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ANDREW BIRD

ARMCHAIR APOCRYPHA

Chicago-based, Andrew Bird, is yet another über talented musician that has flown under my musical radar for far too long.  A classically trained violinist with eclectic personal musical tastes (e.g., Hungarian Gypsy music, jazz, south Indian, etc.), Bird defies categorization. His compositions (cuz they are so much more than songs) are complex, layered, and symphonic - all while being extremely accessible and hooky (a recipe Bird has been mastering in his past few recordings).  Lyrically, this collection is more imaginative and literate than 99.9% of what’s in the indie rock/pop world today.  In fact, some of the words that Bird uses are the ones you’d hear in the final round of the National Spelling Bee (a feature I just love).  It’s a mystery how Bird actually gets all those impressive words out in such a rhythmic manner.  I imagine it’s nearly impossible to cover a Bird song.

Bird’s creations seem more like familiar essays (beginning from personal experience and moving towards understanding) than songs. For example, he’s been somewhat obsessed with the Scythian Empire since he was an elementary school student. So why not write a song about it? But, instead of simply incorporating historical facts, Bird deftly draws parallels to our civilization’s political debacle in Iraq.  In the infectious ‘Imitosis,’ Bird examines how we try to understand our emotional nature through science to find that, in the end, “we were all basically alone.”

While there’s nothing wrong with wishing that “your girlfriend were hot like me,” I prefer to sing along with lyrics like, “his machinations and his palindromes.” How about you?

ANDREW KERR

SILVER SUITCASES

AQUALUNG

MEMORY MAN

Following the success of his debut CD, Strange and Beautiful, and the popularity of the single ‘Brighter Than Sunshine,’ Aqualung (a.k.a. Matt Hales), is back for a second go- around in the States with Memory Man.  As music listeners and critics know, there’s a lot of pressure on musicians to come up with a great sophomore effort when your freshman CD makes a huge buzz in the industry.  This was definitely the case for Hales, who makes it abundantly clear with this offering that he’s up to the challenge.

While Strange and Beautiful was a pretty straightforward piano- and lyric- based compilation, On Memory Man, Hales demonstrates that his level of creativity extends far beyond the confines of keyboards and catchy words.  As the guitars come crashing in on ‘Cinderella,’ it’s immediately apparent that this is a more in-your-face Aqualung, not relying on pretty ballads to grab the attention of listeners. The clanging guitars are just the beginning of the new sounds explored by Hales on this offering.  One look at the credits reveals electronic and technical gadgets that create fuller, more mature arrangements interwoven with the heartfelt lyrics Hales is known for. 

The rock vibe that emerges at the onset of the CD is consistent throughout, with  ‘Pressure Suit’ and ‘Vapour Trail’ leading the way.  Ditties like ‘Rolls So Deep’ and ‘Glimmer’ demonstrate that Hales hasn’t lost touch with the pop roots that brought initial success.  And tucked between heavy guitars and banging drums are gems like ‘The Lake’ and ‘Garden of Love’ that create an airy, almost ethereal feel in the midst of all that rock.

ARI HEST

SOMEONE TO TELL

Ari Hest is not a newcomer to the music scene. With two independently released CDs, Hest toured for years, gaining fans, and the attention of Columbia Records, who signed him and released Someone To Tell in 2004. Armed with a six-string percussive guitar and a resonating voice, Hest has managed to create a major label debut CD that showcases his talents as a singer and songwriter. The CD kicks off with 'They're On To Me,' a powerfully rocking tune that could easily be a radio hit. While many of the songs are somewhat formulaic, songs like 'Consistency' and 'Not For Long' display a funkier side of Hest and demonstrate his versatility.

Lyrically, Hest shines throughout the CD, crafting a number of lasting images. One of the best lyrical examples is, "Like clockwork the sun rises on this farm/Brightens the hills and wakes the trees, this town has its charm/But when you see it day in and day out for over twenty years/What once was a choice becomes obvious, now it's clear."

THE BEES (U.S.)

HIGH SOCIETY

Way Cool Music first happened upon The Bees (U.S.) as the opening act for Josh Rouse a couple of years back.  Of course we knew Daniel Tashian, frontman of The Bees, from his days as a multi-instrumentalist for Rouse, but we had no idea how far his talent actually reached.  It was immediately apparent that Tashian could hold his own in a crowd of extremely talented musicians.  The Bees’ 2004 release, Starry Gazey Pie, was well-received by critics, but didn’t find much exposure in the mainstream despite its pop appeal.  High Society, their sophomore effort, brings the Nashville-based team back together with Jason Lehning (Steve Forbert, Nickel Creek) taking the producer’s helm.  Laden with 1960’s inspired tunes, High Society happily marries Tashian’s silky vocals with the band’s thoughtful instrumentation.

From the opening track ‘The Country Life’ through ‘The Broadway Lights,’ listeners are transported back to a time when the radio waves were filled with airy pop tunes from the likes of The Beach Boys and Neil Young.  While it might seem out of place in today’s mainstream radio, packed with chunky guitars and pounding drums, these stripped down tunes highlight the strong songwriting, and show that ‘pop’ does not have to be a dirty word.   High Society gives a peak at the rare gems in the indie music realm that are worthy of discovery.

