Allison Moorer: Mockingbird

Allison Moorer's Mockingbird is a collection of revamped covers of songs originally recorded by Nina Simone, Patti Smith, Joni Mitchell and other legends that I adore. Produced by Buddy Miller and comprised of twelve covers plus one Moorer original, the album is a tribute to female singer-songwriters. Though Mockingbird is not nearly as pop as her previous album Getting Somewhere, the arrangements are still very polished and Moorer's voice is often sadly restrained. But it's still a fine album and there are some truly great moments when Allison unleashes her wail.



Moorer's original title track track opens Mockingbird with grace and elegance, setting a subtle arrangement of strings, organ, and intermittent bursts of brass under Allison's beautiful voice. I rarely hear any vocal resemblance between Allison Moorer and her sister Shelby Lynne, but her smooth performance of Kate McGarrigle's "Go, Leave" would have easily fit on Lynne's Just A Little Lovin'. Moorer also tackles her sister's unreleased "She Knows Where She Goes" as well as Cat Power's "Where Is My Love".

I've been spoiled by the dramatically exotic covers of Johnny Cash's "Ring Of Fire" (written by his wife June Carter) by Universal Hall Pass and Patti Smith's "Dancing Barefoot" by Johnette Napolitano. Moorer's interpretations are vocally strong, but the string accented electro-pop arrangement of the former and the country-rock style of the latter seem lackluster in comparison to both the originals and the aforementioned covers. Meanwhile, her voice actually seems too powerful for the soft soprano requirements of Joni Mitchell's "Both Sides Now".

However, Moorer's sultry rendering of Nina Simone's "I Want A Little Sugar In My Bowl" holds its own in the wake of the original and Samoa Wilson's brilliant cover. And her low-fi recording of Ma Rainey's "Daddy Goodbye Blues" - on which she is joined by husband Steve Earle - is absolutely astounding. The two tracks confirm my suspicion that Allison's voice is perfectly suited for jazz and blues, and that she is still more than capable of moving the earth when she belts out a tune.

Moorer flirts deliciously with Americana in her thrilling versions of Gillian Welch's "Revelator" and Julie Miller's "Orphan Train", which rise from hauntingly rustic verses into a crescendo of vocals and instrumentation. The girl could give Neko Case a run for her eerie backwoods money. Her lovely rendition of Jessi Colter's "I'm Looking For Blue Eyes" serves as the finale.

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

Allison Moorer Official Site
Allison on MySpace

Buy @ Amazon

Smithsonian Folkways: Classic Piano Blues

The music featured on the new Smithsonian Folkways collection Classic Piano Blues is my favorite kind of blues, possibly my favorite genre of all. Many of the songs fall into the "barrelhouse" category: a rough blend of blues and ragtime. The liner notes afford a fascinating glimpse into musical history by revealing the connection between blues piano players like Memphis Slim, Roosevelt Sykes, and Booker T. Laury and folk singers Woody Guthrie, Pete Seeger, and Bob Dylan. The notes also include brief biographical summaries on the harrowing lives and impressive careers of artists like Champion Jack Dupree and Victoria Spivey.



The compilation boasts three magnificent Memphis Slim tunes: the opening toe-tappin' piano instrumental "Dedication to Pete Johnson" and the bluesier duets "Key To The Highway" with harmonica player Jazz Gillum and "Wish Me Well" with Willie Dixon. There are also two fantastic Speckled Red (Rufus Perryman) songs: the soulful "How Long Blues" and jovial "Pinetop's Boogie Woogie".

Best of all are the two swaggering Champion Jack Dupree stunners: "Black Wolf Blues" and "On My Way To See Moe Asch". Moses (Moe) Asch was the founder of Folkways Recordings and other 1940s labels that released music by overlooked virtuosos like Slim and Dupree.

Also present are Booker T. Laury's gut rumbling vocal on "Early In The Morning", Meade "Lux" Lewis' ragtime ditty "Medium Blues", and Little Brother Montgomery's quivering "No Special Rider Blues". Lead Belly's brief jaunt "Big Fat Woman" is paired with Sammy Price's sophisticated piano instrumental "Harlem Parlor Blues".

