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This page contains a number of album reviews from our guest
contributor Elizabeth Jacobsen
secondhandheroes - "The Absence in
Me"
If the last couple of Pearl Jam albums have left you with
deep-seated indifference, then secondhandheroes might satisfy
that craving for '90s grunge. Although nowhere near as aggressive
and black-bruised as the genre's Hall of Fame (Nirvana, Alice
in Chains, Soundgarden), secondhandheroes deliver hum-worthy
guitar rock with indelible choruses and a wickedly good rhythm
section. Their modest goal seems to be riding the borderline
between mainstream and alternative, which is perfectly acceptable
if the songs are memorable enough, and they certainly are. "Away"
has the best, most dynamic riffs here but a guest female vocal
from Rebecca Roubion on "Stay" adds a nice touch and
the country spices of "Back to You" impresses with
a wider stylistic scope.
For more details, visit: http://www.secondhandheroes.com
Reviewed by: Elizabeth Jacobsen
Carl Wirkkala - "Ghost Town"
Carl Wirkkala's Ghost Town is a haunting, soul wrenching set
of songs that sound like they've been on a journey. Wirkkala
took a trip through the world Bruce Springsteen made live in
his Ghost of Tom Joad. He added the laid back nature of Tom Petty.
He then mixes that all up into songs delivered with the honesty
and purity of the one and only Johnny Cash. Yet Wirkkala has
a voice all his own. The running theme in a lot of this set are
characters who are struggling. Whether they are struggling to
escape something like in the title track, or their own mortality
in one of the few songs penned by others on Bob Dylan's "Knockin'
on Heavens Door," the people in Wirkkala's world are real.
More than that, these people feel. You to will feel something
when you listen to this fine release.
For more details, visit: http://www.deafjimrecords.com
Reviewed by: Elizabeth Jacobsen
Jeff Eaton - "Wish You Were Here"
With "Calling On Angels," Arizona-based singer/songwriter
Jeff Eaton has written what could possibly be a massive crossover
hit from Christian radio to mainstream rock stations in the U.S.
Of course, the absence of a glossy major-label marketing - big-budget
MTV clip, a GQ look, etc - might throw a wrench into what has
the potential of MOR superstardom. Eaton has produced a collection
of wonderfully performed and carefully crafted adult rock tracks
that bring shame upon the crass crap that currently stuffs the
FM dial. His voice has the wisdom of age to it; he sounds like
a man in his early forties still trying to find love ("Back
to You," "Take Your Breath Away") but discovering
salvation from God ("Your Love," "Outside Your
Door"). There's some fabulous guitar playing here, especially
for fans of the '60s and '70s.
For more details, visit: http://www.jeffeaton-music.com
Reviewed by: Elizabeth Jacobsen
Ben Averch - "Washington State"
Those expecting a typical singer/songwriter record from Ben
Averch will be in for a bit of a shock. Actually, this is one
of those rare cases where the credit is deceiving even though
it is accurate. Indeed, this is Averch's album, without a doubt.
But it doesn't sound like the work of a single person. Even Nine
Inch Nails, for all of Trent Reznor's aggression and industrial
apocalypse explosions, it still feels like the accomplishment
of one man in a studio. Not so with Averch. Songs such as "Cloud
Cover" and "No Division" are exhilarating, combining
cerebral AOR with melodic guitar and vocal hooks. "Through
the Chain Reaction" has mesmerizing riffs, and Averch's
voice is better than ever.
Lyrically, Averch is an introspective fellow. In "No
Division," Averch sings, "Last night I met my future
self/He was strong and sure and confident/He said 'everything
we've ever done/Has brought us here to this place.'" Sometimes
in life we don't see the point of anything until years later
when the waves have cleared and we can read the message in the
sand. And when was the last time that a rock album actually made
you think?
For more details, visit: http://averch.blogspot.com
Reviewed by: Elizabeth Jacobsen
Tim Bowen - "Issues"
It took a while to place it, but Tim Bowen - both his voice
and music - is reminiscent of a now-defunct Los Angeles band
called the Balancing Act from the late '80s. Whether or not they
were an influence is a question only he can answer; most likely,
it's merely a coincidence, something that emanates from shared
inspirations which, in this case, is late '60s and early '70s
folk and roots rock. Like its folk influences at least, Bowen
is focused on political and social matters, the Issues of the
album title. Given that most musicians today would rather write
about sex and adolescent rage, Bowen's decision to deal with
life's bitter realities should be applauded.
Musically, these songs aren't really made for toe-tapping.
The closest thing that can be considered a solid pop hook are
the jangling guitars on "I'll Always Remember." Otherwise,
this is a record that requires closer listening to its words
rather than its grooves. The only disappointment is that the
lyrics are not included.
Website: http://www.fallingcow.org
Reviewed by: Elizabeth Jacobsen
2ND - "Directly in the Path of Organized
Ignorance"
2ND have a deceptively enigmatic name. It's not like Mudhoney
or Alice in Chains that warn you about the harmful waters within.