BEAU STAPLETON

WILL I SHINE FOR YOU STILL

When it was first announced that the band Blue Merle was parting ways, fans of the group were stunned.  It seemed like a sudden move for this up-and-coming ensemble, which was coming off of successful tours across the U.S., including dates at some of the biggest festivals, like Lollapalooza and Milwaukee’s Summerfest.  Thrilling listeners with their unique instrumentation including mandolin and upright bass, they were on the brink of big-time success.  Their split was unexpected to say the least.

Luckily for fans, the end of the band has not meant the end of their unique sounds as the members venture into solo careers.  Lead singer, Lucas Reynolds, released a well-received solo EP in early 2006.  With the release of his first EP, mandolinist, Beau Stapleton shows what he has been up to since the band called it quits.

As the EP opens, listeners will wonder if the group really did break up, as ‘Diamonds’ could be a Blue Merle song.  It just has that feel... the vibe, the instruments, the tempo … it’s got it all.  There’s just a different person on lead vocals.  But, as the EP continues, Stapleton breaks away from the “Blue Merle” model, demonstrating that he has something different to offer.  The bottle clanking on ‘Maid Behind the Bar’ and the electronica-esque hidden track show there’s more to this guy than just radio-friendly pop tunes.  Rather, Stapleton constructs rich songs with intriguing lyrics, beautiful harmonies, and his signature mandolin.  Not to mention all the other instruments he plays on this compilation… guitar, banjo, bass, and violin just to name a few.

BEN KWELLER

ON MY WAY

BOBBY BARE JR.

FROM THE END OF YOUR LEASH

Son of country music legend, Bobby Bare, family friend of Shel Silverstein and the Cashes (Johnny & June, that is), Bobby Bare Jr. has quite a history to either embrace or overcome.

It seems as if he’s chosen to marry his childhood influences with his professed love of the dark melancholy of Brit Pop, making for some very intriguing and refreshing music.  Bare’s honky tonk voice sings about fun little subjects such as rejection, desolation and dysfunctional relationships.  The arrangements serve his off kilter lyrics quite effectively with a steel guitar and harmonica providing a country vibe and electric guitar, piano, drums, violin, sax and dulcimer rounding out the sonic background.  Somehow, Bare manages this menagerie of instruments without sounding indulgent.

Bare’s songs are dripping with sardonic wit, especially his tongue-in-cheek homage to his hometown of Nashville entitled, ‘Visit Me In Music City.’  The entire song is worthy of quoting, but my favorite verse is, “Record deals fly in and out/Like happy bumblebees/The cops carry capos in case you want to change your key/In Nashville Tennessee.”  This fusion of indie – country might not be for everyone.  But, if you consider yourself to have a good sense of humor, it’s a pretty safe bet that these songs will stay with you for quite a while.

BRENDAN BENSON

THE ALTERNATIVE TO LOVE

BRETT DENNEN

SELF-TITLED

At 6’5” with a voice that hovers between that of man and boy, Brett Dennen is quite a unique figure in today’s folk/singer/songwriter crowd. Setting him further apart is his musical styling, which is, at the very least, a blend of folk, reggae, and world music. Dennen has dedicated his debut album to “the consciousness of truth, global and spiritual mindedness,” and he means it.  He songs are full of self-actualized messages of gratitude, love, and the power of compassion. When the opening lyrics are, “ I welcome the sun, the clouds and rain/The wind that sweeps the sky clean and let’s the sun shine again/This is the most magnificent life has ever been,” you know this guy is seriously positive.  Dennen writes and sings as if he’s seen his share of sadness (and possibly illness) in his relatively short life, and has come out the other side.

At first listen, the purity of lyrics, voice, and intention was, actually, kind of unnerving.  To someone on a steady diet of cynical singer/songwriter fare, I wasn’t prepared for such unabashedly positive songs.  The music and style of playing are simultaneously uplifting and extremely intimate.  Not a great collection of songs to inspire your next work out session, but it might remind you to stop and smell the roses…and recycle.

BRIGHT EYES

DIGITAL ASH IN A DIGITAL URN

CARY BROTHERS

ALL THE RAGE

If you've heard the Garden State soundtrack, you know that it's packed full of great music from some very well-known artists like Coldplay and The Shins. But, for me, 'Blue Eyes' is the track that I first fell in love with. I liked the song so much, it drove me to pick up Cary Brothers' EP, All The Rage.

This 4-song offering is a well-rounded EP, featuring memorable melodies and intelligent lyrics. While the majority of the tunes are acoustically driven, Brothers shows he knows how to rock out on 'Supposed To Be.' It's here that we get the feeling that the heart-felt, slower songs about relationships are hiding a rock star just waiting to come out. As evidence, check out these lyrics, "I was supposed to, you were supposed to be/This is the part where you can come back to me/I was supposed to, you were supposed to be/It's in the silence, It's an attack."

The major flaw with the CD is that its only an EP, and only 4 songs. Despite the brevity, Brothers definitely shines and his musical talent comes through loud and clear.

