AIMEE MANN
The Forgotten Arm
by Jeff Robson
Aimee Mann has long been a critics’ darling, but largely due to her somewhat inconsistent recordings, she has yet to become the pop star that she probably deserves to be. Although this new album contains her usual, beautifully understated melodies and haunting vocals, it’s likely not the kind of thing that’s going to make it big in the mainstream. You see, this is a concept album that tells the story of a troubled boxer, who drifts through life battling addictions, secrets, and longing for love. It’s a tragic and heartwrenching story that, somehow, you can’t help but connect with some troubled soul from your own life. It’s presented as a comic book, with beautiful illustrations accompanying the song lyrics that tell the story. It hangs together as a moving whole, but individually, none of the songs is all that spectacular on its own. Mann’s melodies are so understated that no one song sticks out as a true favourite, and none will likely truly connect with folks on its own. Obviously this is a project that’s designed to be digested on the whole, but in this day and age, that seems to be asking a whole lot of a public that largely looks to music as entertainment. Sure, there’s a market for this kind of cool, arty project, but folks don’t often have the time or the energy to commit to following and understanding a whole album at once. It’s beautiful, yes, but some may find it boring or inaccessible.
(SuperEgo, www.aimeemann.com)
RICHARD THOMPSON
Live from Austin, TX DVD
(New West, www.newwestrecords.com)
RICHARD THOMPSON BAND
Live in Providence DVD
(True North, www.truenorthrecords.com)
by Jeff Robson
published in Stylus Magazine August/September 2005
official website: www.stylusmag.mb.ca
Richard Thompson is one of those rare artists who is a master of beautiful, subtle acoustic folk music, and a powerful rocker, often displaying both sides in one show. These two recent DVDs offer the best of both worlds. The Austin, TX DVD comes from the vaults of Austin City Limits, the long-running PBS music series. This was Thompson’s long-awaited ACL debut on July 2, 2001. For it, Thompson is backed by just two other musicians, on drums and acoustic bass, but Thompson needs little else to succeed; he does quite well on his own, thank you. At the beginning of the show, Thompson says, in his characteristic dry British wit, “We’re gonna start rather quiet. Sort of Pete Seeger level, and work up to Metallica level. But we’ll stop when your ears are bleeding, don’t worry.” In a simple, acoustic setting, there may not be a better guitarist on the planet, and Thompson shows off his chops early in the show, and continues to do so as the decibel level rises throughout. His warm voice can go from a quiet, folky timbre to a raspy shout and back again with ease. The set is a perfect mixture of his current material from the time, and some of the many gems from his back catalogue.
The Live in Providence DVD is a band effort in the truest sense of the word. For that show, recorded July 24, 2003, Thompson is backed by a band that can only be called amazing. Drummer Earl Harvin is enough to take this non-musician’s breath away, and he often threatens to steal the show, and might do so behind a lesser performer than Thompson. Also, Pete Zorn adds horns, mandolin, and added vocals and guitar (as if they were needed!) to make for a much fuller sound. The band is tight, exciting, and very dynamic. Therein lies the problem, however. On the Austin DVD, Thompson is always front and centre, and his strong voice and brilliant lyrics are always the focus, but on the Providence DVD, they are but part of the magic. Where the Providence disc really suffers is in the brutal editing that the show went through. After each song, instead of Thompson’s charming stories and jokes, we get a quick fade to black and then the start of the next song. It’s a shame, really, because hearing him speak is part of his performance magic, and this is really evident on the Austin DVD.
Where the DVDs divide themselves is in the bonus features. The ACL discs feature longer, more complete sets than were aired on TV, but there is nothing else in the way of bonuses to be found. Heck, they couldn’t even bother to put the classic ACL theme song on there, and have no music playing under the main menu! (The cheapo in me has to wonder why we’re paying $30 for a DVD that cost nothing to make and offers nothing new or exciting.) The Providence DVD, however, contains some gems from the RT archives, some of which are almost as wonderful as the show itself. We get snippets of interviews and performances from 1981, 84, 85, and even two songs from the ACL show. If you know and love Thompson, you’ll want both in your collection. If you’re not familiar with his work already, do yourself a favour and pick up one or the other; they’re a great entryway into this man’s incredible songwriting and performing.
