Grooves & Cuts – May 2024 – #2
Too many great releases missed the mark the first time. Now, I’m catching up. So, the next Grooves & Cuts will have an article. In the meantime, catch up on some almost lost between the cracks. They are worthy additions
Spilled Mercury:
West of Eden – Whitechapel
These 12 exceptional eccentric Charles Dickens’ type pieces from Whitechapel (Dropped March 15-Hemifran/46:00) were produced by Martin Deubler Holmlund (double & electric bass/bgv) & Martin Schaub (vocals/acoustic guitar/cittern/mandolin/piano/keys/brass arrangement).
The band with the addition of Jenny Schaub’s voice is reminiscent of the Oyster Band, Spirit of the West, Great Big Sea & to a lesser degree Fairport Convention & Fotheringay with Sandy Denny while West of Eden doesn’t get as aggressive as The Pogues with Shane McGowan.
The melodies are traditionally British/Americana with superbly tight melodies. Jenny Schaub sings with threads of Sandy Denny, early Marianne Faithful (“Wild Mountain Tyme” era) & Mary Hopkin. She doesn’t have a smoky vocal ala Christine Collister or June Tabor but has an instantly likeable tonality.
Accompanied by the old-world tradition fiddle, viola, mandolin & banjo her voice clicks in like an instrument & takes a much more mature world-weary vocalese. Her voice has a fairy tale, storytelling quality & her range is excellent. She has a church-like quality to songs like “Nothing” that also sounds like late-night pub songs, probably sung at “The Ten Bells.”
On this tune what lends a chill is the featherlike horns that follow her voice like a whisper. These musicians are accomplished & refined. I embrace music like this – it just sinks in between the pores of the skin where good songs belong.
Many tunes sound old-world but they’re not. They’re originals from the sharp pencils of the band. Perhaps it’s the personality & character embedded in the music that shines like a traditional work.
White Chapel is the neighborhood in London where Jack the Ripper existed. The song “Catch Me When You Can, Mr. Lusk,” – is as dark & melodic as “Mack the Knife.” Nice contrast. Jenny’s voice is a thrill throughout. She narrates the tale & it rolls along with a pleasant accordion, acoustic strings & steady hi-hat. Quite good.
“The Register of Shame,” is a glorious melody. The band performs with a broad scope & songs come from a pool deeper than most. This reminds me of the band Lick the Tins with Alison Marr. They also had this type of celebration in their mood-inspiring music. Excellent piece. With the unified vocals “Mudlarking” unfolds fully fueled in a Dexy’s Midnight Runners style. Keenly dramatic, never silly.
This is an album to experience. It’s one of the year’s best.
Highlights – “Whitechapel Blues,” “The Ten Bells,” “Nothing,” “Catch Me When You Can, Mr. Lusk,” “The Awful Execution of Charles Christopher Robinson,” “The Register of Shame, “Sweet Violets,” “Mudlarking” & “We’ll Never Be Afraid Again.”
Musicians – West of Eden: Jenny Schaub (lead vocals/accordion/tin whistle), Lars Broman (fiddle/viola/bgv), Henning Sernhede (electric & acoustic guitars/tenor guitar/lap steel/banjo/bgv), Ola Karlevo (drums/Bodhran/Cajon/percussion/typewriter/bgv).
East of Eden: Damien O’Kane (banjo), Ron Block (banjo), Steph Geremia (flute), John McCusker (whistle/fiddle/accordion), Roy Andersson (alto horn/trombone), Jonathan Kronevik (cornet), Magnus Stranne (Euphonium) & Kristian Karlstedt (tuba).
An 8pp stitched lyric insert is included. B&W photo courtesy of Hemifran website. Color image courtesy of Martin Permer. CD @
https://www.hemifran.com/news/detail/u/1544/West%20Of%20Eden/Whitechapel/
Mira Goto – before – EP
While I’m not a big fan of treated or processed vocals, especially when it’s obvious the singer has a wonderful natural voice, Mira Goto has a sincere & poignant vocal approach & a wonderful vocal range. It doesn’t sound like showboating since California’s Mira Goto controls the drama.
The spare 5-track before (Original drop Sept. 22, 2023/Parfitt Music/18:00) has trimmed instrumentation but does have lift. The nice piano runs & radiating vocals from Mira establish a lucent vocal style. She’s not quite lyrically a Joni Mitchell or Ferron yet, vocally she has the attraction. “Bright Eyes,” is a wonderfully upbeat tune sung with confidence & deliberation.
A full LP is worthy of this fine artist. Mira doesn’t over-emote or write with saturation. Each of her 5 songs has value added — nothing sounds knocked off. There’s a quality to her development (“Wanted”). Her vocalizing is reminiscent of the silky tones of the late Eva Cassidy. This is where Ms. Goto needs to be. She’s not a breathy singer or showboating vocalist. The message in the song seems to be her priority.
Her golden moment is “Loving You Is Killing Me,” with its mature folky elements & country currents that run through its affecting melody sung perfectly by Ms. Goto. Powerful message delivered proficiently & with skill. The entire performance is breezy, riveting & expressive. Some songwriters wait decades to write a song like this. It takes one hell of a melody with lyrics for me to reach for a tissue.
This is who Mira Goto is. If she follows her musical spirit she can’t miss. Many good songwriters can’t write like this, or even sing it. I find Mira gratifying, satisfying & with time, as worthy an artist as Joni Mitchell, Judy Collins & Emmylou Harris. Why not? The songs are there — I can hear it.
