Welcome to Issue 26 of MMReview!
If these reviews pique your interest in these albums, please click on the artists’ names to visit their web sites. You can find out more about the artists, listen to samples of their music and check their schedules. Some of the reviews have links to Amazon and iTunes so that you can conveniently purchase the music. A small percentage of the purchases made from these links will go to Music Matters to help us defray the cost of this website. I hope you will find this to be a valuable way to discover music that will matter to you.
We at Music Matters Review are excited to bring you a new feature. In an effort to make your experience with the music reviewed here more interactive, we have posted our first themed collection of songs that may be purchased through either Amazon.com or iTunes. A history buff I know had been lending me some of the wonderful books by David McCullough, a celebrated author who brings American history to life. As I was reading these books I began to notice how many of my favorite songs tell real stories from the present and past. I collected several of these songs and burned them to a disc I titled History, to play in the car. History turns out to be one heck of an album! Click here to listen to samples on iTunes or here to listen through Amazon.com. If you like what you hear, you can purchase the songs or the whole album. A small percentage of your puchases will go to Music Matters to help defray the costs of providing this website. Look for more “albums” soon!
Click here to check out some of this month’s special songs.
Reviews: (Click titles to jump to reviews)
Bearfoot—Doors and Windows
Craig Bickhardt—Brother to the Wind
Susannah Blinkoff—Let’s Pretend
Dale Ann Bradley—Don’t Turn Your Back
David Bromberg Quartet—Live: New York City 1982
Jonathan Byrd—The Law and the Lonesome
Catie Curtis—Hello Stranger
Anthony D’Amato—Shades of the Prison House
Guy Davis—A Sweetheart Like You
Ani DiFranco—Red Letter Year
The Gibson Brothers—Ring the Bell
Eliza Gilkyson—Beautiful World
Paul Mark & the Van Dorens—Blood & Treasure
Colleen McFarland—Let It Shine
Pierce Pettis—That Kind of Love
Kimmie Rhodes—Walls Fall Down
Kim Richardson—True North
Danny Schmidt—Instead the Forest Rose to Sing
Thom Schuyler—Prayer of a Desperate Man
Darrell Scott—Modern Hymns
Michael Smith—Live at Tales From the Tavern Too—Love Letter on a Fish
Rosalie Sorrels—Strangers in Another Country—The Songs of Bruce “Utah” Phillips
Tuck & Patti—I Remember You
The Waifs—Live—From the Union of Soul
Slipcrackers: (Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.)
Julie Lee—Stillhouse Road
Concert Reviews:
Lucy Kaplansky—Folk Music Society of Huntington, NY
April 4, 2009
Reviews:
Bearfoot—Doors and Windows
2009, Compass Records
Craig Bickhardt—Brother to the Wind
2009, Stone Barn Records
On first listen, without research, this sounds like a first album by a new artist. The songs have the fresh quality of a writer sharing his thoughts and feelings for the first time. He sings about treasured memories and things that are near and dear. He is unabashedly spiritual and casually reflective. He has the knack of saying a great deal in a few words. His voice is pleasant and familiar, like Dan Fogelberg in a quiet mood. The playing and production of the album is sensational in a non-sensational way. As I listened, it began to dawn on me that Brickhardt is no beginner. It turns out that Craig Bickhardt is a well-respected Nashville songwriter who has been recorded by such talented famous musicians as Johnny Cash, The Judds, Ray Charles, B. B. King and others. He is joined on this album by fine studio musicians and headliners including Beth Nielson Chapman, Janis Ian, Maura O’Connell, Tim O’Brien, Darrell Scott and others. Bickhardt treats us to songs from a mature perspective, such as “A Day Well Spent.” “All my days were numbered from the moment of my birth./ It’s taken me ten thousand just to know what one is worth. If I gain this wisdom from each casual event/ Then every day it cost me was a day well spent.” “This Old House” is written from the perspective of a house being left by the family that grew-up in it. “I remember where the hammer and the band-aids used to be.” My favorite song is “Donald and June,” about a couple who seemed struggling through a life that was not exactly what they wanted. But the point of the song is profound. “If things were different for Donald and June, then things wouldn’t be what they are. Where did they go right and how did they ever come so far?” Fine stuff from a man who is not a newcomer at music or life! —Michael Devlin
