Slaid Cleaves (Wishbones)
Norah Jones (Feels Like Home)
James Keelaghan (Then Again)
Greg MacPherson (Maintenance)
Lisa Loeb (Hello Lisa)
Jesse Malin (The Fine Art of Self Destruction)
Bottleneck (Late Night, Early Morning)
Cash Brothers (A Brand New Night)
J.P. Hoe (The Here in Review EP)
Ryan Adams (Rock N Roll)
Emmylou Harris (Stumble into Grace)
Beautiful: A Tribute to Gordon Lightfoot
The Unavoidable Truth
By Jeff Robson
published in Stylus Magazine June/July 2004
official website: www.stylusmag.mb.ca
If I could ever judge a guy by the strength of the company keeps, I knew I’d like Reid Jamieson before I even heard this CD. The CD is produced by Josh Finlayson, the co-leader of the Skydiggers, who also appears on several tracks and does some co-writing. The stellar backing musicians include former Rheostatics Dave Clark and Lewis Melville, now-Winnipegger Michael Johnston, Mia Sheard, Blue Rodeo’s Bob Egan, and more. The CD also features the obligatory Sarah Harmer duet on “Holding Out,” a lovely slow poetic ballad. The sound of the disc is guided by the stellar band and top-notch production, but it’s held together by Jamieson’s high, resonant voice. Think Rufus Wainwright without the operatic warble. Jamieson’s powerful voice works best on the upbeat numbers like the perfectly poppy title track and the infectious upbeat roots (pardon the pun) of “Grass & Dirt.” But he can also pack a lot of feeling into the slow tunes as well, like “Starting to Learn,” an introspective look at fears and emotions. He’s got a gift with a memorable melody and a way with words as evidenced by the opening track, “Last Day of the Year,” where Jamieson writes, “Time often spends itself with no concern for mental health/ Care how you expand your wealth the last day of the year. / Longing and looking back, major change there is no lack, of sacred blessings, heart attacks, the last day of the year.” I’d be very, very surprised if Jamieson is an indie artist for long.
(Independent, www.reidjamieson.com)
Wishbones
By Jeff Robson
published in Stylus June/July 2004
official website:
www.stylusmag.mb.ca
Slaid Cleaves comes from the ultimate singer/songwriter hotbed, Austin, Texas, and he does the Texas tradition proud. He writes some powerfully poignant story songs about the hopeless and downtrodden. His tales are as dark and poetic as the Texas greats, Steve Earle, Townes Van Zandt, and Guy Clark. Honestly, I think his songs are that interesting, and that good. But, if there can be one knock against Cleaves, it’s that his smooth and accessible voice couldn’t possibly belong to someone who has lived hard and fast and seen the darkest that this world has to offer. The greats sing of murderers and outlaws and you believe them, because they sound like they’d fit right in. But Cleaves is just too pretty and his voice is too enjoyable. And, perhaps it’s fitting that he was born in Maine and only followed the music to Austin. But the guy is damn good. On this, his third widespread release, he once again wisely works with super-producer Gurf Morlix to bring out the best in his songs. But this CD is a more rocked up and orchestrated affair. Moving away from the folky singer/songwriter to the folkin’ rockin’ blues of Americana, Wishbones takes a step closer to sounding as rough and ready as the stories Cleaves writes. It’s his most energetic, enjoyable, moving, and melodic release to date, and I make no hesitation in recommending it. But, there comes a time when you listen to that sweet and comfortable voice singing “Drinkin’ Days,” or “Sinner’s Prayer,” and you just know that this baby-faced boy from Maine couldn’t possibly have hit bottom. He’s a nice guy, and you just know it. But nice guys can tell great stories, and Cleaves paints a vivid, yet very enjoyable picture. You also have to give him credit for mentioning Winnipeg in “Quick as Dreams.”
(Philo, www.rounder.com, www.slaid.com)
NORAH
JONES
Feels Like Home
By Jeff Robson
This
is the eagerly anticipated follow-up to Norah Jones’ debut CD, Come
Away with Me, which sold a bazillion copies a couple of years ago.
I think everybody I know owns a copy, yet few are willing to admit it.
Sure, it’s mellow and a little too sickly sweet sounding, but damn
it, I’ll go out on a limb and say that it sold so well because it
was pretty darn good.
