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MMReview 29! Welcome to Issue 29 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. (Note: iTunes links are temporarily inactive due to changes in the iTunes affiliate program. We hope to have these links back soon.) 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. Concert Review: Tracy Grammer 10/1/11—Folk Music Society of Huntington Reviews: (Click titles to jump to reviews) Rani Arbo & Daisy Mayhem—Some Bright Morning Lou & Peter Berryman—Rocky Frontier Ray Bonneville—Bad Man’s Blood David Bromberg—Use Me Dave Carter & Tracy Grammer—Little Blue Egg Kris Delmhorst—Cars Joe Ely—Satisfied At Last Eliza Gilkyson—Roses at the End of Time Hat Check Girl—Six Bucks Shy Lisa Morales—Beautiful Mistake Bruce Roper—Accidental English Sons of the Never Wrong—Church of the Never Wrong Various—Projekt Bob Dylan: Postani Prostovoljec! Slipcrackers: (Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.) Concert Review: Tracy Grammer 10/1/11—Folk Music Society of Huntington For me, Tracy Grammer at the Folk Music Society of Huntington was more than a concert. It was a chance to see how this strong and spiritual woman has directed her career after the passing of Dave Carter, her “partner in all things.” Although Dave was the duo’s songwriter and creative whirlwind, Tracy was the one it all seemed to channel through. Many of the songs were written specifically for her to perform, not only suiting her vocal and instrumental skills but also Dave’s perception of Tracy herself. The love and admiration they shared for each other was evident to anyone who spent even a few moments with them. They were very much the Yin and Yang of a singular musical expression. As a fan I enjoyed their music, but I also enjoyed witnessing the friendship and kindness that flowed around them. The first time I saw Tracy Grammer perform without Dave, she was bravely carrying on his legacy... their legacy. I was grateful that she had the strength to do it, and grateful that Jim Henry could sound a lot like Dave on some of the songs. It was an emotional concert, and tears filled many an eye when we heard Tracy singing the parts formerly sung by her partner. Hope filled us when we heard her sing songs by other musicians, an indication that her road would go on, and our relationship with her would continue. Now, after nine years of following Tracy Grammer’s solo career, playing the old albums on a regular basis and doing my best to sing and play the duo’s songs, we meet again. Tracy is, as always, gently genuine, quiet but approachable. She no longer needs to shoulder the responsibility of comforting those who miss Dave. She is at ease in the spotlight, projecting a sense of anticipation for the road ahead. Performing without accompaniment makes it easier to notice that Tracy is an accomplished guitar player. She establishes mood and tempo with her rhythm playing, while conveying the riffs and melody with flat and fingerpicking. Her voice, if anything, has gotten richer and more confident. Tracy’s renditions of Kate Power’s “Travis John,” Tom Russell’s “Blue Wing,” and Kieran Kane’s “Dirty Little Town” highlight Grammer’s strengths as an interpreter, with her strong sense of melody and meaning. The pace of the concert was leisurely, with frequent fond anecdotes about the songs. “Gypsy Rose,” a song with different versions on two CDs, has evolved further in live performance, as evidenced by this evening’s slower, deeper version. There were similarly evolved versions of many of songs Tracy has recorded, including versions of “Shadows of Evangeline,” “Hard to Make It,” “Ordinary Town” and “Crocodile Man” to name a few. Tracy has also become very comfortable singing songs recorded by Dave, such as “Gun Metal Eyes” and “Gentle Arms of Eden.” Grammer shared details of an album entitled Little Blue Egg, to be released in early 2012 on Red House Records, of material from ADAT tapes unpacked after her move to Massachusetts. The tapes were in perfect shape, containing versions of duo songs sung by Dave, as well as songs we have never heard before. Tracy sang one of those songs, a yearning ballad they considered to be ready for Nashville, except, she joked, that Dave had to ruin it by plunging into a conversation with Death in the last verse. It is hard to imagine Dave singing the song any more beautifully than Tracy sang it this night. Although she plans to make next year, the tenth since Dave passed, a special time to bring his music to an even wider audience, Tracy said that she will also be turning her attention to her songwriting. This is surely great news to all who know this joyful, centered human being and immensely talented musician. One gets the sense that she is ready, sure of her own voice, and that “The Verdant Mile” is but the first part of a mighty good road of song. —Michael Devlin Reviews: Rani Arbo & Daisy Mayhem—Some Bright Morning 2012, Signature Sounds As I listen to