FolkWorld #45 07/2011

CD & DVD Reviews

Cock Robin "Songs from a Bell Tower"
Blackbird Records; 2011

www.cockrobinmusic.com

It does not take very long to realize that this is a nicely put together record. The singing is intense in somewhat of a Springsteen/David Eugene Edwards (Woven Hand) manner, but unique from them. The surrounding instrumentation weaves in and out in a folk rock manner at times and works as a full throttle rock band at others. The Singer-Songwriter category does not quite do justice to the songs. I would say rock fans will like this more than people wanting straight folk, but it has a good general appeal to both the crowds seeking lighter thoughtful material and those that want a good rock beat. The music is rather universal and what is truly interesting is that the California duo behind this band has historically done so much better in Europe than in the US.While I often can understand why some great European born music may not translate as well in the US (and vice versa), I have never understood why several great US bands (Wipers, 16 Horsepower) do so much better in Europe. Add this band to that list, as US listeners need to join in. I believe this album of eleven original songs comes with a bonus CD containing a full live set. The second CD was not available for review.
© David Hintz


Tweed Funk "Bringin It"
Tweed Tone Records; 2011

www.tweedfunk.com

From Milwaukee, Wisconsin comes this simple funk R&B quartet with its small lineup and big sound. I did not hear anything wildly original here, but the mostly old school R&B moves were easy to enjoy. The swirling leslified organ sound was brilliant. Nine originals out of the ten songs here showed off decent song writing talent and some style shifts into bluesier rock at times. They did a fun version of Sly Stone’s “Thank You”, but as long as that song is done well, how can it not be fun? This is a nice album that is hard not to enjoy at least on some level.
© David Hintz


Katie Armiger "Confessions of a Nice Girl"
Cold River Records; 2011

www.katiearmiger.com

We have a 19-year old singer making her third album. The back-story includes a victory at a best singer contest for the 14-years young Ms. Armiger. My first worry is that this will be another American Idol (or whatever name the show is called in your part of the world) like album. And there is a slick, mainstream production here. But there are several points in favor of Ms. Armiger. First, she does co-write most of the songs here. And even though there is not any great lyrical breakthrough, it proves she is more than a good voice and takes the creative part of songwriting seriously. Second, she does not settle into mere country or pop. She combines both this categories with a very credible rock sound. This is a good sign and as she closes in on an age when she legally can buy a beer. She hopefully will continue to bend categories and explore interesting musical terrain. Obviously, producer Chad Carlson gets some credit here with what he helped put together, but in any event the future looks good. And for the present, most 19-year olds should be quite happy making an album like this.
© David Hintz


The Webb Sisters "Savages"
TWSR; 2010

www.thewebbsisters.com

This record has the look and sound of the new/classic folk stylings of the Unthanks. There are some additional indie rock moves in some of the songs and even some experimental touches. The title cut is a very sharp song that could be a hit single, if there were such a thing as radio anymore. “Dark Sky” has experimental touches that remind me of Philip Glass meeting Lora Logic. That’s a bit obscure, so basically there are interesting vocal passages performed as instruments in support of the lead vocal. The two sisters from Kent in the UK play many of the instruments themselves, including interesting choices like harp, mandolin and vibraphone. All of this is atop a mysterious background. Very nicely done. There are even some country touches here that actually enhance the pop rock structures. Ultimately, the songwriting and vocal skills are what carry the day. But the creative arrangements are what will have me and hopefully many other listeners returning to this fine album. This is strong folk music here.
© David Hintz


Hion Martell "Will Cure Any Disease"
ViskningarochVral; 2010

www.hionmartell.com

I will forgive these rather clichéd English language lyrics as this band is from Sweden. But there is not much else going for this rocking bar band either. They rock in a simple manner at a moderate pace with nothing standing out. With two guys named Nilsson in the band, I hoped for better singing, but it was more like lukewarm Loverboy. I would not walk out of the bar if these guys were playing. That is the best I can say about this.
© David Hintz


