Grooves & Cuts – November 2024
Here are some real names of several older major artists. Some wisely changed their names for the sake of entertainment value & others could’ve kept their birth names. Good trivia.
Part One:
Country singer Jessi Colter is Miriam Johnson; Commander Cody is George Frayne; Skeeter Davis (“End of the World”) is Mary Frances Penick; the legendary Patsy Cline was Virginia Patterson Hensley; Jimmy Dean the singer (“Big Bad John”) & breakfast sausage entrepreneur was Seth Ward; John Denver was John Henry Deutschendorf; Donna Fargo was Yvonne Vaughn; Tex-Mex singer Freddy Fender was Baldemar Huerta; Red Foley was Clyde Julian Foley; Buddy Holly was James Hardin Holley; Gram Parsons was Cecil Conner; Johnny Paycheck was Donald Lytle; Roy Rogers (the cowboy from TV) was Leonard Slye; his wife Dale Evans was Francis Smith; TG Sheppard is Bill Browder; Ray Stevens is Ray Ragsdale; Elton John is Reginald Dwight; Elvis Costello is Declan Patrick MacManus; the Big Bopper was Jiles Perry Richardson, Jr.; Richie Valens was Richard Steven Valenzuela; Garth Brooks is Troyal Garth Brooks; Lesley Gore was Lesley Sue Goldstein & finally for now: David Bowie was David Robert Jones.
Part 2 next month.
Spilled Mercury:
Skyrie – Hunger Road
Packaged in a creative four-panel display with a 7-page tipped-in lyric sheet (the 8th leaf is glued down) this traditionally styled 13-track (51:32) set is yes, vintage Celtic but not far from fresh, modern & invigorating. It’s a showcase that will appeal to certain fans of bands like Spirit of the West, Oyster Band, Great Big Sea & New York’s own Black 47.
The voices in a folk tradition don’t always depend on that “sound” to thrust them forward. Instead, the inventive Skyrie – Hunger Road (Celtic Cross Atlantic) frames the melodies around the elements that make the conventional musicality a slice of cool Scottish ingenuity. It’s a refreshing reminder of where the Appalachian musical tradition derives its soul. From the regions of Great Britain that have rain, moisture & an abundance of striking melodies.
Christopher Martin Smith (vocalist/drummer/percussionist/bodhran) guides this ensemble & peppers the instrumental reels that bridge themselves eloquently between the storytelling blessings these musicians provide. Multi-instrumentalist fiddle/violinist/whistler & vocalist Lesley Thompson Smith (who balances the vocals angelically) joins Chris & James Anderson who adds guitar, mandolin & bass.
The production is spare, but the sound collage is full & energetic. They certainly bring the alchemy that turns mere instruments into objects that sing along with them. The material is expressive, with a June Tabor intonation (but not her timbre) on “Exiled.” The songs retain an aged in the cask nature. Yet, several originals dipped in the dust & cobweb of castles, lochs, highlands & whisky (spelled without an e). This is the perfect music to listen to in a fireplace-warmed pub (did I get that right?) with plenty of redheaded lassies to balance the servings of haggis with tatties & neeps.
It’s Scotland through headphones. Skyrie means glittering & bright. Yes, it’s just that — glittering & bright & more. Check out “Take Me Home With You,” “Doocey’s,” “Hunger Road,” “Alasdair Gammack’s,” “Solid Ground” & “Thirteen.” Exceptionally good.
Color image courtesy of Skyrie’s Facebook. CD @ https://www.skyrie.co.uk/store/Hunger-Road-CD-p690305004
The Songs of David Olney: Can’t Steal My Fire
This project boasts 17 performances by varied renowned artists who show their love & respect for the late singer-songwriter David Olney (who had more than 20 LPs over a 5-decade career).
The credits are heavy since everyone has their musicians. Also featured is a never-before-released live track (“Illegal Cargo”) by the late Townes Van Zandt who admired Olney’s work. David was originally from Rhode Island. Then in the 70s, he moved to Nashville where he hooked up with other artists hawking their songs (Townes, John Hiatt, Steve Earle, Guy Clark & Rodney Crowell).
For whatever reason & there are many, Olney was praised & had a loyal following but never won a Grammy, a gold record, or filled Madison Square Garden. But the musical community knew who he was. So, released on October 18th the tribute album The Songs of David Olney: Can’t Steal My Fire (New West) was pieced together by many well-known singers who admired a great & respected artist. Among those who grace it: are Lucinda Williams, Steve Earle, Buddy Miller, Mary Gauthier, Jimmie Dale Gilmore, Greg Brown, Dave Alvin, Jim Lauderdale, Janis Ian, David Olney himself & several others.
