Lee’s Listening Stack — My July Faves!
Nicki Bluhm
Driftwood
(Little Knickers Records)
Three albums on, Nicki Bluhm is carving an impressive reputation that’s earning her the critical kudos she deserves. The proof lies in her latest LP, the lovely and evocative Driftwood, an album of slowing churning narratives filled with both beauty and bluster. Bluhm’s family connections come in handy – her husband, Tim Bluhm of the band Mother Hips, adds lithe guitar and contributes a couple of songs – but it’s her sensual, suggestive vocals that weigh heavily here, be it the pleading entreaty of “Before You Loved Me” or the Joplin-esque resolve of “I Wanna Be Your Mama Again.” Even at the outset, Driftwood makes a formidable impression; leadoff track “Carousel” lets the listener know that a potential star has arrived and bears close scrutiny. Happily, that notion is sustained throughout. Smooth, savvy and clearly well-assured, Bluhm proves that a determined approach can go a long way when it comes to propelling a career. (www.nickibluhm.com)
Dan Kibler
self-titled
(Kool Kat Musik)
It’s been awhile since we’ve heard from Dan Kibler, but even so, this long awaited fourth album suggests it’s been well worth the wait. Kibler’s one of those unique artists who doesn’t readily show his hand; one moment he’s regaling in pure pop ecstasy (“The Misunderstood,” “When Johnny Comes Home”), the next, he’s dipping into breezy Americana (“Another Day,” “Brown Bent and Bound”), although he mostly taking a tack somewhere in-between. Still, in Kibler’s case, categories are really irrelevant. His riveting melodies and reliable refrains take these songs to another level altogether, one where smart song craft, compelling hooks and a buoyant delivery are everything needed to make any impression at all. In fact, it’s nothing short of astounding that Kibbler hasn’t earned his fair share of appreciation by now; chalk it up to his indie status or the luck of the draw, the fact is that he’s an unheralded talent who’s been confined to the shadows for far too long. Kudos then to Kool Kat for showing support. Let’s hope Kibbler’s career gets the long overdue boost it deserves. (www.koolkatmusik.com)
A City On a Lake
Self-titled
(Beverly Martel Records)
Producer and instrumental wunderkind Alex Wong has paid his dues by serving in support to numerous other artists over the years, from songstress/chanteuse Vienna Teng to pop pundit Ari Heist. Not surprisingly then, it’s long past time he stepped into the spotlight with an outfit of his own invention. Happily, the descriptively dubbed A City On A Lake’s eponymous debut provides everything that ought to be expected from this brilliant muso, in particular the suggestive soundscapes and and haunting ambience he’s always offered others. Take, for example, the quiet caress and soothing strings of “Oceanside” or the gentle sing-along enticement of “Twenty Faces,”only two of the extraordinary numbers plied from this sumptuous blend of techno rhythms and chamber pop finesse. Wong creates melodies from sonic suggestion, imbuing every song with its own spectral designs. Granted, repeat listens may be needed to fully appreciate every nuance, but be assured that once those aural inducements sink in, the charms will become readily apparent. Haunting and enticing, A City On A Lake proves a lovely destination indeed. (beverlymartelmusic.com)
Steve Forbert
Alive on Arrival
self-titled
Little Stevie Orbit
(Rolling Tide Records)
When Steve Forbert made his entrance with the classic LP Alive on Arrival in 1978 the world immediately took notice, branding him with all sorts of hyperbole, among them the dubious title of the new Dylan. And yet, while both men followed a similar path — and Forbert’s down home drawl did bear a passing resemblance to the Bobster — it only served to diminish Forbert’s own reserve of songwriting savvy. Nevertheless, the accolades served him well early on, landing him recording contracts with Sony and then Geffen, before he was left to persevere on his own. In the years since, Forbert’s developed a one man cottage industry, releasing numerous volumes of studio sessions, live tracks and rarities under his own auspices while maintaining the same quality standard that’s served him well all along. However, these three sets still remain among his indisputable best, each well worth a revisit some 30 years on. To add to the enticement — as if any extra incentive ought to be needed — Forbert and his handlers have added a slew of bonus tracks to each of the original discs, and in the case of Alive on Arrival and Little Stevie Orbit, an entire extra disc chock full of outtakes and live period offerings. Consequently, even those who have the original offerings would be well advised to convert to CD and reap the riches these new volumes bestow. After all, just as he was crowned with comparisons to his Minnesota-bred predecessor, Forbert’s homespun humility and unassuming stature have doubtless served as an influence on many of the guitar-slinging singer/songwriters that have followed in his wake. Word is, a new album is due in September, sufficient reason to catch up on these classics now. (www.steveforbert.com)
