Welcome to the first web “issue” of Music Matters! When Music Matters went from print to the web in 1999 we adopted an index approach to our content, adding new material as it became available. This brought new content to the web on a regular basis but we found that this approach fell short in two ways. It is hard to know when to check back for new info and difficult to know at a glance what is new. It also lacked the cohesive quality of being an issue of a publication.But why are we calling it MMReview 15? Our last print issue was number 14 so...Welcome to MMReview 15!MMReview 15!
Features:
Holiday Supplement: Reviews of Holiday music and some CDs you may like to give or get
Interview: James “Jimbo” Mathus, guitarist with his Knockdown Society and the Squirrel Nut Zippers
Slipcrackers! Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.
Reviews: (Click titles to jump to reviews)
Neko Case—Blacklisted
Slaid Cleaves—Holiday Sampler
Cliff Eberhardt—School for Love
HARP—A Time To Sing!
Christine Kane—Rain and Mud and Wild and Green
Carrie Newcomer—The Gathering of Spirits
Ellis Paul— The Speed of Trees
Brian Rung
David Jacobs-Strain—Stuck On the Way Back
Dulcie Taylor—Diamond & Glass
Concert Reviews:
Maura O’Connell—McCabes, Santa Monica, CA
Reviews:
Neko Case—Blacklisted
2002, Bloodshot
Alt-country darling Case’s new recording is a lush and reverberating affair, teeming with melody, sparkling production, edgy lyrics and that big, sexy voice.
Since her ‘97 debut The Virginian and 2000’s much ballyhooed Furnace Room Lullabye, Case has been the one to watch, and Blacklisted will make her the one to listen to. With songs like “Wish I Was The Moon,” “Running Out Of Fools,” “Deep Red Bells,” “Things That Scare Me” and “Stinging Velvet,” Case and cohorts create a David Lynchian surreallity, hallucinatory but felt deep in the bones.
Though I hate to draw comparisons, Neko Case is on the same ground as that other big voiced gal, k.d.lang, once tread—humble alternative beginnings that the mainstream won’t be able to turn a deaf ear to much longer. Watching her topple Nashville’s cookie cutter factory is going to be one hell of a show.—Mike Jurkovic
Slaid Cleaves—Holiday Sampler
2001, Philo
It’s been two and a half years since Slaid Cleaves’ award-winning CD Broke Down was released. He’s been on the road ever since, and in his own words, has only had time to write “two new songs” in that time. To tide fans over in the meantime, Cleaves gives us Holiday Sampler, a tasty five-song EP featuring one new song, one remix, and a few nuggets that have become crowd pleasers at his live shows.
The songs are loosely-geared around holidays, and give Cleaves a chance to show his humorous side that perhaps didn’t fit the overall theme of his recent studio albums. “Monster In Law,” an ode to a demonic in-law (whom Slaid insists in the liner notes is not his mother-in-law) is tied to Halloween. “November Skies,” written by Mark Farrington, reminisces about a boy and his grandfather near Thanksgiving. I would dare to argue that “You’re A Mean One Mr. Grinch,” obviously the Christmas offering, rivals even the original Boris Karloff version from the TV special.
Multi-instrumentalist Oliver Steck (accordion, piano, trumpet, harmonica, and clog-dancer extraordinare), who joined the band after the release of Broke Down, is given some time in the spotlight here. “One Good Year” fits here as a New Year’s Day song, revised with Steck’s trumpet solo for this release.
The disc concludes with Cleaves’ new love song “You Don’t Have to Tell Me,” for Valentine’s Day.
The only thing negative I can think of is that this EP cuts short at five songs. Then again, perhaps the gimmick would have worn thing had it gone on longer (we probably don’t need songs for Arbor Day and Secretary’s Day). And anyone who’s seen Cleaves live show knows he leaves you wanting more.—Michael Gaither
Cliff Eberhardt—School for Love
2002, Red House Records
School For Love is an apt title for Cliff Eberhardt’s newest recording on Red House Records. The twelve original tunes and one cover address every aspect of the darker side of love, from disappointment to absolute heartbreak, to everything that lies between. The liner notes reveal that Eberhardt has been through a tough year or so, with the loss of his mother, the loss of friends in the disaster of 9/11, and a car accident that left him in chronic pain. The pain, the sorrow and the loss are all reflected in this concept album. But because this is an Eberhardt recording, these darker feelings are captured in a way that is never maudlin, and there are often flashes of humor, irony and even a bit of light. What we expect from Eberhardt is his signature world-weary yet powerful vocals, expert picking on acoustic guitar (including awesome resonator slide guitar) and stellar songwriting. You will find all of that here, and more. Songs that deserve particular mention are the title song, “School for Love,” which has all of the markings of classic popular music of the forties and fifties (think Nat King Cole and Johnny Mercer), and “Merry-Go-Sorry,” a lovely Celtic-flavored tune with Seth Farber on accordion, describing life as providing both the good and the bad—sometimes in the same package. In School For Love Eberhardt immerses himself in dark moods and themes that resonate for all of us who have loved and suffered loss. This is an eloquent journey through those peaks and valleys. As always, Eberhardt rises to the occasion with an original work and sound. Losing has never sounded this good.—Roberta B. Schwartz
HARP—A Time To Sing!