Susannah Blinkoff—Let’s Pretend
2008, Bunnyhead Music
Susannah Blinkoff is a funky pop-rock singer with, what sounds like, a really tight band. “Sounds like” is the operative phrase here ...with a couple of exceptions, everything is played by cowriter and producer Rich Jacques. Arrangements, guitars, keyboards and percussion are extraordinary with songwriting and vocals exuding that little something extra that makes this recording transcend its genre. —Michael Devlin
Dale Ann Bradley—Don’t Turn Your Back
2009, Compass Records
Dale Ann Bradley has been the IBMA’s female vocalist of the year for two years running. In terms of notoriety and real talent, that’s the inverse winning on an idol-search reality TV show. Bradley is too real for a reality show, with a voice and style as timeless as the “backwoods holler” she grew up in. Bradley’s singing is all about the songs, be they spirituals, Carter Family country, bluegrass originals or classic rock. She does not merely do these various songs in “her style,” but gives each of them their own musical space. Bradley covers a few Louisa Branscomb songs and co-wrote two. (Branscomb is a well-respected songwriter who has been recorded by some of today’s most prominent musicians including Alison Krauss.) Bradley takes Christie McVie’s “Over My Head” to the country with help from Alison Brown on banjo, and Tom Petty’s “I Won’t Back Down” has never sounded better thanks to lively harmony singing from Bradley, Steve Gulley and Roscoe Morgan. Stuart Duncan on fiddle, Tim Laughlin on mandolin and Mike Bub on upright bass round out the top-shelf band. This is a fabulous album, start to finish, deserving of whatever awards are given for such fine things. —Michael Devlin
David Bromberg Quartet—Live: New York City 1982
2008, Appleseed
By the time David Bromberg played this concert, he was already well-known for his extraordinary blues and rock guitar playing and humorous songs sung in his unique quavery urban-accented tenor. At shows, guitar players would crane their necks to watch his fingers while the rest of the crowd enjoyed his comic showmanship. 1982 can be considered somewhat of a transitional period for Bromberg. He left the exhausting life of touring with his band and began studying violin-making in 1980. This live album does not include some of the staples of his earlier live shows, such as “Sharon,” “Mr. Bojangles” and “I Will Not Be Your Fool.” Instead we hear blues, bluegrass and traditional music. The all acoustic band features guitar, mandolin, bass and fiddle (including one made by Bromberg). The show was mixed on-the-fly capturing a night of blazing picking and lovely slow tunes. Although the back of the album cover calls this a “warts-and-all-recording,” the sound quality is more than adequate to capture the spirited artistry of this fine acoustic quartet. What could be better... live roots music played with New York energy! —Michael Devlin
Jonathan Byrd—The Law and the Lonesome
2008, Waterbug
I wonder if it’s because the first two tracks are about addiction that this incarnation of Jonathan Byrd brings to mind Townes Van Zandt. The songs are loaded with anti-heros, the guitar playing is sparse and slow and the vocals have a haunted quality. The comparison extends favorably as Byrd spins simple phrases into complex webs of timeless poetry. A restless and lonely trip with moments of beauty!
Catie Curtis—Hello Stranger
2009, Compass Records
Catie Curtis has always been one of the singer-songwriters most likely to break through to popular success. Her songs are catchy and frequently topical. Her voice has always had the sultry octave flip that recently was de rigueur for platinum-selling pop divas. She’s been popular with the Lilith Fair audience and her albums are radio-friendly. She’s even had her songs featured on popular TV shows and independent movies. After two albums for Compass Records, Curtis has finally taken advantage of the musical opportunities of working with producer Garry West and company. This New England woman sounds right at home with the likes of Alison Brown, Stuart Duncan, George Marinelli and other fine studio musicians who gravitate towards the bluegrass side of Nashville. Some of the promotional material on the Compass website refers to the sound of this album as being stripped down, but that misses the mark. The first track, “100 Miles” makes a strong statement musically with distinctive, innovative contributions by Alison Brown on banjo, Stuart Duncan on fiddle and Todd Phillips on acoustic bass. The sound is refined, but there is a storm of melodic exploration going on here!