Henry Townsend's pure blues "All My Money's Gone" is another stand out, sounding like a more masculine Nina Simone. Maria Muldaur's mentor Victoria Spivey follows with a sultry speakeasy performance of "You're My Man". Old Crow Medicine Show covered "Hesitation Blues" on their 2001 release Eutaw. The original by James P. Johnson serves as this splendid collection's finale.

Champion Jack Dupree - Black Wolf Blues (mp3)

Smithsonian Folkways Official Site

Buy @ Amazon

John Mellencamp: Life, Death, Love & Freedom

Life, Death, Love & Freedom is John Mellencamp's best work to date and is battling with The Felice Brothers for the title of my favorite album of the year so far. The CD and its free companion DVD will be released on July 15th. Producer T Bone Burnett's influence is wonderfully apparent, as Mellencamp moves away from the signature Southern pop-rock sound of his past hits in favor of the more interesting blues grind he's only hinted at before. Many songs take an honest look at the passage of time and advancement toward death, weighing the weariness of age with the wisdom gained by experience.


an all white jury hides the executioner's face
is this how we are, me and you?
everyone needs to know their place
and here we thought this blackbird was hidden in the flue...
oh Jena, take your nooses down

The album simmers with more grit and soul than last year's Freedom Road. Mellencamp calls the new material "modern electric folk songs" and there is definitely a strong hint of traditional folk as well as blues in the new tunes. "Longest Days" opens with a slow, somber softness that reminds us of the rich and rugged soulfulness of John's voice. The far more upbeat Buddy Holly style of "My Sweet Love" is my least on the album, but may be the most accessible to the masses.

The stand out track "Jena" takes a hard look at racism and injustice in the Louisiana town. The other stunners "If I Die Sudden", "Young Without Lovers", and "Don't Need This Body" dig up some mighty fine blues. "Troubled Land" and "John Cockers" are slightly more catchy, but maintain a reverence to the blues in their respective rock rhythms. "Mean" is a prettier, more personal lament, while "County Fair" cranks up the bluesy guitar work again.

The CD comes with a free companion DVD in ΧΟΔΕ (CODE) format, an audio technology developed by Burnett and his engineers that they claim possesses the same high-definition audio quality as the original master tapes. The DVD sound quality is very clear, but I was just as satisfied listening to the CD.

John Mellencamp - Longest Days (mp3)

You can also download a free mp3 of "Longest Days" at Vanity Fair

John Mellencamp Official Site

Buy @ Amazon (only $9.99 for CD & DVD!)

Alejandro Escovedo: Real Animal

Alejandro Escovedo's ninth studio album Real Animal was my most anticipated release of 2008. I only discovered his music last year, but have since then obsessively devoured most of his previous releases and view him as one of the greatest living artists in any genre. I generally prefer Alejandro's string embellished Americana ballads over his raucous punk-rock barnburners. So I was initially disappointed by this new release, which is heavy on the noise. There were no new "Baby's Got New Plans" or "Rosalie" to immediately grab my heart in their gentle fist. But on the second listen, the album hit me full force and I felt like an absolute idiot for not recognizing the genius in it the first time around.


Nancy called up to our room, said: "come & help with Sid"
we went down & looked around, the dealer let us in
we thought he was hysterical, the knife it was a joke
don't know if he did what they said he did, nobody really knows

Silence of the Lambs director Jonathan Demme is another raving Alejandro fanatic and wrote the liner notes for the new album, which features guest guitarist Chuck Prophet. "Always A Friend" rips it open with a catchy beat and polished rock rhythm. "Chelsea Hotel '78" - which revisits the singer's stay at the infamous hotel during the Sid and Nancy mess - digs into a deeper grind on the verses and hints at Escovedo's punk capabilities on the chorus squawk.

The intro of the stand out "Sister Lost Soul" takes a sudden dip into retro-pop, but the rest of the melody resurrects Alejandro's signature string accented Americana sound. The pretty interlude is broken by the guitar cruncher "Smoke", which sounds like it's also possessed by a demonic violin. Once again, Alejandro brilliantly weaves folk and classical instrumentation into ear bludgeoning rock thunder.