The band named themselves that simply because they're actually
a duo - vocalist/guitarist Jason Morse and drummer Dave Foreman.
A two-man rock group isn't new; after all, They Might Be Giants
and Local H were also twosomes. But in the grunge genre that
2ND have entered in, it might be a first. Wait, isn't grunge
dead? No, definitely not, as evidenced by the paint-peeling riffs
of Morse on murky rockers such as "Never Ever" and
"Wasted." While there's nothing new here, Morse and
Foreman have revitalized what has since become a mainstream fad.
Not a trace of filler here, either.
Website: http://2ndtheband.com
Reviewed by: Elizabeth Jacobsen
Becky - "Take It On the Chin"
Becky is a person but it's also a band - in this case, a very
good one, an alternative pop/rock group that's caught somewhere
between Blondie and Letters to Cleo (remember them?). Hailing
from Southern California, Becky hints at bubblegum without fully
giving in to it; consequently, you have infectious toe-tapping
hooks minus the cavity-causing sugar. Actually, there's a little
bite in the rhythm section: The opening cut "Joe" flirts
with Class of '77 punk (think of the Buzzcocks] while "No
Mercy" and "Undertow" have throbbing bass lines.
"Constantly" has pleasantly ringing guitars while "Evangeline"
deliciously jangles all the way.
It's a fairly energetic debut packed with FM-friendly potential
singles, and one never gets tired of hearing Rebecca Lord's charming
little girl lost vocals which express fragility as well as strength.
Ironically enough for all of its quick-paced goodness, my favorite
track is actually the slowest, the yearning acoustic tune "I
Adore You."
Website: http://www.beckymusic.net
Reviewed by: Elizabeth Jacobsen
Melisa Prestianni - "Overwhelmed With
Love"
Melisa Prestianni records Christian music that alters people's
perceptions of that genre's limitations. Never to settle on a
single trademark style, Prestianni experiments with different
approaches from the country-fried seasoning of "Overwhelmed"
and "Save Me" to the sumptuous piano of "Clouds
to Heaven" and "The Miracle."
Songs about God and faith can polarize listeners, but Christian
rock has been receiving the cool stamp of approval from youngsters
the past few years. A large part of that is due to the improvement
of the artists themselves and their willingness to embrace secular
instrumentation. No longer landlocked in traditional Gospel,
new Christian artists are more creatively ambitious these days.
While Prestianni doesn't court the alternative side of the post-millennial
Christian rock movement, for the most part this isn't your mom
and dad's church record.
In some ways Prestianni's tunes can be compared to that of
Jewel or Tori Amos but without the angst and rough, experimental
edges. This is solid soft rock with spiritual depth, and Prestianni
is a fantastic singer.
Website: http://www.melisaprestianni.com
Reviewed by: Elizabeth Jacobsen
Mad Buffalo - "Fool Stand"
The world is certainly giving musicians all sorts of inspiration
lately, from the 9/11 tragedy to the war in Iraq to Hurricane
Katrina. Mad Buffalo should be applauded for making their voices
heard without being preachy or offending political sides. Although
the title track makes Mad Buffalo's opposition to America sending
its troops to fight for Iraq clear, leader Randy Riviere is not
writing an editorial and putting music to it. The song reads
like a soldier's last letter, one more before he is inevitably
killed in the line of fire.
Mad Buffalo is Americana with more classic-rock tendencies
than country ones. "Tangerines" has atmospheric riffs
that stretch for minutes; at 6:35 in length it achieves the otherworldly
aura of Blue Oyster Cult and Pink Floyd in places although Riviere's
lyrics are strictly down-to-Earth. Mad Buffalo are a balanced
lot, equally capable of slowing the tempo and moving us with
piano ("I'm Not You") and strings ("What's True")
as well as fiery guitar solos ("Fool Stand") and ear-bashing
drums ["Devil's Blood"].
Website: http://www.madbuffalo.com
Reviewed by: Elizabeth Jacobsen
Electric Doormat - "Evil Genius"
Caught between the industrial angst of Nine Inch Nails and
the electro pop of the Postal Service is this strangely named
group. The melancholy, melodic tones of front man Ben Spees crashes
against the sonic bombast of his synth-metal rhythm section,
blowing up the speakers on "A Matter Of In Fact" and
"Sweet Sharp Stabules," which is wonderfully loud and
sinister. Electric Doormat are a twisted bunch, and warped tracks
like "Millions Die" and "Can of Bird" are
enjoyably sick. In fact, the band sounds even more demented because
of Spees' emo-ish voice mixed with the apocalypse pow of the
music.
For more details, go to: http://www.electricdoormat.com
Reviewed by Elizabeth Jacobsen
Brock Dain - "A Little Bit of Everything"
Luckily for Brock Dain he doesn't blow everything with his
introductory tracks. In the hands of a lesser artist, there'd
be no gas in the tank after the quick rush of "On and On"
and "Missin' You (5 Years)." Despite his independent
status, Dain is no underground hero; his genre is pop/rock albeit
with some lyrical edges. That combination - Top-40 sheen and
post-alternative honesty - is strikingly balanced here, with
neither having more dominance than the other. The result is an
LP that'll be enjoyed by college girls and their little sisters.