LUCINDA WILLIAMS
Live from Austin, TX DVD
by Jeff Robson
published in Stylus Magazine August/September 2005
official website: www.stylusmag.mb.ca
Forrest Gump’s mama would have loved Lucinda Williams, because it seems with her, you never know what you gonna get. This is especially true of her live concerts, where sometimes she can be amazingly entertaining and engaging, and other times she’s aloof and boring. I saw her in Calgary last year, and she had a roadie put the lyrics to EVERY single song on a music stand in front of her, and she seemed to sleepwalk through much of the set. That’s why it should be great for dissatisfied folks like myself to have this new DVD document of her at her finest. It was recorded for Austin City Limits on December 5, 1998. At the time, she was riding a wave of critical and public acclaim for her long awaited alt.country masterpiece,Car Wheels on a Gravel Road, which finally proved that critics and other musicians had been right for years in calling her a genius. With a well-practiced, top-notch band behind her, and the bright lights and big cameras of America’s pre-eminent television music show behind her, even Ms. Unpredictable would have to knock our socks off, right? Well, not necessarily, this is Lucinda Williams, after all. No matter how smokin’ her band sounded at the time (even though guitarist Kenny Vaughan looks like an escapee from The Witness Protection Program, with his oversized guitar and glasses, and mop-top hairdo), and no matter how great the material was (they tore through 10 of the 13 songs on Car Wheels, as well as a few of the best of her older songs), Williams looks like she’s about to fall asleep at any moment. She awkwardly stares off into space during the songs, strums her guitar to the beat of a different song, playing her own chords, and says nary a word between songs. Still, for Williams, this is about as good as it gets, it seems, so it stands as a very worthwhile record of her finest period, even if she probably did have better nights than this.
(New West, www.newwestrecords.com)
SARAH LEE GUTHRIE & JOHNNY IRION
Exploration
by Jeff Robson
published in Stylus Magazine June/July 2005
official website: www.stylusmag.mb.ca
Second generation musicians always have a bit of a rough go of it, constantly being compared to their famous family members. It’s especially tough when you’re a third generation musician, and your father happens to be one of the foremost American folk singers, Arlo Guthrie, and your grandfather, Woody Guthrie, pretty much invented American folk music and set the standard for all who followed him. Let’s just say that Sarah Lee had some mighty big shoes to fill. But then again, Sarah Lee didn’t intend to get into the family business, she sort of fell into it when she met singer/songwriter Johnny Irion, who would later become her husband and musical partner. Together the two set out to create classic male/female duo harmonies and have a little fun along the way. It’s a partnership more than one backing up the other. In fact, to focus on Guthrie seems like a convenient matter of marketing, because although her engaging voice is front and centre, she had a hand in writing less than half ofExploration, co-writing three songs and coming up with only two on her own. Needless to say, she hasn’t inherited the family penchant for songwriting prolificity. Together, though, Guthrie and Irion manage to hold their own with a decent debut of folk/rock songs. Highlights include Irion’s delicate acoustic folk song “Kindness,” and the rockin’ “Gervais,” which shows off the production and playing of Gary Louris of the Jayhawks. That band’s spirit and sound pervades throughout this disc, and helps it to fit well into folk and rock worlds, which maintains the Guthrie family influence, but updates it and makes it more modern.
(New West, www.sarahleeandjohnny.com)
AMOS LEE
Amos Lee
by Jeff Robson
published in Stylus Magazine June/July 2005
official website: www.stylusmag.mb.ca
I must be getting old or something, because I seem to be becoming the token Stylus easy listening reviewer. Amos Lee fits in marvellously on the same plane as that other hard-rockin’ superstar, Norah Jones. Like Jones, Amos is laid back, mellow, easy to listen to, and safe (wait, am I repeating myself? Perfect.) Like Jones, Lee has a jazzy style that contains as much jazz as a Kenny G fan club meeting. It isn’t quite jazz, but isn’t quite anything else, either. His voice is more soulful, but a lot less expressive and interesting than Jones. Even more so than Jones (but still a leg up on ol’ Kenny G), Lee’s songs are about as deep as a Texas snowbank. Lee writes about friendship, love, and occasionally, love lost. Dude ain’t tryin’ to reinvent the wheel, you could say. But he knows what works and how to use his soulful voice to make the songs sound more powerful than they really are. Don’t get me wrong, the CD isn’t bad, but it certainly isn’t very special or exciting, either. He’s no musical genius, but he must have some secret, dirty pictures of someone important, because he’s signed to one of the most renowned jazz labels and he’s toured with Bob Dylan and Merle Haggard. One can only hope that being around some true originals might teach this young pup a thing or two that’ll help him make his next outing a little more interesting.