The A.P. Carter title track, “Hello Stranger,” features a duet with Mary Gauthier—a nice contrast of styles and Northern and Southern accents. Darrell Scott lends his ample talents on several tracks with guitar and backing vocals. Don White’s “Be Sixteen With Me” is lots of fun and Jon Martyn’s “Don’t Want to Know (No Evil)” (you may remember the Richie Havens version) has never sounded better or more apropos. Similarly, Richard Thompson’s “Walking On a Wire” sounds great in Curtis’s voice and West’s arrangement.
I’ve had Catie Curtis songs stuck in my head since the mid-nineties, but this album, with its combination of excellent material and virtuoso backing musicians, is in my opinion, her best yet. —Michael Devlin
Anthony D’Amato—Shades of the Prison House
2009
Anthony D’Amato identifies himself as a “21-year-old Americana singer-songwriter from New Jersey.” He may be from New Jersey, but he’s making the rounds of what’s left of the New York folk scene, singing with the slightly British accent that seems de rigueur for Indie-rockers no matter where they hail from. I first checked out his music on his MySpace page and clicked on a one-camera, one-take video of D’Amato strolling through a campus singing “I Know,” (a song from a previous album). It’s instantly apparent that D’Amato is a scintillating performer. Looking like a time-traveller from 1969 with bushy long hair and wispy beard, he bangs away at a few simple chords and wails on the harmonica and sings the hell out of the catchy song. Shades of the Prison House has many excellent songs, especially “Skeleton Key” and “Hank Williams Tune.” The songs are accessible, yet frequently surprising in the way they flip through images and refreshing points of view. The production of the album is a bit of a challenge. D’Amato gravitates towards a minimalist style, even when he is backed by an indie-rock band, which is perfect for his charismatic presence, but too frequently he mucks it up playing with reverb and distortion effects. Don’t let that scare you away from this album or artist. He plays with passion and skill, and he’s channelling a time when it was not unusual for this kind of music to really matter. —Michael Devlin
I usually don’t like it when relatively young people with nice guitars assume the identities of old weathered blues musicians. And I’m generally not interested in hearing rehashes of songs that have dozens of definitive versions and hundreds of OK ones. I’m also not fond of people taking it upon themselves to teach me about the blues like it was required reading. So, why do I love every bit of this (and every other) Guy Davis album? Davis approaches the blues with passion, both as a performer and man who believes it is an important part of his culture that needs to be kept alive and vibrant for the next generation. It’s his passion that takes him past just sounding like the hard-living originators of the blues. He plays a role he believes in. When he takes the stage, he inhabits the style he is playing and he’s not shy about playing a wide variety of styles and moods. Off-stage he sounds like a guy who grew up in the New York area, but with the sensibility of one who grew up in a house visited by the leading figures of the civil rights era. He is committed to the blues as a way of connecting to the emotional history of his ancestors. He plays, writes and sings the blues like it means something to him personally. Being so grounded in the music, he is confident enough to highlight Bob Dylan’s “Sweetheart Like You” as the title track. He also covers classic tunes that crossed over to the rock audience, such as Hoochie Coochie Man and “Baby Please Don’t Go.” Guy is joined by his son, Martial, who brings hip-hop vocal percussion and attitude to “Words to My Mamma’s Song.” His own compositions range from songs that sound like blues classics, to “The Angels Are Calling,” a spiritual R&B ballad. No matter what you like, or don’t like about the blues, Davis’ spirited vocals and brilliant playing on guitar, banjo and harmonica, combined with his total dedication to his craft, make this an album for all to enjoy. —Michael Devlin
Ani DiFranco—Red Letter Year
2008, Righteous Babe Records
2009, Compass Records
The Gibson Brothers have brotherly harmonies that may remind you of the Louvins. Eric and Leigh are originally from New York’s farmlands, oddly their vocals have a twang that reminds me of Jimmie Dale Gilmore. They sing in the midst of a full bluegrass band, the brothers on banjo and guitar accompanied by upright bass, fiddle, mandolin and resonator guitar. Although the playing and singing is excellent, the Gibsons keep their focus on the songs and lyrics. Whether they are playing a rousing bluegrass tune, or a touching country ballad, Eric and Leigh bring something special with their genetically tuned vocal chords. This is a special sound! —Michael Devlin