Dain's photogenic, handsome looks will certainly boost his career
opportunities, but there's depth to his words. Unfortunately,
there's no lyric sheet beyond "On and On," a flaw that
should be corrected on later printings.
For more details, go to: http://brockdain.com
Reviewed by Elizabeth Jacobsen
The Reggie Buie Trio - "The First
Time"
Don't mind the title as these players do not sound like greenhorn
musicians. Reggie Buie and his cast of characters are heavily
skilled musicians, able to conjure up both laidback and fairly
energetic rhythms that brings jazz back to its roots. Producing
an appealing, relaxing album with crossover potential, the Reggie
Brio Trio balance old-school reverence with Easy Listening charm.
The remakes of "Georgia" and "Betcha, By Golly
Wow" will attract those not tuned to jazz. Thankfully, the
Trio doesn't allow the pop origins of the originals to distract
them from their own vision; they make the tunes their own, hot
jazz that delights the ears.
For more details, go to: http://www.reggiebuie.com
Reviewed by Elizabeth Jacobsen
Will Diehl - I Am Free
By the time you reach the third track on Will Diehl's I Am
Free CD, it's too late - you've fallen under his spell. It's
not really his voice that strikes you (although the man can sing
well), it's the easygoing, relaxing vibes that come across from
his acoustic guitar. On "Sunlight Dancing," Diehl hypnotizes
your ears without you even realizing what he has done. The strings
create a web of enchantment. If there was a record made for rainy
days, this would be it. This is the kind of LP that makes you
want to look out the window as tears pour down from the clouds.
No, not because it's sad, but because it's beautiful.
For more details, go to: http://www.willdiehl.com
Reviewed by Elizabeth Jacobsen
Homewrecker - Wasted
You have to love a band that starts their album with a song
about drinking. Drinking hard. Whether or not the young ladies
in the Seattle-based Homewrecker are as rock & roll as their
image presents is another topic for discussion. Like Joan Jett
& the Blackhearts and the Runaways before them, Homewrecker
creates girl-powered balls-to-the-wall indie metal that isn't
as abrasive as the title suggests (much of that has to do with
the production which made sure the material is as radio-friendly
as it can get) but can still boom from the speakers with hurricane
force. Frankly, there is a lack of originality here - nothing
new for those raised on AC/DC, Ozzy Osbourne, and Motley Crue
- yet Homewrecker seems to fill that nostalgic void for solid
FM rock minus the rap. Highlight: the bluesy riffs on "Left
Behind," making one aching to hear how more versatile Homewrecker
will be in the future.
For more details, go to: http://www.homewreckermusic.com
Reviewed by Elizabeth Jacobsen
GT - 'Revolution'
GT is the nom de plume of Graham Hollingsworth, an Englishman
who possesses the classic Euro disco voice, the brooding, chilly-as-icicles
baritone of David Bowie. However, this is a peculiar release
as the music is not as accessible as you might imagine. There
is an experimental heart at work here, one with a singular, pretzel-shaped
vision that doesn't translate upon first listen. But upon repeated
spins the shimmering beauty of "Sun and Moon" and the
medieval swagger of "Excalibur" makes itself seen.
Unlike his similarly low-voiced predecessors, Hollingsworth doesn't
croon romantically as much as tell narrate lyrics in a stream-of-consciousness
fashion. There's nothing else out there like this right now so
reel this bizarre fish in while you can.
For more details, go to: http://cdbaby.com/cd/gtrocks5
Reviewed by Elizabeth Jacobsen
Celeste Ray Ensemble - 'Strings of Gold'
Likely to cross over into New Age fandom is this pleasing
homage to Celtic music, sounding so authentic that you almost
feel as if you're in Ireland while listening to it. Celeste Ray
and her collaborators - guitarist James Gilchrist, flute player
Darius Kaufmann, bassist Eric Mauriello, and percussionist Andrew
Potenza - have palpable affection for the traditional Irish music
that they cover here. There are no modern facelifts on Strings
of Gold, making "Scarborough Fair" and "Whiskey
in the Jar" as classical sounding as they should. Combining
instrumentals with vocal tracks, Ray is able to display both
her skills with the bowed psaltery ("Psaltery Danse No.
1" is a knockout) and her wondrous voice, which is best
showcased on "Come by the Hills" and "Blessing
for Setting Forth."
For more artist details visit http://www.celesteray.com
Reviewed by Elizabeth Jacobsen
Jenn August - 'Angels Here Among Us'
Although more traditional folk than "anti-folk,"
Jenn August nevertheless writes with an alternative or underground
sensibility. Lyrically, there's not much in terms of intellectual
revelation; despite the depth of some of her songs, you won't
be stunned by any insights into the human psyche. However, August
sings of universal themes - the exploitation of women, unrequited
love, death - and her lyrics are relatable and powerful in their
directness and simplicity. The songs aren't catchy in the "pop"
sense of the word, but they are memorable, and the acoustic music
is likeable enough if not as spellbinding as August's lyrics.
