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MMReview 27! Welcome to Issue 27 of MMReview! If these reviews pique your interest in these albums, please click on the artists’ names to visit their web sites. You can find out more about the artists, listen to samples of their music and check their schedules. Some of the reviews have links to Amazon and iTunes so that you can conveniently purchase the music. A small percentage of the purchases made from these links will go to Music Matters to help us defray the cost of this website. I hope you will find this to be a valuable way to discover music that will matter to you. We at Music Matters Review are excited to bring you a new feature. In an effort to make your experience with the music reviewed here more interactive, we have posted our first themed collection of songs that may be purchased through either Amazon.com or iTunes. A history buff I know had been lending me some of the wonderful books by David McCullough, a celebrated author of books that bring American history to life. As I was reading these books I began to notice how many of my favorite songs tell real stories from the present and past. I collected several of these songs and burned them to a disc I titled History, to play in the car. History turns out to be one heck of an album! Click here to listen to samples on iTunes or here to listen through Amazon.com. If you like what you hear, you can purchase the songs or the whole album. A small percentage of your puchases will go to Music Matters to help defray the costs of providing this website. Look for more “albums” soon! Featured Story: Folk Alley—Worldwide and World Class! There are other internet folk music outlets, but Folk Alley is clearly the most completely satisfying experience. You would be hard-pressed to find a better-presented content-rich web experience for any genre of music. Reviews: (Click titles to jump to reviews) Bearfoot—Doors and Windows Craig Bickhardt—Brother to the Wind Dale Ann Bradley—Don’t Turn Your Back Slaid Cleaves—Everything You Love Will Be Taken Away Catie Curtis—Hello Stranger Anthony D’Amato—Shades of the Prison House Cliff Eberhardt—500 Miles—The Blue Rock Sessions The Gibson Brothers—Ring the Bell John Gorka—So Dark You See Heather Masse—Bird Song James O’Malley—Tales To Tell Thom Schuyler—Prayer of a Desperate Man The Waifs—Live—From the Union of Soul The Wailin’ Jennys—Live at the Mauch Chunk Opera House Slipcrackers: (Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.) Randy Howard—I Rest My Case Valerie Rose—Petals of Stone Tiny Tones—Precious Reviews: Bearfoot—Doors and Windows 2009, Compass Records Bearfoot is an Anchorage, Alaska-based band that met while they were counselors at a bluegrass camp for children and teens. They do not consider themselves to be a bluegrass band because as they somewhat jestingly say, they could not find a banjo player among their Alaskan contemporaries. Like many of youthful bands influenced by bluegrass, they have taken some of the sensibilities and spirit of the music and blended it with traditional music and their own perspective as songwriters. The vocals are mostly handled by the newest band member, Odessa Jorgensen. Her voice has a sultry cheerfulness, but if she sang the blues she would sound a lot like Lucinda Williams. The other men and woman provide backing vocals rather than strong harmonies. Garry West’s production showcases the band’s charisma and musicianship, adding Larry Atamanuik on drums and a touch of banjo from Compass Records’ co-founder Alison Brown. If this album is any indication, Bearfoot is a band to seek out and see live! —Michael Devlin Craig Bickhardt—Brother to the Wind 2009, Stone Barn Records On first listen, without research, this sounds like a first album by a new artist. The songs have the fresh quality of a writer sharing his thoughts and feelings for the first time. He sings about treasured memories and things that are near and dear. He is unabashedly spiritual and casually reflective. He has the knack of saying a great deal in a few words. His voice is pleasant and familiar, like Dan Fogelberg in a quiet mood. The playing and production of the album is sensational in a non-sensational way. As I listened, it began to dawn on me that Brickhardt is no beginner. It turns out that Craig Bickhardt is a well-respected Nashville songwriter who has been recorded by such talented famous musicians as Johnny Cash, The Judds, Ray Charles, B. B. King and others. He is joined on this album by fine studio musicians and headliners including Beth Nielson Chapman, Janis Ian, Maura O’Connell, Tim O’Brien, Darrell Scott and others. Bickhardt treats us to songs from a mature perspective, such as “A Day Well Spent.” “All my days were numbered from the moment of my birth./ It’s taken me ten thousand just to know what one is worth. If I