Bluesy harmonica mingles with a touch of twang in the stunner "People (We're Only Gonna Live So Long)", followed by the melancholy haunt "Golden Bear". The pristine beauty of the string intro of "Hollywood Hills" makes me wish Alejandro would record a classical instrumental album. Then the lovely ballad "Swallows of San Juan" and the finale "Slow Down" ultimately seized my heart during the second rotation.

I beg the universe, please send Alejandro Escovedo back to Mountain Stage. These songs must be awe-inspiring in concert.

Alejandro Escovedo - Always A Friend (mp3)

Alejandro Escovedo - Always A Friend (mp3)

Alejandro Escovedo Official Site

Buy @ Amazon

Hercules & Love Affair

Hercules & Love Affair's self-titled debut claims the lofty guest credit of Antony. The Andy Butler electro-pop project's sound is arthouse meets discotheque. Which is honestly a bit dull to listen to after a while (the style is much better suited to dancing), but Antony's presence adds some much need artistry and spirit.



The album opens with the electro-thumper "Time Will" featuring the divine voice of Antony, then "Hercules Theme" freefalls into an unadulterated dance vibe embellished with brass. "Athene" sounds like a Cibo Matto remix thanks to guest vocalist Kim Ann Foxman.

Antony returns for the sophisticated synth-pop disco tunes "Blind" and "Raise Me Up". "Easy" is another interesting track, swirling and deepening Antony's voice into into a darker Faithless mood. The more standard club tempo of other tracks is far too bland for my taste, despite Antony's vocals.

I was not granted permission to include an mp3 in this review, but you can get a free download of "Hercules Theme" by signing up for the Hercules & Love Affair mailing list here.

Hercules & Love Affair Official Site
Hercules & Love Affair MySpace

Buy @ Amazon

Sharon Little: Perfect Time For A Breakdown

Perfect Time For A Breakdown is the debut album from coffee shop waitress turned singer-songwriter Sharon Little. Sharon's robust voice belts out eleven tunes inspired by cross-country train journeys. Little has been the opening act for the Robert Plant and Allison Krauss Raising Sand tour, and her music has been featured on NCIS and Num3ers.



The opener "Follow That Sound" spices up a soul vibe with a Southern blues-rock punch and Sharon's vocals go from a sultry hush to a full-bodied wail. The piano interspersed verses of "What Gets In The Way" sound almost like a Joan As Police Woman song, but the arrangement bursts forth along side Sharon's howls when the catchy chorus kicks in.

The smooth pop-soul chorus of "Set You Free" seems a little out of place against the far more interesting noirish verses. "Accidentally" layers an infectious disco beat under Sharon's honeyed roar, while the pretty finale "Child In A Storm" taps into her quieter side.

Other tracks are either pleasant but indistinct in a Corinne Bailey Rae kind of way or simply suffer from too much production - Sharon's voice doesn't need any help.

Sharon Little - Follow That Sound (mp3)

Sharon Little Official Site

Buy CD or Mp3s @ Amazon

The Rye

The Rye are a five piece band from Galway, Ireland. I stumbled upon them while browsing CDBaby after writing the Interference review. The Rye call their music "savage driven ceoil" (Irish for "music"). The band's modern rock approach to traditional Irish instrumentation may seem like a familiar gimmick on paper, but the added elements of jazz and psychedelica make their music sound fresh and unique.



The bouncy opener "Banana Song" hints at the Celtic Punk sound of The Pogues and Flogging Molly, yet there's a quirky jauntiness to The Rye's music that sets them apart. The instrumental "Arkle Mountain" takes a surprising turn into a more traditional Irish sound, without losing the band's merry spirit.

The tinny pluck intro of "Dance With You" melts into a solemn, rough voiced ballad that will surely earn lead singer Kevin Melly comparisons to Tom Wait. Fiddler Anna Faulkner's sweet backing soprano adds balance and harmony to the tune.

"Fishin'" makes yet another sudden style shift into swaying psychedelic jam band territory, sounding like The Doors covering a Grateful Dead song. By the time "Syko" breaks into a spunky, string splashed jazz groove, you'll no longer be floored by The Rye's capriciousness. Maybe.