More inventiveness in the instrumentation, perhaps mixing in
other styles for spice, should balance everything out next time.
Visit http://www.jennaugust.com
for artist details
Reviewed by Elizabeth Jacobsen
Gary Gibson - 'Yahboy!'
Too often jazz is overwhelmed by the musician's need to show
off, to explore complexities that hover above the average listener's
head. Either that or it fades into the background, instrumental
tracks with bland arrangements that wallpaper the air. Bless
Gary Gibson then for taking a spirited, colorful approach to
the genre in Yahboy! Having been to the Caribbean numerous times,
I am familiar with the indigenous sounds that Gibson has absorbed.
However, his utilization of steel pans gives him his own individual
take on it. You can feel the enthusiasm blowing from the speakers
on "A Friday in Tunapuna," which is breathtakingly
infectious. "Mixed Messages," highlighted by Richard
Cole's tenor saxophone, is the most traditionally jazz item on
here, closer to what you normally hear on those types of stations,
but even that has spunk and personality.
Visit http://www.twotreesmusic.com
for artist details
Reviewed by Elizabeth Jacobsen
The Drown - 'Twins'
Stylish and stealth like, the Drown sneak up on you. Just
when you think their music isn't moving toward a focused location,
the bits and pieces of their songs start adding up. This is a
band with a quiet chemistry; there is a silent dynamic at work
here, one that isn't apparent on first listen. You really have
to keep playing it, let the tracks unfold. There is much that
is attractive on this E.P.: the spiraling guitars of "Discourse";
the soft-pedaled crooning of "My Francoise"; the plaintive
groove of "Still," recorded live in Holland.
The Drown, unlike most of their peers which are echoing turns
from the '80s, do not have mass-market appeal. They're not a
dance band a la Franz Ferdinand or the Killers. This is "deep"
New Wave, the kind that you could only find in the import sections
of American shops.
Visit http://thedrown.com
for artist details
Reviewed by Elizabeth Jacobsen
Danny Epps - 'Rumors of the Truth'
That smiling older gentleman with a hat on the cover of Danny
Epps' Rumors of the Truth has the look of one who is contented.
Once you listen to the record, though, you'll see that's not
truly the case. On Rumors of the Truth, Epps undergoes various
emotional states from hormonal rage ("I Need a Bad Woman
Bad") to boredom ("I Need to Go Crazy") to sadness
("It's Over"). Back in the old days, they used to call
this country music. Oddly enough, punk rock - especially those
who are closely linked to the Americana movement - is covering
more of these topics with the same bar-beaten grit than a majority
of today's country artists. Blame it on Nashville, which has
turned country radio into Wal-Mart. Fortunately, Epps doesn't
give a shit. These are slice-of-life narratives about getting
laid, drunk, and stoned with the same laid-back vocal delivery
of Willie Nelson.
Visit http://www.penstarmusic.com
for artist details
Reviewed by Elizabeth Jacobsen
Lisa Graciano - 'The Singles'
Yes, the lady can sing the blues. Hearing a woman from the
Philippines perform the blues with such power and authenticity
should destroy any remaining stereotypes against Asian musicians.
Too often Asian artists are lumped with the low-calorie keyboard
pop of Japan's mass-manufactured anime stars or as R&B wanna-be's,
but the same cannot be said of singer/songwriter Lisa Graciano.
On The Singles, Graciano delivers a four-hit appetizer, weaving
her guitar like a master swordsman. While her voice doesn't always
reach the guts of her impeccable guitar playing, she has her
moments of strong command, especially on "Out to the Street,"
which features her saltiest singing. However, it is the riffing
that you'll be paying the most attention to. This chick can shred
as good as any blues rocker out there.
Visit http://www.lisagraciano.com
for artist details
Reviewed by Elizabeth Jacobsen
Andrew Roudny - 'Zero Words or Less'
Let's face it: Critics are not the audience for rock instrumental
albums such as this. Ironically, most of us are not musically
taught; if we were, we probably would've taken up instruments
instead of pens. Technically speaking, I am oblivious to the
guitar mastery that Andrew Roudny has on display here. I'm sure
that the enlightened will be analyzing each riff. From my viewpoint,
Roudny has done something that is difficult to pull off: a record
without lyrics that not only can sustain the interest of your
everyday listener but engage him or her as well. The difference
is in Roudny's commitment to crafting steel-solid hooks. What
are words for?
Visit http://www.andrewroudny.com
for artist details
Reviewed by Elizabeth Jacobsen
Adam Barta - 'Dirty Girls'
With a title like Dirty Girls, Adam Barta is asking for it.
