Local
Americana/Country
Pretty Little Feet“The Mountain Runners”
www.prettylittlefeet.net

Allegra Ziffle and Matt Novak are Pretty Little Feet, a duo that hales from Bellingham, Washington.   To hear their music without that fact known one might think they were from the Ozarks or Appalachian hills.  There is a very old  thread weaving through this music, which is not only played & produced well, but is relaxing as well.

“The Mountain Runners” is music that was recorded for a film documentary about the Mount Baker Marathon of 1911-1913.  Having lived at the fork of the Nooksack  for a summer and fall, I feel for some reason I should have heard of this somewhere along almost a years worths of travels in that area.  But, alas not a morsel of memory is to be found in the memory banks.  One thing that is remembered well regarding that area of the state is that it could well be the Ozarks or Appalachian hills in it’s traditions.  This is a tight knit, ethnically diverse community up north on the border.  From it stems a long lineage of story tellers of their history, which is one of the aspects I loved while living there.  The weather, that’s another story for another review.

This project was engineered, mixed and mastered by Paul Turpin at Champion St. Sound in Bellingham.  Novak and Ziffle cover all the instruments recorded with Ziffle on Fiddle, banjo, accordion, vocals and clogging.  Novak covers guitar, mandolin, tenor banjo as well as vocals.

This reviewer would have appreciated the video component or partner with this work as it is apparent that these tunes are covering aspects of content, but alone there is a feeling that I am missing something.  That said, this is a well represented recording of music long forgotten and missing from today’s culture of instant messaging, this is story telling of a time long ago, but not forgotten.

If you like early music, before the folk, country, bluegrass, or any other label; this is the listen you’ve been waiting for.  Stories told, no frills, telling of tales with a simple yet compelling musical background.

[Christopher Brant Anderson]

Lindsay Lou & The Flatbellys
“Release Your Shrouds”
www.lindsayloumusic.com

Lindsay Lou’s new production with The Flatbellys appears to have been born and bred in Michigan, but comes via PR with a local area code, so we’re just gonna have to own up to it, which after a listen, isn’t a bad thing at all.

The recording hits the ground running with “Hat’s Off”, a fun romp for sure.  Lindsay Lou is featured on guitar, claw-hammer banjo as well as vocals.  Lindsay’s other half, Joshua Rilko is the foundation and is heard on mandolin, lead and harmony vocals as well as writing.  Not quite sure if Joshua does all the writing on the disc, but if he does, his work is as brilliant as Lindsay’s vocal work.

The arrangements of the supporting players on each tune are perfectly constructed to all and each of her syllables to shine. The sophistication of the work on bass by Spencer Cain is brilliant, but he also takes up vocal work on the third track.  Mark Lavengood’s Dobro or resophonic guitar more than allows for Lou’s tasty vocal style to weave effortlessly throughout the tracks. Keith Billik rounds out the groups arrangements on banjo and vocals.  Andy Wilson is featured on trumpet.

Bluegrass is a bit of simplistic label for this work, it’s the frame work, for sure, but there are so many American influenced works contained in the tracks it almost seems limiting.  There are jazz influenced pieces as well as classical frameworks that tunes are hung on, which allows a versatility within, this is not one of the seamless bluegrass pieces, there’s much to study in the work.

There are shades of Billy Holiday as well as the Manhattan Transfer with their vocal arrangements, which would not happen if there were not top notch players setting rhythms that beat effortlessly.  Timing is the final member of this ensemble, which is the bottom line for the tracks.  It is essential to this work and allows the vocalist to effortlessly shine.

The third track is straight out of Dixieland and by the fourth track, the group flexes out of shades of blue grass with a lovely ballad that is defined by pure musicianship. “Pass Me The Whiskey” the fifth track jumps back into grass, but it’s not quite as blue as the previous.  The mandolin, Dobro, banjo and guitar scream their influence, but the vocal and arrangement also show another shade of blue.