The Rye - Dance With You (mp3)
The Rye - Syko (mp3)

The Rye MySpace

Buy @ CDBaby

Michael McDermott: Noise From Words

Chicago singer-songwriter Michael McDermott's Noise From Words album was mostly recorded live in the studio. The lack of production emphasizes and compliments McDermott's organic style. Michael has shared the stage with Van Morrison, The Wallflowers, Cracker, 10,000 Maniacs, and The Cowboy Junkies.


what's liberty? the history books are stained
sometimes I'm proud, sometimes I'm so ashamed
of the American in me
don't mistake dissent for disloyalty

The opener "Mess of Things" twirls acoustics with piano, Dobro, and pedal steel. The lyrics of the song were inspired by McDermott's past drug use and other regrets, while "My Father's Son" refers to Michael's incarceration in the same jail cell that once held his father. Several other tracks were also born out of McDermott's self-destructive yesteryears.

Michael's expressive, singed velvet voice and dusky Americana soul melodies have accurately been compared to Bruce Springsteen. But stand out tunes like the plaintive "Broken" as well as the lovelorn pair of "Still Ain't Over You Yet" and "Just A Little Blue" are fleshed out with sweet piano, stirring strings, and a heavy dose of raw emotion.

The slight yodel in McDermitt's vocals on "Tread Lightly" almost calls to mind Glen Hansard's work with The Frames, while "I Shall Be Healed" sounds more like Marc Cohn's latest release. "The American In Me" masks the protest nature of its lyrics (quoted above) with the catchiest pop-rock melody on the album. Other tracks slide indistinctly into each other, but the stronger arrangements are truly great.

Micheal McDermott - The American In Me (mp3)

Michael McDermott Official Site
Michael McDermott MySpace

Buy @ Amazon

Gary Louris: Vagabonds

The name Gary Louris may be unfamiliar, but those of us that were into the various "alternative" music scenes in the mid-1990s have heard him before. Louris was a founding member of Jayhawks and joined musicians from Wilco, The Replacements, Big Star, Son Volt, and Soul Asylum to form the supergroup Golden Smog. Louris has also written songs for Chris Thile and Dixie Chicks. Vagabonds is Gary's debut solo release and its soulful, organic sound lives up to the impressive legacy of his past projects. Louris is backed by his all-star "Laurel Canyon Family Choir" comprised of producer Chris Robinson of The Black Crowes, Susanna Hoffs of The Bangles, Rilo Kiley's Jenny Lewis, The Chapin Sisters, and Johnathan Rice among others.


I need a picture of my cherished love between my fingers
I grasp for fragments & I grasp for air in drowning chambers

The chorus of the opener "True Blue" has more than a hint of Jayhawks' "Blue", but the verses sprawl in a deeper Americana corner dusted with surging waves of piano. "Omaha Nights" has a catchier roots rock rhythm. The lovely "To Die A Happy Man" seems to be a pensive long distance love song, but hints at deeper contemplations.

The gorgeous harmony of the aforementioned "Laurel Canyon Family Choir" is most clearly heard on the steel teared stand out "She Only Calls Me On Sundays". The smoother melody of "We'll Get By" and the dulcet, delicate purity of "Black Grass" is the closest to pop that the album ever gets.

Most artists push weaker tracks to the middle and back of their albums, but Vagabonds only gets stronger as it drifts along. The dusky title track and the sweetly steeled "D.C. Blues" coast into a softer sound, but their sparse beauty is even more striking than the thicker arrangements that precede them.

Gary Louris - Black Grass (mp3 expired)
Gary Louris - Vagabonds (mp3 expired)

Gary Louris Official Site
Gary Louris MySpace

Buy @ Amazon

Bonnie Bramlett: Beautiful

Hallelujah, Bonnie Bramlett is back on the music scene! My generation probably knows Ms. Bramlett best for her role as the sassy blonde waitress Bonnie on the blue collar sitcom Roseanne, and younger folks may be familiar with her song "Superstar" as covered by Sonic Youth on the soundtrack for the movie Juno. Bonnie Bramlett is a powerhouse vocalist with a respected career spanning four decades, most notably as part of the Ike & Tina Turner Revue and later as one half of Delaney & Bonnie - Eric Clapton was a member of the latter band.



