Rachel Epp - Rosary

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Rachel Epp – Rosary
2010, Rachel Epp
Rachel Epp grew up a farm girl, with the seeds of countryand folk music sewn into her musical soul. Artists such as Dolly Parton, Alison Krauss, Patty Griffin and KathleenEdwards taught her what great songwriting is, and Epps applied these influencesinto the making of her own style.  Theresult is compelling; a storytelling style of song craft that is deeplypersonal and full of a vibrant intensity that never weighs too heavily on thelisten.  Rachel Epp’s sophomore effort, Rosary, builds on her ability to usewords to paint pictures that nearly come alive.
Epp kicks things off with “Ghost in the Graveyard”, an odeto young love full of summer nights and endless dreams.  With a radio-ready chorus and a sweet,instantly likeable voice, Epp makes a great first impression.  “East of the River” explores the dichotomy ofbeing comfortable with one person but wanting more.  The demarcation here is New York’s EastRiver, and the two sides are different worlds with different realities.  Epp brings out the beauty of where she wantsto be and the indecision that accompanies it in a lush arrangement that wrapsaround you and pulls you into the story. “Virginia” has a more plaintive feel, an ode to the transient feel ofhome once you’ve found a life elsewhere. The full acoustic-electric arrangement is comfortable even as itexplores emotional nooks and crannies that are often less so.
“Beautiful Like This” is full of melancholy memories ofhappy moments, and an awareness that tomorrow’s memories might be much thesame.  It’s a beautiful reminiscence ofnow, full of an understanding that life is fleeting and memory, in the end, isall we are left with.  Rachel Epp writesmuch deeper than you might first assume, and that is never clearer than in thismoment.  Rosary bows with “Wasted”, a country-tinged number that shows offEpp’s voice in its lonely beauty.  Thestraight-forward singer/songwriter style is enhanced by Epp’s flowingmelancholy and darkly sweet arrangements.
Rachel Epp mesmerizes with doses of beauty and melancholy onRosary. Epp surprises you; wrapping you up in her stories with a voice thatlulls and a sense of imagery that is sublime. Rosary is not to be missed.
Rating: 4 Stars(Out of 5)
Learn more at www.rachelepp.com. 

Red Jacket Mine - Someone Else's Cake

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Red Jacket Mine –Someone Else’s Cake
2013, Fin RecordsRed Jacket Mine is a product of disparate influences.  The Seattle based quartet hails from a cityknown for Garage Rock, Grunge and Rap, but Red Jacket Mine is crafting their ownSeattle Sound.  With lead vocalist andsongwriter Lincoln Barr calling on his Memphis roots, Red Jacket Mine walks theline between blues, soul, country and good old classic rock and roll.  The result is familiar yet fresh, full ofcatchy pop hooks and a whole lot of charm. Red Jacket Mine brings it all together on their fourth album, Someone Else’s Cake, due out February13, 2013.

Red Jacket Mine takes off with the delicious, synth-drivenpop/rock of “Amy”.  Infectious hooks ands sneaky-catchy chorus make this one a charmer and a great opening track.  “Nickel & Dine” is a catchy Americanarocker that sounds like a cross between Elvis Costello and Blue Rodeo.  Red Jacket Mine builds a wonderfully catchyvibe here while discussing the human tendency to tear down anything that worksand the clash between optimism and pessimism. “Ron Nasty” is a bit generic, but “Engineer” rocks with a bluesyattitude.  This is one of those tunes youjust can’t sit still for, and vocalist Lincoln Barr is in particularly fineform here.“Skint City” has a more melancholy feel, and carries a vocalharmony that’s reminiscent of a 1970’s Eagles record.  It’s a solid album track with a quiet swingthat’s easy on the ears.  “Listen Up (If theWorld Is Going to Hell)” pays homage to 1970’s R&B and pop styles.  Barr sounds a bit strained in small momentshere, but it’s a solid effort overall. “Novelty’s Gone” walks the line between gentle rock and country, relyingon a metronomic rhythm to drive a maudlin number about the reality of arelationship setting in.  There’s a rotefeel to this tune that carries over to the tacitly soulful “Better To Be BrokenThan Blind”.  Both tunes are solidenough, but just don’t carry much energy or conviction.