“Wonderful You Are”, may be my favorite cut on the project as it takes aspects of the instrumentation it is known for, but make no mistake, this comes out of a jazz pocket.  The bass work alone is worth jumping up and down about, but again Lindsay’s vocal shines on this track.  Good stuff contained within, with a very sparse arrangement.  There is a virtuosity these players have honed that can not be denied and their arrangements and writing is cracking good.

All in all Lindsay Lou & The Flatbellys is a great recording, production and fun to listen to.  This group is out there in the heartland supporting this recording and I would bet big money there will be more projects to follow this one. The country is poised and excepting now of this musical tradition, which is excellently executed, but more importantly it has a soul with a sense of humor.

[Christopher Brant Anderson ]

Jim Carr
“The Space Below”
www.reverbnation.com/jimcarr

Jim Carr is from Auburn, Alabama and has written a serious as well as beautiful piece of work called, “The Space Below”.  Carr plays a custom acoustic Johnny Rushing guitar that I would have sworn was mic-ed, but after talking with the artist came to find out was recorded direct with a LR Baggs pick up. In addition he plays electric guitars as well as a fat ESP 5-string bass as well as doing percussion within the tracks.  Carr co produced the work with Todd Zimmerman at Studio 139, Kalamazoo, Michigan and literally tracked at home and sent to Zimmerman for mix down.  Carr is supported on drums and percussion by Mike Curtis.  Curtis is a huge asset to the work, always complimenting, never taking away from Carr’s phrasing or notes.

“Nick’s Web” bounces out with a nice polished acoustic feel that is a bit like the rain out my window today, it just flows.  There is a warmth to the guitar and gentleness to the tune that draws the ear in,  never overpowering, but playful in it’s richness.  The bass and percussion add to this cut with a surety that adds to, never takes away from Carr’s facility on his instrument.  This is just a playful nice tune.  “ Solace” opens quietly with precision of a master player and then expands as the bass enters to a warm feel.  What I like now by the second cut is that Carr is not afraid of silence and uses it as another instrument to augment his work.  This is a rare treat these days of heavily laden material.

There is some comparison to other groups or players in the field of instrumental music or better phrased guitar based music on Carr’s PR sheet, but I think limiting.  There are influences I hear, which are not listed as well as an originality that can not be denied or compared with others.  Carr is a student of the instrument and the field he toils in, that is very evident in the listen of his work.  Jim Carr also loves the sound of the instrument; that is what is reflected the most.

The third track, “Mother” unfolds gently, incased with acoustic and electric guitar.  The bass work on this cut is very complementary to the vibe as is percussion.  “Child” again is beautifully crafted, but again what shines or sets up this tune is the sounds Carr creates with the bass.  Deep and wide; it ensconces the other instrumentation like a mother would hold a child.

“Three Paths Converged” breaks away from the rest of the pack with a bigger footprint.  This is the track that illuminates just how good and careful Mike Curtis is with Carr’s work.  Simply put, the tune is diverse in its depth and production, it’s a nice break from the mode Carr lays on the tracks prior to this one.  This is followed by the tender, “ I Burn For You”, which is played to the hilt on guitar, but again the bass work on this track allows that tenderness to unfold on the listener.  The tune takes some amazing turns and twists that are unexpected and Carr’s facility at his instrument is incredible.

“Planxty Irwin” is a playful tune full of wonder and exhilarated playing as Carr weaves many textures in this composition that work on many levels.   “Last of Three” and the final tune, “ Forgotten Things” round out a well thought out production that illuminates the study, work, production, care and feeding  of a fine guitarist.  This is one of the best projects I have had the pleasure to review.

[Christopher Brant Anderson] 

Bluegrass
The Kickin Grass Band
Walk With Me”
www.superfans.com/kickingrass

The group is out of Raleigh, North Carolina, the music is straight a head bluegrass the bounds with endless energy, great arrangement and beautiful vocals.  The product was written by Lynda Dawson, who also is their main vocalist, as well as their fiddle player, Pattie Hopkins and the group’s  banjo player, Hank Smith.  This is bluegrass based for sure, but here is also a dash of folk or Americana that the group exploits with their vocal arrangements.