The mellow arrangements of the opening tracks "Sure Got Away With My Heart" and "Witness For Love" are nice, but really don't do Bramlett's robust voice justice. It's the blues flavored rock song "Strongest Weakness" that finally unleashes Bonnie's fiery pipes, as she growls the verses and wails the chorus. Bonnie's daughter Bekka co-wrote and sings on the stand out song, along with providing harmony and backup on several other tracks. Bekka also sang backup on Creed Bratton's latest release and is apparently working on her debut solo album. She's got her momma's throat, so I can't wait to hear it.

The lower key "Beautiful" reaches into the more soulful, emotive depths of Bonnie's voice, and her bluesy funk rendition of "For What It's Worth" is the best cover of the Stephen Stills classic - first recorded by Buffalo Springfield - that I've ever heard. The upbeat rocker "Shake Something Loose" as well as the jazzy torch song "It's Gonna Rain All Night" are other fine settings for Bonnie's sultry vox.

Bramlett says she's being trying to record "Some Of My Best Friends" for years, but no one would touch the song because of the lyrics. The song addresses various kinds of intolerance straight on, and it's a shame that more singers (and producers) don't display such lyrical bravery. Some of the arrangements on the album may seem weak beneath Bonnie's hearty voice, but the lyrics are refreshingly honest in their political and social commentary. The Southern twanger "Bless 'Em All" takes a lighter approach in tackling religious differences.

I would much rather hear the rich, powerful voices of Bonnie Bramlett, Mavis Staples, and Maria Muldaur than the weak chirps of younger pop stars that sadly seem more welcome at most record labels. So kudos to Carl Weaver, the president of Rockin' Camel Music, for being smart enough to sign Bonnie to his label.

Bonnie Bramlett - Strongest Weakness (mp3 expired)

Bonnie Bramlett Official Site

Buy @ Amazon

Mayra Andrade: Navega

Navega is the debut album by singer Mayra Andrade. Mayra was born in Havana, Cuba, spent her childhood in Senegal, Angola, Germany, and the Cape Verdean island of Santiago. She now resides in Paris, France. Her music reflects her multi-cultural background by blending jazz with African and Brazilian pop.



Songs like "Dimokransa" and "Mana" slide soft jazz flavored with light Brazilian pop beneath Mayra's warm voice to create mellow, airy cloaks over the intelligent and socially conscious lyrics.

"Lapidu Na Bo" and "Lua" throw a dash of African rhythms and percussion into the Brazilian jazz concoction, while "Tunuka" has a captivating interchange of Latin sway and smooth jazz-pop. "Navega" is a lovely lament of a fisherman's wife, and the heartier arrangement of "Dispidida" finally allows Mayra's voice to fully blossom.

Though the breezy Latin pop style of the music gets dull after a while, the lyrical content of the album is impressively cognizant and Mayra's voice occasionally hints at the depth and expressiveness of Angelique Kidjo or even Edith Piaf. I would love to hear this girl sing with more dramatic arrangements.

Mayra Andrade will be the opening performer for "The Bachata Roja Concert: Unsung Heroes, Rediscovered Icons" on Thursday, June 26th at 6:30 pm at Millennium Park in Chicago, Illinois. The event is free and is part of the "Music Without Borders" concert series that will begin at the same venue on June 19th.

The free concert series will feature a diverse lineup of artists from many different countries, cultures, and musical styles. If you're in the Chicago area, you should check it out. I'm jealous. You can read more about the concert and view the complete schedule of performers here.

Mayra Andrade - Dispidida (mp3 removed)

Mayra Andrade Official Site
Mayra Andrade MySpace

Buy @ Amazon

Golden Animals: Free Your Mind And Win A Pony

When I read a comparison to The Doors, I knew I would love Golden Animals and I certainly do! Lead singer-guitarist Tommy Eisner's voice has a deep timbre similar to that of my beloved Jim Morrison. The music on the band's debut full-length album Free Your Mind And Win A Pony blends Morrison's desert sage vibe with a modernized Mamas & Papas mellow choral pop style and a dash of The Cramps swamp psychobilly grind. The other half of the Golden Animals duo is drummer Linda Beecroft, and their magnificent album will be released on July 1st.



"The Steady Roller" is by far the stand out track, the grand coalescence of all of Golden Animals' influences. The subtle, swirling instrumentation and feminine background coos of Plant/Krauss' Raising Sand collide with The Doors' "Roadhouse Blues", and Eisner's robust, seismic voice keeps perfect step with the brilliant arrangement.