Individualistically tunes were recorded at various locations with varied producers. The album concept was produced by Gwil Owen (co-writer with David & rhythm guitar). The songs are captured well & each artist puts their signature to the Olney classics. Lucinda’s “Deeper Well” has a little echo while Steve Earle’s “Sister Angelina” has purity throughout. Some pieces are rendered soulful & gospel-like like the McCrary Sisters’ splendid (“Voices On the Water”) which is followed appropriately by the spiritual narrative delivered solemnly by Buddy Miller (“Jerusalem Tomorrow”).
Recommend songs? That’s easy – each will find a home in their specific ear. He should’ve had more time.
B&W image of Mr. Olney courtesy of New West Records & Scott Housley. CD @ Bandcamp & Amazon + https://press.newwestrecords.com/cant-steal-my-fire-the-songs-of-david-olney & https://newwestrecords.com/products/various-artists-cant-steal-my-fire-the-songs-of-david-olney-vinyl
Howard Gladstone – Crazy Talk
Howard’s a Toronto contemporary roots-folk singer. This effort is his 8th that covers several genres (folk to jazz, rock & world music). What’s interesting is his fluid adaption of folk music & acoustic guitar with a laid-back Kenny Rankin-type vocal style with a generous jazzy sax peppered in to add luster to “Show A Little Love.”
When Howard glides into the 50s-type cool-jazz, easy-listening vocalizing of “Crazy Talk” he turns a listener’s apartment into a cocktail lounge with beer, cleavage & cigarettes. Some would like that ambiance.
The 12 lightly sophisticated endeavors playing on Crazy Talk — released Sept. 20th on Sonicpeach & lasting 47:41 were produced by Howard Gladstone (vocals/acoustic guitar) with Tony Quarrington (mandolin/bgv/acoustic & electric guitar/strings arrangements). This isn’t a set of excitement but mellowness with a touch of retro techniques buffed to a formal shine. The guitars saturate with jazzy flourishes & on “Rider at the Gate” — the most commercially accessible melody in a minor-key with flamenco chords. Interesting stuff.
The only criticism: Gladstone has a fine warm vocal tone but not a lot of range. He needs to add a little better intonation, phrasing & some excitement to his vocal (“Chasm of Divide”). He seems to read through the song (much the same as Richard Harris on “Didn’t We”) rather than accentuate the key lyrics & hit notes to add color. He comes dangerously close to going flat, but he negotiates it nonetheless — carefully. What he does succeed at is sincerity.
Not every jazz & folk singer has pipes. Gladstone scuffles through well enough to be entertaining & does have stellar musicians who add discipline. With “Sea of Sorrow” & “Little Bird” Howard is much better. He just seems hesitant to let go. These tunes suit him best. It’s like a father singing to his child before putting the tot to bed.
Lots of good, accomplished musicians grace this work & the instrumentation is varied.
CD cover photo by Rick Zolkower. CD & song samples @ https://howardgladstone.bandcamp.com/album/crazy-talk & https://www.howardgladstone.com/
NeedToBreathe – The Outsiders
Coming with brash melodic muscle NeedToBreathe is reminiscent of a 1985-88 roots rock band known as The Unforgiven. A band that stimulated a bidding war between Warners, Elektra & other labels. They sang in a deep shouting gang vocal style with a wall of sound instrumental push that featured a 4-guitar lineup. South Carolina’s Grammy-nominated Need To Breathe employs the same vocal prowess on “The Outsiders” but seems a little more focused.
The Unforgiven (“I Hear the Call”) drawback was their Spaghetti-western flavor. Too much. That got old quickly. NeedToBreathe doesn’t have that issue. The 14 dramatic pieces on The Outsiders released Sept. 6 (Omnivore/49:52) will find a younger audience because they project a strong vocal & it’s attractive in a Mumford & Sons/Arcade Fire tradition if not any number of aggressive Irish punk-pub oriented rockers: The Pogues, Flogging Molly, Great Big Sea, or Black 47.
This LP is a reissue of a major label release from 2009. It was the band’s 3rd & received critical acclaim from music critics. Particularly interesting are “Through Smoke” & “Lay ‘Em Down” with their astute vocal arrangement & potent The Anti-Nowhere League (“Queen & Country”) thrust.