Most of the tunes are dealing with the human condition and of course love.  After reading their PR
it’s no wonder that the group uses the spirit of good times and horrendous losses in life to fill this unique mixture of tunes.  They have been traveling some hard roads collectively and individually over the past few years, but the muse of their craft was not lost on these souls, and it is captured wonderfully in the tracks.

The arrangements of vocal harmonies and instruments creates a delicate balance, which illuminates not only their collective souls, but musicianship.  These players were understood and in good hands with producer Jerry Brown at the Rubber Room, in Raleigh, though the players also are credited for co-producing.   The band is, Jamie Dawson on mandolin, Pattie Hopkins on fiddle, Hank Smith on banjo and Patrick Walsh keeps them all honest on bass.  Jerry Brown assists on guitar, Andrew Marlin plays wonderful Hammond B3 on “ The Filling Station” and Ben Walters plays adds guitar on “ Everything And Everyone”.

The production and mix are a huge component of this work. Much care and feeding was given to all the tracks.  The vocals are tight and the musicianship is beyond apparent.  The deeper I got into the project/listening, it’s easy to hear the wide influence these musicians bring individually and personally to their collective table.  This listen is a very pleasant and authentic snap shot of the past and the present within and without .  The writers are spot on with their lyrical ability to convey a huge array of emotions found in the best and worst of times.

This is an excellent bluegrass project that captures more than that simplistic label can convey.

[Christopher Brant Anderson]

Blues/Jazz

Celia Ramsey: I’ll Just Lie About It

No producer listed

Released: 2012

http://www.celiaramsey.com/

This is Celia’s second album and shows a lot of vocal talent. Those who like the old torch music will find this album very satisfying. The atmosphere takes me back to the black and white movie era. She grew up listening to Scottish ballads and music from the thirties and forties and sings the songs as if she grew up in that time. Celia is currently residing in the San Francisco Bay area and is becoming well known in San Francisco and Berkley.



The album includes a few old ballads from way back when and also nine new compositions of her own that could very well have come from the same era as the others. Her voice and style provide a dreamy style and atmosphere to the songs.

The first song which is the title song, I’ll Just Lie About It, starts the album off as a bluesy ballad with a nice clarinet solo and old fashioned torch lyrics. It could have come from an old black and white movie.

Do your kisses stir my soul

Do I think you make me whole

Should I sigh and lose control

Please don’t lie about it

She describes her composition Lament as true confessions of the mid-life kind. The song has a strong bluesy saxophone solo in it and some good lyrics in a humorous vein.

What would I do without you my libido

Without you men are just friends

Not all of the songs are slow torch songs. There is a good mix of slow and swing music like Bad Girl Song with her voice and a clarinet woven around each other in a good swing style. The album is very well produced and put together and displays a great singer with a nice old dreamy style and some great arrangements with some very talented musicians. She is a seasoned singer and this album is well worth listening to.

[Greg Bennett]

Music Reviews30's, 40's, Berkley, black and white movie., Blues/Jazz, Celia Ramsey, clarinet, I'll Just Lie About It, Music Reviews, old torch music, San Francisco, Scottish ballads

Country/Acoustic
Randy Sharp, Jack Wesley Routh, Sharon Bays, Maia Sharp: Dreams Of The San Joaquin
Produced by: Randy, Maia, Jack

Released: 2012


www.blixstreet.com

This group of musicians and singers does not have a group name but is instead a collection of performers who have gotten together and recorded an album featuring all of them with all original songs. The performers are Randy Sharp on guitar, bass, mandolin, keyboards, programmed drums, and other instruments, Jack Wesley Routh on guitar, Sharon Bays on vocals, and Maia Sharp on vocals, along with a few other musicians adding instruments and background vocals. All of them sing and take turns on lead vocals.