2001/1984, Appleseed
This fairly spontaneous folk super group is comprised of two Weavers, Ronnie Gilbert and Pete Seeger, the offspring of a legendary troubadour, Arlo Guthrie, and a spring chicken—by comparison—Holly Near. Their first names spell out HARP, and their voices also add up to one tradition-steeped musical instrument.
This CD was originally released in the mid-Eighties, at the height of the Reagan presidency. Back then, the economy was good, America’s military machine was growing almost exponentially, and except for the possibility of a nuclear apocalypse—due to a still-frigid Cold War—life was good and most Americans were fat ‘n happy. Protest singers were seen by the well-fed as whiners, and were ignored by all except a remnant of the liberal left. One wonders just how well this expanded live recording (now a 2-CD set with 13 extra songs) will go over during our current collective bloodthirsty desire to rid the world of terrorists and crush Iraq. (Who knows: by the time you read this, Iraq may already be history). But for those who still have a few peaceful bones left in their bodies, Seeger’s sing-alongs, Near’s personalized compositions, Gilbert’s robust vocalizing and Guthrie’s grizzled performances may just calm your battle-weary nerves for a moment. —Dan MacIntosh
Christine Kane—Rain and Mud and Wild and Green
2002, Big Fat Music
If green-rolling hills sang to us, this is what the earth’s spring rebirth would sound like. Christine Kane has a breathy, yet sultry quality projecting from her very soul that makes the listener pay attention to her lyrics. The album was recorded in New York during the 9/11 tragedies in which the process was understandably halted. Through this, Kane evidently maintains the essence of her emotions through the songs, and nothing is too big for her to conquer. You will feel a hopelessness in a few of these songs, responded to with hopeful lyrics about coping with the reality of being around others with greater pain. In the album notes Kane states:
“I'm just beginning to appreciate that as a solo acoustic performer, who I am on stage and who I am as a writer is mostly the same as who I am every single day. I think authenticity is what reaches people—to know that basically we are all a lot the same. I believe that we are all here to help and heal each other. I do this music thing because it's the best way I know how to do that healing thing.”
Marc Shulman accompanies Kane with his extensive collection of talents on the banjo, tiple, guitars (acoustic, and electric) and dobro, as well as Larry Campbell taking turns on the banjo with mixing harmonies of pedal steel and guitar. John Conte’s heavy bass found throughout the album gives the sound body, without being too cluttered. You can still distinguish the instruments in each tune, which makes this friendly to anyone who appreciates fine musicianship.
The surprise here is “(There’s no such thing as) Girls Like That,” one that really cracked me up. Basically the title says it all for this song, as she bursts the catalogue ideal of the lingerie model who sits at the kitchen table drinking coffee in her silk robe and thong, plus explains how the Barbie doll would have a 12 inch waist, bra size 41 and end up with osteoporosis in a mature state. Throughout the album you will find songs that remind you of the rain, mud, wild and green, making this album a necessity for anyone who ventures outside their house. —May Wiseman
Carrie Newcomer—The Gathering of Spirits
2002, Philo
Carrie Newcomer has a warm, rich, expressive alto voice with a slight vibrato. It is one of the most appealing voices I have heard come out of the acoustic music scene in recent years. The Gathering of Spirits is Newcomer’s eighth recording on Rounder Records’ Philo label in as many years. It embraces and celebrates the everyday and the commonplace. Newcomer’s voice, however, elevates the ordinary to an extraordinary and even magical place. And we, as listeners, happily go with her wherever that voice takes us. There is a spiritual element in much of Newcomer’s work, readily apparent in the opening tune, “Holy as a Day is Spent.” Here Newcomer finds the holy and the good in the everyday life of washing dishes and frying eggs. Her voice shimmers and shines in a simple, lovely melody. “I’ll Go Too” is a song of faith and courage, demonstrating that there is more power in two than in going it alone. Newcomer’s delivery is soft and sweet, yet powerful in her convictions. Like Judy Collins before her, there is both strength and vulnerability in Newcomer’s voice. It is what draws us to the songs and keeps our attention there. The Gathering of Spirits is a work that comes both from deep sensitivity and strength. It is the mature work of a compelling artist whose voice is truly unforgettable. —Roberta B. Schwartz
Ellis Paul— The Speed of Trees
2002, Philo
The Speed of Trees, with its full band sound and songs filled with crisp metaphors that snap, crackle and pop, is Ellis Paul’s best effort since the groundbreaking Stories. In this new recording, Paul turns once again to the able hands of producer Duke Levine, who not only knows a few guitar licks, but knows how to bring out the best in Ellis Paul. Each tune sparkles and shines with the touch of an artist at the top of his game. Paul tackles the big issues of love and how to express it, courage, faith and the value of words. Standouts include “The Ballad of Chris McCandless,” the story of a young man who leaves the privileges of an upper class life to take his chances in the wilds of Alaska, and the recently discovered Woody Guthrie lyric which Paul has set to music in “God’s Promise.” “Words,” one of Paul’s loveliest songs, with its immediately recognizable guitar melody, finally finds a permanent home here. The musical backing of the incomparable Duke Levine on various guitars and strings, Kevin Barry on guitar, Paul Bryan on bass, and vocals by the likes of Lucy Kaplansky and Jennifer Kimball helps Paul make the leap from regional performer to national star. Let’s hope that The Speed of Trees gains Ellis Paul the big time recognition he deserves. This recording is nothing short of remarkable—one of the best of the year.—Roberta B. Schwartz
Brian Rung
2002
When you have only two musicians taking turns with instruments, one may think the sound will not be full. Well this album does not for any reason come up short, nor does it skimp on originality. Brian Rung’s vocals remind me of a softer Dylan, and the arrangements are pure, and innocent to the ear. The Hawaiian guitar played on a few of these tracks by Kim Deschamps gives the music a new age appeal.