It has a necessary disquieting effect (“Lay ‘Em Down”) but it all comes out in the wash with tightly woven arrangements & good musicianship. The comparisons to The Unforgiven fall away as their sensibility (“What You’ve Done To Me,” & a female vocal insert of Nickel Creek’s Sara Watkins on “Stones Under Rushing Water”) begins to paint a deeper shade.
Lots of excellent musicians in attendance with Bear (lead vocal/guitar/piano), Joe Stillwell (drums/percussion/bgv), Bo Rinehart (synths/guitars/bgv) & Seth Bolt (bass/programming/bgv). Produced by Rick Beato & NeedToBreathe with other tracks produced by Jim Scott, John Alagia & NTB.
The Unforgiven vocal treatment returns briefly with “Hurricane” but Need To Breathe manages to firmly stamp their signature into each performance. The band hasn’t forgotten how to rock & they don’t recycle. “Girl From Tennessee,” & “Let Us Love” are surprising, invigorating & exceptional songs. Probably the best & most dynamic in the showcase. And many songs have their musical appeal.
The album is nothing short of excellent. Buy two & give one away.
There’s an 8-page stitched lyric insert included. Color image courtesy of Tec Petaja. CD @ https://www.needtobreathe.com/ & https://omnivorerecordings.com/omniv6/shop/outsiders/
Scott McClatchy & The Mercy Hang – One Time One Night In America
Recorded with a 60s production aesthetic the initial impression is Greenwich Village, NY folk ensemble at Washington Square Park. Philadelphia’s Scott McClatchy (guitar/lead vocals) has a convincing lead vocal loaded not with Creedence Clearwater Revival or The Band but with the intense folky tonality of Barry McGuire (1965’s “Eve of Destruction” “What’s Exactly That Matter?).
The lead song “This Land Is Our Land” isn’t related to the Woody Guthrie classic but is a close cousin. By track 2 the vocals calm but continue to sing in unison impressively on “One Time, One Night.” An upbeat melody that ignites foot stomping & hand clapping. The ensemble is into it joyously. The music is arranged with lots of spaciousness & it’s a hootenanny of sorts.
Many fine musicians occupy the Mercy Hang & this 6th LP with 13-hoe-down tunes coalesce on the 47-minute One Time One Night In America released August 22. Getting away from the sparkle of the folk-dance-adorned tune Scott tells a story with “Don’t Tell Mom” that’s endowed with more of the McGuire style. It grips you by the front of your shirt & is more aggressive than a Phil Ochs piece. This Scott McClatchy would do fine alongside a Ramblin’ Jack Elliott or Dave Van Ronk.
“Cathedral” is a beautiful song with Nita Slater & splashed with just enough strings. The group still sings with concern but not with a radical tone. The rockiest number is “Bad Things Happen” with its wonderful guitar hook & Scott’s energetic vocals. “Gunslinger” is a John Fogerty cover & the soulful hand-clapping sizzler “Jesus & Judas” is quite good with barrelhouse piano, crunchy guitars & “church” chorale. Lots of contrasts.
“Gone But Not Forgotten” is performed with integrity & fluency. But that’s to be expected from a musician like Scott McClatchy & his proficient Mercy Hang accompanists.
Color image courtesy of Bandcamp. CD @ Bandcamp & Amazon + https://www.hemifran.com/artist/Scott%20McClatchy/ & https://www.scottmcclatchy.com/
Andy Statman – Bluegrass Tracks
This 12-cut outing features the fine playing of bluegrass greats Ricky Scaggs (mandolin), the late fiddle legend Byron Berline & banjoist-fiddler Ron Stewart with guitarist Bryan Sutton, double bassist Mike Bub & vocalist/guitarist Tim O’Brien. The album was released September 6th originally & it’s Bluegrass by a boy from Queens, NY.
The tunes were recorded in Nashville & Brooklyn, NY. Half of Bluegrass Tracks (Shefa Records/42:00) are originals by Grammy Award-nominee Andy Statman (mandolin/who studied briefly under David Grisman) with 2 by bluegrass legend Bill Monroe (“Stoney Lonesome” & “Brown County Breakdown”) & the balance traditional. Produced by Edward Haber.
There’s little here that’s hokey-pokey. The performances are elite, precise & recorded with clarity. Some instrumentals are so good it seems they’re reaching out for lyrics since the instrumentalists succeed in speaking to the ear. Lightning-fast at times it simply confirms the ability of each musician’s articulate fingers. There isn’t a bad tune in the bunch. That’s bluegrass in the hands of experts.
