Friday, May 23, 2008

Will Hoge: Draw The Curtains

Nashville singer-songwriter Will Hoge lists Townes Van Zandt, Steve Earle, Van Morrison, and Neil Young as his musical influences, but names Otis Redding as his favorite singer of all time. This equal affection for folk and soul music is very apparent on Hoge's brilliant 2007 release Draw The Curtains. I hesitate to give any singer such a high compliment, but Hoge's voice and style often reminds me of Richie Havens.



A piano quietly follows Hoge's richly textured voice through the opening verse of "When I Can Afford To Lose" before the song segues into a lusher arrangement adorned with soft strings and the occasional blast of harmonica. "These Were The Days" takes on a faster roots rock tempo, and the quasi ballad "Dirty Little War" is the perfect blend of Americana instrumentation and soul wail. Hoge plays electric guitar as if it were lap steel.

"Silver Or Gold" digs into a deeper blues-rock burrow embellished with piano, gospel organ, and Hoge's expressive howls. The catchy "Sex, Lies And Money" perks things up briefly before "I'm Sorry" slides softly into melancholia on a sweet breeze of fiddle. The vocal resemblance to Richie Havens is especially apparent on the soulful title track.

Will Hoge - Silver Or Gold (mp3)

Will Hoge Official Site
Will Hoge MySpace

Buy @ Amazon

Amos Lee: Last Days At The Lodge

Amos Lee's third album Last Days At The Lodge will be released on June 24th by Blue Note Records. Produced by Don Was, the album often has a more serious tone than Lee's previous effort Supply And Demand. That signature organic sound is still very present, but is now refreshingly simmered with a heavier dose of blues and Southern rock.


now they got me here at the county with his blood still on my fists. well the boys in blue, they don't play no games. all the sheriff said to me was this...you better tell me the truth, son

The foreboding intensity of "Listen" opens the album, showing a broodier side to Lee. The mood suddenly shifts into a seductive r&b groove with "Won't Let Me Go" and "Baby I Want You", and "It Started To Rain" is a soulful post-breakup rumination.

The true stunners, though, are the jailhouse blues and Southern swagger of "Truth" and especially "Street Corner Preacher". Lee has most certainly progressed as a singer, songwriter, and musician.

street corner preacher with the angry face.
he got two years off for good behavior,
back in the neighborhood working for the savior.

Amos Lee - Ease Back (mp3)

Amos Lee - Ease Back (mp3)

Amos Lee Official Site
Amos Lee MySpace

Buy @ Amazon

Thursday, May 22, 2008

Tyler Ramsey: A Long Dream About Swimming Across The Sea

Tyler Ramsey is a singer-songwriter from Asheville, North Carolina whose family is from Morgantown, West Virginia. He was one of the performers at the Mountain Stage concert I attended last Sunday and is currently on tour with Band Of Horses. Ramsey's voice is the big draw on this album, often resting in a smoothly lackadaisical tone akin to Mark Kozelek of Red House Painters with the occasional hint of a Neil Young warble.



I recall first reading about Ramsey's album on Songs: Illinois last year, but I can't share Craig's unbridled enthusiasm for the entire disc. While there are some very pretty songs on the album, I feel that the quiet beauty of Tyler's vocals and guitar is at times marred by programmed beats or simply weighed down by a deficiency of spirit. But the good songs are quite good.

"A Long Dream" opens the album with repetitious beats and verses. The song did not translate well to stage, but I love the album version. Whatever the delicate melody lacks in variety, it makes up for in atmosphere.

Other highlights include the dusty string accented Americana of "Ships", the perky guitar instrumental "Chinese New Year", and the haunting moans of "Iris". And the languid introspection is done best in the piano melancholia of "No One Goes Out", the cover of Jackson Browne's "These Days", and the finale "Please Stop Time".

The stand out track is "Worried", with Ramsey's most emotive vocal of the album drifting over a sparse melody laced with heartbeat percussion and pedal steel.

Tyler Ramsey - Worried (mp3)

Tyler Ramsey Official Site

Buy @ Amazon

Tyler Ramsey

Wednesday, May 21, 2008

Val Emmich: Little Daggers

Intelligent pop is so rare and refreshing. Val Emmich is a singer-songwriter, actor - most notably in the "Cougars" episode of 30 Rock - and first time novelist whose sixth album Little Daggers will be released on September 30th. The album contains an abundance of infectious pop melodies without sacrificing lyrical or vocal substance.



The opening tracks "The Lucky Ones", "Get On With It", and "Got A Habit Now" - which reminds me a little of the shinier side of The Cure - are probably the catchiest numbers on the album, but even the more melancholy songs have peppy arrangements. "Hurt More Later" is good example of Emmich's ability to mask cynical lyrics beneath a pretty pop melody. Little Daggers is a great soundtrack for summer.

Val Emmich - Get On With It (mp3)

Val Emmich Official Site
Val Emmich MySpace

Buy @ Amazon

Val Emmich

Tuesday, May 20, 2008

Mountain Stage: Paddy Casey, Tyler Ramsey, Brooke Miller, Bell XI, Punch Brothers

Sunday's Mountain Stage show featuring Paddy Casey, Bell XI, Brooke Miller, Tyler Ramsey, and Punch Brothers was one of the best concerts I've ever attended. Not only were the performances - particularly that of the Irish boys - spectacular, but it was probably the friendliest bunch of singers to ever grace the stage. Mt. Stage tends to attract nice people (both performers and audience), but this week's lineup seemed especially cordial and down to earth.