CARY BROTHERS

WAITING FOR YOUR LETTER

Cary Brothers is once again making waves in the independent music scene.  In case you’ve somehow missed out on him, just check out Track 6 on the Garden State soundtrack; you’ll quickly discover what all the fuss is about.  Riding on the buzz of that soundtrack and multiple appearances on the TV show ‘Scrubs,’ Brothers seems to be doing everything right.  And rather than waiting for a major label to come along and make him famous, he’s doing it on his own, along with a little help from his friends.  With the release of his 2nd indie EP, Waiting for Your Letter, Brothers is taking another step in the direction of success.

As with his last EP, Brothers demonstrates how diverse a record a guy with an acoustic guitar can create.  This collection starts with the haunting ‘Ride,’ then soars to the rocking ‘Waiting for Your Letter,’ and then settles nicely into the heartbreaking ‘Loneliest Girl in the World.’  In the closer, ‘Forget About You,’ Brothers shows us his singer/songwriter side; a dimension that really shines.  But the gem of the EP is the tune ‘Wasted One.’  With its infectious chorus and a bridge that grabs hold and doesn’t let go, it’s no wonder that I find myself singing this song all day long. 

The downside?  Once again Brothers provides us with just an EP.  While it is sonically and thematically diverse, highlighting his personality and talents, it leaves us wanting more.  Hopefully, a full-length CD is just around the corner.

CARY BROTHERS

WHO YOU ARE

CHARLIE MARS

SELF-TITLED

After 5 solid years of touring as an indie artist, Charlie Mars struck it big at a local casino and his fortune changed in more ways than one. The substantial gambling windfall allowed Mars to suspend touring, go home and concentrate on his song writing.

The result of that break is Mars' fourth full-length/first major label album. This effort is full of well-crafted, confessional songs that tell stories of the road, growing up in the south, finding love and questioning his relationships. Mars' voice is solidly pleasing, sort of a mix between John Mellencamp and Tom Petty. His best song arrangements are just as I like...starting simply and then building both in orchestration and emotion. The best example of this arrangement is the opening song, 'Gather The Horses' that tells of men heading off to war with the lyrics, "Lock stock and barrel shot/One smoking gun/And enough anger in you to hurt someone/There is a battle here to be won."

CRAIG CARDIFF

JUDY GARLAND! (YOU'RE NEVER HOME...)

It is a bit unusual to be reviewing a CD that is nearly 10 years old now. But, since I’m new to Cardiff’s music, I thought it would be a good idea to start at the beginning.  While you can hear late ‘90s musical influences in a few of the songs, overall, the collection is surprisingly contemporary.  Writing about things you care about (such as family, love, and forgiveness) never goes out of style.  Adding to these classic themes is Cardiff’s timeless voice, which blends the sentimentality of a ‘70’s singer/songwriter with the raspy warmth of singers like Marc Cohn or Alexi Murdoch.

It only takes one listen to begin falling in love with these songs. In particular, I’m completely smitten with ‘Lion and the Dragon,’ an addictively quiet song filled with images of a slowly realized love finally getting a chance to breathe. The acoustic guitar is paired with a lilting flute (reminiscent of John Denver’s ‘Fly Away’) whose notes linger in the pleasure center of the brain.  As lovely as this song is, it’s rather tragic that I only just found it.  But, not all the songs are so tender. Judy Garland! offers a satisfying mixture of musical styles – finger picked acoustic guitar, driving drumbeats, tinkling piano, up-tempo electric guitar, and even one live recording. 

At this point, Judy Garland! is the first of 11 recordings by Cardiff. That means I have my work cut out for me to discover many more wonderful songs (with the help of iTunes). But, I’m ready and willing to take on the challenge!

DAVID BERKELEY

AFTER THE WRECKING SHIPS

Being a Harvard graduate with a philosophy and literature degree, it’s not too surprising that this young singer/songwriter can turn out some powerful lyrics.  What is surprising is just how layered and complex the melodies are that allow Berkeley’s crisp and airy voice to float right over the top.  Berkeley has the ability to sound timeless and timely all at once, blending history with modern locales such as Times Square, New York.  After The Wrecking Ships, his sophomore effort, touches on themes of power, politics, nostalgia and a serious case of wanderlust.  Throughout, the songs benefit from a wonderful blend of instruments including: acoustic guitar, piano, drums, chimes, banjo, mandolin and dobro all living happily together in an alt country/folk/rock/bluegrass world. 

Berkeley can sing a damn good story that can evoke strong images and emotions that are both touching and thought – provoking.  One of the best examples of this blend is in the Civil War – themed song, ‘Shiloh,’ in which he sings, “Ma, I didn’t even know his name/Moving through the mud, the scream, the pain/Bloodstained, the blue and gray look just the same.”  Each listen, I discover something new and intriguing about this collection of songs...which is rare, but very welcome.

DAVID BERKELEY

STRANGE LIGHT

Strange Light is the third studio album (plus one live recording) from Brooklyn-based Berkeley. As with his earlier recordings, Berkeley continues to deftly utilize traditional instruments (acoustic guitar, banjo, mandolin, upright bass, etc.) in his songs. But, on Strange Light, he really kicks it up a notch with a healthy amount of electronic sounds and effects with rewarding results. One of the best examples of this emerging sound is the spooky intro on ‘Milwaukee Road’ melding into a rollicking drumbeat that never lets up. Another particularly distinct treat comes from the horn section used to perfectly punctuate the seductive mood of ‘Sweet Auburn.’ To round out this production are some fantastic harmonies courtesy of Sara Watkins (Nickel Creek) and Tyler Gibbons (Red Heart the Ticker).