Andy Statman, who has also played klezmer music, has kept this bluegrass music fresh. I think musicians like the late Bill Monroe & John Hartford would’ve been proud of him.
Additional highlights – “Blessing,” “Those Old Early Morning Blues,” “Charleston Ramble,” & “Katy Hill.”
Color image courtesy of Matt Carr. CD @ Apple & Amazon + http://www.andystatman.org/
Kenny Kosek with Tony Trischka – Twisted Sage
This sparkling set of fiddle & banjo which is ingrained in Americana is sculptured between 2 legendary wizards of their respective instruments. What’s amazing is that Kenny, (the fiddler) is a musician from the Bronx, not Appalachia. Tony (the banjo plucker) is from Syracuse, NY. Again, not from Appalachia. But this music proves that proficiency isn’t always from the environment but from the soul.
There are 15 invigorating melodies recorded in NY, Brooklyn & Reno, Nevada that spill from the 58 minutes of Twisted Sage (Shefa Records) which is one of yoga’s seated positions. But it’s also something Native Americans burn in a purifying ceremony & a deranged savant. Have your pick. Some tunes are slow, some fiery & many may even scrape down where the tradition gets woodsy & dusty. 
The tunes were produced by Edward Haber with Kenny & it’s a bluegrass lover’s delight. The interplay on “Lost River Medley” is hot-wired for its 6-minute romp. The performers are joined by Andy Statman (mandolin), Mark Cosgrove (guitar) & additional banjoist Marty Cutler. The tunes are rendered with bluegrass drive, though many originated from obscure 78s rooted in Texas swing, traditional old-time melodies that may even date back to the 19th Century with a dash of Irish polka & fiddle music born in the Stetland Islands. It’s a diversified menu.
The most peculiar is a piece called “Gojira County Breakdown/Japanese Army March.” Gojira is the Japanese word for the famed 1955 monster Godzilla. I always loved the frantic music played when the Japanese military launched its offensive against the giant lizard. It’s still a chilling piece of music but ingenious in this interpretation. I’m glad these guys found it.
Between Kosek & Trischka they’ve recorded & worked many sessions (David Bromberg Band, Jerry Garcia Acoustic Band, the Klezmer Mountain Boys, James Taylor, Willie Nelson & Leonard Cohen). This set was released Sept. 6 & is filled with memorable runs – “Lady Hamilton,” “Jewish Dance” & “Bill Cheatham” – all strong instrumentals.
Is it for everyone? Of course not. But this is music that has sustained itself for decades when many country connoisseurs believed it was a fad like rock n’ roll. Even Elvis Presley covered Bill Monroe’s “Blue Moon of Kentucky” because good music is good music. This showcase is to be appreciated & studied by any fiddle & banjo player worth their salt. Not only for the individualistic playing but the personality of the interplay.
Color image of Tony courtesy of his website. Kosek image courtesy of Geoffrey Wade. CD @ Amazon + Target & https://www.kennykosek.com/ & https://www.tonytrischka.com/home
Michael Reynolds – Tarnished Nickel Sky
Coming from a musical history similar in tradition to Jackson Browne — veteran singer/songwriter Michael Reynolds brings his acclaimed alt-country voice back from a self-imposed retirement after 10 years away from the scene. He continued to write songs & reignited his muse by taking a purer countrified direction. Exploring memories & dreams that never materialized & adding a haunting human element.
“Three Days” like other parts of the showcase treks down darker paths of wandering spirits, redemption, small-town isolation, secrets & small regrets. Mainstream Country music neglects songs like Mike’s because those musical subjects consistently focus on mundane topics — big hats, whiskey, pick-up trucks & infidelity. Ad nauseum.
“Take Me Down,” is closer to a rustic rural sensibility. While it’s not as upbeat as a John Denver tune it sounds like Reynolds indulges his sadness & distress with a melody strikingly catchy. The voice is drenched in a more folky-old world Americana on “Can’t You Hear Jerusalem Moan” & is energetic with a denser tone. Reynolds tells a good story & knows how to fill it up with a formality in its drama.
Produced by Grammy winner Ray Kennedy (Steve Earle, Lucinda Williams, Cindy Bullens) who also plays on the 11 indulgent tunes on the Blue Elan release Tarnished Nickel Sky (dropped Aug. 16). It’s a Country collection of creative songwriting with a flair for topical tales as previously mentioned — not often found next to the more commercial endeavors of mainstream Country-pop.