Highlights – “Enough To Try,” (with Derek Garten), “Bright Eyes,” “Before,” “Wanted” & the marvelous “Loving You Is Killing Me.”
CD @ Amazon & https://www.miragoto.com/store/before-ep & https://www.miragoto.com/about-1
Calder Allen – Dreamers, Drifters and Hiders
This mild soft-spoken 5th generation Texan has some good melodies weaved through his lyrics. Lead-off cut “The Conservationist,” is quite a competent & catchy one followed by the violin-driven “Floating Shoes,” which has a flighty sound, high above the hills & mountains with a breezy melody & pastoral vocalizing. Nice touch.
While Calder isn’t necessarily another Kenny Rankin, he possesses a soft-spoken style similar to Rankin but in a more countrified genre rather than easy listening. The late Mr. Rankin was an exceptional stylist in his day (“Silver Morning”) & Calder would be in good company.
The words in each song don’t push as hard. They just lay out like youths dressed up in adult clothes. The songs do sound seasoned – there’s experience behind each. The Charlie Sexton produced 11 pure tunes of Dreamers, Drifters, and Hiders (Drops May 3/Independent/46:00) & adds a little Steve Earle-style vocals with “High Roller Train” it’s a crafted piece. Calder firmly plants both feet in that Americana genre — assuredly.
“Give Me a Memory,” takes a different path. It opens with a similar folkier melody. Ear-catching & atmospheric as Nick Drake’s classic “Northern Sky.” This has a silky melody & acoustic guitar clarity that’s attractive throughout. What makes Calder’s music interesting is that despite slathering it in generous amounts of country-inflected buttery rhythms his topics are carved out of another place in life’s experiences. It’s not the cliché riddled mainstream formula. Mr. Allen’s virtuosity is steady as he migrates through each tale significantly. Each song nourished.
Highlights – “The Conservationist,” “Floating Shoes,” “Just Pray,” “High Roller Train,” “Dreamers, Drifters and Hiders,” “Ripple Through,” “Give Me a Memory,” “Leave It All Behind” & “Burned Bridge.”
CD @ Apple + Spotify & https://www.calderallen.com/
Shannon Vetter – Holding Pattern
This Louisville-based artist focuses on harder-edged topics like addiction, heartbreak, resilience & vulnerability. Vetter is a multi-instrumentalist & this is a sophomore effort (first since 2016) that offers 12 expressive songs on a platter of soulful Americana. There are some side orders of blues, a dash of country folk, some tasty new grass, one with a jazzy spiced-up New Orleans kick & a well-balanced diversified musical cuisine.
Songs explore self-discovery & confrontation with life’s complexities through their narrative that can be relatable & inspiring with no light-weight stuff. The producer’s Cory Pollard, Aaron Bibelhauser Matt Robinson & Shannon have shaped Holding Pattern (Dropped March 1-Independent) with emotional-filled lyrics into an evocative showcase.
Stylistically, the tunes are upbeat, but they cover areas visited before. The material was recorded with clarity & Vetter has a voice that falls somewhere between Andrew Gold (“Lonely Boy”) & Kenny Loggins. Voices that are mainstream-friendly yet limited in range.
A little more in an Americana light is the violin-tinted “Storm Age,” nice & folky, calm & well-sung. Some are novelty-oriented but done with a wink – so “Ode to a Drunk Girl,” is performed with genuine saloon & sawdust gusto. It does have a melody thievery from the 1960s novelty tune “On Top of Spaghetti,” (or “Smokey”) by Tom Glazer. But, who cares?
Back to a more serious tune. The shimmer of “Binge Drinker,” has some nice vocals & fiddle work. It could’ve been a hit in the 60s if Roger Miller had done it. Here, Shannon Vetter does a credible rendition & the musicianship is good.
A throwback to Dixieland comes with the exceptional “Boundaries, Baby.” This works & Shannon does it with lots of fun emanating from their voice. Shannon has a sense of humor that doesn’t come off as novelty or silly & it keeps the music enjoyable. Then, Shannon returns to a more serious & beautiful duet on “Musician’s Lament.”
Highlights – “Great Divide,” “Storm Age,” “Ode to a Drunk Girl,” “Binge Drinker,” “Boundaries, Baby” & “Musician’s Lament.”
Musicians included: Scott T. Smith, Chris Rodahaffer, Anna Blanton, Todd Hildreth, Ryan Nottingham & others.
Color image courtesy of Shannon’s Bandcamp. CD @ Bandcamp + Apple & https://shannon-vetter.squarespace.com/ & https://sweetheartpr.com/shannon-vetter/
Tina Schlieske – The Good Life
Sounding a bit old-fashioned in a lounge lizard jazz chanteuse ‘50s manner with classic jazz standards this impeccable recording has lots of striking moods scattered about the ashtrays & high ball glasses. “The Good Life” begins with Tina’s warm smoky ambient & piano-supported vocals. The notes drip melancholy, nostalgic with noir elements & melodramatic tints throughout Tina’s perfectly suited jazz tones.
Produced by Cody McKinney (bass) & Patrik Tanner in Minnesota, the 8-song album The Good Life (Dropped Feb. 23/Shifting Paradigm Records/32:00) dabbles in presence by reinventing some old traditional pieces into refined re-established arrangements. The classic “Witchcraft,” is made nicely elaborate through piano tickling, heavy low bass lines, steady snare snaps, organ accentuations & sax solo.