It ain’t cool to like Norah Jones, but it’s pretty hard to knock
her, also.
So,
there are those that will be dying to love her new CD and those that
will be dying to rip it apart in reviews. I’m somewhere in the
middle. Again, Jones has assembled a beautiful, laid back, and very
enjoyable record that’s not the most wonderful and original thing
I’ve ever heard, nor is it at all offensive. She seems just fine
sticking with the “if it ain’t broke, don’t fix it” ethic, and
she just might be right.
She
sticks with the same producer and backing band. Again we get stellar
contributions by Kevin Breit, Jesse Harris, and Tony Scherr on guitar.
This time she also pulls in respected guests, by enlisting the help of
Garth Hudson and Levon Helm of The Band on “What Am I to Do,” and
Dolly Parton duets on “Creepin’ In.” Jones writes a little more
on this one, co-writing 5 songs, including “Don’t Miss You at
All,” for which she added lyrics to a classic Duke Ellington
instrumental, “Meloncholia.” There are also great covers of songs
by Tom Waits (and his wife) and Townes Van Zandt. Overall, the CD is a
bit more upbeat and varied, but don’t go thinking that Jones is
reinventing the wheel here; for the most part, it’s the same old
same old, but darn it, it works for her, so why not.
(EMI/Blue Note, www.norahjones.com)
JAMES
KEELAGHAN
Then Again
By Jeff Robson
Winnipeg’s
most famous folkie returns with a new album, 3 years after his
acclaimed Home CD. Calling
this one “new” is a bit of a misnomer, since all of the songs on
it have been released before. But this isn’t merely a “Best Of”
compilation, it’s billed as a “Better than Ever” compilation,
since it presents new recordings of 11 of Keelaghan’s finest
compositions. And this is a guy who knows a thing or two about
songwriting, so when he compiles a disc of his best, you can bet that
there are no stinkers in the bunch. His songs have been recorded and
recognized by some of the best singer/songwriters in the world. Twice
he’s won top prize at the highly respected USA Songwriting
Competition.
One
of those award winners, “Cold Missouri Waters,” is updated for
this set, and Keelaghan now incorporates some changes made by Richard
Shindell for the version he recorded with the singer/songwriter
supergroup CD, Cry, Cry, Cry.
That song, and others here, like “Jenny Bryce,” show Keelaghan’s
gift for interpreting history into wonderful story songs. “Gladys
Ridge” shows Keelaghan’s gift with a simple, sing-along melody,
and it prominently features the powerful voices behind local soul
group Rudimental, and even incorporates an audience at The Winnipeg
Folk Festival. Keelaghan’s strong guitar playing guides the songs,
but it’s the words that are most powerful and important. He’s got
a rich and deep voice, often reminiscent of Stan Rogers’, but a
style of his own.
Keelaghan
is known and respected around the world for his songwriting and
performing, yet many readers may not be familiar with all of his
material. This is a perfect start for someone not up on all things
Keelaghan, it’s a great overview of the best songs, drawn from 4 of
his previous 7 discs and taking us all the way back to his debut, 17
years ago. By re-recording them, he’s able to make a more modern and
cohesive sounding package, and it works wonders.
(Jericho Beach Music, www.keelaghan.com)
GREG
MACPHERSON
Maintenance
By Jeff Robson
G.Mac
is back, and it’s about time. This new EP doesn’t actually come
out until March 23rd, but it’s so good and I’m so
excited about it, that I just couldn’t wait a month to review it.
This sometimes Winnipegger is far too talented for his own good.
He’s got just about everything it takes to be a huge star, yet
he’s such a fiercely political individual that he refuses to sell
out to the man and make watered down music for the masses. Instead, he
combines a political punk rock ethic with potent lyrics and some very
powerful energy to make great rock and roll with a message. Still, his
songs aren’t preachy or overtly political. His is great music for
the everyman, there’s nothing lofty or insulting about his songs.
His last CD, 2002’s Good Times Coming Back Again was an all-out rock and roll band effort. This new EP takes him back to his roots; the band is completely absent on these 5 songs, this time it’s all Greg + acoustic guitar. The disc starts off with a gorgeous laid back number, “Wide Turn,” before the fiery Clash cover, “Bankrobber.” There is a pair of stripped down acoustic versions of songs from GTCBA, including the title track and “Slow Stroke.” The highlight is a long awaited recording of one of Macpherson’s most requested live numbers, and one that’s been around for years yet has never been recorded, “Company Store.”