this album for the first time, I’m reminded of the lovely summer night I saw Rani Arbo and Daisy Mayhem at a free concert in Huntington, New York. As is the case in concerts of this kind, most of the people in attendance had wandered by because it was there for free in the local park. After a few songs, people were nudging each other and nodding, by the end of the show the band had won a lawn-full of fans. Some Bright Morning has that same kind of instant accessibility and charm. One must suspend one’s disbelief in the possibility of fresh and new music from traditional forms when Daisy Mayhem blends and plays it with musicianship, friendship and the “Drumship.” Rani Arbo’s voice is as pure as a tomboy’s, yet as strong and sure as the mom and veteran musician she is. Her fiddling has the same straightforward charm as her vocals. Rani and Andrew Kinsey have been kindred spirits since their days with Salamander Crossing. If you have ever met Andrew, you will realize that his solid bass playing and baritone singing are somehow not contradicted by his forays with the ukulele. Anand Nayak is a talented singer and songwriter whose guitar work adds an eclectic and sometimes electric edge to the sound. Scott Kessel is the Picard of the Drumship Enterprise, the whimsical but finely timbred collection of objects (a suitcase, cookie tins, etc.) he percusses as persuasively as if he had a normal kit. The more one listens to this album, the more deeply one appreciates the depth of the material and the talent and chemistry of Daisy Mayhem. Their harmony singing reveals a shared musical vision as the voices perfectly compliment one other. Similarly, their playing has a sparkling quality, arranged to bring out the best in the songs and each other. Arbo’s own songs highlight the transparent quality of her voice that connects you directly to the emotions of the songs. “Miami Moon,” from the point of view of an old man reminiscing about how he would dance with his sweetheart, is hard to listen to without a tear in your eye. The same guilelessness makes “Build a Bridge” more than the sum of its gorgeous harmonies. “Crossing the Bar,” the Tennyson poem with music by Arbo, originally done with Salamander Crossing, is beautifully phrased and arranged here. Although Arbo is eponym of the band, everyone gets a chance to shine. Anand Nayak takes the lead on “Reason to Believe,” (a Springsteen song that was begging for the Mayhem/gospel/string band treatment), and the traditional “East Virginia Blues.” Andrew Kinsey takes the lead (and ukulele) on the traditional “I’ll Fly Away.” His “Fire in the Sky” gets a new interpretation, starting with high lonesome harmonies before roaring out in a fuzzy electric haze. Although Scott Kessel seems content to back the others with his tastefully textured percussion, he gets to show off his sticks on the funky blues of “Little Johnny Brown” and “Travelin‘ Shoes.” Some Bright Morning is a joyful and consummate achievement. —Michael Devlin Lou & Peter Berryman—Rocky Frontier 2011, Cornbelt Records Click cover for Amazon Lou and Peter are still at it, way off the beaten path of pop music, making music with guitar and accordion, simple melodies and the wittiest songs in the universe. They still sound like they are having an unreasonable amount of fun as a couple (which they have not been since the Seventies) and duo (which they have been since the Sixties). Rocky Frontier will not surprise fans. As usual, they sing one really funny song after another in arrangements that they will have no trouble duplicating live. The wonder of it is that given how hard it is to be humorous, especially in a family-friendly way, they can still reduce the listener to bouts of helpless laughter. The themes are familiar—they praise Wisconsin for being the “Fourth Most Visited State,” they lampoon the multitasking modern lifestyle, commiserate with the demoted Pluto, gripe in rhyme about getting old and sort of welcome the new year! The songs are dense with odd observations and turns of phrase, making it possible to discover new guffaws even after hearing the songs many times. They sound nothing like the artists my teenagers are listening to these days, yet they still smiled and chuckled when I played this CD the old-fashioned way (through speakers right out into the air!). Get this album and laugh out loud, and if at all possible, catch Lou and Peter live and bring a friend or two of any age! —Michael Devlin Ray Bonneville—Bad Man’s Blood 2011, Red House Records A weathered voice, a pulse of a beat, fuzzy electric guitar, growling harmonica, late-night vibe, blues-cool... it’s Ray Bonnevile at his best. Although he is a native of Canada, his diction and verbal rhythm seems to have been born in a deep-southern swamp. Bonneville’s rhythmic playing with muted guitar thumps and the heartbeat pound of his boot obviate the need for a lot of percussion, forming the backbeat for his syncopated vocals. His approach to