“Dreamer’s Blues” mixes in more of a country style, a fusion of blues chords and folksy instruments. The lyrics are bluesy showing that he can write profound lyrics for both genres. The steel pedal played by Deschamps on “Caroline” resonates deeply with Rung’s heartfelt lyrics.
This album was a pleasant surprise for me, to hear these talented artists performing such profound lyrics in comfortable arrangements. Rung and Deschamps would surely be memorable to catch live.—May Wiseman
David Jacobs-Strain—Stuck On the Way Back
2002, Northern Blues
Stuck On the Way Back is a fine album. Produced by Kenny Passarelli and mentored by Otis Taylor, Connecticut born Oregon resident Jacobs-Strain has authored a compelling and driving piece of guitar/vocal artistry with some subtle accompaniments. His songs area filled with foreboding, hints of evil and a totality of atmosphere. Vocals are smoky and mysterious as is the overall feel. Axe work is in a similar vein to Otis Taylor’s or even Al Stewart vintage “Past, Present, Future.” Hanging over the entire work is an air of inevitability and cold harshness yet it is with a tremendously fluent and sensitive hand. If Otis Taylor is your type of blues, David Jacobs-Strain takes is a step further on. If deep hurt and pain sung and played like an ancient by this young virtuoso is your blues, it is here. However you get there, David Jacobs-Strain is a compelling listen.—Mark Gresser
Dulcie Taylor—Diamond & Glass
2002, Black Iris Records
Dulcie Taylor’s strong, clear voice communicates in a particularly strong and straightforward southern manner. Her songs explore the everyday moments that need our attention, yet often wind up neglected. She is an acute observer of the nuances of the way we interact, with the songwriting and performance ability to transmit this to the listener. Whether her ability comes from growing up in musical family or a small town in the South is not important. She handles the lead vocals with a voice that reflects the emotions of her songs. Her guitar and dulcimer work is equally strong. The very tasty work from her backing musicians never overshadows the songs, but lets them come through fully. A very strong effort from a “new” voice we will be hearing a lot more from in the future.—Bob Gottlieb
Concert Reviews:
Maura O’Connell
McCabes, Santa Monica, CA
October 4, 2002
Maura O’Connell encored with a sing-along version of Van Morrison’ “Crazy Love,” appropriately enough, after describing its writer as one who is often mistaken for being an American. But while O’ Connell and Morrison are both unmistakably Irish, there sure is a whole lot of American-ness in their respective musical styles. Yet more than anything else, this small club date was all about the transcendent singing of memorable songs, which is something that will always hold universal appeal.
O’Connell is a non-native Nashville resident (but aren’t they all?), which might help explain why one of that guitar town’s best kept secrets, Patty Griffin, was credited with writing three of the seventeen songs she sang. O’Connell introduced Griffin’s “Poor Man’s House” with a brief statement about all the horrible poverty in this country, before bringing this packed guitar shop/concert room to tears with the shear bluntness of its words. Griffin may be the Americana-Queen-In-Waiting, but the lyrics of this particular song speak honestly about any place where ends don’t quite meet. O’Connell also expressed her Irishness at various points, especially when performing songs like the tragic traditional, “Teddy O’ Neil,” and “Down by the Salley Gardens.” Both were drawn from her roots-centric Wandering Home album.
The perky and funny O’Connell, flanked by two acoustic guitarist/vocalists, swayed back and forth while leaning on a microphone stand in order to put her whole body into her singing. As fans of the singer know well by now, O’Connell doesn’t write her own material. But she sure knows a great song when she hears one, and she’s always quick to compliment the writers of her songs before singing them. In addition to many Griffin selections, she also called upon Paul Brady more than a few times and even threw in a sweet version of Ron Sexsmith’s subtle “Don’t Ask Why.”
Maura O’Connell has enough natural ability to compete with any and all of today’s higher profile female divas, but rather than waste her talents by drowning songs in a glut of glitz, she consistently matches her superior singing with equally high-quality songs. So it’s by no means an oxymoron to call her a literate diva.—Dan MacIntosh