If you’ve ever seen Macpherson’s gripping live performances, you know that he doesn’t need anything to keep an audience entertained, he can do spoken word, a capella, and solo singer/songwriter stuff with ease. Fans of the rockin’ band stuff on his last CD should not worry, this stripped back disc is not mellow folk music; Macpherson still packs a mighty punch all by himself. This 19 minute EP will surely whet listeners’ appetites for his next full length rocker, which is rumoured to be out later this year.
(G7 Welcoming Committee, www.gregmacpherson.com)
LISA
LOEB
Hello
Lisa
By Jeff Robson
The Uniter, publication
date: January 15, 2004
official website: http://newwinnipeg.com/uniter/
Hello Lisa,
I know it’s been a while. I know you must be wondering why I’ve written you after so long. You see, in 1994 when you first came into my life with that irresistibly sexy song “Stay” from the movie Reality Bites, I knew that there was something special about you. I waited patiently as major labels trampled over each other to sign you, and I was among the first to pick up your debut CD Tails. That was in 1995 and I was in love. You were just so cute and sensitive and fun. Plus, who didn’t love them fancy glasses of yours?
But alas, our love was not one meant to last, let’s be honest with ourselves here, the magic kind of fizzled for album #2, Firecracker. It was good, but there are other cute girls in the world and I admit, I began to stray. The next CD Cake and Pie was a big disappointment and I figured our love was gone for good. So much so, that I never even bothered to pick up the latest CD when it came out in 2002. But the fine folks at Artemis Records wanted to play matchmaker, so they sent me a copy in hopes that I’d come around.
And I have, dear Lisa. You’ve outdone yourself this time. Finally, you’re making me swoon all over again with that dreamy voice and crafting some damn fine pop songs. The CD starts off on a strong note with “Did That,” a groovy rock number, before settling down with a slow sweet number “Underdog.” There are a bunch of other great tracks, but my favourite by far is the wonderful “Bring Me Up,” which I love almost as much as those early hits. I’m sure you’ll give much of the thanks to your new musical partner, Dweezil Zappa, who co-produced, co-wrote, and played on most of the album. Good for him and good for you.
I’m glad to have you back in my life Lisa, and I hope this is a new beginning for a strong relationship between us that’s bound to last this time. Of course, I’m not sure how you explain the fact that your new CD is for kids, but I haven’t heard that one yet, so I guess I’ll wait and see.
Love,
Jeff
JESSE
MALIN
The Fine Art of Self Destruction
By Jeff Robson
The Uniter, publication
date: January 15, 2004
official website: http://newwinnipeg.com/uniter/
The
Fine Art of Self Destruction is the solo debut for
singer/songwriter Jesse Malin, who spent years with New York based
punk influenced rock band D Generation. Much of the rock and roll
ethic is here, this CD is as rough and rockin’ as all get out at
times, but Jesse’s obviously mellowed a bit also, since many of the
songs are more laid back acoustic numbers. He’s a protégé of Ryan
Adams, who produced the CD and appears on much of it. Malin’s got a
very interesting and unique voice that works really well in the right
instances, but gets really annoying in others. On the opening cut,
“Queen of the Underworld,” his wavering voice works nicely with
the understated arrangement to create a very accessible laid back
groove that isn’t hard on the ears at all. The third track,
“Wendy” is a killer rock groove with just enough rootsy country
vibe. I’d buy the CD just for that song alone. “Riding on the
Subway” is also a great, groovy moment. Unfortunately, not all of
the album’s moments work so well, there are a few tracks like
“Solitaire” that just don’t work at all and Malin’s voice
comes across as very thin, whiny, and annoying. There are enough good
songs to make this a promising debut, but there’s also a lot of room
for growth in the consistency department.