Eliza Gilkyson—Beautiful World
2008, Red House Records
Everything about Eliza Gilkyson’s albums tells you that she has lived and breathed music for her whole life. It’s in the blood, from her father Terry Gilkyson, evident in the fine musicians who record her music and play on her albums and it’s even in her progeny, Cisco Ryder, drumming in her band. Her lyrics at times directly ponder the meaning of being a musician, but more often she finds herself on a quest with her “lamp up in everyone’s face/ lookin for an honest man.” Her voice is as smokey as the clubs she has played over the years and inhabited by the joy and disfunction that surrounds a troubadour. Beautiful World’s atmospheric title cut is typical of the Gilkyson’s sophistication as a writer and singer, wistfully contemplating the folly of man and the beauty of creation with an aching sense of acceptance. “The Party’s Over” is a song about partying adults with a self-righteous attitude regarding the mess they leave, or is it really a pithy commentary on 2008 America? There is a great deal of variety, from material you would want everyone to hear before voting this year, to songs that could become part of the traditional catalogue, to one track you will probably want to skip over if the kids are listening. With the help of long-time producer Mark Hallman and all the wonderful guest musicians each song is uniquely and perfectly crafted. Another essential work from an artist in her prime! —Michael Devlin
Paul Mark & the Van Dorens—Blood & Treasure
2008, Radiation Records
This album sounds like a blues-rock band with a New York attitude that leans a bit towards rock-a-billy. A little research reveals that there is a good reason for this. Paul Mark is a New York indie-rocker who went to Memphis to record Blood & Treasure, his seventh album. The result is groove-driven music with studio musicians who manage to sound like they have been on the bandstand together for years. Mark has a rough blue-eyed soul voice and his original songs are fun and funky. —Michael Devlin
Colleen McFarland—Let It Shine
2009, 9th Child Records
This album has all of the polish of a commercial country record, but Colleen McFarland’s vocals make it something more. She manages to be upbeat without sounding facile, singing sweetly yet still sounding real when her country twang breaks through. The tracks where she accompanies herself on piano bring out her serious side, highlighting her lyrical depth and melodic songwriting skills. More than just another well-done country album.
Pierce Pettis—That Kind of Love
2009, Compass Records
Pierce Pettis has been releasing albums every few years since 1984, and has had many of his songs recorded by popular artists. He has earned acclaim from fellow musicians and reviewers and especially from other songwriters. Although he occasionally tours nationally, many of his shows are in the Southeast, so it is not surprising that many people have not heard his music. If you have, you can’t wait to hear the slightly restrained yet intense vocals and another bunch of great songs. His ability to make his finger-picked acoustic guitar set the mood has often made him the subject of discussion among guitarists. He is not only a preeminent songwriter and performer, but he also makes sure that the songs are explored live and ready before they are recorded. When brilliant players like Stuart Duncan, Byron House, Garry West and others add their talents to fully formed songs, the resulting tracks are spare and perfectly textured. Pierce Pettis exudes a sense of decency as his songs keenly observe the things that make us human. He is a master at crafting his songs, knowing well the secret of taking a simple lyric to another level by combining it with music and melody. “I Am Nothing” is spiritual, with a slowed and smoothed reggae beat. The lyrics reveal a great deal about the struggle between doubt and belief without being didactic. “I am nothing/ But the angels sometimes whisper in my ears/ Yeah, they tell me things/ And then they disappear/ Though I am nothing/ Sometimes I like to make believe/ I hear.” “Lions Eye,” inspired by C.S. Lewis’s Narnia tales, could be a huge pop hit with its built-in familiarity and catchy chorus. “To Dance” could have been written on a songwriter’s dare, yet here we have a gorgeous song about nothing more than dancing. The album closes with a fierce and unusual love song, “Something for the Pain,” which he dedicates to his wife, Michelle. This is a fine album from a man who has a thoughtful and passionate perspective on life and the skill to turn it into accessible and relevant music. —Michael Devlin.