The sole complaint I had about the night was the change of venue from Mt. Stage's Cultural Center home ground to the little theater of the Charleston Civic Center due to scheduling conflicts. The venue itself was fine, but the Civic Center serves alcohol and so I spent the night beside a couple drinking and reeking of beer. Standard fare for an arena concert, but a little disconcerting for Mt. Stage. Oh well, a small price to pay to be seated on the front row for such a grand show.

Irish troubadour Paddy Casey was the first to perform, accompanied only by his guitar, a girl named Fiona, and her piano. Though I'd heard Casey isn't one to banter much with the audience, I thought he seemed very gracious and charming throughout his set. His jokes were few but funny and seemed genuine, which I found far more enjoyable than the fake babble some artists spew between songs. And what a voice. He played two of my favorite tracks from Amen (So Be It) - the lovely "Sweet Suburban Sky" and "Fear" - as well as a couple of songs from his new album Addicted To Company. His voice was plaintive and beautiful, his songs were entrancing, and I was greatly disappointed when he left the stage.

Tyler Ramsey had the misfortune of stepping into Paddy Casey's shadow. Casey stood and listened from the wings as Ramsey opened with the title track from A Long Dream About Swimming Across The Sea. I liked the song well enough on the album (review forthcoming), but it seemed somewhat redundant and lifeless compared to the passion in Paddy's music. But I was better able to appreciate Tyler's smooth voice on the pretty second song "Worried", and I think I would have loved his set any other night.

Brooke Miller was up next, joined by the Mountain Stage band. As if jamming with the house band weren't enough to win over the hometown crowd, Miller tossed plenty of bubbly chatter in between songs. The music on the upbeat tunes "World On A Whim" and "Country From The Dome Car" sounded great, but it was difficult to hear Brooke's vocals over the roar of the band. The strength of her voice was more apparent as the music dropped to a hush on the powerful ballad "Two Soldiers". And even the drunk punk next to me started cuddling with his girl when Brooke sang the romantic title track from her album You Can See Everything.

Then Bell XI stole the show. Their live renditions of "Rocky Took A Lover", "Eve, The Apple of My Eye", and "My First Born For A Song" from their recently re-released album Flock were even more magnificent than the studio recordings. Lead singer Paul Noonan's voice was especially melodic on the ethereal ballad "Eve, The Apple of My Eye" and his performance of "My First Born For A Song" was absolutely hypnotic. As good as Flock is, the production on the album hinders Noonan's wail on that particular song.

Just when I thought Bell XI had reached the limit on awesome, Noonan took out a cowbell and they tore the house down with their rock disco anthem "Flame". They dedicated the tune to West Virginia native Chuck Yeager, the pilot of the first airplane - the Bell XI from which the band took their name - to fly faster than the speed of sound. It's hard to believe Paul Noonan was the drummer of Juniper (his old band with Damien Rice), he seems such a natural lead. I love when singers throw their entire bodies into a song like he does, reaching out to the audience and throwing himself around the stage as he sang. When he first walked on stage, I thought he was cute but not really my type. But by the time he finished singing, I think every female in the audience - myself included - would gladly "toast marshmallows" with him.

The crowd cheered and clapped until my hands hurt, so the producers of the show asked the band to play an extra song. They ended with an older ballad, "I'll See Your Heart and Raise You Mine", from Music in Mouth. Noonan encouraged everyone in attendance to find, download, and share the song, so the mp3 is below. With the possible exception of Laura Love, witnessing Bell XI's set at Mountain Stage was the best concert experience of my life so far. If you have the chance to see them in concert, do whatever you have to and be there.

Punch Brothers featuring Chris Thile were the final act. While I loved their spirited performance of "Punch Bowl" from their album Punch and their instrumentation is undeniably good, the two lengthy "Blind Leaving The Blind" movements they played were far too long to endure sitting in the beer fumed theater. Though the boredom I felt during the epic songs melted away under the warmth of Thile's self-deprecating humor. That boy sure is a charmer.

Host Larry Groce announced that the group finale would be an Irish song, so I was surprised when they burst into "Gloria". Though I was familiar with the Van Morrison recording, I didn't realize Morrison also wrote the song. I love Patti Smith's cover best, but the Mt. Stage group more than did it justice. Definitely one of their best finales, particularly the verses that Casey and Noonan sang. The whole crowd sang along.

We had a brief encounter with Paddy Casey outside after the show. My husband - himself an Irishman - mentioned that he had attended one of Paddy's performances in a small club years ago when we still lived in Ireland. Casey was friendly, but was obviously out there for a smoke rather than to greet fans. So we left him to it. Sadly, I was unable to add Paul Noonan to my Irish boy collection. Another time perhaps.

Paddy Casey recently performed "Fear" and two songs from his new album on LiveDaily. You can watch the video here and download the mp3 below:

Paddy Casey - LiveDaily Session (mp3)
Bell X1 - I'll See Your Heart and Raise You Mine (mp3)

Mountain Stage Official Site

Monday, May 19, 2008

Contest Reminders: Allison Crowe & Sarah McLachlan

Don't forget to enter the CD contests for Allison Crowe's Little Light and Sarah McLachlan's Rarities, B-Sides, and Other Stuff 2. The deadline for both is Friday, May 30th.