gain this wisdom from each casual event/ Then every day it cost me was a day well spent.” “This Old House” is written from the perspective of a house being left by the family that grew-up in it. “I remember where the hammer and the band-aids used to be.” My favorite song is “Donald and June,” about a couple who seemed struggling through a life that was not exactly what they wanted. But the point of the song is profound. “If things were different for Donald and June, then things wouldn’t be what they are. Where did they go right and how did they ever come so far?” Fine stuff from a man who is not a newcomer at music or life! —Michael Devlin Dale Ann Bradley—Don’t Turn Your Back 2009, Compass Records Dale Ann Bradley has been the IBMA’s female vocalist of the year for two years running. In terms of notoriety and real talent, that’s the inverse winning on an idol-search reality TV show. Bradley is too real for a reality show, with a voice and style as timeless as the “backwoods holler” she grew up in. Bradley’s singing is all about the songs, be they spirituals, Carter Family country, bluegrass originals or classic rock. She does not merely do these various songs in “her style,” but gives each of them their own musical space. Bradley covers a few Louisa Branscomb songs and co-wrote two. (Branscomb is a well-respected songwriter who has been recorded by some of today’s most prominent musicians including Alison Krauss.) Bradley takes Christie McVie’s “Over My Head” to the country with help from Alison Brown on banjo, and Tom Petty’s “I Won’t Back Down” has never sounded better thanks to lively harmony singing from Bradley, Steve Gulley and Roscoe Morgan. Stuart Duncan on fiddle, Tim Laughlin on mandolin and Mike Bub on upright bass round out the top-shelf band. This is a fabulous album, start to finish, deserving of whatever awards are given for such fine things. —Michael Devlin Slaid Cleaves—Everything You Love Will Be Taken Away 2009, Music Road Records This album is more than a wallow in darkness, it’s a fearless acknowledgement that, as the title plainly states, “everything you love will be taken away.” You may say that is awfully depressing, but you would be hard-pressed to say that it isn’t true. This may be the first work of art in the post-optimistic era! Back in the good old days the good guys won and justice was served. This album sets up shop where things don’t work themselves out in the end, (a place with a line out the door these days). It’s also somewhere that silver linings are irrelevant, but the peace that follows acceptance is gold. Cleaves stops short of spiritual implications as he tells stories of loss that are poignant and real. Cleaves’ skill as a songwriter turns these tales into timeless songs with melodies that welcome the listener and phrases that come back to you long after the music is over. His dusty tenor, always haunting, seems to be more relaxed and confident and his work with producer Gurf Morlix is again perfect for the material. Everything You Love Will Be Taken Away... a thought provoking and beautiful work to be treasured. —Michael Devlin Catie Curtis—Hello Stranger 2009, Compass Records Catie Curtis has always been one of the singer-songwriters most likely to break through to popular success. Her songs are catchy and frequently topical. Her voice has always had the sultry octave flip that recently was de rigueur for platinum-selling pop divas. She’s been popular with the Lilith Fair audience and her albums are radio-friendly. She’s even had her songs featured on popular TV shows and independent movies. After two albums for Compass Records, Curtis has finally taken advantage of the musical opportunities of working with producer Garry West and company. This New England woman sounds right at home with the likes of Alison Brown, Stuart Duncan, George Marinelli and other fine studio musicians who gravitate towards the bluegrass side of Nashville. Some of the promotional material on the Compass website refers to the sound of this album as being stripped down, but that misses the mark. The first track, “100 Miles” makes a strong statement musically with distinctive, innovative contributions by Alison Brown on banjo, Stuart Duncan on fiddle and Todd Phillips on acoustic bass. The sound is refined, but there is a storm of melodic exploration going on here! The A.P. Carter title track, “Hello Stranger,” features a duet with Mary Gauthier—a nice contrast of styles and Northern and Southern accents. Darrell Scott lends his ample talents on several tracks with guitar and backing vocals. Don White’s “Be Sixteen With Me” is lots of fun and Jon Martyn’s “Don’t Want to Know (No Evil)” (you may remember the Richie Havens version) has never sounded better or more apropos. Similarly, Richard Thompson’s “Walking On a Wire” sounds great in Curtis’s voice and West’s arrangement. I’ve