the guitar frequently finds him with the volume in overdrive with a light touch on the strings, giving his tone an ominous restraint. The songs have a simmering quality, solidly cooking on a fire that just might flare. He reprises “Blond of Mine” with the familiar phrase “fly all over but come back home,” a piece typical of his other songs, hook laden and dealing with complex situations like love and yearning with a catchy, sometimes iconic, well-crafted phrase. There are others who would fit on a bill with Bonneville (Chris Smither comes to mind) but he is truly the original master of his own authentic groove. —Michael Devlin David Bromberg—Use Me 2011, Appleseed Recordings David Bromberg was part of the Greenwich Village music scene in the mid-sixties, session man for the likes of Bob Dylan, The Eagles, Willie Nelson, Carly Simon and others, and successful solo artist through the seventies. Perhaps his “retirement” in 1980, when he escaped the hectic life of a touring musician to learn to make violins, has kept him fresh. He still sings and plays with the brash confidence of a man who can pull off a breakup line like, “You’re gonna be walking those streets for a long old lonesome time before you find a man like me to curl your toes and roll your eyes back in your head.” Use Me is the result of Bromberg contacting several of his musical acquaintances to ask them to write or choose a song for him, then help him record and produce it. His verve is matched by the talents of the many friends he has tapped for this album. The result is way more than just “been there, doing it again.” Producer/contributors John Hiatt, Levon Helm, Tim O’Brien, Dr. John, Keb’ Mo’, Linda Ronstadt, Vince Gill, Los Lobos, Widespread Panic and the Butcher Brothers all do their own thing, yet the album is cohesive, held together by a glorious full sound, crisp, brilliant playing and Bromberg’s distinct vocals and guitar playing. When someone from the mid-sixties, hits their mid-sixties and still has something to say, it’s a thing to celebrate. When anyone of any age or background puts out an album this fine, it’s a thing of beauty! —Michael Devlin Dave Carter & Tracy Grammer—Little Blue Egg 2012, Red House Records Click cover for Amazon I have eagerly awaited this album since Tracy Grammer spoke of it during a concert this fall. After describing ”Better Way” as Nashville ready (until Dave had to “ruin” it by bringing Death into it as a character), Tracy went on to drop everyone’s jaws, blessing us with its definitive version on our first listen. Hearing Dave sing it on the album, I felt the joy of knowing that yes, there was at least one more Dave Carter song in my life that would fill my lungs with the need to sing it. Fans of the duo will be anxious to know that in addition to “Better Way,” there are six Dave Carter compositions making their first appearance on disc— “Hard Edge of Livin,” “Cross of Jesus,” “Amazon,” “Three-fingered Jack,” “Till We Have Faces” and “September Sea,” all of which earn their place in Dave’s legacy of “post-modern mythic American folk music.” Of these, “Till We Have Faces” is the one I return to, swimming with the rich flow of images as meanings wash over me. Like many of the songs on the album, it is arranged with elegant simplicity. Unusually, it features Tracy singing with another woman providing harmony vocals (presumably Claire Bard). There are three songs with released versions featuring Tracy, presented here with Dave singing lead. “Hard to Make It” has an appropriately weary feel when Dave sings it. “Any Way I Do” is moving in a simple acoustic arrangement, featuring a lovely fiddle break by Tracy. Add another nice version of “Gypsy Rose” to your collection, gender-switched to suit Dave’s lead. Their cover of the Woody Guthrie song (finished by Billy Bragg) “Way Over Yonder In a Minor Key” glows with the charm that made so many people fall in love with the sound of the duo. Dave plays banjo and Tracy her soulful “Wounded Healer” as the they trade verses and take turns singing goose-bump raising harmony. It is a mysterious song with a haunting refrain, perfectly suited to Dave and Tracy’s writing and performing style. I wonder if the fact that you can clearly hear a baby squalling in the background at the beginning of the song, kept this particular track off prior albums (I actually think it adds something!). Little Blue Egg is an impressive record by any standard, but all the more dear for being just a little bit more from a beloved artist, and certainly a fitting tribute in this anniversary year of special attention to the work of Dave Carter. —Michael Devlin Kris Delmhorst—Cars 2011, Signature Sounds As I remember the 1980s and The Cars, I remember them in comparison to other bands. I remember Devo, being odder, The Talking Heads being edgier. I remember working the graveyard shift and people turning up the radio in the shop every time The Cars came on. They came on a lot and it wore