Cassandra Wilson: Loverly

Cassandra Wilson's Loverly will be released by Blue Note Records on June 10th. This collection of revamped jazz standards might not be as interesting if sung by a lesser voice, but Cassandra's vocals have a unique depth and texture that can't accurately be likened to that of anyone else. The closest comparison would be Roberta Flack, but even that esteemed analogy is lacking. The selection of covers on Loverly fit Cassandra's voice like a second skin. Never one to be boring or predictable, Cassandra breathes new life into the arrangements with help from Nigerian percussionist, Lekan Babalola.



Cassandra Wilson was probably the artist that first drew me to the jazz genre. Though I'd heard Billie, Ella, and Nina before, I was still much more into rock, country, and singer-songwriters than jazz or blues. Then I randomly purchased Cassandra's New Moon Daughter in 1996 and my music taste hasn't been the same since. You have to respect a woman that can transform songs by U2, Neil Young, Hank Williams, and even The Monkees into soulful classics in one album. Wilson was raised in Jackson, Mississippi and has been playing guitar and piano since she was nine years old.

Cassandra's hearty voice and some splashes of brass temper the jaunty orchestration of Loverly's opener "Lover Come Back To Me", then "Black Orpheus" slows into a sensual beat beneath Wilson's elegant vocals. My Fair Lady's "Wouldn't It Be Loverly" has never been a favorite of mine, but this jazz metamorphosis is much more palatable than the original.

The sparse instrumentation of "Spring Can Really Hang You Up The Most" allows Cassandra's glorious voice to rightfully take the spotlight. "St. James Infirmary" takes a turn into funky blues, and the disc also includes covers of The Music Man's "'Till There Was You" (made famous by The Beatles), "The Very Thought Of You", and "A Sleepin' Bee".

However, it is Wilson and Babalola's infusion of West African drumming patterns into classic jazz and blues arrangements that produce the most exciting moments on the album. The superlative examples being the coalescence of exotic rhythm and percussion with tranquil piano in the melody of "Gone With The Wind" along with the mesmeric reworkings of "Caravan" and Robert Johnson's "Dust My Broom". The sole original track "Arere" - inspired by the Yoruban deity of iron and willpower - is another psychotropic blend of African rhythm and jazz piano.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Cassandra Wilson Official Site

Buy @ Amazon

Cassandra Wilson

Friday, May 16, 2008

CD Contest: Sarah Mclachlan

Murúch and Filter Magazine are giving away one copy of Sarah McLachlan's Rarities, B-Sides, and Other Stuff 2 CD. You can read my review of the album here, and the contest details are below.



The Prize:

1 copy of Sarah McLachlan's Rarities, B-Sides, and Other Stuff 2 CD

The Rules:

Comment to this entry with your email address. You may include the name of your favorite Sarah McLachlan song if you wish, but that's optional. You can also email me to enter, but comments are preferred.

Note: This contest is open to everyone and anyone, but all contestants must enter with a valid email address in order to qualify. The winner of the contest will also be required to provide me with their full name, phone number, and postal address. Your contact information will only be used for shipping purposes.

The Deadline:

The contest will end on Friday, May 30th. The winner will be chosen at random and contacted via email.

Go now go! And tell others.

Joan As Police Woman: To Survive

Joan As Police Woman's sophomore album To Survive will be released on June 10th. The sensual beats and unusual phrasing of her debut Real Life now yield to a languidly melodic melancholia inspired by the battle with cancer and subsequent death of Joan's mother. Joan Wasser was formerly a member of Antony & The Johnsons and she now counts among her fans Lou Reed, Juliette Lewis, and Rufus Wainwright - the latter contributes vocals to the new album.



"Honor Wishes" slides in with moody piano and foreboding male vocals behind Joan's sultry voice. The melody of "Holiday" is a bit brighter, exploring more of Joan's vocal range. The softly rhythmic first single "To Be Loved" has a light retro soul gloss.

"To Be Lonely" and "To Survive" are quietly beautiful piano ballads accented with gentle strings that seem to most plaintively express Joan's sorrow over the loss of her mother. Joan's lustrous voice rests in the deep, slackened beat of "Start Of My Heart" as if it were a diamond ring nestled in a velvet box.

Some arrangements fail to capture attention as grandly as those on Real Life, but Joan's voice is always in top form. The finale "To America" features an uncharacteristically restrained vocal performance by Rufus Wainwright.

Joan As Police Woman - To Be Loved (mp3)

Joan As Police Woman Official Site
Joan As Police Woman MySpace

Buy @ Amazon

Thursday, May 15, 2008

Ruby Throat: The Ventriloquist

Ruby Throat is a British duo led by former Daisy Chainsaw and Queen Adreena singer Katie Jane Garside. The eerily quiet music on their debut album The Ventriloquist is similar to the creepy female spectre sound of her previous bands, but now blended with elements of folk and South Western twang. The version of the album that I received was a limited edition of which a few hundred copies are still available, but the disc will be repackaged for a general release this summer. The band is currently working on their second album.