(EMI/Blue Note, www.amoslee.com)
JOSH ROUSE
Nashville
by Jeff Robson
published in Stylus Magazine April/May 2005
official website: www.stylusmag.mb.ca
When your sound is as smooth and enjoyable as that of Josh Rouse, it’s easy for critics to knock it as lightweight fluff. Sure, Rouse writes some pretty typical love songs and syrupy-sweet ballads sometimes, but he just does it so damn well that it’s hard not to like the guy at least a little. His warm, comforting voice never seems to rise above a whisper, and the music is very gentle and accessible. It’s easy listening for young adults, and I doubt that even Rouse would argue that. On his fifth full length CD of such songs, Rouse seems to have the formula down to a science. There are upbeat pop songs that will stick in your head for days (“Carolina”), laid-back lamentations (“Sad Eyes”), and even an aw-shucks, keep your head up self-help anthem (“Life”). But how can you knock a guy for writing about things that we all understand in a way that we can all enjoy? I can’t! I love this stuff, and if you’re looking for a mellow collection of memorable and intelligent pop songs, you should too.
(Rykodisc, www.rykodisc.com, www.joshrouse.com)
MICHAEL JOHNSTON
Curious Heart
by Jeff Robson
published in Stylus Magazine April/May 2005
official website: www.stylusmag.mb.ca
I grew up listening to simple, catchy pop music, so I have an unabashed affinity for a strong melody. But as I grow older, I look for something that’s also intelligent and interesting, and a lyric that I can connect with. The same must be true for Michael Johnston, if his solo debut is any indication. It’s a collection of catchy, melodic pop influenced tunes ranging from the upbeat toe-tapping “Katie” to gloriously laid back and jazzy “The Big Apple.” Through it all, Johnston writes with the soul of someone who has lived (“The Country North of Peterborough”), loved (“Stars”), and lost (“Apology”) but has come through it with a sense of optimism and some great stories to tell. Don’t get me wrong, this album is far from a downer, but there’s enough genuine insight and reflection in here to know that Johnston isn’t afraid to lay it all on the line for the listener and say the things that most of us are often unable to. Other than being a fine lyricist, Johnston masterfully works his piano with a zest and vigour, and presents some finely understated vocals of his own. But knowing that variety is the spice of life, Johnston’s invited some friends along to add their talents to a few of his songs, including Reid Jamieson, Oh Susanna, and Andy Maize of the Skydiggers. Most young singer/songwriters would invite guests to back them up, but Johnston is clever enough to learn from the masters and let them put their own spins on the songs, so it is he who sings and plays backup to them, and it works magically. All in all, this is a superbly rounded collection of songs and sounds from a singer/songwriter with a very bright future.
(Independent, www.michaeljohnston.ca, www.zunior.com)
JACK JOHNSON
In Between Dreams
by Jeff Robson
published in Stylus Magazine April/May 2005
official website: www.stylusmag.mb.ca
I’ve never been to Hawaii, but after listening to Hawaii native Jack Johnson’s latest CD, I think I have a pretty good idea what it must be like. It’s a warm and inviting place where the sun shines all the time and nobody worries too much, because that just wouldn’t be any fun, and Johnson likes it fun. This former pro surfer dude has managed to carve himself out a pretty great niche and continues to do what’s expected of him, namely, providing groovy, upbeat music that works for radio, video, and just chillin’ at the beach. The music is sort of a hybrid of jazzy reggae grooves, with some hooky melodies woven in. Lyrically, it’s a bit of a mixed bag with some love songs (“Better Together,” “Banana Pancakes,” “Do You Remember”) and a few deeper subjects. At times Johnson reflects on some of the troubles of the world (“Never Know,” “Staple it Together,” and “Crying Shame”) but stewing on that for too long would bum out Jack’s vibe, and that just ain’t Jack, man. This one’s about layin’ back and feelin’ the Jack and lovin’ it. This is as safe and predictable as it comes (heck, even my mom loves Jack), but you know what, dude does it so well that you just can’t fault him one bit for it.