As intriguing as the music is, you’ll also experience some of the best songwriting around (oftentimes dark, always touching).  There are simply too many lovely turns-of-phrases to capture here. But, one especially poignant lyric comes from ‘Willis Avenue Bridge’ -  “She’s thinking back on New York City/The first boy she kissed/The first boy that she crossed.“  Not for the faint hearted, ‘The Only Broken Man’ illuminates raw emotions of a family in crisis that can take you to the edge of despair.  At the same time, there exists such a comforting symmetry in the song structure; it provides a lifeline to pull you through…again and again and again.

Without a release date for Strange Light, patience is definitely called for. But, the wait will be worth it for true music aficionados.

Creating an album to follow the highly praised Transatlantacism would be challenging for any band.  When a jump from an indie to major label is added to the mix, the stakes are even higher.  But, rather than buckling under the pressure, on Plans, Death Cab has managed to compile a solid collection of tunes that should appeal to longtime fans as well as new converts.   Sure, the sound is more ‘produced’ than past offerings and there are a lot of ballads.  In the end, though, the CD is still focused on what Death Cab does best:  spinning interesting lyrics together with lush acoustic guitars, soft electronics and Gibbard’s trademark voice as the cornerstone. 

Gibbard shines on tracks like ‘Soul Meets Body,’ ‘What Sarah Said,’ and ‘I Will Follow You into the Dark,’ tapping into themes of death and loss.  As on previous efforts, Gibbard is able to take universal messages that have been the subject of so many songs and tell them in new ways.  In ‘I Will Follow You into the Dark,’ Gibbard proclaims, “If heaven and hell decide/that they are both satisfied/illuminate the 'no's on their vacancy signs/if there's no one beside you/when your soul embarks/then I will follow you into the dark.”  It doesn’t get much better than that. 

Sure, there are a few lackluster points on the album as well.  Lyrically, the repetitive ‘Different Names for the Same Thing’ leaves something to be desired.  ‘Crooked Teeth’ is a little too poppy for what I’ve come to expect from Death Cab.  And the guitar work that we have come to love is noticeably absent on much of the second half of the CD, relying instead on keyboard.  But, these lows by no means will keep me from loving this album.

With the name 'Death Cab for Cutie,' I was expecting a CD driven by loud electric guitar riffs, harsh drums, and lots of screeching vocals... and I wasn't really excited about that possibility.  So, imagine my surprise when I heard melodies, piano, and lyrics I could actually understand.  Ben Gibbard, the lead singer, has an interesting voice that hooked me instantly and the ability to create images with his lyrics, which many writers would love to have. "Sometimes it seems that I don't have the skills to recollect/the twists and turns of plot that turned us from lovers to friends/I'm thinking I should take that volume back up off the shelf/And crack it's weary spine and read to help remind myself."  And just when you've settled into the CD and are thinking you know what's going to come next, DCFC throws in the Barsuk Men's Choir on 'Transatlanticism' adding a new element of surprise.    After hearing this CD, I'm looking forward to checking out DCFC's previous CDs and Gibbard's other project, The Postal Service.

THE DECEMBERISTS

PICARESQUE

“I am a writer, a writer of fiction,” sings Colin Meloy in ‘The Engine Driver.’  Meloy, the front man of this 5-piece band from Portland, Oregon, couldn’t sing the truth any more clearly.  Each song, steeped in strong historical content, focuses on a central character or two that holds the listener rapt in attention to learn the fate of said character.  Meloy is clearly in love with language and strives to use it to advance the story with the help of his bandmates who underscore the emotional canvas by using a variety of classic instruments such as violin, accordion, trumpet, banjo and organ.   Musically, the songs have a strong maritime/celtic/Canadian vibe that sound both familiar and refreshing in this post-punkified, Clear Channel world.  

This collection of highly literature song stories is bound together by the album title’s (Picaresque) meaning: an episodic recounting of the adventures of an antihero living by his/her wits. Each song offers up a different take on the meaning utilizing different time periods, settings, life experiences and levels of economic class.  But, whether it be two young mariners stuck in the belly of a whale (‘The Mariner’s Revenge Song’), a young prostitute working out of the local mall (‘On The Bus Mall’), or a government official duped by a lover (‘The Bagman’s Gambit’), each of these characters are longing for the same human needs – love, affection, security and peace of mind – making their individual journeys all too relevant.  

While this kind of music is not to everyone’s taste, you should take at least one bite.  Even if you don’t stick around for dessert, you’ll be sure to have experienced a new flavor or two that just might turn out to be addictive.