These songs aren’t suited to any vocalist. John Lennon wouldn’t suit “Witchcraft,” though Elvis (squeaked by) & Frank Sinatra did. But here, it’s former rock singer Tina Schlieske’s show (former Tina & The B-Sides lead vocalist) & not surprisingly Tina’s vocals are tapered to fit these melodies. The distinguished small group setting is also good. Has Tina found her niche?
The fabulous Billie Holiday song “Don’t Explain,” is kept within the limitations of late-night humidity rather than over-emoting an old jazz staple. Tina seems to understand each chart. She wrestles with the material & usually comes out on top — her vocal never has trouble with the holds. Her intonation is articulate, her range is rich, her good phrasing is wonderfully applied & the style evoked is striking. Is she Cassandra Wilson? No. Madeleine Peyroux? Maybe soon. But this set gives me a sense of someone on the right track.
The musicians do what the old timers did. They allow their instruments to “speak” through their notes as a vocalist would. This is what the magic was in that bygone era (“My Baby Just Cares For Me”). Even Billie said she wanted to sing like Louis Armstrong’s trumpet. Tina takes liberties. Stretches some vocalizing versatility (“Do Nothing Till You Hear From Me”) into areas shaded by Sarah Vaughn confidently. Schlieske treads the same enchanting steps & does it admirably.
What is a wonder is what Tina could do with songs that aren’t jazz standards. What her jazz-distinguished voice may toss the dice on. Recreate if not reinvent. Songs like “The Last Train To Clarksville,” “Take a Giant Step,” “Mary, Mary,” “My Funny Valentine,” “Tupelo Honey,” “I’ll Be Seeing You,” “Til There Was You,” “Blue Skies” are among many that weren’t originally jazz, or blues tunes. They became those types of songs. Tina has the voice. One listen to “Lilac Wine,” — a lighter touch of Cassandra Wilson but a heavier pulse than Ella. She has the delicate nuances of jazz feeling in her favor.
Highlights – “The Good Life,” “Witchcraft,” “Don’t Explain,” “Lilac Wine” & “You Go To My Head.”
Musicians – Bryan Nichols (piano), Pete Hennig (drums), Jake Baldwin (trumpet), Brandon Wozniak (tenor sax) & Kevin Gastonguay (organ).
Cover image courtesy of Steven Cohen. Color denim image courtesy Mary Mathis/The Current. CD @ Bandcamp & https://tinaschlieske.com/
Leo Lyons & Hundred Seventy Split – Movin’ On
Americana Highways indeed covers Americana-Roots music & Leo Lyons – a rock musician from England & former bassist for Ten Years After with Alvin Lee shouldn’t fit the mold. But, since coming to the attention of Nashville publishers (who signed him as a staff writer) Lyons, in 1998 (25 years ago) moved to Nashville. He currently resides in Cardiff, Wales but his new music with Hundred Seventy Split, is a blues/rock aggregation. Even closer to the roots of the genre. This is his 7th LP. They must be doing something right.
This new effort Movin’ On (Dropped Oct. 6, 2023/Flatiron Recordings/48:00) & was realized & produced by former Ten Years After bassist Leo Lyons. He milled these blues & recorded them in the UK. Some compositions were retrospective, some were blues rockers that swing & get swampy.
Lyons decided not to follow a blues standard & do what had been done many times before. This isn’t his first collaborative record with other musicians.
He’s made up to 9 without Ten Years After. On first listen I was surprised to hear an excellent rocker’s voice with Joe Gooch. Yes, it’s not as propulsive, or gutsy as the late Alvin Lee but not many singers are. However, the bluesy inflections & Lyons’ smooth laid down thick bass are fascinating.
Songs like “Walking in the Devil’s Shoes,” & “It’s So Easy To Slide,” find Gooch lying down with cool John Dewar articulation (as Dewar had done for Robin Trower LPs). There’s no hard sell, it has the bluesy vocal style rooted in a Paul Butterfield Blues Band manner & swabbed in a pinch of Deep Purple’s Ian Gillian’s “Smoke On the Water,” vocal power. That’s a nice memory. This set goes down like aged scotch.
Millennials may ignore it. But it recreates the necessary feeling, mood & ambiance of superior blues in a modern-day setting. The fact that it’s created by a veteran musician makes it even more valuable. There’s nothing retro despite the genre being vintage. The polish & buff is admirable. And that’s where the scotch comes in. Some things are better if they’ve had time to age.
Nothing sounds dated & it has its share of biting notes & flavorful melodies & it approaches from various directions. This is skillful. “Black River,” is fairly standard until the lead guitar takes its spotlight – quite stirring & soulful. The finale’s almost Leslie West in tradition – with his melodic thrust & rousing notes that are spit out like teeth during a Union Hall fight.
“Mad, Bad & Dangerous,” is doled out with a Boz Scaggs & Elvin Bishop trajectory. Gooch whips it out vocally & his stinging leads lacerate. You can hear the blanket of bass spread throughout as drummer Sawyer keeps it steady as a train. This is R&R, Leo Lyons style.
Each song has something to recommend — the vocal, lead guitar, bass line, or performance itself. The trio together perform as a unit in a tight showcase of spirited songs. “Meet Me At the Bottom,” while having a cool guitar lead is anchored by its jazzy bass line excellently recorded. This LP (“Sounded Like a Train”) feels appropriately like a follow-up to Deep Purple’s “Machine Head” that never happened.