had Catie Curtis songs stuck in my head since the mid-nineties, but this album, with its combination of excellent material and virtuoso backing musicians, is in my opinion, her best yet. —Michael Devlin Anthony D’Amato—Shades of the Prison House 2009 Anthony D’Amato identifies himself as a “21-year-old Americana singer-songwriter from New Jersey.” He may be from New Jersey, but he’s making the rounds of what’s left of the New York folk scene, singing with the slightly British accent that seems de rigueur for Indie-rockers no matter where they hail from. I first checked out his music on his MySpace page and clicked on a one-camera, one-take video of D’Amato strolling through a campus singing “I Know,” (a song from a previous album). It’s instantly apparent that D’Amato is a scintillating performer. Looking like a time-traveller from 1969 with bushy long hair and wispy beard, he bangs away at a few simple chords and wails on the harmonica and sings the hell out of the catchy song. Shades of the Prison House has many excellent songs, especially “Skeleton Key” and “Hank Williams Tune.” The songs are accessible, yet frequently surprising in the way they flip through images and refreshing points of view. The production of the album is a bit of a challenge. D’Amato gravitates towards a minimalist style, even when he is backed by an indie-rock band, which is perfect for his charismatic presence, but too frequently he mucks it up playing with reverb and distortion effects. Don’t let that scare you away from this album or artist. He plays with passion and skill, and he’s channelling a time when it was not unusual for this kind of music to really matter. —Michael Devlin Cliff Eberhardt—500 Miles—The Blue Rock Sessions 2009, Red House Records Good grief! Cliff Eberhardt is still singing about unrequited love. Gifted with a soulful voice and slide guitar skills, Eberhardt plays the lowdown better than just about any veteran singer-songwriter, but it is his ironic sense of humor that makes you want to listen to these sad tales. Lines such as, “I miss your teasing every time I spill my drink,” “These mistakes take some skill,” “God’s little acre looked bigger on paper” and “Money, money, money can I put my hand upon your knee?” keep a wry smile on your face as you listen. Recorded at the Blue Rock Artist Ranch in Wimberly, Texas, the sound is intimate and relaxed enough to hear all of the nuances of Eberhardt’s delivery and the excellence of the musicians. Joel Guzman’s accordion playing on several of the tracks is a tasteful second voice. The last track is a thoughtful rerecording of “The Long Road” that brings the album to a hopeful close. —Michael Devlin The Gibson Brothers—Ring the Bell 2009, Compass Records The Gibson Brothers have brotherly harmonies that may remind you of the Louvins. Eric and Leigh are originally from New York’s farmlands, oddly their vocals have a twang that reminds me of Jimmie Dale Gilmore. They sing in the midst of a full bluegrass band, the brothers on banjo and guitar accompanied by upright bass, fiddle, mandolin and resonator guitar. Although the playing and singing is excellent, the Gibsons keep their focus on the songs and lyrics. Whether they are playing a rousing bluegrass tune, or a touching country ballad, Eric and Leigh bring something special with their genetically tuned vocal chords. This is a special sound! —Michael Devlin John Gorka—So Dark You See 2009, Red House Records If you love singer-songwriters you know why you anticipate albums from the masters—it’s for songs like “Ignorance and Privilege.” It is one of those great songs that say something poetically, from a unique perspective you may have rarely considered. “I was born to ignorance, yes,/ And lesser poverties/ I was born to privilege that I did not see/ Lack of pigment in my skin won a free and easy in/ I didn’t know but my way was paved.” A typical criticism of this genre of music is that it tends to be narcissistic, but here is an inward look with that gives a great many people food for thought. Gorka also sings the songs and poetry of others, “A Fond Kiss” from a Robert Burns poem, Utah Phillips’ “I Think of You,” “Where No Monument Stands” from a William Stafford poem and Michael Smith’s “The Dutchman” (with Steve Goodman’s somewhat inaccurate second-hand version of the lyrics). Gorka’s political commentary manages to be sharp and subtle at the same time in “Night Into Day” (“Some haven’t yet paid for last winter’s heat/ Labor Day is done and the ends don’t meet”) and “Live By The Sword” (“They live by the sword, but die of old age”). Gorka’s baritone is supported by production so subtle that the harmony singing by such distinctive singers as Eliza Gilkyson and Lucy Kaplansky are anonymous unless you are really listening for them. So Dark You See is yet another beautifully played, thoughtful