(Brushfire, www.brushfirerecords.com, www.jackjohnsonmusic.com)
GEOFF BERNER
Whiskey Rabbi
by Jeff Robson
published in Stylus Magazine Feb/March 2005
official website: www.stylusmag.mb.ca
At first, there’s a bit of a natural tendency to think that Geoff Berner is a novelty act. After all, he plays wild and crazy punk rock influenced music on the accordion, and he’s short, bald, and, well, weird. But if you stop there, you’re doing yourself a disservice. Although he may look like a bit of a circus act, Berner is one of the most clever and insightful songwriters I’ve ever heard. Again on this album, Berner’s sharp tongue spits at the pious, ridiculous, and hypocritical in society with unabashed honesty. However, he takes time to be a bit silly and have fun along the way. He also took time to create some of his most melodic and powerful music to date. But once again, he’s upped the novelty ante by shifting the focus of his material slightly. Although he’s been raised on rock & roll, Berner decided to connect with his Eastern European, Jewish heritage and bring Jewish traditional klezmer music “kicking and screaming back into the bars.” The result is a wild mash-up of traditional and contemporary styles and influences that defies categorisation. At the base, you’ve got Berner and his accordion, and that wild, unrestrained singing. This time, however, it’s got more of a band feel; along for the ride are percussionist Wayne Adams and Diona Davies, a stunning virtuoso violin player. The three blend together for some wild and crazy instrumental jamming that sounds like it could come unglued at any time, but somehow, it all holds together, getting faster, wilder, and more intricate. Isn’t that what klezmer and true rock and roll should be all about? It’s no novelty; this man is the real deal. Perhaps the most brave and brilliant album you’ll hear all year.
(Black Hen, www.geoffberner.com)
JOHN GULIAK
7 Stories and 13 Songs
by Jeff Robson
published in Stylus Magazine Feb/March 2005
official website: www.stylusmag.mb.ca
John Guliak is the kind of gritty, hardened alt.country singer/songwriter who seems perfectly suited to his home province of Alberta. I’m quite sure that there’s a dusty trail somewhere that is the perfect place to listen to this disc. The songs are realistic snapshots of folks that are easy to relate to. Guliak seems to have moved around the west a fair bit (he lived in Winnipeg for a while, also) but settled in Vancouver for 10 years, before returning to Edmonton recently. In Victoria, he fell in with the queen of Canadian alt.country and her crowd, Carolyn Mark and her talented band of roommates/new best friends, and they make up Guliak’s backing band, The Lougan Brothers, on the disc. With those folks along, you can’t help but come up with great melodies and arrangements, and that’s certainly true here. Guliak’s one shortcoming might be his gruff voice, which isn’t always as expressive and dynamic as I’d like, but does a fine job with the material, especially when helped out by Mark.
(Mint, www.whirldrecords.com/THESMOKE/)
BUDDY MILLER
Universal United House of Prayer
by Jeff Robson
published in Stylus Magazine Feb/March 2005
official website: www.stylusmag.mb.ca
Hallelujah! Brother Buddy has seen the light and he’s here to save us all. On his New West debut, the seasoned veteran has put out arguably the best album of his illustrious career. That career, by the way, includes 7 albums, both solo and with his wife Julie Miller, and songwriting and playing credits galore. Miller’s regarded as one of Nashville’s best writers and guitarists; his songs have been covered by plenty of country music stars, he’s a much demanded producer, and he’s toured with Emmylou Harris for the past 8 years, and done stints with Steve Earle and Jim Lauderdale, among others. Over the years, he’s honed a rough-around-the-edges rockin’ blues-meets-soul inspired country sound, and uses his mighty voice and powerful guitar to good effect. Some folks may be put off by this new album because of its gospel roots, but don’t mistake this as a preachy, self-indulgent project; this is more a celebration of optimism and the endurance of the human spirit. Sure, Buddy tips his hat to The Man Upstairs on a few tracks, but the album doesn’t get bogged down with religious imagery or overt soul-saving. The bulk of the album is comprised of originals written by Buddy & Julie, but also includes the Louvin Brothers’ classic “There’s a Higher Power,” and Dylan’s classic anti-war ode “With God on our Side.” All in all, it’s a well-rounded project that is easy on the ears, and perhaps good for the soul.
