upbeat attitude that rings through such instant classics as “Boy King of Tokyo,” “Let It Slide,” “Mistakes Were Made” and “Undubably,” each of which sounds like an instant winner. Nevertheless, it’s offerings like “Com-Trol” and “Home Jeeves” that prove most telling, reflecting both the unexpected side effects and the spoils that come with making music destined to last an eternity. (www.billloydmusic.net)
Mary Black
Stories From the Steeples
(Blix Street)
Irish songstress and folk goddess supreme Mary Black has been making great music for the better part of the past two decades, both on her own and as part of the Black Family, but with each new album she sounds as vibrant and appealing as ever. Stories From the Steeples is no exception, and while longtime fans will celebrate her return, newcomers will also find it the perfect introduction. Black’s voice contains the purity of her old country origins – particularly when it comes to songs like “Margueritte and the Gambler” or “Mountains the Sea” (a duet with up and coming singer Imelda May), often echoing the angelic tones of hallowed forebears like, say, Joni Mitchell, Judy Collins or Joan Baez. Yet, Black isn’t all incense and patchouli and overcast sentiment either. She broaches the divide with pure pop and even manages a whimsical take on the old obscure Hollies number “Fifi the Flea.” Mostly though, she excels at sweet serenity and in those moments were she waxes so gracefully, there’s no more assuring sound to be found anywhere. (www.blixstreet.com)
Neal Casal
Sweeten the Distance
(The Royal Potato Family)
Neal Casal has always been a behind-the-scenes kind of guy, an inexplicable situation that belies his strengths as a singer and songwriter. Working in reserve with Ryan Adams as part of his backing band the Cardinals and in various roles supporting the brothers Rich and Chris Robinson, he’s proved himself a more than worthy hired hand who’s capable of fleshing out any arrangements on guitar and back-up harmonies. Nevertheless, as the lovely and remarkable Sweeten the Distance proves, Casal’s solo efforts often best even those of his employers, thanks to a natural affinity for melodies that instantly sound ageless while remaining fresh and exhilarating all at the same time. It is in fact a credit to Casal’s abilities that songs such as ”Sweeten the Distance,” “Let It All Begin Again.” “Time and Trouble” and “White Fence Round House” sound so familiar on first hearing, as if they’ve been played countless times before. Hell, even the song titles read like classics. Ultimately it’s that easy, effortless accessibility that affirms the fact that Casal’s indeed a master of his turf, and as long as the soundtrack for those environs is informed by albums like this – not to mention all his albums that preceded this – this distance is worth traveling because it is a sweet journey indeed. (www.theroyalpotatofamily.com)
Scott Miller and Rayna Gellert
CoDependents
(F.A.Y. Recordings)
Scott Miller — onetime member of the V-Roys with the equally adept Mic Harrison, and later the leader of his own ad-hoc combo, the Commonwealth — takes a new tack with the excellent EP CoDependents in the company of fiddler Tayna Gellert. Among these stripped-down offerings, poignant narratives like “Lo Siento Spanishburg, West Virginia” and “Unforgiven” reflect the bittersweet tenderness inherent in Miller’s delivery, a sound both touching and tinged with a hint of humor. Miller’s good old boy delivery is buoyed by honesty and reflection, and on a song such as “We’re Leaving This Town” in particular, he betrays the sadder aspects of what happens when one has to uproot him or herself and move on to the better prospects that await elsewhere. Likewise, the final track of the set, “Lost Not Broken,” delivered in a Dylan-esque ramble that conveys a sense of momentary displacement, also retains the optimism needed to continually carry on. In hte aforementioned “Lo Siento Spanishburg West Virginia,” he effectively describes the after effects of gentrification, and what happens when a small town is uprooted by an influx of outsiders and changes not only the character of the environs but uproots it economically as well. Gellert’s adroit accompaniment adds the pathos and enhances the sentiment, making this EP all the more impressive. (www.thescottmiller.com/www,raynagellert.com)
Jeff Larson
The World Over
(Red Bell Recordings)
It’s hard not to like Jeff Larson’s music. In fact, it’s damn near impossible to dislike it, especially if you’re someone who grew up immersed in the Southern California singer/songwriter environs of the late ‘60s and early ‘70s. Truth be told however, those similarities aren’t simply a coincidence. Larson, a musical associate of America’s Gerry Beckley and Dewey Bunnell, garners a vocal assist from the duo on several tracks here and the symbiosis is all too obvious. All cooing harmonies and sun-soaked melodies, songs such as “Your Way back Home,” “Monday Clouds and Tuesday Rain,” “In Time” and “This Morning in Amsterdam” provide a feeling of wistful reflection, and, equally emphatically, a sense that these songs aren’t only radio-ready, but radio-essential as well. Significantly, The World Over isn’t a fluke; what it is, after all, is merely the latest in a superb string of albums that have Larson’s finesse written all over them. Suffice it to say, it’s also one of the best things we’ve heard all year. (www.jefflarson-music.com)
Mic Harrison and the High Score
Still Wanna Fight
(Real Much Music)