DICK PRALL

fizzlebuzzie

How do you create music that is at once accessible, hooky, rocking and meaningful? I couldn’t tell you, but I know it when I hear it, and it's name is fizzlebuzzie.  Independent musician, Dick Prall, has created a superb collection of songs that are varied in theme and tempo with his beautifully rough hewn voice as the common thread tying it all together.  Like your favorite rollercoaster, fizzlebuzzie takes your senses for a pleasure trip cranking up to the peak, releasing you to fly and then giving you time to relax before the next turn. The songwriting is top notch, uncompromising yet universal in nature.  Prall has the uncanny knack to marry toe-tapping, pop melodies with thought – provoking lyrics covering such topics as the pain of growing up, the pain of being grown up and the passionate nature of love (requited and not so much).  One of the best songs, ‘Floors,’ tells a personal story of domestic violence that leaves it’s mark in a big way.  On the flip side, I defy you to not be won over by the anthemic ‘Grand Marquee,’ which is one of the catchiest songs I’ve heard in years.

The production has a live, organic feel owing to the fact that Prall enlisted the support of his live band mates whom all brought their A game to the studio.  In addition, the songs come alive with some extra treats in the form of horns and cello used in just the right places to please the ear.  This is the kind of CD you want to enjoy through a pair of high quality headphones just so you don’t miss the subtle sonic nuances scattered throughout.  Video may have killed the radio star, but I do believe he has nine lives because he’s alive and well…and living in Chicago.

DOG'S EYE VIEW

TOMORROW ALWAYS COMES

A self-professed ‘troubadork,’ Peter Stuart jumps head first into the world of pop music with his newest CD, Tomorrow Always Comes.   Fresh from the dissolution of a long-time romantic relationship, Stuart set about crafting a whole mess of new songs, many of which dealt with loss and self-doubt with just enough hope mixed in to keep you going. 

Similar to his earlier work, Stuart’s lyrics are sharp, thoughtful and provocative.   What is unexpected is the way the songs are treated.  In the past, his songs have been acoustic with the hint of electric peeking out. This time around, Stuart and his production team (Curt Schneider and Andrew Williams) have fully embraced the world of driving drum beats, electric guitars, synthesizers and high-energy backing vocals (including Jason Mraz and Kelly Moneymaker). 

While this is a true departure from his previous work, it’s definitely worth putting aside expectations to open yourself up to the pop vibe.  Just like a good movie, Tomorrow Always Comes will make you laugh (‘7 Wonders,’ ‘K.I.S.S.’) and will make you cry (‘No Regrets,’ ‘Weightless’).  Mixed with some old school ‘80s guitar riffs, the reborn ‘In Reverse (Terrified),’ is one of the best tracks in the collection.  Unlike some of the current pop music offerings, Stuart’s turn-of-phrase elevates this genre to a new level: “Temptation is the mother of reinvention/As you find yourself saying things you wouldn’t dare to mention/If you bother listening, but shut your ears/If you bother watching as this whole thing ends in tears.” 

ELIOT MORRIS/PARKER'S BACK

SELF-TITLED

ELIOT MORRIS

WHAT'S MINE IS YOURS

In our first interview with Eliot Morris back in 2004, he said that he hoped to release a CD later that year.  He also mentioned that “this is going to come back to haunt me!”  How prophetic… It’s now over two years later, and after juggling producers and record labels, the CD is finally making its way to the public. 

What’s Mine is Yours is definitely worth the wait.  Featuring a stellar cast of supporting musicians, this CD, his first for Universal Records, shows what we’ve known for years… Morris is a force (and a voice) to be reckoned with.  I guess it’s hard to go wrong when Morris’ thoughtful songwriting and lush vocals are paired with musical greats like producer Tony Berg, Nickel Creek, David Lindley, and Glen Phillips.  

While Morris may become known for his uncanny ability to craft a heartbreaking love song, he doesn’t rest on those laurels.  This set also includes stories of being born and growing up, with a social commentary or two thrown in for good measure, and it’s on these songs where Morris really shines.  On ‘Fault Line’ Morris croons, “I want to scream with the strength of a thousand voices / I want to bleed that my life might affect some choices / I need some silence this noise is growing loud among us / clouding our thoughts, God protect us, some things cannot be bought.”

Fans of Morris will recognize a few of the songs from his previous self-titled release.  But, don’t think, “Oh, I already have that song, so I don’t need to get it.”  Each of the older tracks have been re-recorded for this offering, adding new life to these favorites.  Expect tempo changes, altered arrangements, and lyrical additions on these tunes.  If you’re still hesitant, the new songs alone make this CD worth the purchase price. 

The only downside to the CD is that there are plenty of great songs that are missing from the track list.  What happened to ’Different to Me’ and ‘Tomorrow Starts Tonight'?  And what about ‘Bet You’re Loving Me Now’?  As with every CD, not everything fits.  But it’s always disappointing when a favorite doesn’t make the cut.  Maybe next time…

THE FEELING

TWELVE STOPS AND HOME

The Feeling has been all the rage in the UK for some time now, having released at least five singles since last year.  Now, this quintet is poised to begin their US invasion (with recent help from VH1). The Feeling’s sound is classic soft rock/pop celebration (ala Supertramp, ELO) with just enough depth and charm to make you attend a bit more closely. The current UK single, ‘Never Be Lonely,’ is undeniably hooky, filled with sweet musings about the ups and downs of being in love.  As with most pop songs, the central theme of the album centers around love – wanting it, finding it, needing it, and questioning it.