The delicious lap steel & steel guitar is laid out by Dan Dugmore. Many remaining songs are also laid-back impressionistic tunes with gentle coatings of melody. There are no barn burners here, foot-stomping hoe downs. It’s all back porch beauties with pristine accompaniment by several experienced musicians. The rockiest comes 7 songs deep in the LP — “Southern Boy” an enticing & riveting number without getting rowdy & wild. The final 3 remind me of a talented mid-70s California artist Michael Dinner (“Tom Thumb the Dreamer” & “The Great Pretender”) that Jackson Browne was involved with.
Michael Reynolds fills a void proficiently in this genre. This 44-minute LP is a very satisfying musical journey.
A folded lyrical insert with all credits is enclosed. Cover photo courtesy of David McClister. CD @ Apple & https://www.gratefulweb.com/articles/michael-reynolds-returns-after-ten-years-tarnished-nickel-sky
Redshift Headlights – If You Are Around Still
This Redshift Headlights collection was also released during the summer (July 12) & escaped me. Produced by the band & recorded by the late Steve Albini & Lauren MacDonald in Chicago, the music itself is a pop derivative with edges & rawness. More at home in the late 70s among albums by The Brains, Russ Tolman, Dream Syndicate & Big Star.
But their effort is unwaveringly intact. The songs are fairly basic but filled with what these kinds of songs require – enthusiasm, a good groove & a raucous spirit. There are 9 cuts on the 35-minute If You Are Around Still (Independent) which features Stephen McCabe (guitar/vocals), Dean Hoffman (bass/vocals), Jay Sanbauer (guitar), Justin Mitchell (keys) & Chris Sasman (drums).
“Love Monsters” is one of the catchier tunes. The drums are quite good. Sasman adds some creativity to the driving straightforward melodies & manages to decorate each tune (including the title track) with energetic beats & fills. He’s not Neil Peart, Carl Palmer, or Ginger Baker but his drums suit the tunes beyond simplistic beats.
The songs have a grittiness. A Dictators (“Stay With Me”), Del Lords (“Dream Come True”) & Wild Stares (“Piece of the Picture”) snap. But with their flourish of drums, it adds significance to each composition. The sound is a little spare in spots despite having moments of thickness. The vocals are always well-defined, aggressive & deliberate.
Ok, they’re not as impeccably designed as Talking Heads, but they do have a garage band elite-ness to their sound more reminiscent of bands like The Troggs (“Wild Thing”) & The Standells (“Dirty Water,” “Rari”) that is an R&R elixir.
“All You Do Is Lose” has a Velvet Underground contour. Though not everything is quite that postured. This band doesn’t strictly aim their song topicality toward drugs, deviancy, or Walks on the Wildside. However, they do have that kind of vocal endurance. The Redshift Headlights expels their creativity in ways that VU neglects. “Camera In Every Hole” has a vigorous beat & punky, earthy Anti-Nowhere League vocal slash. Maybe it’s a bit late in the game for that but I like that musical assault (“Queen & Country”) when it’s done right. And Redshift Headlights does it wonderfully.
Color image courtesy of Colin Crowley & Adam Loper. CD @ Bandcamp & https://www.redshiftheadlights.com/
Dallas Orbiter – Spaceman Things
This Minneapolis-based rock quartet has been around for a while. Though, not quite Americana they explore interesting musical textures with diligent freestyle jams & an improvised abundance that’s mindful in spots of early, very early elements of the Grateful Dead. “Into Position” introduces the ensemble with tight Mark Miller guitars, Greg Flanagan drums, Dan Gahres bass lines & Jon Schmig keyboards. It has ingenuity.
At times the band sounds a little Euro-progressive (“Blue Sky, Chrome White”) with swipes at Germany’s Amon Duul II where they have a few quieter moments on their early sonic-oriented albums. They’re not in that weird & spacey realm Hawkwind later developed or with the intricate melodic time-changing craziness of Triumvirate/Jade Warrior — but they do swing by close.
The 10 musical Spaceman Things was released Sept. 13 (Independent/49:23) & flutters about crisply in this showcase recorded by John Miller in Minneapolis, MN. It does capture enough atmosphere & Krautrock-inspired textures to allow a headphone listener to drift into a nether world. Bring your own ‘shrooms.