(Artemis, www.jessemalin.com)
BOTTLENECK
Late Nights, Early Mornings
Published in Stylus Magazine December/January issue
website: www.stylusmag.mb.ca
This
Vancouver based outfit is fronted by two singer/songwriters, Scott
Smith and Robyn Carrigan. Having two lead singers and songwriters can
either make for a great singing duo (Blue Rodeo’s Keelor/Cuddy, for
example) or two distinct individuals who don’t share much but a
backing band. The latter is the case with Bottleneck. On their debut
release, they even go so far as to switch songs, he’ll do one, then
she’ll do one, etc. This is both a blessing and a curse, since
neither one of them has a voice quite strong enough to carry an entire
album or set of songs, yet it leaves the CD feeling like a
compilation, instead of a cohesive album. And they switch musical
styles almost as often as they do singers; most of it’s country
based, but there are jazz, blues, and more. I get the feeling that
when these pieces are assembled with others into a live show, they
could be a really amazing live band, but the recording is less
amazing. Don’t get me wrong, there are some great moments on the
disc, such as Carrigan’s soothing Mclachlan-Harmer-esque vocal on
“Diamond Ring,” Smith’s beautifully laid back jazzy “Summer
Days,” and my favourite, the slow country heartache of the title
track. Late Nights, Early Mornings is a pleasing and very
promising CD that leads me to suspect that once Bottleneck finds its
sound and pulls everything together, great things could result.
(Black Hen Music, www.blackhenmusic.com)
THE
CASH BROTHERS
A Brand New Night
By
Jeff Robson
Published in Stylus Magazine December/January issue
website: www.stylusmag.mb.ca
For a couple of Canadian guys, Andrew and Peter Cash are able to make some pretty darn good Americana music. They’ve got enough rough around the edges country grit to make one wonder if they’re the offspring of the greatest Cash of them all, Johnny (they’re not) but they also have the ability to make great, accessible melodies more akin to pop music. And why not, Andrew hit it big as a pop star at the end of the 80s and Peter is a huge part of the reason why The Skydiggers are so well loved and why that band hasn’t done anything notable since he left. Thrown together, the brothers seem to bring out the best in one another. They sing and work together well as a duo, almost as if they were, well, you know... Andrew’s still crafting great melodies (as on the groovy, funky “Give Me Your Hips) and Peter’s still got that great ultra low growly voice (as on “Tillsonburg”). A Brand New Night is their first CD recorded since they started to make waves in the U.S. and it contains some pretty great, catchy songs that should be a big hit on AAA radio, but won’t ever make it on the air in their homeland. The CD gets a little too laid back and sleepy at times, but the great tracks make this a CD worth having.
By
Jeff Robson
Published in Stylus Magazine December/January issue
website: www.stylusmag.mb.ca
Winnipeg
singer/songwriter JP Hoe's original pop songs are like musical heroin.
Once you get a taste of that sweet, sweet smack, you'll be itching to
come back for more. His brand of musical narcotic is interesting
and melodic intelligent pop, and he serves it up well.
"Fine" has the kind of melodic hook that'll turn you into a
JP junky in an instant, and "Lady Bliss" will put you in
exactly that state, no matter what your gender. There's a kind of
beautiful simplicity to the lyrics and melodies that makes them so
easy to digest. It’s clear that he’s a young songwriter still
perfecting his craft, but he uses his strengths well to create some
darn addictive stuff. Probably the biggest strength is Hoe's full,
resonant voice. It surprised me none to learn that Hoe has extensive
theatre experience; he's used it well in the way he's able to send
words out like a sonic boom, and then drop back down to a whisper
without losing any potency. I wouldn’t say he’s ready for the big
time just yet, but there’s enough potential on this EP to make you
want to keep an eye on this guy. Enough chattin', I'm ready to hook up
with another fix of JP Hoe, yo.
By
Jeff Robson
Published in The Uniter
official website: http://newwinnipeg.com/uniter/
Just when I had started compiling my year-end best of list along comes a last minute sure-fire candidate. Ryan Adams has always been lumped in with the alt.country/roots crowd and he’s signed to Lost Highway, one of the most renowned labels of that genre. He gained that reputation via his work with Whiskeytown, one of the most notable bands of that genre. But his previous solo stuff has leaned more towards pop/rock, without losing the rootsy edge and credibility. Well, there ain’t a thing that’s rootsy about this new record. As the title implies, this is full on, volume to 11, decibel pounding rock and roll, and it’s a damn fine example of that, too.