Their voices harmonize beautifully and all are very good singers for their lead vocals. The style is an acoustic style with a country flavor to the music and is very well produced and arranged and performed. The songs have a romantic old fashioned feel to them. Some of them could have been performed by country western singers back in the fifties and sixties. There are also many songs and arrangements that fit in with today’s music. They all go well together make for a good cohesive collection.

In fact, the first song, Burn Day, sets the tone with a vocal performance that makes the song very pleasant to listen to. The rest of the album is the same way.

I was wide awake and waiting long before first light of morning

As the radio announcer promised – an almost perfect day

The skies are clear, the winds are down, no local weather warnings

As a song began he said the words I was hoping he would say

It’s a burn day. It’s a burn day

The subject throughout is about lost romances and lost dreams, but mostly lost romances, which is a common theme in most country music and probably in most music in general.

This is evident for example in Shores Of White Sand:

Here I go again

Back to that feelin’

Of no worthy cause

To carry me on

My heart’s been skippin’

Like a flat rock on water

And with each ripple

The further I’m gone

Some say I’m sinkin’

To the muddy bottom

Somehow I’m sailin’

To the shores of white sand

The Jack Wesley Routh/Randy Sharp composition Ridin’ On The Night Train is a song about a flight from justice that could be from long ago:

Well I lay my head on a southbound rail

Need a train comin’ down the track

I’m a wanted man since I jumped my bail

Ain’t no turnin’ back

Now is that the howl of the lawman’s hound

Or the moan of the midnight train

Will I fly away, or will my wings be bound

By a ball and chain

A tribute to their songwriting skills is the fact that three of them, Randy Sharp, his daughter Maia Sharp, and Jack Wesley Routh, have all written or co-written songs that have been recorded by such artists as Emmylou Harris, Reba McEntire, Marty Robbins, Bonnie Raitt, Cher, Trisha Yearwood, and Art Garfunkel and others. In fact, seven of Randy’s songs have been number one singles on the country charts. They have all been in the business for some years and it shows in the music they make together.

[Greg Bennett]

SingerSongwriter/Instrumental“Night Radio”  (EP)
Simone Dinnerstein & Tif Merritt
www.tiftmerritt.com
www.simonedinnerstein.com

Tift Merritt was born in Houston, Texas, but was transplanted in North Carolina where she was raised and completed her formal education in creative writing. From background checks, her father appears to be the major influence on her music, but that would be a bit simplistic.  With nine albums to her credit the influences covered are diverse and wide.  Merritt seems to have absorbed the best of folk, rock and country and somehow found her own voice within all that data.  She is a player working on piano, keys, guitar, harmonica and her distinctive vocal style.

Simone Dinnerstein is New York based, Julliard trained pianist with a deep classical background, making her mark in that world with her release of Bach’s Goldberg Variations.  She has three other classical releases to her credit and from a bit of background research and from listening it is easy to see why she made such a huge impression in that community of players and listeners.

From research material both artists are very much into collaboration, which in my world means listening to and honoring the tune at hand.  They met in 2008 and have been working on honing a new sound for both of the palettes.  Merritt has the Americana approach with her influences while Dinnerstein brings a sophistication and a beautifully played instrument to their collective table.

Six tracks fill this EP with a wide diversification of material. Two of the tunes are Merrits, “Still Not Home” & “Colors”.  There is a traditional cover of “Wayfaring Stranger” as well as “Night” a Patty Griffin tune.  Johnny Nash’s, “I Can See Clearly Now” is covered as well as Lady Day’s (Billy Holiday), “Don’t Explain”, which was arranged by the wonderful Nina Simone.