Jenee Halstead
Raised By Wolves
(independent)
Jenee Halstead’s sweet and seductive sway takes full flight on this, the third effort of a still burgeoning career. “So Far So East” takes on a rock ‘n’ roll twang, but it’s the exception in this set; most of the songs are cloaked in a dark atmospheric veil that renders them with gothic-like designs. The effect often sounds like Appalachian mountain music propelled with a techno pulse, but Halstead pulls it off superbly, given the saunter and sway of “Building You An Altar,” the sprawling strum of “Rodeo of Sadness” and the gentle cushioning embrace of the mysterious “Bitten By the Night.” Through it all, Halstead’s vocal is a wonder to behold, alternately enticing and alluring, or sinewy and seductive. This is an album that’s mesmerizing throughout, and whether her voice is heard soaring over the clip-clop pulse of the title track or simply in a sensual croon on the pleading “Never Another,” Halstead’s presence is nothing less than hypnotic. Consequently Raised By Wolves shows she’s been brought up right. (www.jeneehalstead.com)
The Corner Laughers
Poppy Seeds
(independent)
With Poppy Seeds, their third album to date, The Corner Laughers stake a further claim to the sort of giddy effusive pop approach that’s likely to forever brand them as retro revivalists. Singer Karla Kane creates the most immediate impression, her girlish, high-pitched vocals providing the indelible imprint that stamps these songs. That said, it’s the variations to the template that add interest, be it the ‘60s sounding chorale of “8:18,” the wicked irony of “(Now That I Have You I’m) Bored” or the Beach Boys meets the Go-Gos delights of “Transamerica Pyramid.” Likewise, Orange Peels’ Allen Clapp, an ongoing band booster, ensures the rich, robust arrangements that color these clever offerings, thus enhancing the album’s buoyant appeal. The sugary results give the music a confectionary quality that qualifies it as an unadulterated guilty pleasure. Or to put it another way, Poppy Seeds sounds as if it’s been sown from pure pop, which ultimately offers ample rewards in and of itself. (www.cornerlaughers.com)
The Refugees
Three
(Wabugo Records)
The title may be straightforward, and yet the music is anything but. A super group of sorts – its members include veteran singer/songwriters Wendy Waldman, Cindy Bullens and Deborah Holland – the Refugees excel in delicately interlaced harmonies, supple melodies and songs that take hold from the get-hold. So while each of these artists boast a provocative prowess when operating on their own terms, this combination of talents make for an incomparable combination. “Can’t Stop Now” is as effusive and unrelenting as its handle suggests, while “Chain Stores, Malls and Restaurants” may be the most compelling ode to Mother Nature since Canned Heat urged the masses to go up the country and get away. This ode to joy gets further exposition on tracks like the seductive “5th of July,” the irrepressible come-on of “Catch Me If You Can” and the all-but irresistible “January Sky.” And that makes Three nothing less than a contemporary classic of the purely organic variety, as well as one of the best collaborative efforts in recent memory. Indeed, that should say it all. (www.therefugeesmusic.com)
Bap Kennedy
The Sailor’s Revenge
(Proper)
Since disbanding the Irish insurgent band Energy Orchard well over a decade ago, leader Bap Kennedy has settled into mellower environs, reinventing himself as a folk troubadour and doing so with stirling results. Kennedy’s latest, The Sailor’s Revenge, represents the pinnacle of his solo efforts thus far, a wistful sojourn into idyllic realms with the sea as its muse. The enlistment of Mark Knopfler as both producer and prime back-up seems an obvious choice, and while Knopfler is careful not to overshadow his client, his influence is still undeniable. This is a subtle set of songs, carefully managed and adroitly arranged, all to allow the gentle narratives contained herein to shine front and center. There’s plenty to choose from as far as prime examples are concerned, but suffice it to say “Shimnaville,” “Jimmy Sanchez” and “The Beauty of You” are among the loveliest of the lot. “Gorgeous”may be too mild an adjective, but hearing is believing, and in this case, seduction is the natural result. (NOTE: Some editions come with a bonus CD of additional songs. It’s well worth seeking out.) (www,bapkennedy.com)
Skydiggers
Northern Shore
(Factor)