The other stunners are "My My My" and "I Want You To Come". Tommy's pyrotechnic guitar and Linda's drum thunder blast a cavern into the verses around the tremendously entrancing chorus on the former, and his levitating voice brings a whole new meaning to the word wail on the latter.



The hypnotic "Queen Mary" and catchy "Try On Me" dust bluesy psychedelica and surf rock with rockabilly oscillation. The seductive Morrison swagger returns on "Follow Me Down", which falls into the deepest chasm of Eisner's voice with sprinkles of Beecroft's gilded harmony.

Though the Golden Animals cover of the traditional "Turn You Round (Don't Let Nobody)" cannot compare with the divine Mavis Staples, this rhythmic rock rendition is still mighty fine. The liner notes say this take was inspired by the Blind Willie & Kate McTell version.



The shimmering finale "Darkness & Light" allows Linda's voice to share the spotlight at last, making for an interesting balance between her soothing sweet soprano and Eisner's gut-quaking vocal trench.

Golden Animals - Try On Me (mp3)

Golden Animals MySpace

Buy @ Amazon (not available until July 1st)

Pre-order @ Label

Kira Lynn Cain: The Ideal Hunter

Singer-songwriter Kira Lynn Cain's The Ideal Hunter has been compared to PJ Harvey and more often Nico, but her eerie chamber folk sound reminds me more of David Lynch songbird Julee Cruise. Cain was born in a home birth ceremony during a thunderstorm in Northern California. She is the daughter of a rocket scientist and a hippie, the step-daughter of medieval folk musician, and the niece of a drag queen accordion player. Kira was raised with a maypole in her backyard, and visits to NASA facilities were as frequent in her childhood as trips to psychic fairs and folk festivals. This unusual upbringing coupled with her study of of art and film may explain the surreal cinematic landscapes so easily conjured by her music.


man in the mountain, he told me I was brave, but he never said why
he choked up his sorrow, made a river and drowned
won't you try to reach me my love, my love
through the hundred wooden walls between us
The stunning opener "White As A Dove" in particular reminds me of Julee Cruise's "The Nightingale" on the Twin Peaks soundtrack. Kira's haunting susurrations glide across winding piano, ominous upright bass, and orchestral strings. "Arizona" reverberates with an eerie southwestern twang.

The Nico comparisons suddenly make sense as the gentle melody of "Good" takes a surprising spin into retro pop. "Not With My Eyes" is a mesmeric piece of Baroque psychedelica (if there is such a thing), while the phantasmal quasi instrumental "The Lone" could be a Neko Case cover of a medieval folk tune.

Just as Cain's sparse style becomes a bit wearisome, "Under Somebody's Hand" perks up the rhythm with a marching snare drum led arrangement. The gloomy beauty of "All The Mirrors Of The World" could be mistaken for a Nick Cave song if not for Kira's angelic vocals.

Cain has shared the stage with kindred spirit Rykarda Parasol and Jolie Holland, and her album features guest musicians from American Music Club and The Mother Hips. The Ideal Hunter is one of those CDs that I love more with each listen, and I'm shocked that Kira Lynn Cain hasn't received more attention.

Kira Lynn Cain - White as a Dove (mp3 expired)

Kira Lynn Cain Official Site
Kira Lynn Cain MySpace

Buy @ Amazon

Maria Doyle Kennedy: Mutter

Maria Doyle Kennedy is an Irish actress and singer best known for her roles in The Commitments (along side a babyfaced Glen Hansard), The Matchmaker, Father Ted, Queer as Folk, and most recently for her astounding performance as the formidable Queen Katherine in The Tudors. Maria's third album Mütter (the German word for "mother") was released last year on her own independent record label Mermaid Records. While many of the tracks were inspired by Chuck Palahniuk’s book Diary, the album also features a song co-written with Fergus O'Farrell of Interference.


secret lines of suffering, conduit of skin and bone
sit you down and draw you in, showing you the double edge of keening

I wasn't sure what to expect from Maria's music, but I certainly did not imagine the swirling, moody pop and ambient folk that shrouds her voice on so many of the songs. The opener "Unbelievable" slips a softly atmospheric melody beneath Maria's rich vocals. The seductive throaty rustle of Maria's voice cannot easily be compared to anyone else.