The Adventure Spirit "Grand Standard"
Own label; 2010

www.theadventurespirit.com

This is a tricky little sound this band comes up with. Being from Melbourne, Australia, there is a world of opportunity both there on that continent and worldwide. They have a bit of a rural feel to them—I would call them a cross between Americana and country if it were here in the USA. There is a grounding of folk in most of the songs and the rock touches are rather light. At times, I feel it is too light and too much in between styles lacking something I can grab hold of. But then, the band catches me with their lovely vocals and harmonies. Folk lovers like myself should enjoy “Everyone Moves On” which creates a lovely pastoral atmosphere. But there some more up tempo workouts such as “If You See Danger”. Still, the slow and steady songs carry the day here, and mostly to good effect.
© David Hintz


Eric Andersen "The Cologne Concert"
Meyer Records, 2010

www.ericandersen.com

This is indeed a live show by one of the all-time greats of the folk world. Andersen is accompanied by a violinist and a backing vocalist, so the arrangements are simple and direct allowing the vocals to communicate his thoughtful lyrics. He does a couple of newer songs in the first three cuts, playing one on the piano. Older classics like “Time Run like a Freight Train”, “Woman She Was so Gentle”, “Blue River”, and the lovely “Salt on your Skin” all come across well. He closes with a Tom Paxton song, “Last Thing on my Mind”. Andersen’s voice has deepened and softened quite a bit since his LP “…Bout Changes and Things”, but that tends to happen after four decades. His style is still similar with a quiet form of intensity somewhat in between Leonard Cohen and Phil Ochs perhaps. Obviously, choosing some of his finest songs will help move this album along, but that is true of any live album. I really enjoyed hearing this set as it reminded me of how good Eric Andersen is. His is a name that does not pop up as often as other classic folkies, but he shows here that he has the songs and can still play them with passion and conviction.
© David Hintz


Bonedome "Thinktankubator"
Summer Break Records; 2009

www.bonedome.net

At times, a band’s website nails their sound better than anything I can say. Progressive indie rock? Not a combination I have used too often, but it does seem quite accurate here. They have that modern ringing guitar sound as they work through their chords at moderate pace with earnest lyrics delivered over the top. There is a progressive feeling at times, but I would also add a mild post-punk flavoring like mid-period Banshees or early Wire as well. It sounds like this band knows its music and can creatively put together their own songs within a broad context of musical categories and history. There is a risk of getting lost in “no man’s land”, but the songs here are catchy enough and I sense the potential for even better things as this band moves forward.
© David Hintz


Guthrie Kennard "Unmade Beds"
Newtex Records; 2009

www.myspace.com/guthriekennard

These ten songs depict a nice mix of styles that all add up to a southwestern US sound. Kennard employs a bluesy folk style and has plenty of guest musicians that add a mysterious murky feeling to some of the early songs on this album. The songs are simple, but when they work, they resonate more than many other songs I hear in this style. I think that is due to the guitar work and the arrangements. The vocal work is only fair, which drops this a notch from being something very good. The album also falls into safer arrangements as it progresses. As it is, there are still interesting songs that are authentic and colorful.
© David Hintz


Little Green "Innocent Again"
Paraply Records, 2011

www.littlegreen.se

Unlike a band I reviewed earlier (Hion Martell), this band shows that being from Sweden is not a barrier to making good American style rootsy country music. There are blues elements and a steady rock beat in some of the songs as well, let alone an all out rocker like “Don’t Tell Me it’s Over”.Good balance of sounds, decent vocals and a nice variety gives this record its charm over many of the others in “the CD pile”. They know their way around the studio based on the sharp sounds that dance in and out of the mix. There is a little something here for just about anybody. “Cut the Tail” may be the one to try out first.
© David Hintz


Terry Garland & Li’l Ronnie "Live at the Canal Club"
EllerSoul Records; 2010

www.ellersoulrecords.com

Acoustic blues is the genre here for all eleven songs. There are plenty of classic covers including yet another “Stagger Lee”. Thankfully, there are some originals as well. The playing is good, with just acoustic guitar and harmonica or vocals. There are no studio tricks, just straight live sounds and it sounds like a nice act to see if you want this style blues. It’s hard to not to like a band that introduces an original song called “Bettin’ on my Baby” with the following… “If you know the words to this, please don’t sing along, alright? It just messes me up. Naw, just kidding--Do what you feel like.” I would enjoy a trip like this to the Canal Club.
© David Hintz