It's made for the wrath of critics and a few conservatives as
well. Actually, it's not as raunchy as you might've imagined;
Prince was far more risqué two decades ago. It's hard
to give a write-up on a song as bouncy and shallow as this, and
I use neither of those descriptions in a negative fashion. There's
always room for escapism, and "Dirty Girls" is an entertaining
male fantasy. The tongue-in-cheek album cover suggests this is
a parody of R&B booty anthems although high school boys will
most likely be dancing up and down to it. It's a goofball dance
track that is well-produced. There's even a high-NRG remix for
maximum butt shaking.
Visit http://www.adambarta.com
for artist details
Reviewed by Elizabeth Jacobsen
Johnny Martin - 'Sugar Pill'
There's a brilliant moment on Sugar Pill that elevates Johnny
Martin to a higher artistic level. On "When Your Lover Has
Gone," he samples the sound of the computer dialing up to
the Internet. There is something darkly funny and poignant about
it, capturing the loneliness of a man who has just lost his better
half. One can imagine him in his room, way beyond the witching
hour, and logging on to the Internet to pass the time.
Much more downbeat than his preceding live record Nothing
Personal, it's a collection of love songs, tunes that ache with
yearning and the promise of romance. The jazz flavors are more
prominent here, utilizing plenty of horns to illustrate the scenes
of seasons passing and heartbroken days. While none of it is
depressing, this is relaxing, mood-weaving music that is best
heard in the evening. Martin's bittersweet version of "A
Very Good Year" will have you in tears. His voice pushed
to the front of the mix, he gives a powerhouse delivery that
shatters others who tried singing it before. Bravo.
Visit http://www.johnnymartin.com
for artist details
Reviewed by Elizabeth Jacobsen
Johnny Martin - 'Nothing Personal'
The swing revival of the late '90s evoked more raised eyebrows
from my mates than any recent resurrection of a long-dormant
musical genre. Much of it had to do with its unexpected arrival,
and then there's the fact that it, well, sounded really old.
Then again, in the early '80s many of us were magnetically attracted
to the rockabilly and jumpin' jive of the Stray Cats and Roman
Holliday. On Nothing Personal, Johnny Martin doesn't explode
with the rollicking energy that the hip swingers before the millennium
did. In fact, it actually leans closer to the blue-eyed crooning
of Frank Sinatra than real swing. Nevertheless, there's little
distance between swing and lounge music; both owe a debt to jazz,
and Martin's backing band is about as authentic as it gets, capturing
the ambiance of late nights in clubs.
Martin released Nothing Personal himself, which you can guess
yourself once you tune in. There are no slick edits here. Martin
enthusiastically talks to his audience between some of the tracks,
and it's that intimate touch that makes the record so warmly
inviting. Martin has a deep, nasally voice that makes him seem
older than he probably is. On "Old Devil Moon" and
"Too Young," he reaches his peak, attacking the material
with the right amount of affection and soul. It's hard to see
why anybody would dislike this record; it is incredibly friendly
to the ear, and Martin has an entertaining personality.
Visit http://www.johnnymartin.com
for artist details
Reviewed by Elizabeth Jacobsen
Steve Conway - 'It's About Time'
Steve Conway has a magician's touch in writing songs. His
tunes feel alive, as if they could be grabbed; instead, they
will grab you. It's About Time is that virtually extinct animal,
a debut LP that shatters expectations of what an artist who has
never recorded an album before is capable of. In this case, it
is a work of art. No, I don't mean that in the pretentious sense
of the word. Conway is not into some avant-garde wizardry. Rather,
he takes you back in time to the days when tunes had more simple
ambitions, at least on a creative level.
This record is made to make you cry, to make you feel good,
to make you walk into the sunshine with your head aloft and your
heart heavy with happiness and sadness. It is like a blog in
audio form, tales of love, loss, and fishing with straightforward,
effective narratives. You can call it "country music"
if you will, namely because of the twang. But Conway has hit
upon something else here, transcending genres. These are songs
that people will be relishing decades from now, despite what
styles they're into.
For more visit: http://www.steveconwaymusic.com
Reviewed by Elizabeth Jacobsen
The Green Children - 'The Green Children'
Having already interviewed the Green Children for this site,
I should also share my feelings about this group's record. Writing
about dance albums doesn't usually allow for much elaboration.
There's only so much to say simply because the music isn't made
for scholarly analysis. At the same time, consumers need to be
aware of what is worth purchasing and what isn't.
If you are intrigued by the Green Children as much as I was,
then do not hesitate in picking up this record. While the fantasy
elements in their imagery aren't as prominent in their music
or lyrics, they do create attractive, otherworldly sounds. The
keyboards shimmer like starlight throughout the LP. Remember
the early '80s club classic "Dancing in Heaven" by
Q-Feel? That is probably the reaction you'll get from this album.
Milla and Murell must be a joy to watch in concert because their
enthusiasm and love for life is palpable. They are like children
playing in the forest as the tracks have a sense of innocence
about them.