"Swan Song (Swan & the Minotaur)" slides in with Katie Jane's husky whisper over a soft lullaby melody, then "House of Thieves" turns down a slightly darker path. The pretty "Naked Ruby" slips into an even gentler hush, which only serves to heighten the haunting quality of Garside's voice. "Salt's Angel" and "Dear Daniel..." spiral into mellow atmospheric rock reminiscent of Mazzy Star or even Flaming Lips, but with a nice splash of lap steel.

"The Ventriloquist" is the stand out, with deceptively quiet Lynchian twang swaying around Katie Jane's siren calls. "Ghost Boy" could be a tribute to Hannah Fury's macabre gossamer. The finale breaks the quiet with a more prominent guitar and a fiercer tone to the vocals.

Ruby Throat - The Ventriloquist (mp3)

Ruby Throat Official Site
Ruby Throat MySpace

You can only buy the CD through Paypal at the above links for now.

Wednesday, May 14, 2008

Sarah McLachlan: Rarities, B-Sides, and Other Stuff 2

I've been a fan of Canadian singer-songwriter Sarah McLachlan since long before her Lilith Fair days, stumbling upon her second album Solace in the early 1990s and shortly after devouring 1993's Fumbling Towards Ecstasy. Though her recent releases haven't captivated me so intensely, my fondness for her elegant voice hasn't diminished over the years. Sarah released the first volume of Rarities, B-Sides & Other Stuff in 1996, and now gives us this second collection of soundtrack work, previously unreleased as well as live tracks, and collaborations with guests Cyndi Lauper, Bryan Adams, DMC, Emmylou Harris, The Perishers, Ladysmith Black Mambazo, DJ Tiësto, and Delerium.



The album opens with "Ordinary Miracle", culled from the Charlotte's Web soundtrack. Though I prefer Fisher's cover, McLachlan's version is also lovely. Cyndi Lauper then joins McLachlan on the pretty acoustic duet of "Time After Time" that they recorded for Lauper's The Body Acoustic.

Though I personally think that Holly Cole recorded the definitive cover of Joni Mitchell's "River" on her 1997 album Dear Dark Heart, McLachlan successfully captures the soft melancholy of the original. Allison Crowe's interpretation is good, too.

Bryan Adams guests on the Gretchen Peters tune "Don't Let Go", Emmylou Harris sings on the Lilith Fair edition of "Angel", and The Perishers appear on the live recording "Pills". The disc also includes McLachlan's plucky rendition of The Beatles' "Blackbird" from the I Am Sam soundtrack, the sweet "When She Loved Me" from Toy Story 2, and "The Rainbow Connection" from For The Kids.

I favor the original version of Delerium's "Silence" from the Brokedown Palace soundtrack over this "In Search Of Sunrise" remix by DJ Tiësto. But I rarely like remixes. Also present are Sarah's covers of the traditional "Prayer of St. Francis" and "Unchained Melody".

Far more interesting than any of the above are Sarah's a cappella cover of Paul Simon's "Homeless" with Ladysmith Black Mambazo and the marvelously bizarre transformation of Harry Chapin's "Cat's In The Cradle" into the rap-rock song "Just Like Me" with rapper DMC.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Sarah McLachlan Official Site

Buy @ Amazon


Sarah McLachlan

Tuesday, May 13, 2008

Angelique Kidjo: Djin Djin

Beninese singer-songwriter Angélique Kidjo's cover of "Mysterious Ways" was the stand out track on the recent tribute collection In The Name Of Love: Africa Celebrates U2. The music on her 2007 release Djin Djin has a similar rhythmic African pop style. The title of the album refers to a bell that sounds at daybreak in parts of Africa. Joss Stone, Carlos Santana, Branford Marsalis, Josh Groban, Alicia Keys, Peter Gabriel, Amadou and Mariam, and Ziggy Marley join Kidjo on the disc.



The opener "Ae Ae" is fiercely jubilant, as Kidjo's unparalleled wails and the joyous chants of her South African backing choir bounce along with the buoyant arrangement. "Djin Djin" is a slower, mellow groove that blends a touch of jazz - courtesy of Branford Marsalis' saxophone and Alicia Keys' soulful vocal accompaniment - into Kidjo's signature African rhythms.

British singer Joss Stone duets on a cover The Rolling Stones' "Gimme Shelter", but her voice seems glaringly out of place amid the heady mix of exotic percussion and horns accented by Angélique's keens. Peter Gabriel does a much better job of holding his own on "Salala", as his raspy vocals harmonize well with Kidjo's on the track that he co-wrote with her.

The peals of Carlos Santana's guitar caress Kidjo's voice throughout "Pearls", which also features operatic crooner Josh Groban. Groban's otherwise lovely voice initially seems as ill-fitting as Stone's, but finally falls into place as his howls rise to meet Angélique's toward the end.

Ziggy Marley adds some Reggae flare to "Sedjedo", but again it is the Beninese diva and her backing chorus that steal the scene before fully taking the spotlight on "Papa" and the strikingly beautiful "Arouna". Kidjo's haunting cries rip into "Emma" before the song softens into a balmier melody. The album closes with "Lonlon", Angélique's mesmeric African metamorphosis of Ravel's "Bolero".