Many of the inventive & radiating songs are well-written (“To The Breakdown”) but some sound a little early 70s (“Radiate Atcha”) which is dated but nostalgic — maybe, that’s their intention. What it lacks is the pragmatic bite, the originality of those cagey progressive rock entities. This unit has all the trimmings but never provides anything that hasn’t been heard before.
This LP on a technical level skids by Planet P with Tony Carey (“Pink World”) which was ingenious. This new-era showcase is merely adventuresome. But I guess that’s something. They are proficient musicians.
There’s little here that’s done poorly. It’s a driving set & captivating enough that they play with residual beauty. It seems they’re attempting to lasso a groove somewhere between that early psychedelic Grateful Dead era & early melodic Hawkwind (“Hurry On Sundown” & “In Search of Space”).
Lots of strange song titles. A few blood-rushing good inserts of jubilant piano, chorale, thundering drums (“Forth, Gen!”) & well-defined vocalizing. Any audience that enjoys the elements of progressive rock, space-rock & jazzy jams this showcase will certainly whet the appetite. It’s not as intricate as prime King Crimson (RIP Pete Sinfield), bombastic as ELP, or possessing the pizzazz of Rush — but Dallas Orbiter does play with stirring gusto, spawns some creative runs & has an immensity to their sound similar to progressive-era Genesis (“Star Flutes”) that makes the time investment a good one.
Color image courtesy of their Bandcamp. CD @ Bandcamp & AppleMusic + https://dallasorbiter.com/
Rebecca Aadland – Stronger Broken
This was released June 13th by soulful singer-songwriter Rebecca Aadland who possesses a Ferron-type folky authoritative vocal approach. Born in Montana, the now Minneapolis-based artist sings about the human condition with more than enough sincerity & poignancy (“I’ll Walk With You”).
The 14-track Stronger Broken (52:57/Independent) was produced by Rebecca & has its interesting moments. One comes with the J.J. Cale precise groove of “By the River.” A soulful gospel-dominated piece. The majority of the songs are fairly elementary, but each has its persuasive moments. The songs are convincingly well-written, but none are arranged in a hot glowing affirming manner.
The songs are lightly played & remedied by their atmospheric weaves. There’s little tide or heavy waves here. Just mostly spatial waters & calm. Rebecca (vocals/guitar/rhythm guitar) does provide good, picturesque lyricism & both “I’ll Walk With You,” & “We’ll Get Through” are mindful of the late Judee Sill (“The Kiss”) sentimentality. The gentle ballad has nice Sill-type piano notes (Luke Schoper) & it’s an arresting melody.
More upbeat is “Twist In the Plot” — good energy but could’ve used some high-test gas in the tank. Rebecca neglects to emphasize her vocals with a little rawness to give the lyrics character. This song waits for that intonation & phrasing. Certain words need to adhere more forcefully with sustenance. With “Darlin’ It’s Bedtime” Rebecca does just that. The song has a far purer delicacy with her assertive tones. She needs to just be consistent.
I guess it’s because these songs have more pop circuitry that drives the soulfulness that’s carbonated to sweeten the delivery. Rebecca’s genuine presence in each song sounds like she plays it safe (“Stuck In Yesterday”) by not letting go. She leaves behind hints that she can mix it up rousingly but prefers to remain subtle. The album has enough evolving songs to recommend it & “Minnesota Morning” alone is charming.
The band includes Lantz Dale, Boyd Lee & Kurt Jorgensen (guitars), Paul Winchester (guitar/keys), Greg Schutte (drums), Dik Shopteau (bass) & Jacqueline Ultan (cello).
Highlights – “I’ll Walk With You,” “By the River,” “We’ll Get Through,” “Broken Pieces,” “Twist In the Plot,” “Darlin’ It’s Bedtime” & “Minnesota Morning.”
Color image courtesy of Rebecca’s website. CD @ Bandcamp + https://rebeccaaadland.com/
Dwight + Nicole – The Jaguar, The Raven & The Snake
Lots of intense creative stuff has come down the pike in recent months. Much I missed. This LP opens with the hauntingly bluesy & soulful vocals of Nicole Nelson. “The Next Go-Round” plods on but in such a disciplined steamy way with drops of lead guitar notes that prickle the skin. Nelson has wonderful pipes. She isn’t a growler or show boater. She approaches her vocals artistically. Pure to a fault, with clarity in her range. The band spreads a melancholy froth, the mood percolates & the atmosphere is humid. More of the same on the noir inflected “Into the Shadows.” Impressive work by Dwight & Nicole — the award-winning duo of Dwight Ritcher (vocals/guitar/keys/percussion) & Nicole Nelson (vocals/bass/keys).