Highlights – “Walking in the Devil’s Shoes,” & “It’s So Easy To Slide,” “The Heart of the Hurricane,” “Black River,” “Mad, Bad & Dangerous,” “Meet Me At The Bottom” & “Sounded Like a Train.”
Musicians – Leo (bass), Joe Gooch (guitar/vocals) & Damon Sawyer (drums).
A fold-out lyrical insert is included. Color image courtesy of their Facebook gallery. CD @ Amazon & Bandcamp + http://www.hundredseventysplit.com/ & https://leolyons.bandcamp.com/album/movin-on
Jeff Rogers – Dream Job
This collection from a Canadian-roots rocker was recorded in Muscle Shoals, Alabama at the Wishbone Studios. Produced by Richard Cooper, Jeff Rogers (lead vocals/piano/Wurlitzer/bgv) & Steve Foley (rhythm guitar/bass/percussion) with 9-tracks that feature Grammy Award winner Colin Linden (“Mind of Your Own” + slide guitar) & Juno Award-winning vocalist Kellylee Evans (“So Worth the Wait”) who make up Dream Job (Dropped February 16/Diesel Entertainment).
It’s a culmination of a musical collaboration by Jeff Rogers who possesses a soulful roots voice on these pieces. Rogers’ quirky but rich, soulful vocals steam from “Her Kind of Trouble.” A rousing ballad with a spiritually lit chorus that ignites the performance. If you liked what the Edwin Hawkins Singers did for Melanie Safka’s “Lay Down (Candles In the Rain)” this song will be a big winner in your ears.
From there, Rogers goes all soulful Bar-Kays/Average White Band with tight bursts of horns on “Lock & Key” & comes into the musical room filled with fumes & holds a lit match. Stinging Steve Cropper-type lead guitar snakes around Jeff’s venomous vocals. This is what soul music was & Rogers understood it. Pass the ice water.
The only thing I’d eliminate is the vocal treatment that works on the first 2 tracks but by the title track – it wears thin. The vocals are warm, strong & are capable of being gutsy. Drop the vocal treatment, echo – whatever it is. Let Mr. Rogers come through naturally.
“Mind Your Own,” is soaked in a Leon Russell-Dr. John style with an arrangement touched briefly by J.J. Cale guitars & grooves. Lots to love here. What an ideal combination. Jeff sings it with authority whereas someone else would sound like a parody. No such thing here. This smokes.
Sliding into a Tony Joe White swampy liaison but dipped generously into a little lounge piano jazz, “Wish You Wouldn’t Go,” is a beauty. Rogers’ talent is picking up on existing musical areas & reshaping them with his distinctive vocal & potent arrangements. That’s what creativity is about, it takes something that has existed & makes it sound brand new.
Jeff slips into a more mediocre middle-of-the-road type song. I can’t slight him because he pulls it off with seasoning & style. His vocalizing is accessible & he accentuates all the right words. Rogers remains individualistic even on the less exciting numbers he can hold interest.
One of the year’s best for a male vocalist.
Highlights – “Her Kind of Trouble,” “Lock & Key,” “Mind Your Own,” “Wish You Wouldn’t Go” & “Deep Cold Water.”
Musicians – Kelvin Holly (guitars), Shonna Tucker (bass), Justin Holder (drums/percussion), Clayton Ivey (organ), John Steele (pedal steel), Anders Drerup (lead guitar “Her Kind of Trouble”), Blair Hogan (lead guitar “Saving This Bottle of Wine”), Sherri Harding & Rebecca Noelle (bgv), Sharon Riley, Teena Riley, Jean Lawrence-Scotland, Michelle Francis, Renee Rowe & Patricia Lewis (Chorale), Ed Lister (trumpet/horn arrangements), Petr Cancura (tenor sax) & Mark Ferguson (trombone).
CD @ Apple & https://jeffrogers.ca/
Spencer LaJoye – Shadow Puppets
This collection is from Boston with Spencer La Joye, an indie-folk singer-songwriter who is lyric-driven. This is their first full-length LP created to capture shadows from a past with warm, poignant approaches to each number.
The opening cut has acoustic clarity. “Shadow Puppets” is well sung with lean tonality & delicacy throughout. “Chaotic Neutral” is a little more up-tempo/pop-oriented but continues with a bright acoustical presentation. There’s a nice snap to the drums & a Bruce Springsteen-like forceful melody.
The songs produced by Chris DuPont are 12 musical images projected as Shadow Puppets (Dropped February 16/Independent) & recorded in Michigan. Each tells an interesting short story & many are showcased lushly. Which isn’t to imply the songs are tepid. They’re not. Each is arranged with its sparkle. Vocally the notes are often sung in a high register but it’s not falsetto. Spencer LaJoye has a clear convincing tone & savoring range with lots of presence.
The songs are primarily pensive. “How Are You” has an aura of nostalgia. Quite beautiful. As far as gender is concerned it isn’t necessary to tag this. It’s simply wonderful music with articulate vocals & absorbing songs performed with skill & honesty. This is a respectful effort by an ambitious artist — riveting at times & an enjoyable collection.
Highlights – “Shadow Puppets,” “Chaotic Neutral,” “Good Man,” “How Are You,” “Reverie,” “Serial” & “Someday You’ll Wake Up Okay.”
Musicians – Spencer (lead vocal/bgv/acoustic guitar/piano/violin), Katie Larson (string arrangements/cello), Sav Buist (string arrangements/violin/viola), Chris DuPont (guitars/bass/piano/banjo/synths/programming/bgv/kick drum), Billy Harrington (drums), Spencer Mackey (guest lead vocal/duet arrangement – “Convents”) & Kylee Phillips (bgv).