pretty thin. Over the years though, I find myself turning them up every time I hear them on the radio. Through it all, I have never truly heard these songs until this album by Kris Delmhorst. The Cars usually sang and arranged their songs like they were all a bit of a lark. Delmhorst and the wonderful musicians she has gathered treat these songs with more respect than Ric Ocasek and his crew. The goofiness of the originals is replaced with imaginative arrangements and excellent singing and playing. Delmhorst guides her band with spot-on attention to the body moving groove that made this music so popular. Starting with the familiar “You Might Think,” one notices acoustic instruments replacing electric over the signature heavy drum beat. Although the pace is the same as the original, the vocal harmonies, fiddle and piano highlight the melody, rhythm and hooks. “Why Can’t I Have You” aches with yearning, undiminished by the electronica of the original. “Hello Again” uses keyboard and sound effects, but it’s the punctuation of banjo that knocks the arrangement appropriately off kilter. Delmhorsts vocals are real enough to convey a smile in “Shake It Up,” an intimate half whisper in “Magic” and somehow manages to make the stuttered “uh irl, uh irls” of “My Best Friend’s Girl” sound sexy! Get this CD in your player, crank it up and drive around with the windows down! —Michael Devlin Joe Ely—Satisfied At Last 2011, Rock ‘em Records Joe Ely started making music after seeing early rock and rollers Jerry Lee Lewis, Buddy Holly and others. He was a founding member of The Flatlanders, and toured internationally opening for the likes of The Clash, Carl Perkins and Merle Haggard. He spent some time caring for animals at the Ringling Brothers circus and acting in movies. His discography has dozens of titles, not including some that were lost or never released. After all this time you might expect him to be coasting a bit, but his music still has the urgency of a teenager, even though his lyrics reveal a more mature point of view, frequently dealing with how life has been spent. “The schoolyard seems smaller, the church steeple seems taller... Not that much has changed,/ It’s all just rearranged./ Like a picture in your mind/ Of a love you’ve left behind. /Not that much has changed.” Ely produces a sound that is lean and dusty even with a lot of guys playing. We hear Joel Guzman on keyboards and accordion, Lloyd Maines on steel guitar along with Mitch Watkins on various guitars, Glenn Fukanaga on bass and Pat Manske on percussion. Ely may be satisfied at last, but he’s not taking anything for granted. “I didn’t come here with nothing, just a slap on the ass./ You can bet when I’m leavin’ I’ll be satisfied at last.” A vibrant work! —Michael Devlin Eliza Gilkyson—Roses at the End of Time 2011, Red House Records Eliza Gilkyson is one of our very finest singer-songwriters, producing albums on a regular basis, touring constantly and performing with her peers. Roses at the End of Time took me by surprise the first time I heard it. Her music frequently has an edge, be it thinly veiled political commentary, or somewhat explicit lyrics. So it was a bit unexpected when first couple of tracks on this album were without Gilkyson’s sharp wit and funky take on life. “Blue Moon Night“ has a softly grateful note, a mid-life ode to romance, with a simple chord progression and a quietly smiling vocal. “Death in Arkansas” is played as a straight and true as country porch music, as Gilkyson reminisces about the way people used to gather together to support each other in their time of need. She focuses on particulars, imbuing the details with a sense of appreciation in beautiful phrases, such as her description of unmet ancestors, “And those who came before were the pictures on the wall.” “Looking for a Place” changes the pace, at once smart-alecky and self-deprecating in a way that Gilkyson always manages to make sound fresh and real. Her band, which includes her son, Cisco Ryder, really rocks out on this one. The title track is as romantic as the roses of the title, but the phrase “at the end of time” lends a certain air of urgency. “Belle of the Ball” invokes a post-tragedy ghostly visit, “You said I would you again when I checked out of my room at the end of the hall.” The arrangement is as haunting and beautiful as the lyrics, with deep echoing percussion and yearning guitar riffs. “2153” dares to poke fun at those who await the Rapture, “they waited for their God in vain,” as well as the world they are helping to create while they wait, “They did guns, extreme sports and special hobbies.” The album closes with “Once I had a Home” a slow, sincere prayer for those who have been displaced from their homes and the lives they once lived. Roses at the End of Time is an essential listen for long-time fans and a great introduction for those who have not yet to discover this witty, profound troubadour. —Michael Devlin Hat Check Girl—Six