ErRic is Blue "Before its Broken"
Brambus Records, 2011
ErRic is Ernst Eggenberger on guitars with Riccarda Vedana on vocals. Get it? ErRic. There are guest musicians helping out on bass, percussion and even some steel drums. The overall sound is a mix of smooth blues and folk. It is fairly palatable and easy on the ears with the smooth production, but the lyrics do have some bite and the steel guitar strings nicely strike out from the mix. There are some nice songs here and some that kind off drift off quickly out of my memory. It depends mostly on the lyrics as the music is just so, so steady. Likable, but not something quite as compelling as I would like when I can reach out for hundreds of different CDs to put on my player.
© David Hintz
Frank Turner "England Keep My Bones"
Epitaph; 2011
From the California record label that gave us punk stalwarts as Bad Religion and the Offspring, comes punk/folk hybrid by England’s own Frank Turner. The sound is well removed from some of the punk/folk clichés. Acoustic guitar and voice is the core, but electric guitars, loud drums, and piano from ex-Hold Steady keyboardist Franz Nicolay add depth to the mix. This album moves. It has pace, spirit and combines musical forms seamlessly and creates a comfortable sound despite the edgy material. The comfort comes from catchy melodies and solid playing, as there is still plenty of variety including the a capella “English Curse”. “One Foot Before the Other” is a flat out rocker while “Nights Become Days” is a fine folk song. There is so much to offer here and the key is the vibrant arrangements are lively, heart felt and likely to strike a ringing chord with most listeners. Frank Turner has my attention.
© David Hintz
Moya Brennan & Cormac de Barra "Voices & Harps"
Beo Records; 2011
Clannad fans will certainly recognize Moya Brennan’s name as she has long sang the ethereal vocals on the many Clannad albums over a quarter century. She has also released many solo albums and has teamed up with harpist/vocalist Cormac de Barra. They employ a variety of musicians here, which give this record a very Clannad sort of feeling. Some folk, some pop, some new age songs all blend together effectively. You would expect nothing short of a slick sumptuous production and this album delivers all of that. There really is not any new ground that is broken here, but it is yet another quality record for Clannad fans. I enjoyed the folkier tunes that included the classics “She Moved Through the Fair” and “The Streets of Derry”. Most people will know in advance if they are interested in this record.
© David Hintz
El Hijo de la Cumbia "Freestyle de Ritmos"
Ya Basta Records; 2011
I confess that when it comes to electronica, I often run away to the authentic music that is so often sampled and distorted to make into ‘dance by numbers’ music. In reading the material regarding this release, the PR staff claims that this is the real deal as far as South American rhythmic electronica goes and is not like the ‘tepid UK productions or pale American techno imitation(s)’. And after a full listen, I am inclined to agree. This has some heart and guts to it. There is a south of the border feeling throughout and it sounds like its own musical form and not just a mish mash of better source songs. Of course, if you already like electronica, this should be a no-brainer as there is a lot of talent present here. But if you are like me and have trouble moving much beyond Kraftwerk or maybe Caribou, then give this one a try. It is moving with both melody and rhythms that will allow you to enter an original musical world.
© David Hintz
JH "Times Past"
Own Label; 2010
JH has a goal with this record of having people find at least a song or two they like. I agree that is a good way to approach this record. It is a simple, decent folk album with his acoustic guitar and voice leading the way above some backing musicians. There is some mandolin and banjo in their for variety but the overall sound is pretty steady. The songs occasionally vary a bit in mood and pace. And the good news is that there are some lovely songs to sink into. “Perfect Girl” was a solid entry as well as the nicely named “Sweet-talk Can Fade Very Fast”. The latter cut has a nice pace to it with some playful mandolin dancing up and down the upper scales. There are other songs that don’t rise much above the level of lightly likable, but this is a pleasant well-done little album.
© David Hintz
Alexis Harte "Spoons of Honey"
Own label; 2011
There is always a trick in balancing blues and folk. They are so similar, yet so far apart in the thoughts going into the songs and the sounds and patterns expressed outward. This album had me thinking about the balance that Alexis Harte is able to achieve. Not only are those two classic forms present, but there are some modern indie touches in some of the songs. “Hadn’t Met You Yet” is the best example with its spooky guitar squawks and spacey synthesizer ambiance. It’s a fabulous song worth the price of admission by itself. But there are other nice songs like the attractive “Love After All”. Nice effort here and the result is an album that should appeal to a pretty wide base of music lovers.