Red Jacket Mine comes fully awake for “Someone Else’s Cake”,a catchy kiss-off song of sorts.  There’sa delicious edge to this number that underscores the Americana/Countrysound.  “Have You Got A Permit To PreachOn This Corner” has more of a classic country sound, and takes to task someonewho professes their beliefs publicly. Red Jacket Mine closes with the catchy rocker “Bellar & Bawl”.  An R&B backbeat drives the song,alongside an early rock & roll piano style and a band that is clicking onall eight cylinders.  This is the perfectclose to the album, and a perfect song to close shows with as well.Red Jacket Mine certainly knows how to kick things into highgear when they want to, but SomeoneElse’s Cake shows a supple understanding of song craft that while notalways perfect in fruition, displays a distinctive understanding of melody,song structure and inspiration.  Someone Else’s Cake is a complex albumthat finds lead singer/songwriter Lincoln Barr negotiating with his own variedmusical influences with varying degrees of success.  It’s an intriguing listen from a band whopromises to keep growing and getting better with age.

Rating:  3.5 Stars (Out of 5)Learn more at www.redjacketmine.net. 

Lexie Roth - Lexie Roth

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Lexie Roth – LexieRoth
2012, Lexie Roth
Musical legacy can be a heavy weight; it can also be ablessing.  Lexie Roth, daughter of famedguitarist Arlen Roth and visual artist Deborah Bussichio, comes from a line ofartistically inclined folk.  Roth showsthe same bent on her debut album, LexieRoth.  While the apple does not fallfar from the tree, so to speak, it’s clear that Roth is still growing into her ownstyle and substance as a songwriter.
Roth opens with the vaguely surf-influenced mellow rock of“Lost Memory”.  There’s a pervading senseof melancholy that walks its way through the open arrangement, which serves asa platter on which Lexie Roth’s fine alto voice can play.  The subtle musical style used here issomewhat reminiscent of Sting’s post-jazz age. “Stay Or Go” is a musical diary entry; wordy and self-absorbed.  The arrangement is solid, but the vocal lineis overly repetitive and trapped in its own ambivalence.  “Forget All About Me” has a more etherealmelancholy at its core.  The sparsearrangement once again allows for Roth’s voice to be the star of the show, butthe plodding melody doesn’t necessarily do her any favors. 
“Ghost Of Childhood” starts slowly and spins in place untilRoth launches into an exceptional chorus. “I Have To Leave You” keeps up the maudlin pace, with Roth perseveratingon a failing relationship in a clockwork arrangement that lulls the listener tosleep.  Things pick up a bit on “LittleOne”, offering up a chorus that is full of quiet energy and a solid hook.  The song flutters and flails a bit on theverses, caught up in wordy style, but the chorus is right on the mark.  “I Wanna Run” considers a relationship shehas given her all to, only to find out her beloved isn’t as committed asshe.  Roth’s story telling here is solidenough, but the story is almost clinically told; there’s no real sense ofemotion one way or the other.
“Call You My Hon” is a love song that’s awash in sound butonce again leaves any distinct sense of emotion at the door. It’s a solid tune,but undersold.  Roth lays her heart bareon “I’ll Be”, a love song with an apocalyptic feel.  It’s unclear whether this number is writtenfrom beyond a relationship or beyond the grave, but Roth’s obsessively verbosestyle is a bit too much in spite of the compelling theme.  A mild swing informs the rhythm of“Windfield”, an expansive story in song that suffers from its own lack ofenergy and Roth’s prolixity.  The auralpalate used here is actually quite enjoyable, and renews the earlier comparisonto some of Sting’s work, but the song just folders under its own monotony.  Roth shakes off her doldrums with thesnarky/sweet “Country Diddy”.  She keepsit simple here while wallowing in her own near-demise, recovery andshort-sighted romantic failings.  It’s aninteresting closer that is very much out of tone with the rest of the album.
Lexie Roth brings an intriguing voice on her self-titleddebut album, but has yet to learn the economy of a seasonedsinger/songwriter/storyteller.  The albumsuffers from a relentless inertia of low-key, plodding songs full ofself-directed and overly populated lyrics. These, alongside Roth’s low-key vocal style, do not serve her well.  Roth’s voice is sufficient to sustain thelistener in spite of all this, but it’s hard not to think that there is morelife in Roth as both a songwriter and performer.
Rating: 2.5 Stars(Out of 5)
Learn more at www.facebook.com/lexierothmusic. 