Angélique Kidjo (feat. Peter Gabriel) - Salala (mp3)

Angélique Kidjo Official Site
Angélique Kidjo MySpace

Buy @ Amazon

Angélique Kidjo

Monday, May 12, 2008

CD Contest: Allison Crowe's Little Light

If you've read this blog for any length of time, you've probably notice my unabashed love for Allison Crowe's music. She is my favorite contemporary female singer. I'm happy to say I will be giving away her new Little Light CD to one very lucky reader. You can read my review of the album and download mp3s from it here, and the contest details are below.



The Prize:

1 copy of Allison Crowe's Little Light CD

The Rules:

Comment to this entry with your email address and the name of your favorite female singer right now (as opposed to "of all time"). You may also email me to enter, but comments are preferred.

Note: This contest is open to everyone and anyone, but all contestants must enter with a valid email address in order to qualify. The winner of the contest will also be required to provide me with their full name and postal address. Your contact information will only be used for shipping purposes, but it is required in order to qualify.

The Deadline:

The contest will end on Friday, May 30th. The winner will be chosen at random and contacted via email.

Go now go! And tell others.

Friday, May 09, 2008

CD Review: Creed Bratton

It was admittedly difficult for me to listen to Creed Bratton's new self-titled album impartially since I love his character on The Office so much and he was very kind during our phone conversation, but I think most of the songs on the CD sound like something you'd hear on NPR's Mountain Stage or on a Tom Petty release. It's not for everyone, but definitely worth checking out if you like folk, blues-rock, and Americana.



Many of the songs on the album - including the opening tracks "Going Under" and "All The Faces" - have a mellow Americana sound. Creed plays acoustic guitar while producer and songwriting collaborator Jon Tiven provides electric guitars, organ, electric and acoustic pianos, sitar, harmonica, tenor sax, and percussion.

"Cry Cry Cry" is the stand out, thanks to a soul-funk arrangement and the backing wails of Bekka Bramlett (daughter of Bonnie). It was a pleasant surprise to see Jonell Mosser's name also listed in the liner notes. My generation probably knows her best for her soundtrack work in the 1990s (such as Boys on the Side & Hope Floats), but Mosser is a respected songwriter and session singer.

There's a nice cover of P.F. Sloan's "This Precious Time" - which The Grass Roots also recorded - followed by the twangy original "Quagmire". I think the latter may be a parody of country ballads, but lyrics like "stuck in the mud of your love" and "like a Botox patient whose lips start to swell" are sung with such sincerity that it's difficult to tell if they are meant to be satirical.

"Did You Call" and "We Were All Ready" take a turn into Southern blues-rock, which is much more complimentary to Creed's voice than the softer acoustic tracks. His isn't the kind of voice that belts out a tune, but it has a nice tone and is well suited to this style of music. The album concludes with a cover of Bobby Darin's "Dream Lover".

Creed Bratton - Cry Cry Cry (mp3 expired)

My interview with Creed

Creed Bratton Official Site

Buy @ CDBaby

Buy mp3s @ Amazon

Creed Bratton

Interview: Creed Bratton of The Office

On the American version of The Office, the character of Creed has gradually emerged as a hilariously amoral eccentric through cryptic revelations scattered throughout the series. An ambiguously oriented but certainly promiscuous and occasionally homeless kleptomaniac, the fictional Creed has been a member (and leader) of several cults and can catch a fish with his bare hands. In real life, Creed Bratton calls himself a "slasher" - an actor/musician whose new self-titled album features a mix of folk, blues-rock, and Americana. Bratton enjoyed a successful music career in the 1960s and '70s as lead guitarist of The Grass Roots, best known for their songs "Midnight Confessions", "Lets Live For Today", and "Where Were You When I Needed You". Creed was also my first phone interview and is obviously a very patient man.



Creed Bratton was born William Charles Schneider, later going by Chuck Ertmoed when his widowed mother remarried. After two years of touring in Europe and Africa in the late 1960s with his band The Young Californians, the man who would become Creed says he found himself in Athens with a broken heart and a vision of success in his "third eye". A random drunken encounter with "a couple on their way to teach English to Cretans" led to a hungover Chuck Ertmoed discovering "Creed Bratton" circled among several names scribbled on a table cloth. And thus the cult figure was created.

Later Creed returned to California and started a group called The 13th Floor. Meanwhile, producers Steve Barri and P.F. Sloan created a band to capitalize on the folk-rock trend of that era's popular music scene. When the first incarnation of The Grass Roots disintegrated, Sloan recruited The 13th Floor to take their place. When asked if he felt like his band was packaged like The Monkees, Creed said "not at first". He initially enjoyed the band's new found fame while they still exercised creative freedom - particularly when recording his favorite Grass Roots album Feelings. But as the band moved away from their folk-rock roots into a more commercial sound for songs like "Midnight Confessions", Bratton began to feel "disgruntled" and "unhappy". Then came the unpleasant surprise that the band had recorded a song without him, which Bratton points to as the time when he "really felt like a Monkee". Rather than lose his artistic integrity, he left The Grass Roots to pursue a solo career.

During his tenure with The Grass Roots, Creed led a wild and exciting life. He toured with The Doors, Creedance Clearwater Revival, and Janis Joplin. But he says Jimi Hendrix had the most distinctive talent at the time, the only one he knew for certain would be a legend. He calls Moby Grape both his best and worst concert experience, because his band had to follow their jaw dropping "fear of God" performance.