Nick Howard "When the Lights Go Up"
Warner Music Group; 2011

www.nickhowardmusic.com

I have a theory that there is not a whole lot of difference between major label bands and indies these days. In olden times, labels like Village Thing sprang up to give folkies a place to release music. Then the punk scene helped show people the way to the glories of DIY (Do it Yourself). Technology makes it easy for anyone to release an album now (and I certainly receive some nice sounding, but quite amateur efforts). My theory gets a bit wrecked on this release, as this is a slick mainstream package the whole way. The lyrics made me cringe, although the decent music is expectedly hook laden and slickly produced. It has a very packaged feel unfortunately and it was interesting that at the bottom of the biography, it talks about the many products he endorses with his songs. Talented? Sure, but if you are old enough to have a teenage daughter, nod approvingly when they talk about how great this is. Then you can privately listen to your Richard Thompson or Townes van Zandt records.
© David Hintz


Crow vs Lion "Rest Your Bones"
Own label; 2010

www.myspace.com/crowvslion

I am not a fan of lo-fi recordings for lo-fi’s sake. So when I read that Dan Gallagher (songwriter and leader of this band) recorded this album on his computer using only the computer’s microphone, I immediately worried. But by the third song, “Time Inside my Years”, all worries about precocious recording techniques disappeared. Although there certainly is a simple feeling to the recording, a blind listening would not be able to detect the simplicity in this quality recording. The songs sound full and occasionally rich with organs, synthesizers and percussion augmenting the vocals and stringed instruments. But the real magic lies in the songwriting and the expressive playing. This is excellent folk music that both feels apart of the great tradition of folk and also sounds fresh and modern. Every song builds on the magical foundation established early on. This is powerful music that digs in deep without a lot of surface noise. I equate it to the brilliant music of Woven Hand, which is about as high a compliment as I can give.
© David Hintz


Ian McFeron "Summer Nights"
Own label; 2011

www.ianmcferon.com

Ian McFeron is a songwriter from Seattle who plays a balanced style of folk, blues, rock, and country/Americana. So in other words, this sounds like classic singer/songwriter type material. The music is thoughtful and does pull me in with a simple effective style. McFeron’s voice is the real attraction as there is a nice balance between smooth and raspy. He has a good sense of rhythm in where to sing or where to hold back. He is backed by some ace Nashville musicians and while they do a professional job, their style is rather predictable. I like the simpler cuts like “I Ain’t Dead Yet” which is close to country, but closer still to a straight-up folk song. This is an interesting, well-produced album with some good songs. The style will be very effective with many listeners, so this is well worth a listen.
© David Hintz


Roman Miroshnichenko "Quasipsychedelic"
Own label; 2011

www.romanmiroshnichenko.com

Quasipsychedelic? Yes, that may be true but it seems it is more than a bit quasifusionjazz. There is no quasi-guitar talent however, as this Russian guitarist has the chops to play about any style he chooses. I hear some flamenco moves and some speedy English style folk meeting metal in “Why Ask You”. There are modern electronic beats and sound samples keeping rhythm behind the guitar moves. The guitar stands out, but the overall atmosphere is fresh, modern and lively. He may have performed with Al DiMeola and Larry Coryell, but this is not the simple fusion jazz that I remember. It is almost fully instrumental and creates a nice atmosphere for fans of pyrotechnic guitar playing as well as creative intellectual music.
© David Hintz


Dan Krikorian "Windsor Blue"
Georgia Reign Records; 2011

www.dankrikorian.com

If you like Josh Ritter, Dan Krikorian may be a nice accompaniment. He has a similar voice and there is a similar songwriting style at work as well. His folk is mixed with Americana in a straightforward manner. Also similar to Ritter, is the balancing of piano lead versus guitar lead songs. There are violins, organ, banjos, and mandolins also given room to add to the soundscape. At times this is a little too nice and safe for me, such as a line where he sings that “at times he was reckless”, but sounds more like he is on his way to church for choir practice. Still, I find it hard to criticize “nice” and that does work in music as well as life. “Castle Walls” was my favorite of the bunch as there was a wistful feeling and a low-key arrangement reminding me of the Low Anthem. That is a good thing.
© David Hintz