Merritt’s first track commences with a lone guitar riff as well as a stark, clear, distinct vocal clearly showcasing her roots in Americana.  With the second track the duo sets in for the upcoming tracks.  What I like in Tift’s vocals is a vulnerability that she is willing to share with her listening audience.  Dinnerstein’s piano gently embellishes her approach and lyric.  Simone listens and adds to, never distracting from the tenderness or the tale, which is a much underrated attribute in music these days.  The inter play between the vocal, guitar and piano is a delicate balance that is glaring in the tender ballad of “Colors”.  “Wayfaring Stranger” is again handled with care as it gently appears with Merritt’s vocal and guitar.  This track appears to be a solo cut, if Dinnerstein is working on the track her pads are almost invisible.  Griffin’s tune is the first to highlight the piano and vocal, which works beautifully.  Patty Griffin must be proud of the representation and care given to her work.

Nash’s tune is lightly approached with guitar and vocal.  As Dinnerstein enters with her piano the tune transforms from a pop anthem to a wonderfully balanced piece somewhere between folk and a tune played in a dimly lit club somewhere between the second or last tune of a set. I like the smoky feel it gains with the piano.

If these two artists continue to hone and listen to their hearts and risk with material like this cut, there could be a long career ahead for both artists with this vehicle.

[Christopher Brant Anderson]

Country/Americana/Singer-Songwriter
Walt Wilkins
“Plenty”Ride Records
www.waltwilkins.com

Wilkins is from Texas, after a ten year stretch in Nashville he ventured back home to the rolling hills of West Texas, found Austin, wrote and co-produced this release.
What strikes me with the first few bars is the easy laid back feeling of someone in control of their material, vocally as well as being at home on guitar.  The first tune, “Just Be” is as smooth as a baby behind, very relaxed and assured of the message and mood the tale it weaves.  Walt Wilkins lays back on the vocal work and allows the production its due.  There is a very warm quality to his vocals with a dash of earthiness or throatiness that works for the artist.

“Ain’t It Just Like Love” the third track continues Wilkins exploration of the heart of a young man.  Wilkins is a fine writer and appears to have taken something with him besides Nashville dust.  His tunes are hooky and filled with lush backing vocals that work well with his production values.

This product came out of Jumping Dog Studios in Austin, co-produced with Ron Flint.  There are some great players backing Wilkins.  The bass work is split up between Flint, Bill Small and Dick Gamble.  Pianos & organ are handled by Flint and Patterson Barrett.  Electric guitars are covered by Corby Schaub, Brett Danaher, Marcus Eldridge, Scrappy Jud Newcomb and Brian Langlnais.  Lap steel guitar is masterfully played by Corby Schaub and pedal steel work is handled by Kim Deschamps, Mike Daly and Lloyd Maines.  Strings were furnished by Warren Hood.

Wilkins finds his groove early on in the project and doesn’t vary much on the theme of a young man dealing with the ups and down of love, life and self-realization.  There’s something of an old soul found in his word riffs and approach to a very old art form.   Wilkins also, it would seem, has been influenced by the rock world or his co-producer was as there are hints of the best of some of rock standards from the early 1970’s through its demise in the later part of that decade.  But, make no mistake Wilkins is a student of the national treasure that is country music.

All in all a great listen and a great production from an artist that is in the game for the long run.  There are twelve self-penned tunes with that distinctive Texas vibe.

[Christopher Brant Anderson]

Singer/Songwriter “In This Present Form”
Jon McAuliffe


McAuliffe is a veteran writer and player from the East coast.  Jon has worked the road and publishing companies since the mid 1960’s and like any working musician has been involved in many bands, either fronting or as a supporting player. The consistent fact is that McAuliffe is a songwriter.

Details or PR are in short supply for the product, but it does not diminish the music held within.  “Gotta Get Back to Memphis”, the second track following the first track quickly illuminates the years of influence McAuliffe has drank in during his years working in the industry.  The lyric and delivery vocally are significant signs of a man that has honed his skills.  The guitar work he displays are precise and another obvious account of time in on the craft.