Creed confirmed the outlandish stories about his habit of running naked through small towns beside the band's tour bus, the infamous acid trip that caused him to drop his pants on stage as he ranted about the meaning of life, and the notorious shark incident. He described in detail how the intoxicated band caught a shark from their hotel window, hoisting their catch up until the creature jumped into their room, and the shocking Psycho-like scene the next morning as he pulled back the shower curtain to find three bloody sharks in the bathtub.

Despite such decadent experiences, Creed says he feels much more successful now than he ever did then. Decades spent struggling as an actor and a musician did nothing to diminish his love of either art, and he is now fully able to enjoy both pursuits. He credits producer and collaborator Jon Tiven for getting him back into the studio as well as for his contributions in the writing and recording of the new album. It was Tiven who introduced him to powerhouse session singers Jonell Mosser and Bekka Bramlett.

Creed was unable to choose just one favorite track from the new disc, though he did narrow it down to "Dream Lover, "Cry Cry Cry", "My Baby is a Cadillac", and "All The Faces". The latter was written in just ten minutes and originally featured on Coarsegold. He calls it the only song he's written that "felt finished". Though he hopes to book some live shows to promote the album, his schedule may not allow for that any time soon.

We also covered the typical "favorite questions". Creed cites Hank Williams, Fats Domino, Chuck Berry, Miles Davis, Coltrane, and my beloved Chet Baker as some of his musical influences. Creed said he would love to record a "crooner album" and then sang a bit of Baker's "Let's Get Lost", which was probably the most memorable part of our conversation. The most disturbing segment followed, though, as he named Coldplay as a band that really gets him off?! I think I've made my feelings on Chris Martin's band known, but to each his own. But in addition to our shared love of Chet Baker, I wholeheartedly agree with Creed's affection for Alison Krauss and Michael Bublé.

Bratton is an avid reader - most recently enjoying Water For Elephants by Sara Gruen and Jack Weatherford's Genghis Khan and the Making of the Modern World - and names the François Truffaut classic Jules & Jim as his favorite film. After calling HBO's Deadwood and The Sopranos his favorite television shows, he seemed to slide in and out of character for the remaining portions of the interview. As a Luddite without internet or cable at home (I blog from work like Jenna Fischer), I was unfamiliar with the short-lived and critically reviled HBO series John from Cincinnati. So I did not catch on to Creed's joke about relating to the show until he said he could "also levitate".

I didn't want to bombard him with questions about The Office, but couldn't resist a few. He was as friendly and gracious when discussing the show as he had been during the rest of the interview. He said that even though he "never stopped preparing for the opportunity", he still feels "lucky" to be where he is and doesn't view himself as a celebrity. He talked about how much fun the other actors on the show are to work with and the difficult task of getting through a scene without laughing. He briefly mentioned the creator's desire to differentiate the show from its British counterpart and the low ratings they suffered in the beginning. I'm sure I'm one of many who had forgotten that the hit show was almost canceled after the first season. I can't imagine American television without it now.

When I inquired about any similarities he has with his bizarre character, Creed gave me his "standard answer" that he "would be in jail" if he were really like that. Now I try not to judge people, and Creed vehemently denies being anything like the lecherous weirdo he plays on the show. But he did pause when I asked if he'd ever belonged to or led a cult, and suddenly called me "Jane" after almost an hour of using my real name. So draw your own conclusions. He did own up to having been employed as "a hit man for the Government" and when asked how it felt to kill people, he simply replied: "Hey, it's a living...well, not for them".

Oh, and if anyone from TMZ reads this interview: Creed may not remember your name, but he knows you have bugged his phone and are hiding in the bushes outside his house. I would run if I were you.

Creed Bratton CD Review

Wednesday, May 07, 2008

Back Door Slam: Roll Away

Back Door Slam plays blues-rock as if they were middle-aged tough guys covering Hendrix in some dirty Southern bar rather than the fresh faced youngsters from the Isle of Man that they really are. I caught the band's recent performance on Jimmy Kimmel Live and was shocked to see 20 year old lead singer Davy Knowles belting out the blues in such a sagely soulful manner while he strangled the life out of his guitar. Knowles credits his father's love of Dire Straits, Eric Clapton, and Robert Johnson for drawing him to this style of music, but Back Door Slam's debut album Roll Away often sounds more like Stevie Ray Vaughn.



The guitar grinders "Come Home", "Heavy On My Mind", and the adultery admonition "Outside Woman Blues" (the only song not written by Knowles) creep in and quake with thunderous drums as Davy's deep voice growls and wails.

Davy's eclectic affection for Jeff Buckley pop-folk and Ray Charles soul balances out his natural blues talent on other tracks. Among them are the slow burner "Gotta Leave", the acoustic dirge "Stay", the pop-rock flavor of "It'll All Come Around", the Marc Cohn style of "Too Good For Me", and the finale "Roll Away". The latter was inspired by the beauty and isolation of Britain's Isle of Man, where the blues-rock trio first met.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Back Door Slam Official Site
Back Door Slam MySpace

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Back Door Slam

Samoa Wilson: Live The Life

Around the time that Damien Rice began recording with a golden voiced ingénue named Lisa Hannigan, the Jim Kweskin Band was introducing the world to their own secret siren Samoa Wilson. Though Samoa was featured prominently on Jim Kweskin's Now and Again - most notably her sultry cover of "Why Don't You Do Right" and melodious vocal on "Cry Me A River" - and the band once again joins on her on her solo debut Live The Life, it is Samoa's beautiful voice that takes the spotlight.