CD @ Bandcamp + https://www.spencerlajoye.com/
Dr. Rock & The Famous Merengo – Willow Creek
The last names don’t jive with the geographical genre of the music but don’t be fooled by that sharp turn since these artists know how to play & understand each note. The 12 flowing tunes were produced individually by Bruno Dandrimont, Yan Goro & Niko Gorodetzky for Willow Creek (Dropped Dec.15, 2023/YANAT/Hemifran/47:00).
The LP starts with some soulful arrangements (“Without You” & “This Girl”) that cross a bluesier funkier group with a male vocalist backed by Abba. It sweetens the blend unorthodoxly & obviously. Sounds like it wouldn’t mix. But it surprisingly does (sometimes). The guitars have buttery rhythms & the vocals aren’t too overpowering.
Continuing in a diluted Earth Wind & Fire cross current “Crazy Gina” opens with enthusiastic vocals by all. Impressive backing & groove though it does possess a slight Euro-feel in the performance. The lead vocals are present but mixed a bit laid-back. The song has that infectious melody that’ll stick to your mind all day. If not the vocals then the melody. It reminds me a little of the great melodic Euro-dance band Clock on 5 who sang in English “Mayerling” a tune with quite the arrangement propelling it in a similar mainstream manner.
Getting away from mainstream & exploring a more Doobie Brothers-oriented approach “Paris City Blues,” is a tightly performed light jazzy pop song with shades of Steely Dan overtones (but not their intensity or range of soloing expertise).
Nonetheless, the song is a delicate cool listen with nice piano work & guitar solo that slides along in a commercial Steely Dan manner. Of course, they’d also need a singer like Donald Fagen. They don’t. And the lyrics are not as expressive or experimental. The song is just easy on the ears. In a more China Crisis method “Between Lane 2 & 3” has an affirming groove with strong backup vocals that drive the tune well. The arrangement is vivid, fully loaded & features a fiery harmonica solo. This is great.
Highlights – “Without You,” “Crazy Gina,” “Instant Lovin,’” “Paris City Blues,” “Between Lane 2 & 3” & “This Girl.”
Musicians – Yan Goro (bass/guitar/keys/bgv), Tom Daveau, Julien Boyer & Hubert Motteau (drums), Niko Gorodetzky (lead vocals/bgv/keys), Bruno Dandrimont (acoustic & electric guitars/drum programming), Jules Jaconelli (synths), Romain Berguin (piano/Rhodes/bass), Jean-Luc Leonardon (keyboards), Pascale Mason, Sylvie Pouilly, Rycko Filey, Claire Tillier (Clair) (bgv), Zizou Sadki (bass), Michel Gaucher (sax), Eddy Delomenie (alto sax), Guillaume Zeller (keys), Philippe Gonnand (harmonica), Christian Martinez (flugelhorn), Tom Boursier (keys),
A 10-pp stitched lyric insert is included. B&W image courtesy of their Facebook site. CD @ Amazon & song samples available here: https://nicolasgorodetzky.com/ & https://hemifran.com/artist/Dr%20Rock%20&%20The%20Famous%20Merengo/
Hannah Connolly – Shadowboxing
Hannah has a plaintive voice & uses it wisely with convincing lyrics & savoring melodies. The LP starts with the Euro-flavored “Vienna,” which has more presence than showboating. The minor effects used are well-placed & maintain the song’s serenity.
Originally from Wisconsin but now in L.A. Hannah succeeds in mixing her repertoire well. From the pensive opener to the more rough-hewed rollicking “Tired of Trying.” A great rocker with some wonderful growls. Dazzling.
The 10 themes on Shadowboxing dropped on March 1. Hannah’s vocals will have moments where she sounds more in a juvenile tone – but it’s showcased in a manner that early 60s artists like Lesley Gore, Brenda Lee & Robin Ward banked on. And Hannah certainly has that rich attractive tone. It is not a weak showcase. There’s lots of confidence in each performance & you can hear it come through the speakers. Hannah has excellent accompaniment throughout.
Many songs deal with heavy topics. Hannah is no lightweight pop chanteuse. She comes from the school of modern-day vocalists similar to Patty Griffin, in spots like Beth Nielsen Chapman with a little Dolly Parton coating (“Golden”).
Hannah’s equally adept at country-flavored pop as folk rock. She’s quite accomplished within those genres since her voice is far smoother than Lucinda Williams’s or Bonnie Tyler’s. Ms. Connolly is articulate with delicacy in her tone & is sensitive. Her forte is savoring as it is on “Rushing By.” Impressive song.
Highlights – “Vienna,” “Tired of Trying,” “Stuck In Place,” “Worth The Wait,” “Rushing By” & “Shadowboxing.”
Musicians – Jordan Ruiz, Ben Greenberg, Eric Cannata, Jon O’Brien with Dan Bailey, Via Mardot & Adam Bradley Schreiber.
CD @ https://www.hannahconnolly.com/
Vegas DeMilo – Black Sheep Lodge
This is a cool set with some dreamy vocals in a nostalgic manner. But that isn’t the whole story. San Francisco’s Vegas DeMilo has an early ’60s pop idol-style musical approach to “Heaven Can Wait.” It’s an almost Bobby Rydell-oriented distillation. But that comparison ends there. This tune is loaded with the romantic wonderful innocent teenage melody typical of 1962.