Bucks Shy 2011, Gallway Bay Music Peter Gallway and Annie Gallup together—even before listening I knew that this was going to be special. The sensual and poetic Annie Gallup with Peter Gallway, the producer who can can rock out a roomful of musicians and sound like there are only one or two playing. They are as unique as singer-songwriters get, yet similar in pace, attention to detail, and in songs that are reflective and musing yet catchy. My expectations were so high, I almost didn’t want to play the CD. I listened to the whole album once through just savoring the sound. As is typical with Gallway, the arrangements are perfect, subtly layered, with solid bass, touches of inky electric guitar and echoing percussion, punctuated by moments of near silence. Gallup’s guitar accompaniment has always had a similar affinity for the spaces between notes and phrasing off the beat. Her quiet animation is perfect for the songs and the mood established by the arrangements. Whether it’s Gallup half-whispering or bending a lyric into a question mark, or Gallway singing a restrained but jazzy refrain, or they are singing together, the vocals are perfectly suited to the material. Like the music, the lyrics are casually complex, sliding from profane to metaphoric with the ease of a chord change. The sophistication of their songs often comes from what is not said or played. There is a cinematic fascination with particular people in particularly complex situations. “August Sin” portrays illicit lovers on a hot night, maintaining a regard for the couple that acknowledges both the tawdry sweat and the sacred sharing of lovers. In “Getaway Car,” a duet of jewelry store thieves share their suspicions and secrets with us but not with each other. Their dreams seem to be represented by the mysterious chorus, “I’ll never know what I would have done/ But somewhere in Oklahoma/ Somewhere in Oklahoma/ A wild horse runs.” The criminal theme continues through “Six Bucks Shy.” “Echo Echo” evokes lovers in World War II London, while “Leave Most of It Out” is set in September 2001 New York. This song is emblematic of their approach—less is more in the hands of these masters. So many of these songs deserve to be heard and read and pondered repeatedly, even as so many of the phrases haunt you for days on end. As an example of just how many times you can listen to this album and hear something new... I’m listening for the zillionth time as I wrap up this review, and I just now realize that “Jake and the Five Plaids” is a cappella! Was it really so long ago when an album of this quality would sell millions of copies and been ubiquitous on the radio? —Michael Devlin Lisa Morales—Beautiful Mistake 2011, Zaino Records This album marks Lisa Morales’ beautiful first step away from her sister Roberta and Sisters Morales. It turns out that Lisa has been a diva in disguise. She sings the love songs of a strong grown woman in a voice that demands that you look her in the eye. One imagines her singing a roadhouse into rapt attention. The rhythm section rocks hard when it needs to, led by Michael Cornbread Traylor on bass. All of the songs are superbly crafted with verbal and aural hooks. The Tex-Mex influences are not as apparent as they are in her work with her sister, but the years of playing live give her music a Texas flavor delivered with an air of authority. “You Forgot To Love Me,” a quiet ballad with a memorable slide guitar drone is a striking change of pace, highlighting Morales’ simple but elegant lyrical style. “You’ve got to fill up the passion jar or I won’t breathe/ You’ve got to touch me if you’re sleeping next to me.” This is a very complete work from a woman whose talent demands the spotlight. —Michael Devlin Bruce Roper—Accidental English 2011, Waterbug Records Click cover for Amazon Bruce Roper without the Sons of the Never Wrong... at first I thought that it might be like the B-52s without Kate Pierson and Cindy Wilson. Just as Fred Schneider is the vocal straight-man for Pierson and Wilson, Roper often seems to take the same role with Sue Demel and Deborah Lader. Hearing Roper on his own lets one focus on his serious, yet wryly humorous style and the off-beat angle of his lyrics. Take the first lines of this album— “Well I made it here to midlife, without a piercing or a tattoo/ So I can make it through another week without you.” He sings these lines somewhere between tongue in cheek and earnestness, a delicate balance that seems effortless to Roper. With this mastery of the moods between moods, he can sing a line like, “My promise to you is to stay brooding and blue/ just to keep you from the laughter” in the startlingly brief “Boy Makes Girl Laugh,” without sounding maudlin. The fact that Roper is a luthier makes it no surprise that the guitar parts are played and recorded with care, but piano is featured in many of the songs. In fact, the arrangements, though typically quiet and semi-acoustic, have a delightfully