Being quite familiar with the club circuit, I can safely say
there really isn't anything like the Green Children out there
right now. Their mix of daydreaming pop and slickly-produced
R&B is quite enchanting. Milla's vocals are bewitching, and
the synthesizers are as happy and colorful as elves in a forest.
Put away the black clothes for a change and think about how you
felt as a kid, free from domestic stress and the fears of the
world.
Visit http://www.thegreenchildren.com
for artist details | An
interview with The Green Children
Reviewed by Elizabeth Jacobsen
TrueHeart - 'TrueHeart'
Amidst the gold chains and skimpy outfits on MTV, it is truly
an achievement to hear a band that is strictly no-frills. If
TrueHeart has an image, it is one that is hinted by their name;
this is a group that'll shake your hand, respond to every compliment
with a polite "thank you," and will probably even open
your door. That's how their music feels. Like the Mamas and the
Papas, TrueHeart believe in the value of harmony. Siblings Ross
Vick, Patrick Vick, and Karen V. Cavazos all sing together, and
it's something that you do not hear anymore. Ever since rock
& roll became a multi-million dollar industry and labels
discovered that, if you push a product hard enough, anything
could sell, talent has been taken a backseat. This band has something
that no amount of cash can produce, a chemistry that is powerful
enough to stop armies from warring with each other. You feel
good listening to this CD. One spin of "Ain't Life Great"
is all takes to put a smile on your face for the rest of the
week.
Where has TrueHeart been all of these years? The group is
based in Dallas, Texas, and they're actually veterans of the
field for more than two decades. It's odd how the Grammy Awards
have recognized them but they're still relatively unknown. Blame
it on shallow media. TrueHeart do not offer anything beyond what
makes for good rock & roll. They're not cynical intellectuals
or masters of irony. Their lyrics are straightforward ("Take
Life," for example, is exactly what it is - no need for
collegiate interpretation) and the music combines the finest
elements of folk, country, and classic rock.
Visit http://www.truehearttexas.com
for artist details | An
interview with TrueHeart
Reviewed by Elizabeth Jacobsen
Eurovox - 'This Is…Eurovox'
As soon as the rushing guitars, hyper-speed drums, and clipped,
heavily accented vocals of "The Story of a Boy and a Girl"
came on, flashbacks of the Jam's "Eaton Rifles" filled
the mind. Eurovox are not subtle in revealing their influences;
this is a band with shameless yen for mod rock from the Who to
the Jam. Shockingly, much of the CD is actually superior to Jam
leader Paul Weller's couple of solo records. What makes Eurovox
so appealing is their limitless enthusiasm for the material;
these lads are having a blast of a time. Every track is made
to be as catchy as possible, from the innocuous, upbeat power
pop of "She Knows Everything" to the sparkling David
Bowie tribute "The World Won't Wait." There's no pointless,
imbecilic rage on this album unlike so many punk poseurs these
days. Guitars jangle or move at breakneck speed as vocalist Mat
Hammond delivers the British charm that the Beatles once did.
Too many English acts lately have been following either the melancholy
map of Coldplay or the futurist alienation of Radiohead. Eurovox,
on the other hand, are throwing a party. "Happy Hour"
could've easily fit onto Rhino's D.I.Y. series from a decade
ago. The singing, the production, the playing - everything thing
here is authentic British pub rock when London was truly happening
in the late '70s.
Visit http://www.eurovoxuk.com
for artist details
Reviewed by Elizabeth Jacobsen
Scotland Barr & the Slow Drags - 'Legionnaires
Disease'
If there were an album to smoke to, this would be it. Scotland
Barr & the Slow Drags is a pub band with a knack for a weepy
groove, as evidenced by the mournful slide guitar on the title
track. These are not quick, happy tunes although "Sun Years"
rushes to a British Invasion pace. Sounding world-weary and out
of luck, Barr catches the downcast, drunken mood of a burned-out
cowboy. However, none of it is as depressing as it may seem given
that Barr throws in a funny line or two. To us in the U.K., there
is a quality to Americana music that is refreshing; it is radically
different than what our country often gives us. British bands
will always be caught in the shadows of the Beatles or the Sex
Pistols so it's an injection of cool air to hear period-piece
rock & roll like this. Rock & roll? Perhaps that's not
a fitting term since Barr is mostly engaged to acoustic backups,
linked to folk in its spirit but more to the lonesome country
of Hank Williams, Sr. in its delivery.
Visit http://www.scotlandbarr.com
for artist details
Reviewed by Elizabeth Jacobsen
Rachael Petit - 'Wilted Flowers'
Sensitive teen pop takes a spiritual turn on the debut album
from singer/songwriter Rachael Petit. This is a Christian album
with a decidedly secular musical backing, summer-soaked acoustic
strumming with solid production and radio targeting smooth vocal
work. Rarely will you find a record from a teenager that sounds
this accomplished. Whether or not Petit used a coach is a mystery;
she masterfully changes tone in her voice like a veteran. Listen
to the emotional highs and lows her vocals reach on "Have
Your Way." This is not an amateur, and why this young lady
is unsigned truly baffling. The urgent guitar hooks of "Letters"
are matched by Petit's upbeat delivery and the insistent beat
of the drums. Throughout the album Petit narrates the story of
her life, dropping crumbs about her heartaches and how she eventually
found God. In these dark times of terrorist attacks and lethal
hurricanes, this album couldn't have arrived sooner. Wilted Flowers
is a record that'll lift your spirits while your tapping your
toes.