Alexander McKenzie & the Underpaid
"Ribcage versus Unguided Missile"
Three Toed Sloth Records; 2011

www.alexandermckenzie.com

This starts off in a nice lounge folk-jazz-light rock style, but quickly goes in even more interesting directions. “Torino Blues” has some really evocative organ passages deep in the background with the clean emotive vocals on top. It has quiet moments and excellent western Americana rock moves that work their way into the song. It all comes together brilliantly. The rest of the album does not excite me quite so much, but it is rather entrancing lounge-styled light rock music with a nice deep vocal style. The record was recorded in the Netherlands with a singer from Canada and captures a classic form of music that is not rooted there, but has elements from the world over.
© David Hintz


David Munyon "Pretty Blue"
Stockfisch, 2011

www.munyon.moonfruit.com

This album put me off a bit with the opening song. The singer/guitarist has a nice world weathered voice with a light folk guitar and simple light rock backing. The opener “Jimi’s Guitar” is dedicated to Jimi Hendrix obviously. Although there is nothing wrong with showing musical admiration in a different styled song, lyrically it was too much of a love song to “Jimi’s love and heart”. It kind of reminds me when Barbara Streisand was interviewed at the US Open Tennis Tournament and said that Andre Agassi was the most profound and wonderful human being she ever met. Well… he is good at tennis and does nice charitable works, but…. Anyway, moving past that, there were some nice enough songs as the album progressed. “I Want Your Love” showed off the best of his vocals (although again, not the best of his lyrics) with some nice spacey electric guitar behind his simple acoustic strum. There are some listenable things at work on this album, but it is too erratic for me and the odd moments distract from what works.
© David Hintz


Giulia Millanta "Dropping Down"
Own label; 2011

www.giuliamillanta.com

From the beautiful city of Florence comes Guila Millanta. Although, you can catch her playing all over Europe and perhaps even busking at a busy street corner. She appears to be a spirited performer and this album captures that spirit as well as a skill for putting forward good modern folk songs. There are good laidback rock moves as well. She has a fine voice and the songs come across cleanly with the crystal production. And for old rockers, the cover of Black Sabbath’s “Paranoid” is welcome with no parody intended and succeeds in Millanta’s style and easy going pace.
© David Hintz


The Disappearing Act "The Disappearing Act"
Tortilla Records; 2011

www.thedisappearingact.net

El Paso, Texas is in the heart of the west, or maybe the bowels of the west depending on your point of view. There is not much going on there when last I checked. It is nice to see a couple of good songwriters from this barren land get together and put together a band after a few decades of living apart. And that is exactly what has happened here with this debut record. This is indie rock, a little on the low-key side of life, but rock music all the way with surprisingly less twangy western guitar work than I was expecting. There is a touch of Americana, but they seem to take a more worldly neutral introspective approach to their songs. The only real criticism I have is that things are simply too steady, moving at an easy going pace for the most part. A little more bite now and then would have helped.
© David Hintz


Brian Lee "Moth"
Own label; 2010

www.knugu.com

From Seattle comes this singer/songwriter guitarist. This album is produced by Franchot Tone, who also plays guitar and was not married to Joan Crawford nor involved with the notorious Barbara Payton. I thought the album started fairly slow with some rather predictable lyrical patterns. However, there was a nice surprise with an old rock beat and synthesizer straight from the Cars on “Glad You are Mine”. “Devil Hunting” was also a nice rock song. Much of the rest of it was slow, deliberate indie rock music. The singing is quite good, very European—Jacques Brel light, well quite light actually, but that there is an emotional tug here that also reminds me of an obscure US singer named Rodriguez. This one required a couple of listens before I came to enjoy it. It is not overly complicated, but its spell is intricate and required me to drop a few barriers before I fully let it in.And there is a snappy little Bob Dylan cover at the end when he and the band tackle “I Want You”.
© David Hintz