The suggestive line “when I wake, I want to wake up with you,” is excellent between bites of pizza & draws on a milkshake straw. The Vegas DeMilo music is a little samba-like here, but that adds to the melancholy swoon of the performance. Add to that the soft sax conclusion & accordion. But fasten your seatbelts for the rest.
Varied sources like Liz Phair influence 12 outstanding cool swipes. I got a hint of growing up in early 60s America from many of the songs on Black Sheep Lodge (Starving Cowboy Records/Dropped March 1st). It’s their 4th LP & while the vocals have good rocking tonality they’re not quite as authoritative as an Elvis, Jerry Lee Lewis, or early Donnie Iris.
Yet, the commercial spirit is captured in the distinctive Black Sheep Lodge showcase. It’s a raw hybrid of power-pop in the best American garage band frat-house style. Highly polished with very little heavy-duty lyricism.
“Brand New Low,” reeks of Del-Lords guitar perfection. With an opening riff similar to Russ Tolman’s “Marla Jane,” the band succeeds in providing excellent vitality & R&R vocal substance. A hint of The Saints, The Dictators & Anti-Nowhere League vocal gusto ignites the performance. Amazing. This is wonderful, wonderful R&R stuff. Good arrangement & occasional horns. Delightful listen.
The 12 tracks, produced by Omar Vallejo (bass) & Rich McCulley (guitars/harmonica/vocals) are a full-thrust effort. Anyone who loves rock music can roll around in this & savor it. Not many new rock bands today come close to the temperature generated in this thermostat.
I’m going back to play “Brand New Low,” again with a Jack Daniels straight-up & a pair of dancing shoes. Yes, dancing shoes.
Highlights – “Charlie Watts,” “Heaven Can Wait,” “Holly Go Lightly,” “Brand New Low,” “Imaginary Blondes” & “Suicide Queens.”
Musicians – Foster Calhoun Johnson (vocals/guitars/Hammond), Alec Johnson (bass/keyboards/vocals), Dan Catherwood (bass/vocals), Scotti Fraser (guitars), Andrew Griffin (drums/guitars/vocals/percussion), Travis Ballstadt (guitars/vocals), Dug Nichols (guitars/vocals), Bradley Wait (guitars/keys/string arrangements) with Kevin Bomar (guitars/vocals), Patrick Brennan (sax & horn arrangements), Carl Byron (piano/Hammond), Gloria Justen (string arrangement), Mike Griffin (guitars/organ), Todd Herfindal (guitars/vocal/keys), Daisy Nichols (vocals) & Ted Russell Kamp (trumpet/accordion).
B&W image courtesy of 1888 Media. CD @ https://vegasdemilo.net/home
Lori Triplett – When the Morning Comes
This is Lori’s 3rd LP & it took a few years to complete. It’s an optimistic set that encourages moving forward through any disillusionment & loss, standing up for what you believe & trying again & again if necessary. Heavy duty lessons, challenges & life-affirming. It isn’t necessarily easy. But Lori takes some cues from her own life & creates a personal expose. Life is made up of demons & it’s part of life to find ways to fend things off that confront us.
Produced by Paul Moak (acoustic/electric guitars/bgv) the 10 early cuts of When the Morning Comes (Dropped March 1/Mr. Magillicutty Music/41:00) focus on subjects in our lives that’ll be out of tune & the things that’ll be in harmony. The Real World, reflection & humanity by Nashville-based singer-songwriter Lori Triplett (vocals/piano/bgv).
One such delight is the opener “The Wishing Star.” It’s an effectively expressive song well-produced & performed. Lori sings with confidence, with a little angst & fills her mood-inspiring words with enthusiasm. “The Good In Us,” has these atmospherics. There’s nothing too intense or mournful – Lori has good tonality to her voice. It’s sincere & she exudes an instinctual voice. She has a warm Jackie De Shannon presentation (“Lifetime of Loneliness,” “What the World Needs Now,” “Don’t Turn Your Back On Me”).
Lori doesn’t sing in a preachy manner, or with an intense display. There’s an organic grace to her voice where she feels the importance is in the composition, the sensibility & homegrown appeal. She achieves all of these. So many female singer-songwriters aspire to Joni Mitchell, but I haven’t heard one that learned a lesson from Joni’s style, approach & artistry. None. But Lori Triplett — with tunes like “Hollow White Oak,” “Things You Said To Me” & “Here For a Minute” she comes close…very close to Joni.
She’s also appealing the way Judy Collins, Rita Coolidge (“We’re All Alone”), or the late Judee Sill (“The Kiss” “Jesus Was a Crossmaker”) were. That’s where her comfort level is. There are no detours – not with songs like “Sanctuary,” & “Light From Another Room.” All beauties.
Now, truthfully, Lori has a wonderful storytelling song methodology with the clarity of ’60s songwriters like Mitchell without being hippy-dippy. Even her vocals have a clear sincerity & Laurel Canyon sensibility that sans the ‘60s dalliance. Lori’s a singer-songwriter who’s not necessarily a folky. She approaches perhaps a more Ruthann Friedman (“People”). Vocally, she’s reminiscent of entertaining singers like Melissa (“Medicine Mixin’”), Jennifer Warnes (“In the Morning” & “The Whole of the Moon”), Pam Polland (“Abalone Dream”) & Cris Williamson (“Last Sweet Hour”).