This album of original songs was originally released in 2023 & re-released this past August 23rd in a 45-minute deluxe edition of The Jaguar, The Raven & The Snake (Independent). Produced with skill by Joel Hamilton in Brooklyn, NY & Scandinavia (Norway).
The second track features Dwight’s soulful vocal with a more mainstream tinge. Sincerity settles into his sound & that’s what elevates the simple narrative of “All For You.” From a bluesy open to a more commercial ballad the third cut with Nicole is a tender, soft ballad in a whispery style on “You & I.” A song that is suited to a Chardonnay & candlelight evening.
The music can be considered at times easy listening, cocktail lounge/night club music & maybe even piano bars (“Do It All Again”). But could easily be tinted with the cabaret blues of a Billie Holiday with a change in tone. It’s mindful of songs written & recorded years ago by the team of Ashford & Simpson. The reason for the re-release hinged on the fact that it was originally only digitally issued & on streaming services. Now it’s out there on glorious vinyl & pristine CD (that’s a whole market gained).
Even more of a 60s mainstream reach is the pop-capacity of “It’s Up To You” where Nicole’s voice is girl-group rich & peppered with horns. Her Cassandra Wilson-deep approach is seductive. The addition of a hot deep sax (Stuart Bogie) fleshes out the warmth. The songs on this LP touch upon family, friends & loves lost & gained. Typical stuff but their approach is reflective stylistically in a cool manner. Poignancy falls between the notes as easily in the lyrics.
“Angel” is sung by Nicole with a whipped cream touch. The gentleness mists from the speakers as the lead guitar cushions the groove. Ah, all songs should be as lucky to have this kind of musical color.
Ezra Oklan (drums) & Leon Campos (keyboards) are among the many musicians in this work. The titles of songs could stand more creativity since many are elementary. But the music & lyrics are what carry the performance. And they do. This is a great duo. Their bonus cut “Saying Goodbye” confirms it.
Color image courtesy of Shervin Lainez. CD @ Apple + Bandcamp & https://www.dwightandnicole.com/
Michael Ward with Dogs & Fishes – Brighter Days
This is an energetic set right out of the gate. Guitarist/vocalist/producer Michael Ward (not the late Wallflowers/School of Fish musician) along with his star-studded sidemen offer an eccentric set of finely tuned rock pieces peppered with soaring horns & driven by the former Tubes/Tom Waits/Journey & XTC drummer Prairie Prince.
Kicking up the dust are wonderful tracks like a cover of Andy Fraser’s “Every Kinda People” & “Big Bite” both driving full thrust with lots of creative rock juice the way we remember it in the R&R heyday. Ward’s vocals are distinctive. Surrounded by punctuating guitars. In attendance are Chris Von Schnidern & Drew Zingg (guitars), Jeff Cleland (bass), Fernando De Sanjines (percussionist) & Richard Howell (sax/vocals).
Some will say rock music started as a spark & became a fire. But today, it’s still hot – but closer to smoke. Not so on this album. This music is a brush fire. This is goosebump music. It will safely deviate away from the rock aesthetic & dribble a fastball down the funk court. Go to the restroom first before starting the music & get your drinks & junk food.
The 2-decade-old band bristles on the 9 compressed pieces recorded in San Francisco on Michael Ward with Dogs & Fishes – Brighter Days (Independent/38:57) that dropped August 23rd. The band explores classic rock, Memphis soul & blues all well within an Americana-West Coast soup. It’s all done with finesse, expertise & an abundance of true rock n’ roll spirit.
They cover with sufficient musical ammunition Bob Dylan’s classic “Highway 61,” & the original “TV Preacher.” Pieces that will fill a set of headphones & transport a listener to another realm. The twin interplay on these tracks is impassioned & almost as fully texturized as the Mike Bloomfield & Elvin Bishop guitars on Paul Butterfield’s “East-West” from 1966. This is a superb release by Ward & Company.
The band also conjures the well-emphasized style of Ohio’s late Michael Stanley Band (“Working Again” & “My Town”). Ward injects lots of insulin into the music many thought was heading toward the exit. Sorry for the detour – but this is soulful, rocking & funky with muscle to spare – all of Michael Ward’s musical punches land.