The stand out tracks "Mother" and the quieter "Stuck" dip into a darker tone that blends eerie verses with sweeping strings and voxes on the chorus. The instrumentation of the tracks remind me of the more delicate elements of Mazzy Star with a touch of Belly's debut. Meanwhile, the churning bass of "Fuckability" recalls early PJ Harvey.

Interference's Fergus O'Farrell co-wrote the more earnest "Call Me". "Here You Come" and "Forty Days" return to the muted, airy pop of the opening tracks, this time tempered with the lightest hint of blues. The simpler acoustics of the finale "Swoon" are refreshing, finally allowing Maria's voice to fully take the spotlight. I'd like to hear Maria's lovely voice free of so much production, but it's an unquestionably good album nonetheless.

Maria Doyle Kennedy - Mother (mp3 expired)
Maria Doyle Kennedy - Call Me (mp3 expired)

The album is currently only available for purchase through Maria's website.

Maria Doyle Kennedy Official Site
Maria on MySpace

Buy the CD

The Saw Doctors: That Takes The Biscuit

The Saw Doctors are one of my favorite Irish bands and their performance at Mountain Stage in 2002 was one of the two best live shows I've ever attended (second only to Bell X1 last month). It's strange that I always think The Saw Doctors are a classic, world famous band like The Chieftains or The Dubliners, yet they were only discovered by Mike Scott of The Waterboys in 1988. That Takes The Biscuit is a 23 track compilation of live recordings, covers, unreleased songs, and other rarities spanning their twenty years together. The collection is currently only available for purchase through the band's website.



"Fortunately" was a leftover from the All The Way From Tuam sessions and has that familiar Saw Doctors wistful, open spaces mood. Both versions of "She's Got It" (I prefer the "Spiddal Recording") have a more laid back tone, and the infatuation anthem "Some Hope" would be perfect for a lighthearted cinematic scene of unrequited love.

"An Cailín Sin" was an original Irish tune written by the band for a Seachtain na Gaeilge (a non-profit organization and festival promoting the Irish language) album, and features sprawling piano meandering through a jaunty rhythm. The stirring "The Winter Is Long" sounds like a traditional Irish song, but it and the moody instrumental finale "Reprise" were toss outs from Same Oul' Town.

The clap happy "Bebo" is one of the more humorous in the collection, a tale of social networking woe. While MySpace and Facebook may be more popular in the States, Bebo is the site most loved by my family and friends in Ireland. This version was originally recorded live in a tavern with some minor revamping in the studio later. And the comical "The Hash My Father Smoked" was recorded for the Patrick Kielty show.

The chilling Giles Packham remix of the title track from Villians sounds more like a Damien Dempsey song than the genial Saw Doctors we know and love, while the boys go Nashville country on "You're In Love With Someone Else".

The buoyantly brassy trio of "Good News", "Will It Ever Stop Raining", and "Chips" are from a 2002 live performance in London. "I Think It Might Be You" is a remnant from the band's most recent studio release The Cure, "Merry Christmas Tuam" was an afterthought to If This Is Rock & Roll I Want My Old Job Back, and "Yaygour Guitaygar" is sung in Tuam's "Bog Latin".

The cover of The Rivieras' "California Sun" was recorded for a documentary on surfing in Ireland, but the spoken word verses and grinding guitar of "DreamGirl" sound even more like a retro surf rock ditty. And "Ways Of The World" - the band's first demo - sounds like an old Buddy Holly recording.

By the way, for those unfamiliar with what the Irish call biscuits (or digestives) - they are small, round, flat cakes somewhere between what Americans call cookies and crackers, and they are delicious when dipped in tea.

The Saw Doctors - Bebo (mp3 expired)

The Saw Doctors Official Site

Buy CD

Willie Nile: Live From The Streets Of New York

Willie Nile's unusual voice and serrated rock sound remind me a little of Lou Reed's solo work, though at times he has more in common with The Clash and other Celtic Punk bands. His music was recommended to me by none other than The Office's Creed Bratton, who describes the singer as "such a nice cat". Nile has shared the stage with The Who, Bruce Springsteen, Levon Helm, Elvis Costello, Joey Ramone, and counts among his fans Lou Reed, Lucinda Williams, Bono, and director Jim Jarmush.