Embracing an all-or-nothing attitude, the songs are filled with wonderfully big choruses and infectious melodies that won’t be ignored. The group harmony on ‘Love It When You Call’ puts a smile on my face every time, with the band mates cleverly reflecting frontman’s, Daniel Gillespie Sells, feelings in their line, “He loves it when you call/He loves it when you call.” Bringing this big sound together is Sells’ voice, which has the kind of wide-open tone that you might expect to hear coming from the lead in a (successful) Broadway musical.

So, I propose an international swap of popular bands: The Fray could teach the Brits about saving lives (giving our radios and weekly TV dramas a break) and The Feeling could teach us how to never be lonely – that would be awesome!

FILLIGAR

SUCCESSION, I GUESS

Chicago-based indie rockers (all in their late teens) are making their mark on the music scene. In between breaks from school, this group of four friends managed to record five CDs in as many years. Their latest release, Succession, I Guess, is like a trip through music history making it difficult to classify their sound as anything but ecletic. Song tempos, instrumentation, themes, vocal stylings, and even song lengths run the gamet on this release. Somehow, each song seems to logically fit in this schizophrenic offering. In fact, it might be the inconsistency that pulls it all together.

Being such a young band, it won't come as a surprise that some of the lyrics show their age and cultural experiences, such as a spot-on description of a night at a college party ('Apricot Jam') right down the mention of Solo cups. What is surprising is how literate and colorful the lyrics are throughout the CD (ala Panic! At the Disco). As example, the opening track is named 'Yanni Walker' because it's about a guy who can't stop walking, and "He's got a handlebar 'stache and a flowing hairdo/He kind of looks a bit like Yanni." Another great line comes from the punk pop ditty, 'Peppermint,' "We could take apart expressions made by passing men in ties."

It's hard to know what the future holds for this unique band in a corporate world that prefers to more easily classify talent. In the meantime, we'd all benefit from encouraging these young lads to keep doing what they do, frankly, to see where their electic tastes and influences might lead them.

FINN BROTHERS

EVERYONE IS HERE

With 40 years of combined song writing experience, the Finn Brothers know what they are doing. Their songwriting provides accessible, upbeat melodies whose lyrics compel you to pay closer attention the more times you listen. Strong themes of family, brotherly love, loss and growing older give the feeling of consistency without feeling redundant. Some of the most memorable lyrics come from their nostalgic song, 'Disembodied Voices,' "Talking to each other as we wait for sleep/The angel in the detail soon arrives/Spreading her wings over every memory/Keeping all our hopes alive."  For me, the most powerful moment comes in the form of Neil's soaring chorus in 'Edible Flowers' - goose bump inducing. Teaming up with such talented players as Matt Chamberlain (drums), Jon Brion (acoustic and electric guitar), and Mitchell Froom (producer), the brothers' rich harmonies and tight songwriting all combine into a wonderful listening experience.

THE FRATELLIS

COSTELLO MUSIC

THE FRAY

HOW TO SAVE A LIFE

After scoring the opening spot for Ben Folds this past fall and ‘Over My Head (Cable Car)’ gaining radio play across the country, The Fray is on the verge of the Big Time.  How to Save a Life is the first major label (Epic) release for this 3-year- old band, and it shouts of a mainstream hit.  Sure, when you first hear the piano and soaring vocals, you might be tempted to compare them to Coldplay.  But after listening a little more, the subtleties of Isaac Slade’s voice comes through and the band’s unique personality sets them apart.

Guitarist, Joe King, writes most of The Fray’s material and tells of stories that most of us can relate to:  unexpected love (‘She Is’), break-ups (‘How to Save a Life’) and overcoming and living with the past (‘Fall Away’).   The thoughtful songwriting is the perfect complement to Slade’s distinct vocal delivery where, at times, he just slides through the lyrics, turning whole phrases into one word.  The strongest song in the set is ‘Little House.’  Starting out starkly with Slade and keys alone, the drums and strings kick in at the: 30 second mark changing to an angry rockin’ tune, adding much needed edge and depth to this collection of poppy, radio friendly songs.

Is The Fray the next Coldplay?  No more so than any other up-and-coming band, nor are they trying to be.  Hopefully, once the masses get a hold of How to Save a Life, they’ll look beyond the obvious comparisons to appreciate The Fray for their one-of-a-kind songwriting and vocals.  

GARRISON STARR

THE SOUND OF YOU AND ME

It’s hard to be a female rock musician in an industry bursting with pop sensations like Britney Spears and Jessica Simpson and singer/songwriters like Sarah McLachlan and Jewel.  If an artist fails to fit into one of the few cookie-cutter images allowed, it’s necessary to find a new path through the music minefield.  And that’s exactly what Garrison Starr is doing.  After years of trying to find a way to express herself without fear and shame, Starr has emerged as a force to be reckoned with.  On The Sound of You and Me, the follow-up to the well-received Airstreams and Satellites, Starr offers a heart-on-the-sleeve glimpse into her emotional journey of self-discovery, with songs of lost love and missed opportunities surrounded by undying hope.