Kimmie Rhodes—Walls Fall Down
2008, Sunbird
Kimmie Rhodes has been singing since she was six, recorded her first of twelve solo albums in 1981 and has been covered by Willie Nelson, Emmylou Harris, Waylon Jennings, Wynonna Judd and others. Over the years she has shared the bill with the finest progressive country artists. Her voice has a waif-like quality similar to Victoria Williams, and she sings her songs and the songs of others with remarkable subtlety. She chooses material with a certain gravitas, such as her deceptively cheerful interpretation of Townes Van Zandt’s “If I Needed You,” and Rodney Crowell’s cynical “Sex and Gasoline,” which feels edgy in her eerily underage voice. Her unusual interpretation of the Beatles’ “Fool on the Hill” makes you hear the tune in a completely new way. Her own songs are the eclectic mix of music you expect to hear in Austin, Texas. From the cosmic “Last Seven Seconds of the Universe” to the almost R&B sounds of the politically themed “Your Majesty,” Walls Fall Down is a pleasing mix of first rate material made memorable by Rhodes’ unique voice and musicianship. —Michael Devlin
Kim Richardson—True North
2007
You don’t have to look at her bio to know that Kim Richardson has been honing her craft in front of live audiences. She’s a dynamic guitar player and singer with an expressive voice and song to sing. She is surrounded on this album by musicians who play everything from old-fashioned country to spirited light rock. True North has just the right mix of fun, reflection and grit. —Michael Devlin
Danny Schmidt—Instead the Forest Rose to Sing
2009, Red House Records
Austin based Danny Schmidt seems to have absorbed the essence of roots music—blues, mountain, rock, as well as picking up something from the great ones who have tread this path before, Townes Van Zandt, Neil Young, Greg Brown. The songs often sound familiar the first time you hear them, but as in “Swing Me Down,” a swaying fiddle-dance ode to the footloose, he always seems to head off in a slightly different direction than is anticipated. Musically, the tunes are based on Schmidt’s wonderful fingerpicked guitar, at times bluesy, old-timey or folky. With a light touch, Schmidt and co-producer Mark Hallman add Tex-Mex accordian, horn and fiddle. Backing vocals by Carrie Elkin and Joia Wood are a perfect counter to Schmidt’s unique voice. He explores everything from the mostdelicate shades of love to the simmering dark heart of “Firestorm.” The language can go from crude to lofty in the same song, as in “Grandpa Built Bridges,” describing him when he got old as a man who “wets his own britches if he’s not told,” but also a man who “built bridges like mountains and birds.” It is these polished phrases, like gems on the restless paths Schmidt takes you down, that make this album one you will want to listen to closely, even as the music makes you want to listen frequently. This debut on Red House should make Schmidt an essential artist for a whole new audience! —Michael Devlin
Thom Schuyler—Prayer of a Desperate Man
2009
Thom Schuyler is a songwriter for the common man—without the fanfare. His voice is friendly and his lyrics sometimes have the mildly salty air of a neighbor shooting the breeze over the fence. He wears his hurts on his sleeve, but he doesn’t make a big deal out of them. Mostly he sings about things that are near and dear to him, simple and real things like family and faith. His approach to everything is fresh and unaffected, and because of this he seems like a talented newcomer with a fine first effort, touching upon his most important themes. The fact is that Schuyler has been a professional songwriter on Nashville’s Music Row for decades, writing songs for popular country artists, working for record companies and being a leader in the music industry. Schuyler’s ability to write and perform with sweetness and simplicity sets him apart. You may have heard songs about first guitars, awkward dancers and lost loved ones, but his songs are special because they don’t try too hard to be different, they just try to be genuine. The last song on the album combines Schuyler’s most endearing qualities. “Starting To Go” is a song about aging parents that acknowledges the history that shaped their lives, appreciates their sacrifices and laughs at their foibles, all with disarming sweetness. “They fed us and clothed us and sent us to college/ And somehow they met every need/ Now they come for a visit—we hug ’em and kiss ’em/ And count every hour till they leave.” It’s very easy to like this man and his music. —Michael Devlin