Samoa Wilson was a Mountain Stage find for me. I attended the 2003 concert to see Ani Difranco, and ended up discovering new favorites Hamell on Trial, Ben Taylor, and Xavier Rudd. But it was Samoa Wilson's performance with the Jim Kweskin Band that I remembered most. It was hard to believe such a big, beautiful voice was coming out of that tiny, seemingly shy girl. Wilson made her singing debut with the Kweskin band when she was just twelve years old and formally joined them in 1997.

If you're at all familiar with the Jim Kweskin Band, you know they play a mix of jaunty jug band music, old-timey folk, and vintage jazz, blues, and swing. The same is true for their work with Samoa Wilson. Wilson's voice adds a new depth and sophistication to their Tin Pan Alley sound. It's the kind of rich, timeless alto that only Patsy Cline and a thimbleful of other singers possessed.

The opener "I'm Going To Live The Life I Sing About" is the Mahalia Jackson track that inspired the album's title. As usual, the finespun instrumentation of Jim Kweskin's band is the perfect accompaniment for Samoa's astonishing voice. The softer "Sun Going Down" follows, the only original tune on the disc and written by Wilson at age sixteen.

Jim Kweskin duets on the suave "Some of These Days" - which Samoa glommed from a Bing Crosby recording - and again on the brassy 1940s pre-rock shuffler "Choo Choo Ch-Boogie". Wilson lifted "Oh Papa Blues" from a Ma Rainey record, "Dedicated To You" and the finale "Goodnight My Love" from Ella Fitzgerald, and W.C. Handy's brilliant "St. Louis Blues" from Bessie Smith. The album also includes instrumental renderings of Duke Ellington's "C Jam Blues" and "Organ Grinder's Swing" by the Jim Kweskin Band.

Samoa's voice slides from thick honey to airy trills on "Can't Help Lovin' That Man" from Showboat. But the stand out tune is the one that first grabbed my attention at the Mountain Stage concert. Samoa's expressive rendition of Billie Holiday's "What A Little Moonlight Can Do" is buoyed by the Kweskin band's infectiously merry mandolin and fiddle. This may be the only time that I prefer a cover over a Billie version.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Samoa Wilson MySpace

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Samoa Wilson With the Jim Kweskin Band

Tuesday, May 06, 2008

Brooke Miller: You Can See Everything

Singer-songwriter Brooke Miller comes from Canada's Prince Edward Island, but her music often embraces the dusty twang of Americana and country as well as the soulful spirit of folk, jazz, and blues. When Brooke was just twelve years old, her former band Bleek was opening for a then unknown Modest Mouse in Canada. The title track from her new album You Can See Everything was featured on Showtime's The L Word and Brooke will soon be performing at Mountain Stage with Punch Brothers, Bell XI, and Paddy Casey.



Songs such as the opener "World On A Whim" and "Country From The Dome Car" have upbeat country strums, but the softer prettiness of tunes like "You Can See Everything", "There You Are" (both the orchestral version and the bonus "naked" take), and especially "Hold On To It" - which places the plight of small town farmers and homeless people within a circus parable - better suit Brooke's alto.

The delicate instrumentation of "Two Soldiers" underscores the sad reality of the two narrators' conscientious objection to their military assignments, while "Everywhere" dips back into slow acoustic with the lightest hint of jazz.

The melody of the finale "A.M. Song" came to Brooke in a dream she had about a cowboy playing lap steel in a bar. It would seem that cowboy was Brooke's husband Don Ross, who contributes lap steel, piano, mandolin, and other instruments to the album. The dream born song was what first brought the couple together, when Don heard it played on CBC Radio and called the station to find out who was singing. Now that's a love story that should inspire a song.

Brooke Miller - Hold On To It (mp3 expired)
Brooke Miller - Two Soldiers (mp3 expired)

Brooke Miller Official Site
Brooke Miller MySpace

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Monday, May 05, 2008

Interference: Live In Dingle

Interference's Live In Dingle album was recorded live in 2003 at St. James Church in Dingle, Ireland for RTÉ's Other Voices: Songs From A Room. Once star and The Frames frontman Glen Hansard again joins the band.



The heartfelt condemnations of war "American Townland" and "Nowhere" open Live In Dingle on a much more serious tone than their previous release, with the music taking a backseat to Fergus' soulful vocals. "I Was Looking For Someone" is a softer, wistful ballad that finally allows the strings to rise with O'Farrell's voice.

The disc includes idyllic acoustic renditions of "Cain & Abel", "Prayer For A Voyage", "Vaj Vaj", and "Gold" - all from Interference's self-titled album. Glen Hansard contributes his voice and guitar to "Gold" and the striking wailer "Breaking Out".

Though I favor the studio album, this live set is well worth obtaining if only for the two opening songs, the Hansard collaborations, and the ravishinge finale "I'm Your Man".