After a string of albums with a rootsy, good ‘ole boy bent, Mic Harrison and his favored backing band the High Score let loose with a sound that’s rock steady at its core, but still happily unhinged. Ragged guitar riffs dominate, but the solid melodies binding these tunes together are as tight and concise as anything Harrison has ever offered. A veteran of the band the V-Roys, he’s obviously well-tuned to punchy rock ‘n’ roll riffs, and songs such as “Don’t Change Your Plans,” “Here Comes My Baby” and “Good Thing” grab hold with a rousing enthusiasm that readily affirms the fact they mean business. It’s notable too that Harrison hasn’t forsaken his southern roots; the album’s final track, “The Colonel Is Dead,” provides a vivid historical narrative, the kind of which has always found Harrison excel. The ringing guitars, Harrison’s poised yet confident vocals and a whiplash rhythm section combine to create the kind of album guaranteed to make a powerful impression, and being the barnburner that it is, it’s not surprising that Still Wanna Fight is as bracing as its boisterous handle implies. (www.micharrison.com)
Various Artists
Mercyland – Hymns for the Rest of Us
(Mercyland Records)
While an album built around religious themes may not seem appealing to those who find discomfort with trumpeting faith and devotion, Mercyland is mercifully devoid of preaching and proselytizing, at least in any conventional sense. The all-star Americana cast – which includes Emmylou Harris, Buddy Miller, the Civil Wars, Shawn Mullins and the Carolina Chocolate Drops and Shaw – manage to blend sacred sentiments with a secular inclination, thereby making these songs accessible on a broader level. Mullins’ “Give God the Blues” is especially incisive (“God don’t hate the Muslims/ God don’t hate the Jews/ God loves everybody/But we all give God the blues…”), but the sing-along appeal of the Chocolate Drops’ “Lights in the Valley and the North Mississippi Allstars’ poignant and purposeful read of “If I Was Jesus” offer equal affirmation. Emmylou’s lovely “I Didn’t Know It Was you” is striking regardless of context, and guitarist John Scoffield’s stirring instrumental “Peace in the Valley” demonstrates that sometimes music is all that’s needed when expressing an inspiring ideal. (www.mercylandmusic.com)
Josh Harty
Nowhere
(Magnolia Recording Company)
Although relatively unknown beyond his Midwestern environs, Josh Harty’s affecting delivery and somber sensitivities provide him with an intriguing persona, a downward glance that’s surprisingly compelling, This seven song EP is a keeper, with nary a miss to boot, and several tracks that practically force return listens. Each of these offerings convey a sense of road-weary reflection and an instinctual story-telling ability that belies any newcomer status. Consequently, his take on Richard Thompson’s “Vincent Black Lightning,” recorded live before a club crowd, is especially effective, and while it’s true he doesn’t necessarily shine new light on the original, his sobering approach reaffirms the emotional connection. Likewise, his own “6th Avenue” is an especially beautiful blend of somber sentiments and wistful recollection. Suffice it to say, Nowhere points to a path of further promise. (www.joshharty.com)
BoDeans
American Made
(Megaforce)
Coming quickly on the heels of last year’s Indigo Dreams and in the wake of co-founder Sam Llamas’ departure, the BoDeans’ decisions to regroup with singer/songwriter/mainstay Kurt Neumann at the helm represents something of a leap of faith, especially considering a notable legacy that’s been easily sustained up until now. Fortunately, Neumann appears all too willing to carry the banner forward, and if he’s concerned about having to go it alone without his longtime co-conspirator, there’s no indication of it here. Rather than opt for a solo statement, he gathers old acquaintances Michael Ramos (an original BoDean) on keys and longtime bassist Ryan Bowman, as well as new recruit Warren Hood on fiddle while boldly moving into new terrain. While songs such as “Jay Leno” (which, by the way, makes scant reference to the late night icon), “All the World” and “American” hew to their heartland stance, “Everything You Wanted” plucks more than a hint of zydeco, “Don’t Bring Me Down” brings in some blues, and “Walk Through This World” and “Flyaway” taps into a jaunty Celtic spirit. A cover of Bruce Springsteen’s “I’m On Fire” adds a reassuring blue-collar connection. Taken in tandem, they offer proof that the BoDeans have no problem uncovering their groove. (www.bodeans.com
Martin Zellar &The Hardways
Roosters Crow
(Owen Lee Recordings)
It’s been awhile since last we heard from Martin Zellar, but in the interim, he’s continued to punch up his sound and reinforced his soul-searching melodies. Roosters Crow may seem a bit ambiguous as a name to some, but its rural reference links directly to Zellar’s MO, a kind of “rootsified” take on the blue collar shout-outs championed by Springsteen, Mellencamp, Graham Parker and others who possess more anthemic inclinations. Consequently, the Hardways function as perfect foils, kind of an E Street Band that helps deliver Zellar’s homespun exhortations. “Wore Me Down” and “Running on Pure Fear” are two of the more evocative numbers here, but opening track “Took the Poison” manages to showcase him in a more reflective stance equally as well. Consequently, this new album provides a welcome return and yet another deserving shot at the widespread recognition that’s eluded him so long. If nothing else, Roosters Crow should be a wake up call for those unaware. Likewise, for all those who consider themselves fans, it’s nothing less than essential. (www.martinzellar.com)