(New West, www.buddyandjulie.com)
SWANK
The Survival Issue
By Jeff Robson
Without even mentioning the music, I can think of plenty of reasons why this is one of my favourite CDs of the year. The CD packaging is one of the most creative and interesting things I’ve ever come across. It’s a perfectly authentic looking 28-page 50s style comic book full of groovy illustrations, retro paintings, and ads for things like “Reverend Pleasant’s Effervescent Convalescent Home,” all modeled around the disc’s song titles and lyrics. Honestly, if every band put as much time and love into creating a package like this, nobody would ever be stupid enough to download music. This is one album that you must own to really appreciate. The enhanced CD also includes the video for “How Do We Do,” which features a creepy looking computer-animated marionette singing along with a band of rowdy skeletons. Tim Burton, eat your heart out. Oh yeah, and there’s some music on here too. The Vancouver-based 5-piece band is the roughest rockin’ combo I’ve heard in a long while. Truly unique, their sound blends country, blues, rockabilly, and a heapin’ helpin’ o’ beer swillin’ rock music. Think Perpetrators + D Rangers + Farrell Brothers, add massive doses of Jim Beam, place them all on stage at Times Change(d), and sit back and watch the fireworks. But hey, if the music doesn’t work out for you, you can always learn more about “the Big-Opportunity Field of TAXIDERMY,” as advertised on the booklet’s last page. Buy this record or miss out on something extraordinary.
(Independent, www.iwantswank.com)
JACOB TWO-TWO
The Elastic Heart of Youth
By Jeff Robson
published in Stylus Magazine Dec/Jan 2004
official website: www.stylusmag.mb.ca
Right about this time of year, one of the only ways to avoid thinking about the horrid winter ahead is to dream of a warm summer’s day at The Winnipeg Folk Festival. Yup, I can almost smell the patchouli oil and taste the Whales’ Tails now. My delusion is aided by this new CD from Ottawa area band Jacob Two-Two. It’s a breezy blast of warm music perfectly suited to an afternoon at Birds Hill Park. The band is fronted by three equally talented singer/songwriters who play the usual assortment of instruments, but on the CD, they’re joined by horns aplenty (French, flute, sax, trumpet, etc.), congas, melodica, and a variety of interesting elements. Surprisingly, the three don’t compete for space on the disc or try to carve out their own individual sound, like on many collective CDs. Instead, they let Mary Kate Haché’s sweet, sexy voice pervade, taking the lead on 6 of the disc’s 12 tracks and adding gorgeous harmonies when the boys take their turns. The sound is pretty jazzy and laid back, with a bit of folk and funk thrown into the stew once in a while. You can tell by listening that live, they’re a fun, danceable jam band and would get those dread-heads a dancin’ at the park. For an independent, self-produced release, the sound of the CD is very professional and concise, and with strong, melodic songs, it’s a very impressive first full-length for this promising band. Bonus points are awarded for the band name, and more so for taking the time to send Mordecai Richler a letter asking permission to use the name, to which he tersely replied, “Oh sure, go ahead.” Cool.