album in a long career, and surely one of his best. —Michael Devlin Joy Kills Sorrow—Darkness Sure Becomes This City 2010, Signature Sounds Joy Kills Sorrow has retained only award-winning flatpicker Matthew Arcara and acclaimed songwriter and bassist Bridget Kearney from their self-titled 2007 release, but their sound is much the same. The most notable difference is that their lead singer, the delightful Heather Masse, has left, joining the Wailin’ Jennys and launching a solo career. Fortunately, Emma Beaton’s vocals have a similarly compelling quality. The songs are melodic and catchy, taking full advantage of the stellar playing of each musician. Although the band is named for early bluegrass radio station WJKS, bass, banjo, mandolin and guitar subtly play off of each other, weaving elements of jazz and pop into the mix. It is hard to pick out one song or solo that stands out above the rest, but Kearney’s bass playing has a band-leading quality and Wesley Corbett’s banjo playing is brilliant enough to warrant comparison to Allison Brown. This is a beautifully recorded and produced album from a unique and uniquely talented band. —Michael Devlin Heather Masse—Bird Song 2009, Red House Records Coming on the heels of her recent acclaim as the alto voice of the Wailin’ Jennys, and regular appearances on A Prairie Home Companion, Heather Masse has released an album of her own material. Her voice is remarkable—pure, yet effortlessly sultry. Her solo work highlights her jazzy side as she sings with a band anchored by the piano and organ playing of Jed Wilson. The combo is the perfect backing for her vocals, swinging deftly as it establishes the moods of the songs. There is a thoughtful quality to most of her songs and her lyrics require close attention to reveal their depth. “Bathtub” is a delightfully sensual exception, as is the honkey-tonking “High Heeled Woman” that follows it. A satisfying and sophisticated album. —Michael Devlin James O’Malley—Tales To Tell 2009, Arts & Media, Inc. When I think of James O’Malley the first thing that comes to mind is the sweetness of his voice and the thoughtful gentleness that permeates the man and his music. But when I am actually listening to his music, whether on CD or live, I find his nuanced guitar playing to be quietly dazzling. These truly satisfying talents are at the heart of Tales To Tell. Although several tracks on this album feature full production, it is the way O’Malley tells the “small stories” that defines the charm of this artist. “Crickets,” a song about a woman on a midnight trip to the kitchen who is surprised to find a cricket on her foot is a good example. The jaunty guitar and bug-leg rasp of the lyric, “She’ll be kickin’ it with the crickets, in the kitchen with the crickets” are sure to make you smile. His songs from a mid-life perspective ring true with the ordinary wisdom of experience as in “Open a Window.” “Another world another time for me upon a smoother and safer path/ May have taken me further still but not as loved or as quick to laugh.” Tales to Tell is tales told well! —Michael Devlin Thom Schuyler—Prayer of a Desperate Man 2009 Thom Schuyler is a songwriter for the common man—without the fanfare. His voice is friendly and his lyrics sometimes have the mildly salty air of a neighbor shooting the breeze over the fence. He wears his hurts on his sleeve, but he doesn’t make a big deal out of them. Mostly he sings about things that are near and dear to him, simple and real things like family and faith. His approach to everything is fresh and unaffected, and because of this he seems like a talented newcomer with a fine first effort, touching upon his most important themes. The fact is that Schuyler has been a professional songwriter on Nashville’s Music Row for decades, writing songs for popular country artists, working for record companies and being a leader in the music industry. Schuyler’s ability to write and perform with sweetness and simplicity sets him apart. You may have heard songs about first guitars, awkward dancers and lost loved ones, but his songs are special because they don’t try too hard to be different, they just try to be genuine. The last song on the album combines Schuyler’s most endearing qualities. “Starting To Go” is a song about aging parents that acknowledges the history that shaped their lives, appreciates their sacrifices and laughs at their foibles, all with disarming sweetness. “They fed us and clothed us and sent us to college/ And somehow they met every need/ Now they come for a visit—we hug ’em and kiss ’em/ And count every hour till they leave.” It’s very easy to like this man and his music. —Michael Devlin The Waifs—Live—From the Union of Soul 2009, Jarrah/Compass The Waifs are original band members, sisters Donna Simpson and Vikki Thorn with Joshua Cunningham, plus Ben Franz, David MacDonald