Visit http://www.rachaelpetit.com
for artist details | An
interview with Rachael Petit
Reviewed by Elizabeth Jacobsen
Junior Jackson - 'These Old Nites'
There is something in the water in Seattle again.
Over a decade after the grunge explosion an original sound, or
at least a unique hybrid of already existing genres, has leapt
from the Space Needle. Like a scientist Junior Jackson has pieced
together various elements usually found in Americana and gave
it an urban twist. The opening cut, "Charmed," wraps
bluesy guitars around trip-hop drumbeats. It's an unusual combination
that actually sounds perfectly natural, giving a stagnant musical
style a contemporary makeover that is respectful to its roots.
Mesmerizing slide guitar and Jackson's Man With No Name vocal
delivery make this record a cinematic experience. He has actually
fashioned his own musical creation, one that doesn't have a name
yet. It's downcast and gritty, reminiscent of Tom Waits but more
focused and groove-oriented.
Visit http://www.purefirerecords.com
for artist details
Reviewed by Elizabeth Jacobsen
Cerulean - 'No Sense In Waiting'
The Americans never understood the "shoegazer" movement.
As much as major labels and the alternative-minded press tried
to sell the genre to the Yanks, they refused to buy into it.
Most likely they were bored as many groups in the genre were
surface over substance. There are only so much guitar pedal effects
one can stomach if the songwriting is half-baked. Sadly that
was the case with even icons of the scene like Ride and the Pale
Saints; they created some pretty sounds that increasingly felt
emotionally hollow as the repetition began to grow wearisome.
The Los Angeles trio Cerulean probably realized this and decided
to strengthen the hooks before layering the songs with guitar
glaze. Having never heard Cerulean's prior records I cannot say
if No Sense In Waiting presents a creative evolution for the
group. Whatever the case, this is a spellbinding album, one that
dips into the subconscious with its transcendent shimmer and
penetrates the heart with its romantic yearning. "Stop Running"
is the initial high point as Rick Bolander's and Noel Kelly's
interlocking riffs swoop up and down. It's exhilarating and hypnotic.
Cerulean can certainly cast a spell on the ears, and from "Stop
Running" on No Sense In Waiting basks in the sort of musical
magic that jaded fans like myself thought no longer existed.
Visit http://www.ceruleanmusic.com
for artist details
Reviewed by Elizabeth Jacobsen
Blair Hansen - 'Smile'
Anybody who has given up on the youth of America needs to
hear singer/songwriter Blair Hansen's personal, heartfelt acoustic
pop album Smile. Since the late '90s there has been a heavy weight
of pointless fatalism and tuneless dissonance from musicians
in their teens or the artificial flavorings of boy-band bubblegum.
Hansen falls in neither trap, capturing the listener's imagination
with a killer voice that can cast a dreamy spell a la Sarah McLachlan
or narrate stories with the bluesy passion of Melissa Etheridge.
Hansen's a sharp guitar-slinger herself, and her vocals and playing
reach beyond her tender years. The title of the album isn't some
cryptic message; this is a record that is intended to prevent
the dark days from enveloping our lives. While there are some
profound meditations on dying ("Dance My Way," "Final
Goodnight"), Smile is not about adolescent gloom and doom.
Hansen is pointing to the rays of sunlight in a world of rain,
and it's enough to make you Smile for a lifetime.
Visit http://www.blairhansen.com
for artist details
Reviewed by Elizabeth Jacobsen
Lorraine Devon Wilke - 'Somewhere On the
Way' (Manitou Records)
Reject the idea that independent music must be some low-fidelity
weirdness, played amateurishly, and peppered with high-I.Q. sarcasm.
Lorraine Devon Wilke's Somewhere On the Way is none of those
things. This is a straightforward, possibly autobiographical
record that is haunted by the blues and drunk from the whiskey
of country. According to the one-sheet Wilke was once in a New
Wave band called Devon, a group that was apparently overlooked
in the '80s Los Angeles music scene. Hopefully Wilke's solo career
won't meet the same fate. Her '80s roots certainly don't show,
as there's nothing synthetic or danceable here. This is a mature
album but not in the negative sense of the word. Usually "mature"
is used to describe records from aging rock stars that've been
sapped of their creativity and raw emotions. That's not the case
here. Take a sip from "Comfort Me" and taste the bitter
pills in the water.