© David Hintz
Baye Magatte "Djem"
Brambus Records, 2011
Baye Magatte is Senegal native, so this album promises more music from the red-hot West African music scene. The title cut begins things with a snappy enough rhythm and catchy singing. But it is the next cut that has me restarting it so that I can focus on the amazing instrumental interplay going on. “Sa Guinaw” features some guitar work that has elements of Thomas Mapfumo and Mellow Candle which is the first and last time I will use those two artists in the same sentence. The vocal work and drums are sharp and those guitars just keep dancing around the fire in some spiritual ecstasy that you don’t hear every day. The rest of the album settles me back a little, but there is not a bad cut to be found. Intricate drumming and percussion are constant and the melodies, singing and instrumental touches all flow nicely. The vibe is positive through much of the album, although there seems to be more of a real world feeling as opposed to a party 24 hours a day attitude. There is a lot of variety scattered about the album. Some jazzy keyboard moves can be heard on “Diambaro”. But more amazingly, “Wakhal Deug” sounds like Pentangle from Africa. The guitar work is positively Jansch/Renbourn and adds moody vocals and a swaying rhythm. I had to check the credits to make sure Danny Thompson had not been summoned to this recording session. Grand sounds from all parts of the musical universe.
© David Hintz
Fiery Blue "Our Secret"
Doubloon Records; 2011
Fiery Blue has released a slick heartland based folk rock album that mixes in some country and psychedelic western moves at times. The playful vocals of Simone Stevens are the starting point and a key strength to the consistent quality here. After that it seems that Gabe Rhodes does a lot of the instrumental work while Paul Marsteller is credit with being the songwriter, but only a guitarist on two songs. Being that the three of them live in New York City, Austin, and San Diego respectively, this odd arrangement starts making more sense. They have some additional help on the record, most notably from Hunt Sales on drums. Sales is surprisingly restrained, but I am biased as I am so much more used to his drumming for Iggy Pop and his work with Bowie (Check out Iggy’s “Lust for Life” if you need a primer). As for the songs, there are some really nice ones. The title cut has that spacey western feeling which I really don’t seem to get enough of (and plenty of bands are supplying me these days). “Sapphire Night” is also excellent and has some creative interplay with the vocals and overall sound. This is a steady record, but there are enough subtle twists and turns that can command attention over its 13 songs.
© David Hintz
Someday Jacob "Morning Comes"
Own Label; 2011
This is a deceptive little record. It almost seems like a lo-fi folk album with a focus on a singer songwriter, but there is plenty of banjo and violin that sneak into various songs. It still comes out as a straight ahead folk record with nice pace and silken singing. Joern Schlueter from Bremen, Germany is the creative force behind this ‘band’. The songs are so pure, they could come from anywhere especially with the clean American style voice singing in English language throughout. There are some female vocals, electric guitar, and percussion as well. In fact, the band becomes quite rocking by the ninth song with a full band electric number. It could be quite easy to dismiss, but there is something strong enough in the songs that makes me want to come back to this and give it more listens.
© David Hintz
Hans Theessink "Jedermann Remixed – The Soundtrack"
Blue Groove; 2011
This soundtrack is comprised of original songs and many bluesy takes on Tom Waits, Jagger/Richards, Nick Lowe, Ray Charles, Hank Williams, etc. The music was to accompany a classic late 15th century Dutch play that has been translated into many languages and is known as “Everyman” in English. And if you did not know any of that, you would not be missing a thing as there really is not too much of a soundtrack feel with the usual instrumental bridge and transition compositions. It is instead comprised of laidback blues and folk numbers with a deep gravelly voice heard on every cut. It is decent enough, but nothing really stands out to me. Highly listenable, but when you look at the credits, it reminds me that I would probably rather listen to the original versions of many of these songs.
© David Hintz
The Red Button "As Far as Yesterday Goes"
Grimble Records; 2011
You don’t often hear bands integrating mid 1960s Britpop as much anymore. I think the vocal arrangements are a little daunting to many bands. However the Red Button are up to the task. The band is pretty much two guys writing and singing everything with some assistance from other musicians. This has a strong Zombies, Poets, and of course Beatles feel to it with the rich harmonies and electric guitar bite in the songs. There are some modern bands that recall this era a bit such as the Posies and maybe Sloan, but those bands (Sloan especially) do a bit more genre bending. The pop hooks work well here and there is just a smidgen of that indie rock sound in the songs so this does move a bit beyond a mere reconstruction of a specific era. This may not be what folk fans are looking for, but I found it a nice change-up to the usual CDs I listen to. And that really surprised me, as this is classic pop music that can still work its magic today.