From the beginning, it’s hard not to fall in love with Starr’s honest songwriting and lush alto voice.  Almost as quickly, listeners are pulled into Starr’s storytelling, making it nearly impossible to turn off the stereo simply from wanting to know how the tale ends.   ‘Let Me In’ focuses on a relationship gone bad, with one person still wishing to get back together.  “I’m outside of the place I used to belong.  Can I come home?”  With a killer bridge, this is the anthem for regaining lost love.  In the similarly themed ‘No Man’s Land,’ Starr proclaims “I want somebody to hold my hand in this no man’s land.”  The rocking ‘Beautiful in Los Angeles’ tells the story of a long-distance attraction, unable to overcome the miles it takes to blossom into a real relationship.  For anyone with a faraway crush, this will become your new favorite song…and you’ll find yourself singing it all day long.

GLEN PHILLIPS

MR. LEMONS

Going from being an independent artist to having major label backing is a big step.  It’s generally thought to be a sign that you’ve “made it” in the industry.  When Glen Phillips (ex-Toad the Wet Sprocket) signed with Lost Highway Records in 2004, and released Winter Pays for Summer in 2005, he was on-track to regain some of the success he experienced with Toad.  But, after disappointing sales of WPFS, it was clear that this partnership wasn’t working out.  So, Phillips and Lost Highway parted ways, leading him to begin his own independent label, Umami Records, seeing it as an opportunity to escape the instability of major labels to focus his attention on creating a viable family business.  The result is Mr. Lemons, an intimate compilation filled with stories of loss, joy, and unending love.

As always, Phillips’ songwriting is top-notch. Producer Neilson Hubbard (Garrison Starr, Kate York) has built on the acoustic sound Phillips has become known for without going overboard with unnecessary bells and whistles.  These songs speak for themselves and Phillips trademark vocals shine throughout the set.  The upbeat opener, ‘Everything But You,’ is a love song that deserves to be heard by the masses.  Most of us have experienced it:  while the rest of the world falls apart, love is still there to keep us going, providing light in the darkness.  Phillips’ honest lyrics accompanied by quiet acoustic guitar paired with keyboards has college radio hit written all over it. 

‘Last Sunset,’ written with Kim Richey, who also provides backing vocals, speaks of not knowing what the future holds, encouraging listeners to cherish each moment.  “You never know, this might be the last sunset we’ll ever see.”  And, yes, ‘I Want a New Drug’ is a cover of the Huey Lewis and the News hit from the ‘80s.  With funky beats and a new arrangement, Phillips gives this classic a welcomed face-lift for this decade.

But don’t expect all happy, upbeat songs from Mr. Lemons.  The haunting ‘Marigolds’ deals with the loss of a loved one, a feeling made more intense by the utilization of a solo electric guitar and minimal string section.  In ‘Joyful Noise,’ Phillips sings of watching a friend suffer through addiction.  By the end of the song, the listener can almost feel the pain and hopelessness of the situation.  “We are not leaving.  We are not leaving you alone now…Let it go.”

Has Phillips lost something by not being on a major label?  That remains to be seen.  But, if Mr. Lemons is what we have to look forward to on this new highway, we’re in for the long haul.

GLEN PHILLIPS

WINTER PAYS FOR SUMMER

For many years, Glen Phillips fronted the band Toad the Wet Sprocket, who gave us the hit songs ‘Walk on the Ocean’ and ‘All I Want.’  They disbanded in 1998, with the artists going their separate ways.  Phillips went on to put out a few solo CDs; Winter Pays For Summer is his major label debut as a solo artist.  While a departure from the '90s pop Toad created, this release shows that Phillips still knows how to write powerful lyrics and create images that stay with the listener long after the stereo has been turned off.

‘Duck and Cover’ begins simply, with just the acoustic guitar and Phillips’ voice, which is how many fans have heard these songs since the Toad break-up.  When the lush harmonies of Andy Strummer (ex-Jellyfish) and Kristin Mooney are added and the electric guitar kicks in, get ready for goose bumps.  It’s the perfect opener to this collection of songs.  The upbeat ‘Thankful’ follows and Phillips demonstrates that he can still write a strong pop tune.  While some may say that there is too much going on in this offering, I see it as a complex ditty that I can listen to many times and still hear something new.  Phillips slows down the tempo for ‘Courage,’ with more soulful harmonies, this time provided by Ben Folds, and ‘Released,’ possibly one of the prettiest songs I’ve heard in years.

The best tunes on the CD are saved for the second half.  ‘True’ tells the story of love after the initial butterflies are gone and reality sets in.  “I’m always stumbling around/knocking things down/but whatever else I do/I’ll be true.”  ‘Finally Fading’ is just begging to be heard on the radio.  It’s catchy, has an echoed chorus that’s destined to be a hit at live shows and lyrics I find myself singing all day.

While some Toad fans are still hoping for another reunion of the band, we at Way Cool Music will happily listen to Winter Pays For Summer, gather our friends, and be thankful for what we have.

I AM KLOOT

SELF-TITLED

You know when you hear a voice and you simply need to hear it again? That was the case with I Am Kloot. After hearing 'Life In A Day' as the credits rolled on a TV show, I had to find out more. This three - piece from Manchester, England has been quietly making a name for them at home, but hasn't gotten much exposure on this side of the ocean. That should soon change if a mesmerizing voice, dark, thoughtful lyrics and solid musicality has any chance on American radio.