Here’s a little hint for all those in search of the next great reservoir of truly remarkable music. Go north, young man (or young woman) and specifically seek out a band called the Skydiggers. Of course, it’s really no secret that our northern neighbors are producing some of the most enticing Americana music around these days (it is North AMERICA after all), but sadly, bands like the Skydiggers, the Tragically Hip and Blue Rodeo still seem to fly under the radar as far as those of us that reside south of that border. Consequently the former’s new album, Northern Shore, may seem like something akin to the holy grail, what with its stockpile of alluring melodies and supple performances. Songs like “You’ve Been Gone Too Long,” “You’ll Come Around” and “You Sparkle Silver” offer all the evidence necessary, and given their immediate impression, it’s likely they’ll you right from the start. One note of caution however: they have an extensive back catalog worth catching up on, and once you hear this disc, you’ll probably want to go back and hear more. You’d be best advised then to make an extra effort to seek out the deluxe version of Northern Shore, which contains three additional discs of early demos, outtakes and unreleased recordings. Suffice it to say, the extra cost is well worth it. (www.skydiggers.com)
Ian McGlynn
Now We’re Golden
(self-released)
Nowadays, in the DIY world we’re living in, it’s not unusual for a heretofore unknown artist to hit you right between the earlobes and make you wonder where he or she has been all your life. But when an artist comes along like Ian McGlynn, who’s so damn good and whose hooks are so immediately indelible, it’s almost maddening to comprehend that the fact that this musician hasn’t gotten the nods he deserves. Consequently, McGlynn’s third studio delivers all its title promises and then some, bringing instant gratification, thanks to the shimmering melodies and effusive refrains providing reminders of all pop can promise. Of course, having Posies’ Ken Stringfellow in the production chair goes a long way towards guaranteeing the set’s success — “Gold Morning Mend,” “My Pathetic Heart” and “Friends of Mine” offer proof of that fact — but it’s also evident that McGlynn himself has what it takes to make this music shine regardless. It’s hard to imagine anything more intoxicating. (www.ianmcglynn.com)
Jesse Terry
Empty Seat on a Plane
(self-released)
Jesse Terry’s the kind of artist whose music can quickly grow on you, and it offers every indication of that fact even at the outset. With traces of John Mayer and more than a hint of Paul Simon, it comes across with a supple sound, one that’s both delicate and alluring and while still suggesting an intrinsic element that’s much deeper. The fact that Neilson Hubbard is at the helm as producer and primary instrumental accomplice lends its own measure of credibility, but Terry doesn’t seem to cry out for any assist, choosing instead to rely on meditative melodies like the title track, “Wishful Thinking” and “Grace On A Train.” Each is a glorious, gorgeous example of what can result when a songwriter is well versed in the delicate art of creating lilting refrains and tunes that ruminate and meditate as they get under the skin. That, of course, is part of the art of seduction, and it’s that breezy, unhurried approach and thoughtful manner that sets Terry apart. It also creates the impresstion that he’s an artist with potential staying power. Ultimately, Empty Seat On A Plane is a charmer of an album and one well worth falling for. (www.jesseterry.com)
Angus Stone
Broken Brights
(Nettwerk)
The term “Americana” clearly needs no longer be limited to any national parameters, given the fact that the style and sentiment are literally celebrated all over the globe. Offered for your consideration: an album from Down Under by one Angus Stone, half the brother and sister act that usually includes his sibling named Julia. Now that she’s ventured out on her own, Angus has chosen to do the same, and happily the results are none the worse as a result. Singing in a voice teeming with world weary resignation, while also retaining an echo of staunch determination, Stone presents songs that sound as if they’ve been plucked from the great American heartland. “River Love,” “Only A Woman,” “Be What You Are” and the title track offer ideal examples of his parched pastiche, bringing to mind Neil Young with Crazy Horse one moment and fellow Aussie Paul Kelly the other. Despite the occasional fury, acoustic instrumentation dominates the mix, providing the music with a calming effect even in the midst of downtrodden circumstances. Stone suggests that he could be this year’s Mumford and Sons or Civil Wars, because like them, he shows that there’s an art to being unplugged and using it to create a most powerful presentation. (www.angusstone.com)
The Corduroy Road
Two Step Silhouette
(self-released)
Hewed from natural fibers, The Corduroy Road intersects folk, country and bluegrass realms without regard to hipness or happenstance. Skilled musicians all, they tap tradition and create a timeless sensibility sure to get feet tapping and hips swinging. This Georgia quintet doubtless excels in concert, but even on disc their irresistible pull is all so evident. Bookended by two of the album’s best tracks — “My Dear Odessa” and “Struggle and Strain” — this set of songs seems to soar on the band’s unbounded energy and unpretentious down home finesse. So though they’re seemingly born for a mountain stage, Corduroy Road takes a path unburdened by modern conceits or any guise of posturing and pretense. No need for a lesson; The Two Step Silhouette provides all the instruction needed, (www.thecorduroyroad.com)