Interference - American Townland (mp3)
Interference (feat. Glen Hansard) - Breaking Out (mp3)

Interference Official Site

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Interference

If you've seen Once, you've already heard the music of Interference. The Irish band sang with The Frames' Glen Hansard in the pub scene of Once and their song "Gold" also appears on the movie's soundtrack. The tune was originally featured on Interference's 2003 self-titled release, on which Glen Hansard guests. If you like that song, you will love their album. And even if you somehow don't like the song, you still might love the album. Interference is led by singer-songwriter Fergus O'Farrell of County Cork, Ireland, and their music jumps from traditional Irish and folk balladry to pop and classic rock glamour.



Though I enjoyed the Once version of "Gold", I think I prefer the original take. The band's vocal harmony ebbs and flows flawlessly on the timeless melody underpinned by a mix of violin, bongos, and electric guitar. The string accented "Prayer Before A Voyage" is even more lovely, sounding like a Ziggy Stardust cover of a traditional sea chantey. "Vaj Vaj" is an atmospheric piano ballad.

The catchy pop ditty "Vinegar Girl" was co-written by Glen Hansard, who sings and plays guitar on the track. The classic rock doused "Wild Cat Strutting Thing" is as cool as it title suggests, and the Bowiesque "Chow Mein" is both funky and funny. The influence of Thin Lizzy seems apparent, but I also wonder if Fergus is a fan of Ted Nugent and Talking Heads. "Wild Bill's Circus Scene" flows back into a softer folk sound zested with trombone and violin, then the moody "Too Many Paths" swirls into uncharted territory.

Every track on the album is fantastic, but the real stunner is "Psycho Jill". The title is interesting enough, but Fergus alternates between eerie singing, haunting whistles, and horripilating spoken word verses while the ominous bass guitar, strings, and piano build into a crescendo of creepiness. The song would make a good companion to "Greatest Show On Earth" by Felice Brothers.

Usually, my problem is being denied permission to share even one mp3 in a review. This time, Fergus kindly gave me permission to share any tracks but "Gold". It was nearly impossible to narrow it down to just two songs. I cannot recommend and praise this album enough.

Interference - Prayer Before A Voyage (mp3)
Interference - Psycho Jill (mp3)

Interference Official Site

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Jack O'Connell: The Resurrectionist

The novel The Resurrectionist by author Jack O'Connell is a brilliant and unique fable. It bends reality in an exciting way that I haven't experienced since Mark Z. Danielewski's House Of Leaves. O'Connell weaves intense emotion and themes of tolerance into the fantastical dual plots within The Resurrectionist.



The Resurrectionist initially separates reality from fantasy. The story of druggist Sweeney and his comatose son Danny's residence at the mysterious Peck Clinic alternates with the fanciful world of persecuted circus freaks held within the pages of Danny's favorite comic Limbo. But as the novel progresses, it becomes more apparent that there is a connection between Danny's condition, the clinic's claims of miracle cures, and the exiled freaks pursued by the evil Dr. Fliess in Limbo. The two worlds finally collide in the end as Sweeney enters Limbo through a lucid dream state to search for his son.

The two stories - each with their own casts of characters - are divided by chapters with different typefaces for most of the novel. This type distinction is done in a subtle manner that simply makes it easier to differentiate the plots rather than the gimmicky way that other books play with fonts.

It is the fictional freaks of Limbo that are most compelling - Bruno The Strongmen, Milena the Hermaphrodite, Jeta the Human Skeleton, Nadja the Lobster Girl, Aziz the Torso, Antoinette the Pinhead, Siamese twins Marcel & Vasco, and especially Chick the Chicken Boy and his beloved dwarf Kitty. The morality tale of accepting people who are different is obvious and sometimes disturbing, but O'Connell's presentation is refreshingly innovative and the writing is superb.

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Friday, May 02, 2008

Punch Brothers: Punch

Yes, another band of "brothers". But unlike the youthful troubadour style of The Avett Brothers or the delightfully bizarre Western circus sound of The Felice Brothers, the music of Punch Brothers is more often an unadulterated brand of bluegrass. The band is composed of Nickel Creek mandolin player Chris Thile, guitarist Chris Eldridge of The Infamous Stringdusters, Greg Garrison on bass, Noam Pikelny on banjo, and fiddler Gabe Witcher. All members contribute vocals, but Thile takes the lead. This album is not an exciting one, but it is a work of beauty if you appreciate Appalachian folk and bluegrass music.



The opener "Punch Bowl" begins as a backwoods haunt of eerie cacophonous instrumentation then slides into a calmer Appalachian string band sound.

"The Blind Leaving The Blind" is a bluegrass symphony of sorts, written by Chris Thile and divided into four lengthy movements. Initially it feels like a bit of a let down after the opening track, but on the second listen I could better appreciate the pretty placidity of the series. Thile's voice is softly soothing, his lyrical narrations (inspired by the end of his marriage) are engrossing, and the arrangements exhibit the harmony between the five players while also accentuating the sounds of the individual instruments. The first two movements of the set are particularly lovely.

The finale "It'll Happen" is quiet, delicate, and absolutely resplendent. I sincerely hope that nothing prevents me from attending The Punch Brothers' upcoming performance at Mountain Stage.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Punch Brothers Official Site

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