Being from Manchester, John Bramwell's (lead singer) voice is quite reminiscent of the warmth and inflection of John Lennon's, which adds to the new listener's initial enjoyment. Lyrically, Bramwell's songs are full of dark, sardonic views of modern day struggles. These tough subjects are surrounded by wonderfully rich orchestration making each song more addicting than the next. At this point, my favorite track is 'Proof' that asks the question, "Hey, heard you read another book/Should I take another look/Who am I without you?" Given time, I think each one of these songs will compete for #1 song of the week on my iPod, and thetas just fine with me.

IMOGEN HEAP

SPEAK FOR YOURSELF

Knowing very little of Imogen Heap, I had the pleasure of hearing her perform during the Hotel Café Tour.  Heap held her own with the guys on the tour with her, garnering the respect and admiration from the other performers and the audience.  Her well controlled voice makes you wonder if there is a note that she can’t hit.  Heap has embraced technology both for the sake of creativity as well as functionality.  While a few songs are so full of sounds and effects, they feel a bit overdone; other songs are cooked to perfection. 

Speak For Yourself was written and produced by Heap, turning her apartment into her studio. There is even a story about utilizing ambient train noises from outside her apartment in a few songs.  If you are not a big fan of love-related songs, this is not the CD for you.  Heap writes and sings about the entire continuum of love and relationships – from the initial power of the crush (‘Goodnight and Go’), the hopeful budding relationship  (‘Clear the Area’), recognizing faults in your lover (‘Loose Ends’) and saying goodbye (‘The Moment I Said It’).  

INGRID MICHAELSON

GIRLS AND BOYS

JAMES BLUNT

BACK TO BEDLAM

If you haven’t heard about Blunt, his history is pretty intriguing – born a military brat, studied Aerospace Engineering at university and spent four years in the British army.  At the 2003 SXSW’s music festival, Blunt caught the attention of songwriter/producer Linda Perry who signed him to her own label.  Two years later, his debut album, Back to Bedlam, has enjoyed big success in the UK this summer and, now, here in the states.

Blunt is a singer/songwriter in the same vein as Damien Rice and David Gray. The songs rely heavily on acoustic guitar and piano, but with the polish of a more mainstream pop sound. And, his intriguing falsetto voice does a nice job of setting him apart from his singer/songwriter colleagues.  His breakout single, ‘You’re Beautiful,’ is getting both cheers and boos for being a formulaic pop song.  Although his lyrics may not be mind-blowing, the song speaks to the 14-year-old girl/boy in all of us.  Getting past the pop label, Blunt offers up a solid collection of emotional songs with themes of heartbreak (of course), finding your place in the world and having friends who both surprise and disappoint us.  And, anyone who references Dorian Gray in a song (‘Tears and Rain’) gets serious points with this listener.

JAMIE CULLUM

TWENTYSOMETHING

The CD is a blend of original songs (written by Cullum and his brother, Ben) and cover tunes that include a remake of Radiohead's 'High And Dry 'and Cole Porter's "I Get a Kick Out Of You.' With such an interesting mix of songs, I really had high hopes for the CD.   It starts strong with 'These Are The Days,' a song written by Ben Cullum.  Jamie's deep, resonating voice really shines on this tune, as do his brother's songwriting abilities.  Cullum showcases his piano on the next tune. And his voice continues to draw me in.  On 'All At Sea,' brother Ben provides harmonizing vocals, adding depth to the song, in turn, making it the strongest track on the CD, for me.  After Track 4, however, I just lose interest.  It could be because the next five songs are covers, or it could be something else altogether.  Individually, each song is strong and compelling.  But, on a single CD listened to consecutively, it's too jazzy and showtune-y for me to maintain interest.   However, I am looking forward to uploading the CD onto my Dell DJ and hearing the songs interspersed with others.

JOHN VANDERSLICE

PIXEL REVOLT

There’s no doubt that John Vanderslice has a lot on his mind and wants to share it directly with the wider world.  Uncomfortable at times, Pixel Revolt feels as if he is putting his diary to music.  In less talented hands, this kind of therapy session could go horribly wrong.  But, to someone new to Vanderslice’s music, it’s intriguing enough to join him on his journey. 

Pixel Revolt is an odd mixture of political commentary and confessional songs that, somehow, live together in a very dark world.  The topics are emotionally charged and the music is sonically challenging. This isn’t the type of CD you put on as background music; it demands attention. 

In Vanderslice’s words, “Probably half of the record is totally straight-on autobiographical stuff,” that went through his friend, John Darnielle (Mountain Goats) who acted as his human “bullshit detector” to ensure that the songs didn’t go off the track. 

Sonically, the songs are extremely idiosyncratic ranging from dance mixes (‘Exodus Damage’) to quiet, finger picking (‘The Golden Gate’) in service of the song.  Lyrically, he is in a class with talent like Jeff Buckley, Elliott Smith and Ben Gibbard.  Some of his best lyrics are found in the up tempo ‘Exodus Damage’ in which Vanderslice recounts his post- 9/11experience, “An hour went by without a fighter in the sky/You said, “There's a reason why”/Tell me now, I must confess I'm not/I'm not sick enough to guess.” Vanderslice isn’t afraid to ask the important questions in these treacherous times.