© David Hintz
Various Artists "Meyer Records Volume Three"
Meyer Records, 2011
This sampler showcases twelve artists on the Meyer Records label. This format is nearly obsolete with internet marketing, but it still is a nice tool to sample the appetizers before going for the full meal. There are a couple of names I know well with Willy DeVille and Eric Andersen providing songs along with ten artists new to me. The DeVille cut is a 2002 rehearsal and features a worn bluesy voice that does not quite sound like I remembered in the late 70s. The Eric Andersen cut is a decent live rendition of “Moonchild Riversong”. I did expect his weathered voice as I have kept up with some of his recent work. Of the newer artists (for me at least), Amy Antin’s song is excellent and Mick Fitzgerald had a nice folky number. However, Anna Sittler’s “Pink Sugar Elephants” has me most interested in exploring her work further. She wrote a nice song and has a good acoustic guitar touch in this lovely little folk number.
© David Hintz
The Valkyrians "Punkrocksteady"
Fat Belt/Stupid Records; 2011
14 punk and post-punk classics are present here by the Valkyrians. The band plays ska, not ska-punk, but light danceable ska with a big bass sound, jagged guitar and punchy rhythm. Although these sort of albums cross by with surprising frequency and I usually keep a skeptical eye, there are a couple of things to recommend here. First, TV Smith joined them to sing the classic Adverts song “Gary Gilmore’s Eyes” which resulted in a fun version. Second, the band really selected a good range of songs from harder acts like Sham 69 and first album Clash, to interesting post punk songs from Joy Division and Wire and even cult acts like the Ruts and the Only Ones. Oddly enough, the heaviest electric guitar is in Elvis Costello’s “Watching the Detectives”. This album is well played and is more heartfelt than gimmick ridden, so it left a smile on my face at the end of the fourteen tracks.
© David Hintz
Orriel Smith "A Voice in the Wind"
Own label; 2011
This may be a sparse record with mostly acoustic guitar, but Orriel Smith’s voice commands a lot or room in the sonic atmosphere. I was going to compare her to Clannad or Enya, but I think comparisons to your favorite soprano singing her greatest arias may be more accurate. There are a collection of worldwide folk songs covered here such as stalwarts “She Moved Through the Fair” and “Danny Boy”. The studio treatment of her voice is very direct with enough echo to make it sound like it is coming from La Scala or St. Patrick’s cathedral. More amazingly, Ms. Smith’s first album was released in 1963! So she is quite the veteran but her voice sounds as fresh as ever. If you like a simple set of songs featuring an amazing voice and at times interesting interpretations, this record will be for you. And even if you are not sure, most of these songs are worth a listen just to hear what a powerful yet tender voice can sound like.
© David Hintz
Jeff Larson "House Concert"
Own label; 2011
The nice psychedelic design of the cover takes one back to the Fillmore shows in California in the late sixties. This live album is recorded in Oak Park, California and although not drenched in hippie psychedelia, does have plenty of that easy-going California rock feeling from Topanga County. Although that was just a guess on my part, sure enough this is from West Los Angeles. The hallmark singer songwriting style is there with a mix of acoustic guitars and cutting electric guitar lead. The lead vocals are smooth and inviting with some nice backing vocals helping out at times. There are ten songs here and the recording is of a quality that everything is as clear as a studio record (which makes me think it may be enhanced, but live recording is more of an art form these days). There does not appear to be anything extraordinary that jumps out at me, but this is quite likable and well worth a listen if you enjoy that western Americana folk rock sound.
© David Hintz
Robb Johnson "Some Recent Protest Songs"
Irregular Records, 2011
Singer, acoustic guitar, and protest songs. It’s an ever-expanding list of records that started long, long ago spiking in the sixties and still steadily growing. Robb Johnson has the formula down and the chops to bring it off. It seems that this one also answers the complaints in the UK that people are not doing current events protest songs. And as a result, some of the specifics zoom over my head. But most themes are familiar and some of it is interesting while at other times, fairly predictable. “Goodnight Noddy” had a nice story telling to the guitar before some singing kicked in. There is just enough variety in pace and mood to hold my interest, although I would like to hear a bit more fire in the voice at times. “No Fly Zone” was the most interesting song as its themes were more general and it had a nice guitar attack and some good dynamics. If you scan these reviews looking for this type of protest folk (which does not come along as often as you may think), you should give this a listen.