I recently read that Kurt Cobain’s death signaled the end of the true rock and roll era. Well, Adams may be Cobain reincarnated, or at the very least he’s channeling him, because I haven’t heard a gritty rock and roll album that was this exciting since Nevermind a decade ago. The opening track “This is It,” is a head banging grungy rocker that is every bit as accessible and energetic as Nirvana at its best. The next track, “Shallow,” is a more laid back rocker, but the energy jumps back up with “1974.” “Wish You Were Here” pours out obscene frustration in every line “[everybody] knows the way I feel about you/It’s all a bunch of shit/And there’s nothing to do around here/It’s totally fucked up/I’m totally fucked up/Wish you were here.” And Adams seems to be exorcising some frustration and demons in some other songs as well. It’s the brutal honesty of songs like “Note To Self: Don’t Die,” “Anybody Wanna Take Me Home,” and “The Drugs Not Working,” that really give this album its awesome power. But it’s not all grunge rock, “So Alive” and “Boys” sound like vintage early U2, before they started to suck.
Long live Rock N Roll!(Lost Highway, www.ryan-adams.com)
EMMYLOU
HARRISStumble Into Grace
By
Jeff Robson
Published in The Uniter October 9, 2003
official website: http://newwinnipeg.com/uniter/
Now, I gotta be honest, I’m a big fan of that gorgeous Emmylou Harris voice. I love hearing that voice backing up other artists, and I’m a huge fan of her records also. But, I’m a big time record reviewer here, so I have to be critical. Stumble Into Grace is a pretty mellow and laid back record, and some of the moments can be a bit sleepy, but this is Emmylou Harris we’re talking about, so that shouldn’t come as a surprise. She made a comeback of sorts and gained mainstream praise and acceptance with her 1995 masterpiece Wrecking Ball, which perfectly matched her glorious vocals and some amazing songs by some great songwriters with the production genius of Daniel Lanois. The follow up, Red Dirt Girl, produced by Malcolm Burn, was a return to songwriting for Harris, who didn’t write one by herself on WB. This new one follows along those lines again, with Harris doing the bulk of the songwriting and Burn producing. But one can’t help but hear Lanois’ influence all over this CD, even though he only contributes to two songs on it. Other notable guests include Jane Siberry, Linda Ronstadt, Colin Linden, Gillian Welch, and of course her frequent collaborators and back up band members, Buddy and Julie Miller. With all of that talent and history, the record can’t go wrong. Before I start raving again, I’ll admit that not all of the songs are home runs, but, come on, with such obvious talent and a voice like that, what more do you need?
(Nonesuch, www.nonesuch.com)
VARIOUS
ARTISTSBeautiful: A Tribute To Gordon Lightfoot
By Jeff Robson
Published
in The Uniter October 9, 2003
official website: http://newwinnipeg.com/uniter/
Earlier this year, two of Canada’s finest roots labels, Borealis and Northern Blues combined forces to release the all-star Johnny’s Blues, a tribute to the bluer side of Johnny Cash. Well, as good as that record was, they’ve already outdone themselves with this tribute to Gordon Lightfoot. It’s hard to believe that nobody’s thought of a tribute to old Gord sooner, so the choices of songs and artists to pull contributions from was pretty well unlimited. And what a diverse combination of artists it is that pays tribute. Big names like Blue Rodeo, The Tragically Hip, and Bruce Cockburn all step in, but listeners should find themselves with far more interesting tracks to spend time on. Cowboy Junkies start the disc off in fine fashion with “The Way I Feel,” which leads nicely into Jesse Winchester’s beautifully funky “Sundown.” It’s contributions like these that take Lightfoot’s originals and add something new that are the biggest winners. Others try to stay true to the original, as on Connie Kaldor’s “If You Could Read My Mind,” which, outside of the change in the singer’s gender, doesn’t change much at all. One has to wonder why someone would think she could do the original one better by staying the same course when the classic is so darn good. Also questionable is the CD’s closer, an original composition by Aengus Finnan, which is a nice enough effort, but I’d much rather hear another Lightfoot song, personally. Stand out tracks include those done by Ron Sexsmith, Terry Tufts, and Harry Manx. This is a great tribute to a truly great songwriter.
(Borealis Records/Northern Blues, www.borealisrecords.com and www.northernblues.com)