(Independent, www.jacobtwotwo.net)
JOHNSMITH
Kickin’ This Stone
By Jeff Robson
published in Stylus Magazine Oct/Nov 2004
official website: www.stylusmag.mb.ca
Every once in a while, I hear an artist and wonder why the heck he isn’t a household name. Johnsmith is such an artist. I’m not sure how old he is, but it looks to me like Johnsmith isn’t a kid anymore. Kickin’ This Stone is only his fourth release, but you can tell that this is an artist who has been singing and playing his whole life. In fact, it’s probably because he’s only starting to gain recognition later in life that Johnsmith has quietly been able to perfect his singing and songwriting skills to such a degree without being tainted by the demands and downfalls of record companies and a fickle music industry. Smith has a high, but warm voice that is silky smooth and very easy on the ears. That, along with the stellar musicianship on the record should make it a winner right there, but the songs are what make this project a home-run success. The album is brimming with optimism and positivity, from the viewpoint of one who has seen and done a lot. The opener, the title track, sees our protagonist kickin’ a stone through town and describing the people and places he passes. It’s a simple song, but it’s very vivid and enjoyable. “Thomas Francis” is a historical ballad about Smith’s Irish great grandparents, and it’s propelled by traditional instruments and an Irish reel. “Don’t Put Me in a Box” tells us not to label or stereotype others. Even when paying tribute to Dave Carter, a friend and songwriting inspiration, Smith looks at the positive and reels off Carter’s many glowing attributes. Making the album even more irresistible is the production and glorious Dobro and pedal steel of the legendary Lloyd Maines. This could well be the feel-good, joy-to-listen-to album of the year.
(Blue Pine, http://johnsmithmusic.com)
BOBBY BARE JR’S YOUNG CRIMINALS
From the End of Your Leash
By Jeff Robson
published in Stylus Oct/Nov 2004
official website: www.stylusmag.mb.ca
Bobby Bare Jr. comes by an identity crisis honestly. He was born the son of old-time country music star Bobby Bare. Father and son were actually nominated for a Grammy when Jr. was only 5 years old. But when he came into his own, Jr. didn’t go straight for the classic country that daddy did so well, he rebelled and became a rock n’ roller. He’s best known for his late 90s band, Bare Jr., which sowed the roots of Jr.’s rock/country hybrid. From the End of Your Leash clearly displays Bare’s country influence, but maintains much of the punk rock edge honed on the Bare Jr. records. The Starvation League is a bigger outfit, 19 people contribute to the record. With that kind of a line-up, the CD is bound to be diverse, and that’s surely true. There are straight out country tunes, like the autobiographical “Visit Me in Music City;” the opening track, “Strange Bird,” is a gritty rocker with a big, fat horn section driving it, “Your Favourite City” is a power-pop song that sounds like it could have been lifted from the New Pornographers, and “Borrow Your Girl,” could easily be a Springsteen song with its plaintive wooo hooo refrain. Bare’s songwriting is more impressive this time around; many songs are introspective and honest, like the haunting anti-drug dirge “The Terrible Sunrise.” The album is a bit of a wild ride, but it’s far from a mess, rather a very successful rough and ready romp through the genres.
(Bloodshot, www.bloodshotrecords.com, www.bobbybarejr.com)
BRUCE KNAUER
Allnight Breakfast Special
By Jeff Robson
published in Stylus Oct/Nov 2004
official website: www.stylusmag.mb.ca
Allnight Breakfast Special
This is quite easily one of the most interesting and unique projects that I’ve come across in a while. Knauer is a bit of a mystery. This is his first CD, and it’s released independently, so I can’t find much info on him. He doesn’t even have a website. I do know that he’s spent time in Irish traditional bands and has played closer to home with Bocephus King, Michael Kaeshammer, and others. This project teams him up with Vancouver super-instrumentalists Jesse Zubot and Steve Dawson, among others. Fittingly, there’s a real solid rootsy instrumental base to this record, but it veers off in many other directions. The first song, the title track, is a perfect example (and it happens to be one of my favourite songs at the moment); it starts with a simple and very effective banjo riff, but swirls in some electronic beats and effects and builds into a very lush pop song. Along with common instruments, Knauer and producer Jesse Zubot utilise such things as glockenspiel, wine glasses, phone messages, and a whole bunch of different types of guitars to make a wildly full sonic palette. But the roots instrumentation and the electronic elements remain the basis throughout the album. The songwriting is as eclectic as it comes, also. Knauer only recorded 3 originals on this CD. The first three songs are from another unknown writer named Brian Irwin. Knauer throws in a song by bluesman Ted Hawkins, two Lennon-McCartney covers, “I’m Only Sleeping,” and “Rain,” which is well paired-up with “Sun,” (which is credited to Knauer in one spot and John Denver in another.) I don’t know a lot about Bruce Knauer, but I know that I like what I hear so far and I’ll be looking out for more.
(Independent, itsknauernever@shaw.ca)