detailed variety of sounds and colors. Ropers material covers life from the point of view of thoughtful man old enough to be a grandfather, yet still daring to work the word aubergine into a lyric. Roper’s talents as a songwriter, performer and producer have given us a very complete and satisfying work. —Michael Devlin Sons of the Never Wrong—Church of the Never Wrong 2012, Waterbug Records Click cover for Amazon The album title taken by itself could be taken a certain way by certain folks, and I’m sure the Sons of the Never Wrong take some delight in the ambiguity, but the songs here are presented respectfully in the spirit they were written. As the liner notes indicate, the concept was to have the band’s many Chicago-based musical friends contribute their talent and their favorite “holy” songs for them to “Sons-ify.” Secular songs with religious references such as “Circle of Gold” and “Hog Heaven” coexist ecumenically with traditional tunes and catchy originals. The Sons of the Never Wrong, Bruce Roper, Sue Demel and Deborah Lader, lend their distinctive styles to the songs of their peers, resulting in an album that touches upon an extraordinary variety of spiritual themes, as it jumps from genre to genre. The first track is Michael Smith’s “Five Angels,” the opening track of the 1994 autobiographic Michael Margaret Pat & Kate. Revisiting this simple sounding yet mysterious song is quite a treat, with Deb and Sue introducing the chorus in a cappella harmony. Bruce Roper’s “Rings On Your Fingers” follows, with piano accompaniment and light percussion. Regardless of the arrangements, there is a great deal of loving attention paid to the acoustics, with the reverb set to make it sound like the album was recorded in a church. Pat Roper gives a stunning performance of his “Holiness Adorns Your House,” a song with lyrics that are “churchy” in a way that usually leaves me cold, but the melody and harmony are so inspiring that I find myself drawn to this song. There is so much music to enjoy, whether you like bluesy gospel, country, traditional songs or singer-songwriter originals. With twenty tracks, you find a different one jumping out at you nearly every time you play the album. Last time through, it was Megan McDonough’s “Meditation” (which somehow reminds me of “Pancho and Lefty!”). I would like to think that the choirmasters of various congregations will take note of this inspired collection of music and enhance their repertories. —Michael Devlin Various—Projekt Bob Dylan: Postani Prostovoljec! 2011 When a thick envelope arrived at Music Matters from the Embassy of the United States of America, Ljubljana, Slovenia, I assumed that I received a misaddressed package. It sat for a couple of days before I opened it to find a DVD case with a CD, Projekt Bob Dylan, a letter from the Public Affairs Officer and several pages of musician bios and information about how this project was made possible by a grant from the U.S. State Department Fund for Innovation as an effort in cultural diplomacy. I thought, “Hmm, my tax dollars at work... great.” So the CD was pushed off to the “when I get around to it” stack. When I finally picked it up with intent to play and looked at the oddly accented and unfamiliar names of the musicians, I thought, hopefully, that this would be so bad it was good. I’m ashamed of my assumptions, but delighted to tell you that this is the best Dylan tribute album imaginable! The album starts with a hushed, slightly accented acoustic version of “Don’t Think Twice (It’s All Right) by Vlado Kreslin. It’s dead-on emotionally and features a knock-out harmonica solo. It’s the second track by 6 Pack Cukur, a hip-hop artist, that really gets down to what this album is all about. 6 Pack takes the song several different directions at once, sounding a bit Lou Reed, dance pop and hip hop. He makes it completely his own, perhaps not having so many preconceived notions about what it should sound like. Niet does “Just Like a Woman” in British punk-rock style, complete with acquired British accent. It’s my favorite version of the song, ever! Severa Gjurin is a well established Slovenian singer. She sings “Not Dark Yet” in a haunting way that reminds me of Jeff Buckley, backed by delicately processed acoustic guitar, a whisper of keyboard and light percussion. Perfectly arranged songs are the second theme that emerges. “Boots of Spanish Leather” is done in a way that would make Bruce Springsteen proud, “Señor” sounds ominous, “Gotta Serve Somebody” is pure hip-hop, “Blind Willie McTell” reminds me of Sinead O’Connor, and “Simple Twist of Fate” is a jazzy torch song. “Ballad of a Thin Man” is a perfectly over-the-top nightmare. It’s all so different and presented with joyful authority. There are fourteen tracks full of surprise and scintillating musicianship. The best way to acquire this CD right now seems to be to do a search on Projekt Bob Dylan... you’ll be glad you did! —Michael Devlin Slipcrackers: