Once again there has been quite a variety of music to review. What you see here are short reviews of the very best music that has come to my attention in the last couple of months. If the reviews pique your interest in these albums, please click on the artists’ names to visit their web sites. You can find out more about the artists, listen to samples of their music and check their schedules. I hope you will find this to be a valuable way to discover music that will matter to you.Welcome to Issue 21 of MMReview!—Michael Devlin, Editor
Reviews: (Click titles to jump to reviews)
The Believers—Crashyertown
Frank Carillo and the Bandoleros—Bad Out There
Crooked Still—Hop High
Brent Gunter—Andalucia
Jim Henry—One-Horse Town
Incognito—Eleven
Alex Kash—Florida Heat
Reggie Lewis—Reggie Lewis
John Lowell & Ben Winship—Growling Old Men—Occupational Hazards
Cindy Mangsen—Cat Tales: Songs of the Feline Persuasion
Jay Mankita—Dogs Are Watching Us
Outlaw Family Band—Outlaw Family Band
Rob Reynolds—Find Me, Sample Me, Free Me, Take Me Sightseeing
Lauren Sheehan—Two Wings
The Subdudes—Behind the Levee
Slipcrackers: (Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.)
Kane’s River—Same River Twice
Hubie King and Diane Jones—“There Are No Rules”
Reed Island Rounders—Goin’ Back
Various—No Depression—What It Sounds Like (Vol. 1)
Concert Reviews:
Michael Smith
Tracy Grammer and Jim Henry
Reviews:
The Believers—Crashyertown
2005, Bona Fide Recordings
It is interesting to see a rave quote from Buddy Miller in their press materials because the first thing that came to mind when I heard The Believers is that they have that Buddy and Julie Miller thing going pretty good. They are serious rockers with a Southwestern twang, yet Craig Aspen and Cynthia Frazzini sound like they’re having a blast. Their own songs are memorable, but the first track that really knocked me out was their version of Bob Dylan’s “Subterranean Homesick Blues.” For a song that doesn’t exactly have much of a melody, they turn it into a giant hook that you’ll be humming for days. Cynthia has the voice of a progressive rock goddess of yesteryear and one can easily image “Jordan” on a Heart album from the 70s. They even have banjo bad boy Danny Barnes (Bad Livers) join them for a tune or two. Crank this one up and let them charm you! —Michael Devlin
Frank Carillo and the Bandoleros—Bad Out There
2004, Jezebel Records
Frank Carillo has been around since the early 70s, playing with Peter Frampton, The J. Giles Band, Cheap Trick, Van Halen, Carley Simon, Michael Bolton, Twiggy, Anouk, John Hammond and Golden Earing, jamming with Led Zeppelin and opening for the Bee Gees. Oddly his music sounds like a blend of Bob Dylan and Tom Waits’ vocal style and Bruce Springsteen’s early sense of rock and roll. Carillo plays electric and acoustic guitar and sings the heck out his self-penned songs. It is a surprise that with all of his brushes with fame and having major label albums, he will be a fresh new voice to most people. This guy can really sing and play and write a song and the Bandoleros rock like they have been together for years. A satisfying album in every way. —Michael Devlin
Crooked Still—Hop High
2004
Perhaps the most exciting thing that can happen to a traditional art form is for it to get into the hearts and souls of a new generation. The members of Crooked Still look young enough to get proofed, yet they have evolved a “low lonesome” version of bluegrass/traditional music that is truly unique and compelling. The most radical change they bring to the form is the cello playing of Rushad Eggleston. In his hands the bowed instrument can play anything from a lovely melody to a driving rhythm. Corey DiMario is limber and engaging on the double-bass and Gregory Liszt’s modern banjo picking is nimble and wonderfully multifaceted. Aoife O’Donovan’s voice is as sweet and pure as Allison Krauss but with less vibrato, and if they were both singing on porches at opposite ends of the street I honestly don’t know which way I would go. The tunes are mostly traditional, interpreted with the energy and boundary-less creativity of youth. They are fearless in their exploration of the tunes, reveling in newfound complexities discovered in their fresh approach to the music without losing sight of things that will make the songs last for generations. Crooked Still has just signed with Signature Sounds, so we can expect that their next album will bring their music to a much deserved wider audience. Essential! —Michael Devlin
Brent Gunter—Andalucia
2005, Sandia Crest Entertainment
Andalucia refers to a multi-cultural region in southern Spain. Fittingly, this is an instrumental album of flamenco and classical guitar influenced by Middle Eastern, Western pop, jazz and other world music. Many of the songs have a sultry backbeat and a gauzy “curtain of sound” production. Brent Gunter is an extraordinary composer and an expressive guitar player. He also plays a wide variety of percussion instruments and his attention to rhythm as a producer makes this an album that will have you tapping and swaying. Exciting, accessible, exotic and essential! —Michael Devlin
Jim Henry—One-Horse Town
2005, Six-Pack Productions
Tracy Grammer and Jim Henry seem to be trading seven song EPs. After Henry backed Grammer on Verdant Mile, she returnes the favor on One-Horse Town playing violin and singing harmony. Henry is a subtle and sweet player on guitar, dobro and mandolin with an easygoing vocal style. He covers some traditional tunes including a nice adaptation of “St. James Infirmary.” Although Dave Carter’s “Quickdraw Southpaw’s Last Hurrah” debut’s on this disc, the two most memorable songs on the album are Henery’s own “This Lullaby,” a song that celebrates childhood as well as growing older, and “Ruby,” a cheerfully loving song that must be addressed to his daughter. —Michael Devlin
Incognito—Eleven
2006, Narada Jazz
They bill themselves on the album cover as a UK “acid-jazz supergroup.” I don’t know what their other music sounds like, but this album is a throwback to ‘80s West-coast fusion. I’m hearing Joe Sample, Eric Gale and Bob James—smooth funk with some punchy horn charts and nice keyboard work. I’d forgotten how much I used to like that stuff. Incognito sounds fresh despite the fact that the genre’s time has passed, with crisp playing and sweet-soul harmonies. —Michael Devlin
Alex Kash—Florida Heat
Florida Heat is an album of voice and 12-string guitar with an occasional blast of harmonica. Alex Kash’s voice sounds a bit like James Taylor when he is singing softly and his guitar is capable of laying down a wide range of rhythms and moods. The songs are interesting and everything is done with the understated taste of a man who has spent a long time in the music business, working in various capacities on other people’s projects. A pleasant sound with much to appreciate when you listen a few times. —Michael Devlin
Reggie Lewis—Reggie Lewis
2005, Reginald Lewis
This two song CD is available on CDBaby.com. The promo copy is bizarrely badly written and spelled and the disc is home-duped. So why even listen? Because Reggie Lewis is a sensational singer of self-penned old-fashioned R&B ballads. The good news continues with sweet production and soulful backing vocals. What a find! —Michael Devlin
John Lowell & Ben Winship—Growling Old Men—Occupational Hazards
2005, Snake River Records
Guitarist John Lowell and mandolin player Ben Winship have been playing together for several years, sharing an interest in traditional and bluegrass influenced music. Their voices and phrasing are so similar that they sound like brothers. Their harmonies are easygoing and seemingly effortless and when they trade leads it sounds like different moods of the same singer. On this their second album together as Growling Old Men, they play a mix of traditional songs and their own compositions with only a little help from Kane’s River bass player Dave Thompson. They take a back porch approach to the songs but not to the sound. While the playing has a spontaneous feel, they are impeccable instrumentalists who work together as if they were one musician. The recording, done at Winship’s Henhouse studio is pure enough to delight the pickiest audiophile. A warm gem of a recording. —Michael Devlin
Cindy Mangsen—Cat Tales: Songs of the Feline Persuasion
2005, Compass Rose Music
I admit that an album about creatures whose most celebrated quality is indifference is a recipe for several kinds of disaster. Fears of excessive cuteness and rampant anthropomorphizing can be set aside—Cindy Mangsen has gathered thoughtful, wryly humorous and howlingly funny songs about cats and our relationships with them. Mangsen is joined by familiar fellow veteran musicians Steve Gillette, Priscilla Herdman, Anne Hills and Scott Petito. The resulting music is as wonderful and varied as you would expect with touches of banjo, accordion, dulcimer and concertina. In addition to her own compositions she samples the songs of Cheryl Wheeler, Nancy White, Buddy Mondlock, Les Barker, Erica Wheeler, Lou and Peter Berryman and others. Mangsen’s own song “Rudy’s Big Adventure,” about a friend’s cat that got his head stuck in the garbage disposal is the funniest song I have heard in years! Essential—even if you are not a “cat person.” —Michael Devlin
Jay Mankita—Dogs Are Watching Us
2004, Dreams On Tape Music
Actors frequently say that comedy is the hardest thing to do well. Doing comedy in verse while you sing and play guitar is a tricky business too. Doing a whole album of songs that will make an adult laugh that you can play with your children in the room is practically unheard of…until now! Kudos Jay Mankita! I suppose that those who voted “red” (an interesting change of terminology since the ‘50s) might not find “They Lied” and “Illegal Aliens From Outer Space” all that funny, but the “blue” folks will get a rueful guffaw. The tunes are jaunty and jazzy and the pun-rich lyrics are packed tightly into each song. Mankita’s lighthearted vocals are backed by an acoustic ensemble featuring standup bass, light percussion and an occasional clarinet. Good clean fun! —Michael Devlin
Outlaw Family Band—Outlaw Family Band
2005, Slackjaw Records
Electric guitars played loud, drums played slow and hard, banjo and fiddle amped-up into the mix—they call it newgrass, Americana…whatever. This is music that rocks the roadhouse with rough hewn lyrics and hard luck stories. James Weigel who does most of the lead singing, sounds like Phil Ochs at times, although with the slightly flat style that is typical of alt-country. These guys aren’t “outlaws” in the the glitzy commercial-country mold; their playing has raw energy and a real edge. This is “honest” outlaw! —Michael Devlin
Rob Reynolds—Find Me, Sample Me, Free Me, Take Me Sightseeing
Invisible Hands Music
This five-song sampler is well-done Genesis-genre pop. The distribution of this disc has a unique grass-roots approach. The album cover encourages one to listen to the album and copy it, then pass it on by leaving it in a “train, aeroplane, in a café or venue.” Each disc has a serial number and you are encouraged to use this number at Reynolds’ website to view postings from people who have had the disc before you. The music is catchy and polished and Reynolds has a fine “blue-eyed soul” voice. Look for this one on a train near you! Mine is number 24194! —Michael Devlin
Lauren Sheehan—Two Wings
2005, Wilson River Records
There are blues women who belt out songs loud enough to quell a noisy bar and there are blues women who can make it sound real playing with a friend or two on a porch. Lauren Sheehan is one of the latter musicians who can effortlessly muster a commanding presence. Her music often springs from direct exposure to the work of original blues musicians, but also ranges to traditional and traditionally influenced modern performers such as Gillian Welch. Her blues playing on guitar and banjo is Piedmont style and she is backed on several tracks by Piedmont harmonica virtuoso Phil Wiggins. This blend of tasteful playing, nuanced singing and classic material is captivating from beginning to end. Essential! —Michael Devlin
The subdudes—Behind the Levee
2006, Back Porch/Virgin
This incarnation of the subdudes includes original members Steve Amedée, who gets a drumkit worth of percussion out of a tambourine, John Magnie on accordion and keyboards and Tom Malone playing guitar and providing lead vocals. The only original member missing is bassist Johnny Ray Allen, who has been identified as part of one of the personality conflicts that split the band in 1996. Former road manager Tim Cook plays bass guitar and bass vocal harmonies and old musical friend Jimmy Messa also plays bass on some of the songs. Behind the Levee is the second post reunion album, following the 2004 release, Miracle Mule. The subdudes still have their signature sound with Malone’s soulful voice, the thump of Amedée’s tambourine and Magnie’s funky accordion—the hard driving but “subdued” sound that helped name the band. It’s just a little more polished on this release, perhaps due to production work by Keb’ Mo.’ The harmonies are richer than ever thanks to Cook’s ability to cover the lower registers. The material veers towards rootsy R&B, making for lots of foot tapping while you find your own place in the harony on the catchy choruses. Smooth enough for pop, funky enough for New Orleans and eclectic enough for long-time fans of the band. —Michael Devlin
Slipcrackers:
Kane’s River—Same River Twice
2003, Snake River Records
It takes only a few seconds of the first song to make you realize that this is an extraordinary modern bluegrass band. Julie Elkins on banjo, John Lowell on guitar, Jason Thomas on fiddle, David Thompson on acoustic bass and Ben Winship on mandolin are all virtuoso musicians, but the best thing about Kane’s River is that they don’t feel that they have to prove it all of the time. The lyrics, melody and rhythm matter most and the harmony singing supports rather than competes with the comfortable and heartfelt lead singing of Elkins, Lowell and Winship. The material, mostly penned by band members, has the feel of music that will be around for generations. The recording is perfect and the interweaving textures create as complex and rewarding a listening experience as can be found in any genre. Essential! —Michael Devlin
Hubie King and Diane Jones—“There Are No Rules”
1997
Reed Island Rounders—Goin’ Back
2002, Burning Wolf
These wonderful albums of traditional music fell into my hands in a good-old traditional way…by chance and happenstance! Diane Jones has a Labrador Retriever connection with one of my coworkers. When we were introduced we discovered our mutual interest in music and although I had never heard Diane’s music, I know the music of people with whom she plays. This was all Diane needed to know for her to pull these albums out of her suitcase and hand them to me as a gift.
“There Are No Rules”
I had no idea what a princely gift these two modest looking albums are. It turns out that Diane Jones an accomplished clawhammer banjo player and a wonderful straight-ahead singer of Appalachian Mountain Traditional music. “There Are No Rules” features duets with banjo player Hubie King. In the liner notes Diane indicates that their styles are very different, hers being more rhythmic and his being more melodic. The combined effect of their playing on the distinctive traditional tunes is a joyful thing! Plunk a banjo string and you get a rather primitive and plaintive sound. Find someone who can really pick and the banjo can dazzle or tug at your heartstrings. When these two start to play off of each other the plinking and plunking strings form a complex musical picture not unlike the way an impressionist painting is made from dots of paint. Dave Bing, Peter Vigour and Chris King add color with outstanding fiddle and guitar. This is traditional music at its best—alive with the energy and creativity of the people who play it.
Goin’ Back
Betty Vornbrock (fiddle) and Billy Cornette (guitar) formed the Reed Island Rounders in the early ’90’s and released “Wolves in the Wood” with Andy Buckman on banjo. Diane Jones replaced him in the band in 1999. Vornbrock’s fiddling takes the lead through a wonderful variety of songs, airs and dances. Traditional music is not all about how fast you play or the complexity of the technique. Yet in serving the tunes, Vornbeck is a quietly dazzling player. Jones can lay down a strong rhythm while at times carrying the melody. Her lead vocals are clear and vibratoless, a mountain voice with an effortless quality.
Both of these albums are worth seeking out for the variety of tunes and moods and the beauty of the playing and singing. They can serve as a brilliant entry point for those whose interest has been piqued by recent media attention to traditional music. The liner notes for each album include details about the origins of the tunes and copious thanks to the musicians who hand down the songs and their techniques. Essential and thoroughly enjoyable music! —Michael Devlin
Various—No Depression—What It Sounds Like (Vol. 1)
2004, Dualtone
This is a compilation of music selected by Peter Blackstock and Grant Alden, the editors of the No Depression music magazine. They take pride in the fact that it is hard to define the alternate-country music that is featured in No Depression. There is no better way to understand the genre than listening to this CD. You’ll hear Johnny Cash in his grunge-rock stage, Alejandro Escovedo, Doug Sahm, Buddy Miller, Allison Moorer, Lucinda Williams and even the Carter Family. The common thread is that and everyone who plays on this compilation are inhabited by the music. They each have their own sound yet they each seem to be channeling part of the authentic music of the past. This is more of a concept album than a random collection of tunes with perfect pacing and themes that carry from song to song. Essential! —Michael Devlin
Concert Review:
Michael Smith
Folk Music Society of Huntington
October 1, 2005
When my wife and I heard during the summer that Michael Smith was coming to Long Island in the fall, we could hardly contain our excitement. He’s been legendary to me since the day I first heard “The Dutchman” sung by Steve Goodman and even more essential to both of us as we have been touched by each of his recent albums. If there have been five genius singer-songwriters in the last few decades, Michael Smith is one of them. People who had seen him live reported that Smith’s shows are every bit as good as his material, a fact borne out by two recent live albums, Such Things are Finely Done and "Michael Peter Smith...Live At Dark-Thirty" .
The concert was given as part of the First Saturday series in The Congregational Church of Huntington. It is a fairly intimate space with a wide semi-circle of seating around the floor-level performing area. There was a good crowd, but certainly not nearly what one would expect for a performer of this magnitude. Only a small part of the audience seemed familiar with Michael Smith’s music. Smith strolled to the microphone, looking serious in somber colors, a powerfully built man in his sixties, on his way to work. He began playing the exquisite overtone intro to “Sister Clarissa” as the crowd tried to anticipate the kind of performance they were about to see. A few seconds into the song, the line “Sister Clarissa is eleven feet tall” let the audience know that they were in for an evening of some of the most sweetly humorous, well-written songs that they had ever heard. Smith’s guitar playing is varied and intricate, establishing the various moods of his songs while supporting his baritone vocals.
One after another the songs came. Some of them fun because they are tongue-twistingly fast and witty such as “The Princess & the Frog” and “Zippy.” “Famous In France” mentions everything Americans recognize as French, from French fries to Claudine Longet. Perfectly placed within the set are songs that move you to tears. It’s amazing to watch people hear “The Dutchman” for the first time. With a career that covers several decades, there were surprises even for those who have followed his career closely.
The concert was perfectly paced with ballads being picked up by lively tunes and wistful songs followed by a funny song or a joke or two. Too soon it was all over and we filed out. Smith stood near the door signing CDs. As we passed why tried to tell him what seeing him in concert had meant to us. Words seemed to fail us but he seemed to get the point. I’ll say here what I most wanted to say, “Thank you Michael. Thank you for every time I have listened to or tried to sing one of your songs. Thanks for coming to my town!”
—Michael Devlin
Tracy Grammer and Jim Henry
1/22/06
Finch Mountain House Concert
Babylon, New York
As is true of so many fans of Dave Carter and Tracy Grammer, Dave’s death in 2002 was more than the loss of a favorite musician. The spiritual nature of many of the songs and Dave’s Buddhist outlook and serene demeanor made us all feel like we lost a personal friend. In letters to her fans, Tracy has taken the role of comfort giver, and with the release of Verdant Mile and Flower of Avalon, has continued the musical legacy of the duo. Still, even with the healing effects of the new music and the passing of time, I anticipated that this show would be an emotional event for me.
The Finch Mountain House Concerts are held in Jack and Karen Finkenberg’s living room, with additional seating in their library, which is to the right of the stage. They somehow pack about fifty people into their beautiful home. I was sitting on the staircase at the back of the living room. A small sound system brings the music clearly to you no matter where you are sitting. James O’Malley opened the show, performing songs from his first two albums plus a couple of new tunes. James is one of the most gentle and genuine people you will ever meet. He is blessed with a voice that sounds a lot like Paul Simon, and he writes songs that cheerfully explore the world around him. Whether he is singing about his childhood, the enduring love of a long marriage or even the demise a cricket in his kitchen, he never fails to connect with his audience. He is also a wonderful guitar player, with bluesy riffs and catchy rhythms. As much as I was anxious to see the featured performers, I was sad to see his set end so soon. (You can learn more about this up-and-coming artist at www.jamesomalley.com).
One of the first things that struck me when Tracy Grammer and Jim Henry took the stage was Tracy’s new role in the duo. Although she has always had an engaging stage demeanor, in her shows with Dave, much of her attention was on him. She is now clearly the leader of the duo and radiates a joyful presence more directly to the audience. Her hair is longer and worn more loosely, and a smile is never far from her lips. Tracy plays rhythm guitar on most of the songs, with Jim fulfilling her old melodic and contrapuntal role on mandolin and electric guitar. She still plays the fiddle on some tunes. They played many songs from Flower of Avalon as well as some from Verdant Mile. Introducing “Laughlin Boy,” Tracy revealed that a Laughlin descendent emailed her to set her straight on some of the details of the song. Of the songs that Tracy has recorded with Dave, she mostly covers songs on which she originally had sung the lead. The first song that she sang that had been Dave’s lead was “The Power and Glory.” This proof that Dave was not here to sing his song brought tears to my eyes. So many of Dave’s songs that deal with the issue of separation and death have taken on a “message from beyond” significance to those who loved him. Speaking about “Gypsy Rose,” Tracy said that she could barely sing it when Dave was alive because it was such a sad song. When deciding how to do this song for Flower of Avalon it was suggested that they play it in an upbeat arrangement. Tracy and Jim played the song for us in its slower original form, a very moving moment to be sure. After the break they played a killer instrumental duet (can’t remember the name) on mandolin and violin. Jim played a couple of his songs including “Drive-in Movie Picture Show” from his 1999 album The Wayback.
Tracy directly addressed the difference between her current emotional state and the public perception of where she is in dealing with the death of her partner. Newspaper articles still begin with phrases like, “Following the tragic passing...” She does not want to be the eternal “folk widow,” indicating that she has adjusted and it is time that the media moves on too. Surely one of the things that I hoped to see at this concert was that Tracy is “doing OK,” and she is. Loss is always grieved in some way, but it is not the end of joy or meaning in life. One gets the feeling that she is at a crossroad in her musical career. Surely her role as the focal point of interest in Dave Carter’s music will remain prominent, but she will soon be writing and finding new songs. Her fiddle and voice can already be heard on a live recording by Ashleigh Flynn, and it is likely that she will an active part of the scene for many years to come.
Towards the end of the show Tracy said that because she and Jim will be performing as a duo for a while, they want to come up with a name for themselves that is not just their names and an ampersand. “Back to Babylon” is a good idea...often! —Michael Devlin