and Mikel Azproz. They have won awards and achieved commercial success in their native Australia playing acoustic music. Donna and Vikki give The Waifs rock band charisma with their sultry lead vocals and harmonies. Listening to this live album, it is easy to see why they are a popular band. Their songs are memorable and catchy, kind of like an unplugged Fleetwood Mac in their prime. The Union of Soul National Tour took place in early 2008. Since then, the band has been somewhat dormant due to a variety of personal reasons, but this album is an example of just how good talented people with acoustic instruments and good songs can sound. —Michael Devlin The Wailin’ Jennys—Live at the Mauch Chunk Opera House 2009, Red House Records Founding members of the Wailin’ Jennys, Nicky Mehta and Ruth Moody along with relative newcomer Heather Masse and fiddler Jeremy Penner recorded this album live at a show at the Mauch Chunk Opera House in Jim Thorpe, PA. While there are many fine single-show live albums, this one is a truly an astonishing accomplishment because of the Wailin' Jennys' style of music. Their hallmark is flawless two and three part harmonies with simple acoustic arrangements that leave nothing to hide behind. Penner’s fiddling is so good that it serves as the fourth voice of the group. Pretty close on the singing and playing (upright bass, guitar, harmonica, banjo, accordion, mandolin, violin etc.) would have sounded quite nice, but every last note is perfect, the acoustics are magical and the recording is impeccable. Their choice of material also reveals much of what The Wailin’ Jennys are all about. They start with “Deeper Well,” a David Olney song that has already been covered memorably by Emmylou Harris. This is followed by “Summertime.” Later in the album they cover songs by Gillean Welch and Huddie Ledbetter and arrangements of traditional songs “Bold Riley” and “Motherless Child.” They even take a turn at Jane Siberry’s idiosyncratic “Calling All Angels.” All of these songs have distinct melodies and definitive versions, yet this group adds significantly to the way you will hereafter remember them. They do not take the songs far from the way you have heard them before, but they explore them harmonically and emotionally and play them to their considerable strengths. Although you will first notice the beautiful blend of the voices, the sound is deepened to at least four and five part harmonies by the instruments they play. Their arrangement of “Bold Riley” mixes the voices together with accordion and fiddle to make a truly elegant multi-timbre choir. Their own songs are as strong and memorable as the songs they cover. The only way this could be better is if I was at the show! An essential, classic recording. —Michael Devlin Slipcrackers: Randy Howard—I Rest My Case 2003, Sugar Hill This is the third and final solo album from this highly regarded fiddler. He passed away in 1999. This album was originally released independently. All-star help from Jerry Douglas, Sam Bush, Larry Cordle, Roy Husky, David Grisman, Ron Block et. al. Great playing for the sake of the songs! Essential! —Michael Devlin Valerie Rose—Petals of Stone 2001 I am puzzled to see that this stellar six track EP is the latest solo work available from this wonderful singer. The tunes are traditional Irish and English and although you can compare the overall sound of this album to the Sandy Denny days of Fairport Convention, producer Phil Campbell has helped Valerie Rose create a unique soundscape. For example, the second song, “When a Man’s In Love,” has a strong jazzy almost reggae bass line that yields gracefully to a lush string section and ends in spacey echos. The next song begins with Roses’ lovely voice over a churchy organ that evolves into a rocker with some crunchy guitar. Although this album showcases her singing, Rose shows that she is also an accomplished violin player. Petals of Stone is a rare flower well worth seeking out! —Michael Devlin Tiny Tones—Precious 2002, Ram-Bam Tiny Tones is mostly lead singer Susanne Raulamo and guitarist Jussi Raulamo playing covers. Their choice of music includes a truly eclectic selection of folk, rock and singer-songwriter tunes. Although the duo hails from Finland, Susanne sings without an accent. Jussi is fond of the retro guitar sound he gets by playing through an old tube radio. They apply a minimalist approach to “The Water Is Wide,” “I Shall Be Released,” “Ol’ 55,” “Bird On A Wire,” “Sylvie” and other familiar songs. Susanne’s vocals are truly haunting, sounding a bit like Natalie Merchant and Stevie Nicks at times. Their unique combination of stripped-down arrangements and stunning vocals make this an album to seek out. This may be chore because the group seems to have broken up, but CDs are available at their website. Get one while you still can! —Michael Devlin