All storytellers. Refined tonality. Vividly, comfortably, confident & with sweetness. There’s no anger/radicalism or revolutionary aggression in her repertoire. She’s an artist who thinks about what she’s writing. Her honesty is evident. She’s compelling & the songs are not just songs, but compositional artistry at least to my ears.
Each has a character. They’re imaginative. Lori runs a slender finger across a melancholy glass — without dipping it in.
Highlights – “The Wishing Star,” “The Good In Us,” “Sanctuary,” “Mexico,” “Hollow White Oak,” “Things You Said To Me,” “Light From Another Room” & the brilliant “Here For a Minute.”
Musicians – Julian Dorio (drums/percussion), Matt Pierson & Kevin Whitsett (bass), Charlie Lowell (piano/B3/celeste/pads) & Tyler James (bgv).
A 6-panel lyric insert is enclosed. CD cover photo by Kate Pulley. B&W image courtesy of Lori’s website. CD @ Apple + https://www.loritriplett.com/music
DownTown Mystic – Rock ‘n’ Roll 4 The Soul
Produced by Robert Allen & Ben Elliott this 11-track CD finds DownTown Mystic – Rock ‘n’ Roll 4 The Soul (Dropped Feb. 9/Sha-La Music/Orchard/Sony/47:00) embodying the essence of American R&R music while it stabs the ears with lyrical storytelling, classic riffing guitars & sounding quite blissfully analog. The style is rooted in the ’60s with a punk revival of R&R signature sounds.
Conceptually it’s well crafted. What it is though isn’t so much a nostalgic trip as a respectful hat tip to a significant musical era & it recaptures its groove. It’s not oldies, or retro, it’s just something to remind us of what we had. Why it was important. Music today is somewhat disposable like day-old donuts. But our early R&R from 1957 through 1970 was a special entertainment institution. Memories were made of that. Robert Allen lived it & he knows how to inject that B12 shot into its arm & get another dash out of it.
With all the classic early rock hodge podge the lead-off is “Turn Around & Go.” It drives as wonderfully as the late 70s Donnie Iris in his ‘70s heyday. There’s R&R weight to this set. Allen understands the genre. While he’s rooted in the ‘50s soil the overall thrust is infused with the ‘70s rock nostalgic vividness of Russ Tolman, Steve Wynn & Nick Lowe. Not a bad thing. Allen’s got the tunes & the right vocal perspective to bring it all to life.
He doesn’t sing in a deeply rooted energetic Elvis/Johnny Burnette baritone, or Robert Gordon’s Gene Vincent-Carl Perkins veneer. The singing has the necessary appeal of raw rock singers that were more prominent in the ‘70s (Dave Edmunds, Nick Lowe, Rocky Burnette & people who worked with Chris Spedding).
Robert Allen’s imaginative takes are surrounded by jangly guitars on “Dead End Space (Alt Mix),” & “And You Know Why,” both with bright production that provides an engaging rock aesthetic. On these, he skates across that Donnie Iris rock luster & tonality with energy to spare as he uses his double barrel vocals with relish.
He knows what words to accentuate. Drives it with sufficient R&R spirit. What’s commendable is that he doesn’t sing with any reference to nostalgia, parody, or oldie reinforcement. He treats each as a discovery, newly minted, arranged in a 1950s style. They don’t sound vintage. I guess you can put whipped cream on just about anything.
I’d like to hear him cover David Seville’s obscure “Don’t Whistle At My Baby.” It would at least place one humorous cover in his repertoire. In many songs, he tosses on the Rockpile dynamic & blends it with many other rollicking jellybeans so that it all comes out thick, sweet & sassy.
Many tunes deserve mention though they’re fairly standard. It’s the exceptional stuff I’m fishing for. My hook now has “Lost & Found” & Allen doesn’t sing this in the same voice as the others but it’s still rousing. Cloaked in snaky guitar interplay & the voice is in a purer assemblage of his R&R vocal. Less theatrics, vocal range challenges, or showboating. It’s straight-ahead punky R&R almost Ramones in nature without the juvenile angst & anger. Captivating to say the least & nostalgic.
Highlights – “Turn Around & Go,” (classic mix), “Dead End Space (Alt Mix),” “And You Know Why,” (album mix), “Lost & Found,” (radio mix), “Think It Over,” (Alt Mix), “Redemption,” (album mix) & “Last Teardrop” (Alt Mix).
Musicians – Robert Allen (vocals/acoustic 6 & 12 string guitars/lead & rhythm guitars/tambourine), Steve Holley (drums/tambourine/shaker/maracas), Paul Page (bass), Lance Doss (lap steel/mandolin/banjo/lead guitar) & Bruce Engler (harmony vocals).
Color images courtesy of Mark Maryanovich. CD @ Amazon & https://downtownmystic.net/ + https://www.milestonepublicity.com/blog/2024/3/12/downtown-mystic-releases-11-track-album-rocknroll-4-the-soul
Junior Sisk – If There’s A Will There’s a Way
This bluegrass-infested jaunty ambitiously crafted set of 10 delicious tunes comes gift-wrapped on If There’s A Will There’s a Way (Dropped March 29/Mountain Fever Records/32:00). Produced by Junior Sisk & Aaron Ramsey. It possesses lots of optimistic vibes.
A modern-day vocalization (not a reproduction or imitation) of Ralph Stanley begins “What a Wonderful Life,” where Junior Sisk grabs his influences tightly & wears them proudly. While some won’t be immediately drawn to this one must listen to the words. Even the late legendary sax player Charlie Parker once remarked to a fellow musician who disdained this “country” music as Parker pushed quarters into a jukebox & playing them said, “Listen to the stories man, listen to the stories.” Exactly.