Successful Failures
Here I Am
(FDR)
While their name poses a certain irony, the Successful Failures deserve only open acceptance. After a string of albums that touted their winning ways with both hooks and melodies, the positive appeal of Here I Am ought to welcome all those who are heretofore unaware. On the surface anyway, the Successful Failures take an approach that’s bound to find favor among power pop enthusiasts, although their refusal to limit themselves strictly to retro references actually broadens their appeal. “Clifton Mills” and “Turn It Down” are but two examples of how they manage to amp up the verbosity but still keep subtlety and nuance as active elements. Then again, there’s instant engagement from the get-go, courtesy of the opening one-two punch of “How People Start Sentences” and “The Real Defenders.” In a sense, the Successful Failures carry the thread sewn by Cheap Trick and the Raspberries, a style that radio seems to have left behind. In a perfect world however, Here I Am would still provide a beacon to all those who consider themselves among rock ‘n’ roll’s faithful. (www.fdrlabel.com)
Don Harvey
Light Shines Through
(Freedom)
In his day job, Don Harvey is a much in-demand drummer who lends his talents to the cream of Austin’s elite. So it’s somewhat surprising then to find him detouring away from his Americana origins and taking some of his fellow players – David Grissom, Ruthie Foster and Jud Newcomb, among them – into more experimental terrain. Granted, those expecting something akin to his usual studio sessions may be a bit dumbfounded by what they encounter here, but the atmospheric soundscapes create some breathless circumstance that will likely impress regardless. With only six entries, Light Shines Through may suggest that there’s not a lot to offer, but each of these passages (it seems silly to simply refer to them as “songs”) goes through transitions, emphasizing a free-flowing approach intent on aptitude rather than amplitude. The jazzier designs dominate, but in setting aside any definition of genre, creativity and spontaneity appear the only dictates that really matter. (www.freedomrecords.com)
City Squirrel
Defeat
(Caleshear Music)
It takes a certain proficiency – and, perhaps, sheer bravado — to launch one’s self as a one man band, putting birth name in the back pocket and carrying on under the aegis of a made up moniker. In essence that’s the route Stephan Bayley has taken, and although this latest effort finds the Portland Oregon native in the able company of other players, clearly the vision remains mostly his alone. While the title may hint at misadventure, the music reflects a variety of different temperaments, from the hushed contemplation of “Weather, whether,” “Beads and Chants” and “Comfort” to the skittish neuroses of “Lockerbie” and “Free to Disappear,” not to mention the various mood shifts that fall in between. Bayley’s confidence has clearly expanded over the course of his brief career, and if Defeat is any indication, we may in fact be witnessing the emergence of major pop practitioner. Neither reticent nor overly aggressive, City Squirrel will have you eating out of his hands in no time at all. (http://www.redpillonline.com)
Fallon Cush
April
(indie)
There’s something about the Aussies that’s always found them right on the mark when it comes to crafting pop perfect sounds that almost always y ensure universal appeal. Whether it’s the Easybeats, the Bee Gees, Men at Work, Little River Band or one of dozens of other outfits from the Land Down Under, Australia’s home team seem easily able to shrug off their insular environs and open up with songs tailor made for an overseas audience. The latest outfit to serve as home country ambassadors is one that goes by the name of Fallon Cush. Two albums on, the band, fronted by singer/songwriter Steve Smith, offer a set of songs with an easy ambiance and a sound so pop perfect, it’s likely Paul McCartney, Eric Carmen and Neil Finn would offer up their ready nods of approval. From the seductive sway of “Forever After” and “In the Nick of Time” to the amiable embrace of “Every Waking Hour” and “Honey Honey,” they prove themselves a band well-heeled in both melody and delivery, so much so that April already sounds like it’s destined to be a classic. Suffice it to say, it’s that good… and more. (www.falloncush.com)
Nelson Bragg
We Get What We Want
(Steel Derrick Music)
Nelson Bragg’s sense of triumph appears to come naturally. After all, he’s currently playing percussion in the Beach Boys touring band, cause for his devotion to be reinforced by the album’s dedication to Brian Wilson and a stunning cover of Wilson’s “Baby Let Your Hair Grow Long.” The fact that his music – We Get What We Want is the follow-up to his well received debut, Day Into Night – successfully emulates his musical mentor is a credit both to his own powers of interpretation and his mentor’s overriding influence. Yet it also becomes clear that the subordinate role Bragg plays on tour offers only a hint of his true musical prowess. Here he handles all the vocals – both solo and multi-tracked – as well as guitars, keyboards, drums, bass, percussion and even an occasional glockenspiel. That’s no small accomplishment, but his interpretive powers only prove the potency of his compositions, particularly in songs like “You Could Believe and “What She’s Done To Him,” each an exuberant and effusive study in perfect pop songcraft. Thankfully, Bragg’s bagged the chance to step out on his own, which makes We Get What We Want seem all the more prophetic as a result. (www.nelsonbragg.com)