Visit http://www.lorrainedevonwilke.com
for artist details
Reviewed by Elizabeth Jacobsen
Arlene Hattori - 'Finding Myself Again'
An album that springs from nowhere and delights the palate
as much as Finding Myself Again by Arlene Hattori is usually
called a "buried treasure." Indeed, this minor-league
beauty is a shocker of the pleasant kind, a reminder that '80s
New Wave was more than just boisterous pop. Indeed, Hattori opts
for a decidedly subdued, less abrasive take on Reagan-era nostalgia
but is nonetheless faithful to the time period. Take the Colourfield's
1985 classic Virgins & Philistines with its '60s inspirations
and the girl-group aesthetics of early Bangles and you'll get
a taste of Finding Myself Again, at least for the most part.
"Give It Up" sounds like a mid-'80s Top-40 hit, reminiscent
of the blue-eyed club funk of Nu Shooz's "I Can't Wait."
The remix of "When I Looked Into Your Eyes" is another
toe-tapper, but the rest of Finding Myself Again is not for the
dance floor but for a day's worth of R&R, sitting back on
the lawn chair and watching the sun go down. Pure bliss.
Visit http://www.arlenehattori.com
for artist details
Reviewed by Elizabeth Jacobsen
Fivestar Riot - 'Unfamiliar Sky'
There is something undeniably familiar about Unfamiliar Sky,
which is to be expected from such a young band. Conjuring flashbacks
of Incubus' funk-rock dynamics, the progressive guitar licks
of A Perfect Circle, and even the brainy atmospherics of Radiohead,
Fivestar Riot are guilty as charged in being influenced by late
'90s alternative-radio staples. And they certainly make their
heroes proud, as Unfamiliar Sky is an entertaining debut, bristling
with adolescent emotions and adult ambitions. Vocalist Charlie
Cote recalls Incubus' Brandon Boyd with his mixture of romantic
yearning and teen anguish, and the group plays well together,
especially on "Better" and "Mischief and Mayhem."
However, as far as a five-song EP goes, they should've developed
the title track further before including it on the CD; it's an
interesting opener that sadly fizzles out too quickly. Nevertheless,
Unfamiliar Sky is hopefully a sneak preview for a full-length
release.
Reviewed by Elizabeth Jacobsen
Cas Lucas - 'Giving
It Back'
The no-frills, come-as-you are album cover may not be marketable
to customers unfamiliar with singer-songwriter Cas Lucas, but
it wholly captures what this youthful artist is all about. This
is music from the streets - no, not the thuggish racism of gangster
rap but the free-flowing thoughts of a man growing up in the
city. Lucas has a disarmingly pleasing voice; you almost don't
notice how fatalistic "Home" is until you've listened
closely to the words, which is what you should be doing for the
entire album because this boy can truly write. However, it's
the guitar playing that impresses the most; Lucas and fellow
guitarist Steve Inglis make quite a team, jamming fluidly. Giving
It Back is tender on the headphones as Lucas creates a level
of intimacy that charms and warms the heart.
Reviewed by Elizabeth Jacobsen
Sunny So Brite
- 'The New American Century'
From the clever names of the songs alone - "Secrets Under
Scars," "The Screen Actors Guilt" - there's no
reason to believe that Sunny So Brite are yet another generic
American band. Sure enough, the group does not disappoint, piecing
together a strange blend of futurist rock and emo that could've
been pretentious in less capable hands. Visiting their site,
it seems as if the band has been around a few years, which isn't
shocking considering how altogether The New American Century
sounds. This is the kind of record, such as Pink Floyd's Dark
Side of the Moon, the Smiths' Meat Is Murder, or Radiohead's
OK Computer, that is greater than the sum of its parts. You simply
have to listen to it all the way through, absorbing its subtleties
and curveball directions. At the risk of influencing people to
skip tracks, I'm not naming any particular favorites. Think of
The New American Century as a novel - no chapter-skipping here,
folks.
Reviewed by Elizabeth Jacobsen
Barry Russo -
'These Are The Days'
Reminiscent of Toad the Wet Sprocket and the Rembrandts, singer-songwriter
Barry Russo writes softly-strummed and light, lyric-driven acoustic
rock for older listeners. His target demographic is given a clever
theme song - the irresistibly silly "Child of the 80s"
- but aside from that he strays from retro grooves. Russo writes
about love - falling for it, broken by it, or simply unable to
say it. Despite the Do-It-Yourself nature of the release, These
Are The Days cannot be mistaken for unsigned product, which it
actually is; the production has a thick coat of polish that makes
it easily marketable to pop radio stations, at least the ones
that don't rap. The music generally has a positive outlook, which
should net Russo a large mainstream audience. However, "Child
of the 80s" doesn't really fit in with the rest of the record,
at least not in its place; it should've been the last song on
the album because it's jarring to hear it between the laidback
rhythms and mellow vibrations of "Are You Listening"
and "Walk Away." The record actually gets better as
it goes along; instead of losing steam, Russo picks up momentum.
Highly recommended.
Reviewed by Elizabeth Jacobsen