Darrell Scott—Modern Hymns
2008, Appleseed Recordings
This album sounds as good as it should. After all, look who is playing with Scott. Danny Thompson on acoustic bass. Google him. His discography starts in 1964. I started chuckling half-way through his bio because he has played such a variety of styles with just about everyone. Dirk Powell on banjo, guitar, fiddle and accordion is a founding member of Balfa Toujours and a renowned producer. Stuart Duncan is the usual answer when I ask “That’s really nice fiddling...who is it?” Alison Krauss, Sam Bush, John Cowan, Del and Ronnie McCoury and Tim O’Brien need no explanations to bluegrass fans. All of these folks are here because multi-instrumentalist, singer-songwriter Darrell Scott is long-time, full-time one of them. Scott’s production of this album is gorgeous through the many styles of music. (If he needed help, all of the above mentioned musicians are themselves capable producers.) The organizing theme is a rather loose interpretation of what may pass for a hymn, an eclectic selection of the work of fine songwriters. We have Gordon Lightfoot’s “All the Lovely Ladies,” Joni Mitchell’s “Urge for Going,” Kris Kristofferson’s “Jesus Was a Capricorn,” Methany and May’s “James,” Paul Simon’s “American Tune,” Bob Dylan’s “I Don’t Believe You (She Acts Like We Never Have Met),” among others. All of this would have been meaningless if Darrell Scott didn’t have a unique and powerful vision of what he wanted to do with all of this great material. He doesn’t just perform these songs in different genres, he sings them with considerable soul and fervor. Scott’s duet with Mary Gauthier on Leonard Cohen’s “Joan of Arc,” is a standout in an album of memorable tracks. Scott’s versions of these familiar songs are significant reinterpretations and by bringing them all together as Modern Hymns he forces one to consider them from a fresh perspective. This is way more than a cover album, it’s an important and essential listen. —Michael Devlin
Michael Smith—Live at Tales From the Tavern Too—Love Letter on a Fish
2008, Tales From the Tavern
There were several years after I found out that Michael Smith was more than just the guy who wrote “The Dutchman” when I kept missing him when he performed in my area. Then within a year I was lucky enough to see him twice, once at a house concert and once at a small venue. Similarly, we are lucky to now have two concert albums from Tales From the Tavern. Tales From the Tavern is a concert series held in and around Santa Ynez, California. Love Letter on a Fish is a follow-up to 2003’s Such Things Are Finely Done. It is hard to imagine that Michael anticipated a second album with Tales From the Tavern, because Such Things Are Finely Done is a perfect set of accessible and memorable songs. “Sister Clarissa,” “Move Over Mister Gauguin,” “I Brought My Father With Me” and of course “The Dutchman” are songs any fan of Michael Smith would want to hear at one of his shows. Having the opportunity to record a second show of all different songs might leave another musician short on material, but not Michael Smith! Love Letter on a Fish is another beautifully paced set of songs that beguile or amuse. Songs like “Dead Egyptian Blues (Mr. Tut),” “Spoon River,” “Panther in Michigan,” “Vampire” and “Crazy Mary (From Londonderry) have to be considered signature songs in Smith’s vast catalogue, but every song brings its own bit of magic to the evening. Although Michael is reputed to be somewhat quiet offstage, he is genuine and gracious with the audience, telling jokes and sharing stories about the songs. I have no doubt that Tales From the Tavern could invite Smith back to record another show of different material with similarly splendid results. Don’t miss this album, or any opportunity to experience Michael Smith’s music! —Michael Devlin
Rosalie Sorrels—Strangers in Another Country—The Songs of Bruce “Utah” Phillips
2008, Red House Records
When a legend pays tribute to a legend there are high expectations, but in this case there are some surprises. Much of Utah Phillips work is characterized by a hobo sensibility and sense of humor, but it is a bit of a revelation to hear how beautiful his classic folk songs sound in Sorrels’ timeless voice. Many of the songs are introduced by Sorrels as if we were sitting at her feet around a campfire. Sometimes the introduction is in the form of one of Phillips’ poems or a reading from another poet. Peggy Seeger, Jay Unger, Molly Mason and Kate and Anna McGarrigle among others lend their talents to this loving tribute.