Color images courtesy of Michael’s YouTube & website. CD @ AppleMusic + Amazon & https://www.michaelwardmusic.com/
Dan & Claudia Zanes – Pieces of Home
From the opening vocals, this performance is rooted in an authentic folky hymn-oriented vibe (both American & Haitian) that despite its retro stylings is well done. A little detail like “retro” can be ignored since these songs are spacial & universal. Claudia Zanes’ bright vocal can breeze into a juvenile tone & can also be motivated into crystalline flavorful sound as depicted in “Little Pal of Mine.”
The more authoritative vocal of Dan Zane is a nice contrast from Claudia’s. They sincerely cut their path in this genre. They don’t sound like anyone. However, Leon Russell did attempt such a forgettable undertaking decades ago with 2 albums with his then-wife Mary Russell, but they didn’t have the magical duet vocals & approach Dan & Claudia possess.
Each song is a confection. It doesn’t mean they’re sweet & commercial. The 15 Pieces of Home (Smithsonian/Folkways) released on Aug 30th were produced by Dan (vocals/guitars/mandolin/lap steel/harmonica) & Claudia (vocals) & recorded in Baltimore, MD. All are well-written & performed with earthy tones that decorate a song like the excellent “Breathe, I’m Here.” There’s a joyous sound. The upbeat “showtune” type pop piece “Nobody Smiles The Way You Do” is almost Rodgers-Hammerstein perfect.
Sliding into a late 50s-early 60s groove is “Fly Like a Raven” which borders just under the surface of mainstream pop & just short of waxing doo-wop with a little rap cum reggae inserted to bridge the genres. Lots of innocent rhythm & hand claps make it a party song – or to take a word from that era it’s a sock hop dandy. An American Bandstand rating — I give it an “8” because even someone who can’t dance can indeed move to this.
More in a rockabilly tradition like The Blasters — Dan percolates with “Tomorrow’s Train.” A tight rural groove that brushes away the dust of the prairie & blows that nice cool Coca-Cola air into your face as you open the lid of the old-fashioned freezer at a grocery store outpost in the middle of nowhere. The entire album in my estimation, is designed to put a smile on a listener’s face & keep it there for 47 minutes.
A bit jazzier is “Walkin’ Talkin’ Baltimore,” with its walking bass line & tight groove. You can almost “hear” the inflected deep tones of Cassandra Wilson in its delivery. But it’s all Claudia. “Jump-O!” has its rap but it’s very Chubby Checker inspired through his early 60s hit “Limbo Rock” & “Loddy-Lo.”
Claudia’s vocals have that attraction that Robin Clark splashed in the Simple Minds’ track “Alive & Kickin’” What makes this album special is that virtually every tune is upbeat, positive & happy. I haven’t heard many albums whose sole aim of exhibiting happiness through music was as encouraging as this.
A 44-page stitched lyrical insert is included. CD image courtesy of Schaun Champion. CD @ https://danandclaudia.com/pieces-of-home/
Cimarron 615 – Butte La Rose
A self-titled album is scheduled for release by these former members of Poco & the Flying Burrito Brothers on February 28, 2025. Nashville’s Cimarron 615 are seasoned musicians who are giving a sneak peek of their new self-produced Louisiana-Cajun flavored Butte La Rose (Blue Elan).
The track released October 29 features the quartet’s Jack Sundrud (bass/guitars), Michael Webb (keys/guitars/accordion), Rick Lonow (drums) & Ronnie Guilbeau (lead guitar). Aubry Richmond (Mustangs of the West) guests on fiddle. The band’s vocals have a heavy-duty Poco atmosphere that retains a country-rock brilliance buffed & shined for the new year.
Energetic, melodic & the work recalls some of the catchiest Buckwheat Zydeco zest augmented with a Poco proponent. A good mix. It all retains the Poco “Crazy Eyes” full-sound gratification but is different from the country-rock of Poco’s original contributions.
This new material validates Cimarron 615’s skill & spirit in this genre with their ingredients added. This is an exciting dependable chapter, locked & loaded with musicians who always made viable music. An LP’s worth will be contagious. In a good way. February isn’t that far off, is it?
Color image courtesy of the band’s website. CD @ https://cimarron615.com/news/nashvilles-cimarron-615-release-new-single-butte-la-rose/ & https://www.amazon.com/music/player/artists/B09Q4VM5VJ/cimarron-615
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Grooves & Cuts – #4 – November 2024
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