Andy Laking "Here by the Fire"
Own label; 2011

www.andylaking.com

Article: Irish Spring 2011 - Jenseits von Hibernia

Andy Laking plays some of the better folk music I have heard recently. It is traditionally based, but fresh and fully original. He balances thoughtful lyrics, smooth singing, acoustic guitar that carries a melody and light accompaniment in a clean mix where all the instruments take their proper place on stage. “The Cool Months”, “Red Civic” and “Coves in the Darkness” sound as a proper evolution from the great British folk scene of the sixties as opposed to a mere copy of that style. The last song in particular succeeds in setting a pace where you await every lyric while the ringing acoustic guitar phrase ushers you along. This reminds me of early Al Stewart recordings if I may try to find a connection here. I think folk fans tired of indie rock or Americana crossover would really enjoy this record. Rock fans that want a folk break would take to this one as well. Although Laking began in New Zealand, he is now in Dublin, Ireland and does play around Europe regularly, so the live set would certainly be worth a look.
© David Hintz


Kip Boardman "The Long Weight"
Ridisculous Records; 2010

www.kipboardman.com

The ten songs here remind me of the radio-friendly contemporary rock of the early-to-mid 1970s. That is not my favorite moment in rock history.Fortunately a few songs stand out on their own here. “Wonderin’” has a snappy rhythm and singsong vocal line that is rather fetching. Unfortunately there is a lot of piano and pedal steel guitar makes for a less than interesting background for me. The acoustic guitar tunes are better. If you like quality easy listening that has some personality, then give this a try, but if you are like me and like gutsier rock and dreamier folk, then there are many other records out there.
© David Hintz


The Lamplights "The Lamplights"
Own label; 2011

www.thelamplights.com

This Australian band has only been around about 1 1/2 years. They are a three-piece guitar band with a couple of vocalists. Harmonies are a minor part of things, but guitar interplay with the session rhythm session has a little more going on. The songs are decent, but the band has not fully coalesced into something that can rise above the thousands of other bands out there. But you have to start somewhere and this debut hints at some nice things this band is capable of.
© David Hintz


Kimmie Rhodes "Dreams of Flying"
Sunbird Records; 2010

www.kimmierhodes.com

The title cut that opens this album starts things off majestically with luscious pop rock music played at a contemplative pace. The album then veers off toward a country-pop territory that does not interest me quite as much. There is a passable version of Donovan’s “Catch the Wind” with guest harmony vocals by Joe Ely. This is Austin styled country music, so there is that west Texas feeling present in much of the songs. Rhodes has a smooth ultra-professional voice and writes good songs. “Not a Cloud” is a good example of both her catchy songwriting and her emotional vocal range. This segues into a light honky-tonk song called “Luh Luh Love” which is a nice break in style. I have to say that this is a well-done album that brought me into its world even though I do not often explore this genre.
© David Hintz


Red Hot Chilli Pipers "Music for the Kilted Generation"
REL Records; 2010

www.redhotchillipipers.co.uk

Thankfully this is much more than the novelty record I expected. Yes, there are bagpipes playing well-known rock songs, but this is a full rock band at work here. And it is a cracking good rock band that features plenty of intricate percussion work joining with the four pipers. They also combine songs in interesting ways such as on “Black Knight on the Crazy Train” with the Deep Purple and Ozzy tunes sandwiching an original melody in segue. While they were correct to change night to knight in their title, I am sure Deep Purple will forgive them for the misspelling of the source song as long as the royalties are directed correctly. This band rocks and the pipes are strong deliverers of the melody for the most part. All parts are audible in the thick, well-produced rock sound. It is big, bold and fun. “Amazing Grace” even has guest vocals. Although I slightly prefer some of the Swedish metal-folk combinations I hear and this gets a little long, there is enough originality here and less pastiche of rock songs, so this works well enough. The curious will try this out and most likely enjoy the experience.
© David Hintz



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