Tuck & Patti—I Remember You
2008, T & P Records
Husband and wife, guitarist Tuck Andress and singer Patti Cathcart have been performing together for twenty-six years. To say they are each virtuosos greatly understates what you hear when you listen, because they are not just taking turns blowing you away, they are sharing their love of the music. Patti’s voice is rich with touches of Sarah Vaughn’s and Ella Fitzgerald’s phrasing, but with a peaceful power all her own. She never tries for the clever or impressive note, preferring to find the emotional center of every word, allowing her voice to be it’s beautiful self. The subtle sophistication of her singing makes you want to hear every song again and again. Tuck Andress describes himself as “the orchestra,” and that goes a long way towards describing his playing style. With the six strings of his guitar, he simultaneously explores themes that span several instruments. He obviously has discrete brains located in various fingers on both hands! Similar to Patti, his approach to playing has nothing to do with dazzling an audience, but rather in getting to the heart of the music. Tuck & Patti always pick material worthy of their talent (I particularly love their interpretations of Jimi Hendrix), so why not an album made entirely of selections from The Great American Songbook? Songs like “In a Sentimental Mood,” “Deed I Do,” “When I Fall in Love” and “Embraceable You” give Patti classic love songs to inhabit and unforgettable melodies for Tuck to get the most out of. “I Remember You” may be the title track, but the last song has a line that says it all; “I greet you with a song in my heart.” Tuck & Patti... thanks for putting these songs in my heart. —Michael Devlin
The Waifs—Live—From the Union of Soul
2009, Jarrah/Compass
The Waifs are original band members, sisters Donna Simpson and Vikki Thorn with Joshua Cunningham, plus Ben Franz, David MacDonald and Mikel Azproz. They have won awards and achieved commercial success in their native Australia playing acoustic music. Donna and Vikki give The Waifs rock band charisma with their sultry lead vocals and harmonies. Listening to this live album, it is easy to see why they are a popular band. Their songs are memorable and catchy, kind of like an unplugged Fleetwood Mac in their prime. The Union of Soul National Tour took place in early 2008. Since then, the band has been somewhat dormant due to a variety of personal reasons, but this album is an example of just how good talented people with acoustic instruments and good songs can sound. —Michael Devlin
Slipcrackers:
Julie Lee—Stillhouse Road
2004, Compadre Records
Julie Lee has a stop-and-listen voice. It’s strongand beautiful, filled with the meaning of the lyrics and informed by the genuine styles of bluegrass, country, gospel and blues. She is surrounded by the finest players, including Alison Krauss, Rob Ickes, Colin Linden, Pat McInerney, Tammy Roders and others. The songs are her own, inspired by her family history and the stories that are becoming the legacy of our culture. She is as profoundly skilled at bringing you to joyful places as deeply troubling ones. This album is a masterpiece, both a personal statement and a work for the ages. —Michael Devlin
Concert Reviews:
Lucy Kaplansky—Folk Music Society of Huntington, NY
April 4, 2009
It seems like Lucy Kaplansky has always been a “star” among singer-songwriters. She is much sought-after by the best of her contemporaries as a harmony singer and her albums have offered outstanding versions of their songs. Her own songwriting, usually in collaboration with her husband Richard Litvin, has blossomed over the years. Considering all of her success, it feels odd to say that Kaplansky is a much more compelling artist now than she was several years ago. One might say that her music has deepened in step with her life. She was a downtown New Yorker in 2001, and shortly thereafter a new mother. She has recently lost loved ones, especially her father, and now is experiencing the changes of her relationship with her aging mother.
Kaplansky performed solo, playing both guitar and piano. She opened with a stunning acapella version of the hymn-like “Over the Hills,” a song that could be seen as referring to her role as a child or mother. She frequently told stories and sang songs about or related to her daughter, Molly, who is now six. Kaplansky’s sense of sense of wonder at the love she feels for her is disarming, and the glowing details struck a chord with the parents in the room. Singer-songwriters are often criticized for writing “songs about themselves,” but even though Kaplansky sings about her life, she connects to the part of life that we all share that is bigger than ourselves. Songs about her parents and grandparents balance their losses with remembrance, taken from a perspective that is longer a single generation. Her father’s whimsical song about pi has been in her reparatory for many years, but she is still girlishly proud to sing his song. Joy and mourning are very comfortable next to each other in Kaplansky’s sets because most of her songs find a way to say, “I love.”
Kaplansky asked for requests early in the show claiming that she doesn’t plan-out her shows. I was particularly pleased when she complied with someone’s request to sing “Ring of Fire.” From the first time I heard that song on her CD I was impressed with how she approached the challenge of singing a song so definitively recorded by Johnny Cash. Kaplansky took to the piano to sing Leonard Cohen’s often covered “Hallelujah.” Her daughter’s recent fascination with the Beatles probably had something to do with her covering “Let It Be.” If ever there was a song I thought I had heard every nuance and interpretation of it is this one. Kaplansky’s phrasing and personal emphasis takes this song to a profound new place, curiously appropriate for the current troubled-yet-hopeful state of our world.
As someone who has been blessed with children, and lived long enough to lose loved ones, I feel a deep appreciation for the things that Kaplansky shares with her audience. These are her precious things she is gifting us with, the most poignant things she has come to recognize and understand a bit of. To receive these gifts from such a talented performer is truly sublime! —Michael Devlin