Getting reacquainted with a great album

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Every once in a while its good reacquaint yourself with a great album you haven't listened to in a while. Life gets busy and musical mores move on, but great music has staying power.

Today's selection is Shakespeare My Butt by Lowest Of The Low. These Canadian Music Hall Of Famers are consistently remembered on best album of all time lists for this indie gem from the early 1990's.

Led by the duo of Ron Hawkins and Stephen Stanley, Lowest Of The Low had one of the most turbulent and successful careers of any early 90's Toronto Indie Rock scenester not named Barenaked Ladies.

I am working off my phone due to laptop failure and don't seem to be able to embed a video with this meager blogger app, but here is a link to the video for "Eternal Fatalist", one of my enduring favorites from the album. Enjoy!

http://youtu.be/AMbHh1TJjH0

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The Anthony Lai Band - Behind The Sun, Part I

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The Anthony Lai Band - Behind The Sun, Part I

Dearborn, Michigan quintet The Anthony Lai Band is full of collective musical talent. Each member has extensive experience with various scholastic and professional ensembles. Their influences read like a pantheon of rock hall of famers. All of that is good resume material, bur the band find a special chemistry with one another on their latest EP, Behind The Sun, Part I.

Lai kicks things off with the blue collar rock n roll love song "I'd Rather Be With You Tonight." This little number is a gem, with Lai's chorus creating its own momentum. The low-fi production style is enjoyable, and remeniscent of Neil Osborne and 54-40. "Behind The Sun" explores the concept of a romantic near-miss. Anthony Lai shares the microphone here with Cara Niemann, whose delightfully quirky folk/rock vocal style manages to steal the show.

Lai launches next into the effervescent pop/rock of "Tell Me What It Is", which sports a chorus you simply won't be able to get out of your head. "Something Beautiful (Angel)" is a low key, acoustic guitar ballad that's sweet with a surprisingly substantive melody. This is true mix tape material for the hopeless romantics out there, but avoids the usual love song cliches. Lai closes out with the bouncy piano pop of "You Make It Right." The stax style horns a nice touch, framing the chorus on perfect fashion.

Anthony Lai has a distinctive melodic understanding of song craft, and a penchant for pop hooks that is the musical DNA of Lennon and McCarthy. Lai never overpowers vocally, but sings in a solid, everyman voice that is appealing to the ear. Listeners will be waiting expectantly for Behind The Sun, Part II.

Rating: 4 Stars (Out of 5)


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Madelein Peyroux - Changing All Those Changes (Video)

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Madeleine Peyroux returns on March 5, 2013 with The Blue Room, an artistic rendering of a tribute to Ray Charles' ground breaking Modern Sounds In Country And Western Music.  The album is not a straight cover project, as Peyroux hand picks tracks from the Ray Charles classic to interpret in her own inimitable style.  She also includes takes on tunes by Randy Newman, Warren Zevon, John Hartford and Buddy Holly.

The lead single is Holly's "Changing All Those Changes", and Peyroux does more than just take the song for a walk; she makes it her own.  Check out the video below, and keep your eyes and ears open for a lot more of Madeleine Peyroux this spring!