The Live From The Streets Of New York CD (along with its DVD counterpart) will be released on July 22 and was recorded live during the Mercury Lounge release party for Nile's NYC-centric Streets of New York album. I rarely enjoy live albums (Interference, Camille O'Sullivan, and Allison Crowe are the most recent live favorites), but this is one concert I'm very sorry I missed.

After an introduction by XM radio's Pete Fornatale, Willie and his band The Worry Dolls burst in with "Welcome to My Head". "Asking Annie Out", "Vagabond Moon", "Best Friends Money Can Buy", and "You Gotta Be a Buddha (In A Place Like This) are catchier rock ditties. "Game Of Fools" has a hint of twang, while "On Some Rainy Day" and "Streets Of New York" are softer, soulful quasi ballads.

The stunners are the sublime Irish tavern instrumentation and rousing choral harmony of "The Day I Saw Bo Diddley In Washington Square", the gritty rock grinder "Hard Times In America", and the "London Calling" invocation of "Cell Phones Ringing (In The Pockets Of The Dead)".

Willie Nile - The Day I Saw Bo Diddley In Washington Square (mp3 expired)
Willie Nile - Hard Times In America (mp3 expired)

Willie Nile Official Site
Willie Nile MySpace

The live CD and DVD are not yet available for pre-order, but should be at the links below within the next month.

Buy Willie Nile CDs @ Amazon

Quincy Coleman: Come Closer

I first heard singer-songwriter Quincy Coleman's music in the movie Waitress and I posted a track from her debut last year. I finally got a copy of her sophomore release Come Closer and I'm pleasantly surprised at the variety of styles it covers. Only some of the songs on the album resemble the simple acoustics featured in Waitress. Coleman's jazzy arrangements are more often embellished with lively brass and strings.



"Calling Your Name" opens the album with a heady blend of Quincy's seductive vocals, Parisian accordion, Lynchian electric guitar, quaking percussion, and lavish bursts of brass.

The catchy "Mary" bounces along on robust horns mixed with jaunty jug band banjo and piano. "Want Me Back" dips back into the sultry style of the opener with slinkier instrumentation beneath Coleman's siren calls.

"Indeed In Love" glides through on a gentle breeze of ukulele, vibes, and woodwinds. "Never Happy" sneaks in with melancholy pedal steel then erupts into a trumpet led crescendo.

The swaggering sing-a-long "Don't Go Away" would be just as home in a Southern church as in a backwoods saloon. The haunting finale "In Your Eyes" is centered on Quincy's captivating voice.

Quincy Coleman - Calling Your Name (mp3 expired)

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Joshua James: Sun Is Always Brighter

Nebraska singer-songwriter Joshua James is currently on tour with The Swell Season (Glen Hansard & Marketa Irglova of Once). Joshua's album Sun Is Always Brighter will be released on June 3rd. His vocals and melodies remind me a little of Xavier Rudd, minus the dramatic quake of Rudd's digeridoo.



Joshua's delicate falsetto gently opens the stunner "The New Love Song" before the track bursts into an infectious folk-pop rhythm sprinkled with piano. "Soul & The Sea" delves into murkier waters on the verses, but is buoyed by a catchy chorus.

The quietly beautiful "Geese" in particular reminds me of Xavier Rudd, and contains one of my favorite lyrics ever - "the moon reflects its adjacent sun". Okay, so maybe you have to hear Joshua's phrasing to properly appreciate it.

"FM Radio" seems to be the track that others have been circulating the most, but doesn't stand out to me in comparison to the surrounding tracks. James does a much better job of breathing life into a simple melody on the gorgeous accordion accented "Lord, Devil & Him" and the dulcet piano tune "Abbie Martin".

"Today" and the glorious, grim protest song "Our Brother's Blood" burn a darker, cinematic edge on the electric guitar and piano. And the finale "Commodore" swathes anguish with a beautiful melody and earnest vocals.

I received Joshua's CD from Tyler Ramsey's management, but I know I've read about him elsewhere recently. I think it was either Songs: Illinois or The Late Greats.

Joshua James - The New Love Song (mp3 expired)

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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 expired)

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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)

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