McAuliffe has a rock vibe, but influences in country, folk and jazz are apparent in the work as well.  At his best, Jon McAuliffe is a great story teller.  His writing is crafted around amazing arrangements of some great players.  I’m not sure who he’s using within the ensemble, but another apparent factor is that he has drawn deep from his well of players over the years and brought the best to this project.  The work was carefully produced by Seth Connelly, Connelly took care in his production and mix values to insure the singer’s stories and vocals were always shinning through.

“Tear Down Every Wall”, track five has a great gospel feel to it and again highlights McAuliffe’s talents as a writer and vocalist.  There is an economy in the writers use of the language coupled with the production that is lost on many of the younger artists I hear these days, but time has been McAuliffe’s friend. Whatever his influences are or have been, he takes from the best of them and rolls his work into an authentic style that is pretty amazing for an indie artist.  His use of country, folk and rock to embellish his lyrical approach to his subject matter is amazing. His other great assets are his steady vocals and willingness to risk.  He can range from straight ahead rock tunes to very tender ballads.

“In This Present Form” is in the present, but illuminates a professional who has forged his own destiny in the industry and  takes no back seat or thought to what is currently an industry  that looks toward the very young to exploit for a decade and move on to the next cash cow.  Jon McAuliffe has been doing this thing awhile and will continue to walk his own road musically, which is a very good thing.

The product is a great listen and some of the best singer/songwriter chops I have had the pleasure to review.

[Christopher Brant Anderson]

Indie/Americana
Driftwood “A Rock & Roll Heart”
www.driftwoodtheband.com 

Released on May, 2012 this release is long overdue for a review, so let’s buckle up & get down to it.

Driftwood glides out with “I’ve Got a Secret”, with lone guitar patting out rhythm, then the band emerges from speakers giving way to stark vocal riffing out lyrical passages that are beautifully augmented by bass, violin and the banjo that are accompanied by harmonies and a well balanced mix of  instrumentation.  The first thought after the first listen twice to this first cut is; Who are these guys?

“A Rock & Roll Heart”, the second tune wonderfully unfolds with a nice loping intro that leads to a tender vocal embellished with sections of banjo, strings and backing vocals designed to draw the ear in and set the toe tapping & head thinking.  Due to the cover art it would be easy to contrast between this and the monster that is roaming the US and world, Mumford & Son’s, but Driftwood music is Americana, not a representative reproduction of the art form.  In short, Driftwood has its own identity and plays the game much better in this writer’s esteem.

Driftwood is out of New York and it’s influenced by a time in Americana music that saw The Band & Dylan take the helm and steer a course away from “country rock” to American music in a electric based sound, yet retaining the identity.  There are some great chops going on with this music also.

Driftwood is Claire Byrne on violin & vocals, Jon Doll on doghouse, or upright bass, with Dan Forsyth on guitar & vocals.  Joe Kollar took on a huge chunk of this project as he is featured on banjo, drums, organ, guitar & vocals.  The work was recorded at Three Egg Studios in Brooklyn, NY and produced by the artists and Bryan Kane.

Claire Byrne’s fills on the violin alone are worth a listen, she has it nailed.  The rest of the players never get in the way of the vocalist and add drama to the lyric, which is the gig in a well produced product.

“The Working Mom’s Anthem” is very original in lyrical form and the vocal is so raw in the mix that the lyric leaps out.  There’s a great edge to this tune that any mom would recognize and empathize with.       I’m an old dude so the tune sort of takes me back to a Stone’s tune, but the production is way beyond that trifle.  This is one of the best tunes for me on the recording.

“Love Is” & “Confidence Is” remain in the vein they have honed, but both weave great tales, which a good lyric should attempt to do.  There is a theatrical vibe in their production that probably serves this group well in live performance.  Dynamics abound and again are emphasized in the production.

“Have Van Will Travel” the tenth and final cut on the project is another gem.  What Driftwood does is play solidly with tight vocals and good to great story telling.

This is very good listening material, end of story.  A great listen from an American band.





[Christopher Brant Anderson]