The playing & interplay is always masterful. Nothing sounds strained or pushed along in a hotdogging manner. Each musician knows their place. Together they are as one. The set isn’t long because the tunes come & go at a fast clip. But bluegrass isn’t a lazy man’s music.
I don’t think this world could’ve had rockabilly & then R&R without bluegrass flavors. Going back to the ‘50s even Elvis Presley recorded Bill Monroe’s “Blue Moon of Kentucky.” Maybe Bill didn’t like his version, but this was Elvis’ way of introducing bluegrass to younger ears that specifically many C&W fans didn’t think would last. Today it’s an industry with artists like Alison Krauss & Ricky Skaggs.
Not all bluegrass comes off as corny & mandolin-drenched. One listen to the Rodney Crowell penned ballad “Long Hard Road (The Sharecropper’s Dream),” will confirm this. It’s wonderfully sung & played. Then, Junior surrenders the spotlight to Heather Berry Mae’s vocal for the upbeat “Bluegrass Country,” written by Cindy Walker (who also wrote classics like “You Don’t Know Me”).
Ricky Skaggs & Dan Tyminski make appearances on the LP & that alone should justify its worthiness. Vermont-born bluegrass musician/singer Dan appeared in the great documentary of music from “O Brother, Where Art Thou,” at the Grand Ole Opry. If you try this album’s selections, shine your dancing shoes first because the ladies will come. Oh, they will…come.
Highlights – “What a Wonderful Life,” Roger Miller’s “A Man Like Me,” (featuring Dan Tyminski), “Long Hard Road (the Sharecropper’s Dream),” “Bluegrass Country,” “Memories of Mother,” (featuring Ricky Skaggs), “Nothing’s Good About Goodbye” & “Old Cold Shoulder.”
Musicians – Junior Sisk (vocals/guitar), Heather Berry Mabe (guitar/lead & harmony vocals), Tony Mabe (banjo/harmony vocals), Johnathan Dillon (mandolin), Curt Love (bass) & Tim Crouch (fiddle).
Color image courtesy of Junior’s website. CD @ Apple & https://juniorsisk.com/home
VERSKOTZI – Shiring
This is a self-produced effort recorded in Madison, TN. The title of the LP is a mantra VERSKOTZI uses when he meditates. The single word represents a rebirth of the Self & is something the artist discovered that changed his life & inspired the music.
Shiring (Dropped Feb. 9/Preach Records) is VERSKOTKI’s (all caps) 3rd full-length LP with 13 cuts – a return for him to his roots – R&R & folk music that is. The recording features live instrumentation in its rawest form though not all songs are VERSKOTZI originals. The set appears quite independent but by track 2 (the spelling is correct) “iiii need more tiiiime!!!!” the music & vocals rock with nuclear precision.
This is quite impressive. The sonics throughout reminds me of other independent artists who have played every instrument & produced music with muscle. NYC’s independent session musician Richard Termini’s first efforts in the late ‘70s (“Dangerous Games”) are similar.
VERSKOTZI likes exclamation points & lower cases. But that doesn’t play the music. The music is loaded with energy, enthusiasm & stability. VERSKOTZI knows his subject, its pedigree & its hypnotic effect on ears. The application of echo & other effects is used wisely & never to goad a listener with sweetness — but as grenadine in a drink.
“little boy and FAT MAN,” (correct spelling) uses synths but it’s rooted in a tight aesthetic as a rockin’ undercurrent of piano keeps it quite lively in its traditional dirt. This will get an ass to move in the seat & hips to grind on the dance floor. The full-bodied fuzz-tone guitars toward the coda are a nice touch. Nothing is overdone. The band sounds like there are 10 people when it’s a spare unit.
The full treatment of this showcase is music that flexes its muscles. There’s even a higher register workout dance tune in “BEGGING FOR MORE” that would give Prince a funk run for his money & convincingly.
The blend of folk & rock is well-crafted. I must add that the production quality sparkles. The song “You Again,” sounds like it could’ve been a John Lennon song. It has that feel & lyrical progression. But the Beatle-esque “What’s It Gonna Take” with the French horn goes a step further.
This is sculpted to suggest that VERSKOTZI is a resourceful creative & original artist. Drop the exclamation points & use fewer synths & if we could only convince him to knock off “all caps” in his song titles he’d shed the pomposity. He doesn’t need it. Let the music speak for itself without the distraction.
Highlights & spellings are correct – “iiii need more tiiiime!!!!” “i don’t believe in everything but I do!” “little boy and FAT MAN,” “BEGGING FOR MORE,” “You Again” & the Beatle-esque “What’s It Gonna Take.”
Musicians – VERSKOTZI (drums/acoustic & electric guitars/bass/synth/keys/organ & vocals), Izaac Burkhart (drums/additional electric guitars/keys), Bryan Hanna (drums), Corin Droullard (French horn) with Dan Lawonn & Andy Thompson (cello/string arrangements on “Normal Kid”).
CD @ Bandcamp & Apple Music. https://verskotzi.bandcamp.com/album/shiring
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Grooves & Cuts – #2 – May 2024
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All pictures, images & CD art displayed in any review were sent from publicists, the artists themselves their websites/Facebook, or PR reps. If known, photographer credits are noted.
Notice: Obituaries have moved to the RIP site: Americana Highways Obituaries – February through May 2024