© David Hintz
The Mighty Mojo Prophets "The Mighty Mojo Prophets"
Rip Cat; 2011
Straight ahead electric blues is the sound here. The band is comprised of vocals, guitar, harmonica, drums, and bass. They have several guest musicians on various instruments and even with all that sound to integrate, there is a nice clarity to their result. The vocals are clear and expressive. The guitar has a great fuzzy tone. The rhythm section is solid but not overpowering in the mix. The harmonica is clear but sounds like it is wailing from far away. As I listen, it is these production touches that make this album stand out more than the many other blues albums coming out. The only negative for me is that I would have liked a bit more variety in the songs. Still, a lot of blues artists can play, but these guys have a command of their sound and have created an album that sounds classic, but fresh. That is an accomplishment in this crowded field.
© David Hintz
Liam Blake "You and Other Stories"
Helium Records; 2011
Liam Blake takes a folk-pop approach to his singer-songwriter material. There is also a lush quality to the pop, but it is on the lighter side. The opening cut “For Your Sake” works best for me with its quivering vocals and thoughtful melody. However, things are a little safe thereafter and the music reminds me a bit of Kenny Rankin. Not that that is a bad thing, but you have to like that type of sound to fully appreciate the songs here. There are some nice moments in “Tell Me Beth, Do You Recall?” and “Show Me the Way to the Sun” with its lilting melody lines. So Liam Blake is well worth a listen.
© David Hintz
JT Coldfire "Crazy Sun"
Own label; 2011
What began as yet another decent electric blues album quickly morphed into more of a blues-based rock outing with some really cool vocals in the second song “Johnny’s Gone”. Catchy chorus, great guitar solos and a well-written song really snapped me to attention. Then it was back to blues and blues-rock with all the standard moves. Fortunately Mr. Coldfire mixes arrangements between heavy and light, electric and acoustic while keeping a bit of mystery in a field where it is hard to find a lot of mystery. “Lower that Ladder” was another nice song with its front-porch folk blues sound.
© David Hintz
Green Like July "Four Legged Fortune"
Ghost Records/Alive; 2011
Let’s see if I can follow the path… Folk rock duo from Italy goes to Glasgow, Scotland, returns and recruits a drummer and travels off to Omaha, Nebraska to record this nine-song album. Just like everybody does it, eh? It is therefore no surprise that the resulting sound is hard to pin down as to where the geographic roots are. And that is for better and maybe worse depending on your perspective. I lean toward better as I am all for branching out in unpredictable ways and following your muse or creative impulse or whatever you like. This trio is supplemented by a lot of local US musicians (including the two producers, Jake Bellows + AJ Mogis) as well, so it is an international affair anyway. The songs and production both succeed well enough. It has a slick backing and a nice pace throughout. It does not quite rise to a high level of excitement for me, but it is a nice listen throughout, so it should appeal to folk-rock fans that enjoy a slick Americana feeling. These recordings are 2 ½ years old, but the record was only recently released.
© David Hintz
The Happy Endings "Greatest View from Alcatraz"
Own label; 2011
Folk only lovers, move along, nothing to see here. But for those that like hard indie rock with a nod in the direction of shoegaze, stick around for a closer look. This has a big sound that really sounds like it would translate well to a live stage. This veers a little too much toward an arena rock feeling in the vocals and melodies, but the guitars have a nice cutting age and moves a bit away from the safer accessible hard rock regions. This band is Australian, but like so many bands before them, they have been gigging in Europe (plus some in the USA) and may just make a nice name for themselves.
© David Hintz
Mundy "Shuffle"
Own label; 2011
This looks innocuous enough—a guy with an acoustic guitar case on the back with a listing of fourteen cover songs by all the classic writers (Dylan, Zevon, Prine, N. Young, P. Simon, Hank Williams, etc.). The songs are a mixture of the well known and a few lesser-known commodities. Production is solid and there are plenty of musicians to augment the acoustic sounds or to put a little oomph in the electric rockers. Most interesting is that he obtained liner notes from famous author, Patrick McCabe. I don’t recall if James Joyce ever wrote the liner notes on a Rory Gallagher album, but that would be similar. When it comes to a decision as to whether to go for covers albums, it usually involves a personal experience with the artist at a live show or interesting genre bending, e.g. Metallica covering punk songs. There is not quite any of that here, but it is a nice listenable album. And there is plenty of quality to make me curious of his previous four albums. So Mundy fans should be gobbling up this one and others may get a nice taste with an appetite for more.
© David Hintz
Ghost Trains "Unwrap the Dark"
Own label; 2011
Often a simple self-released album sounds good, but rarely does it have songs of the highest level recorded so well. Ghost Trains put it all together with class and style that combines youthful enthusiasm with plenty of musical experience as well. They work as an acoustic trio from the UK. And although much of the credit goes to singer/songwriter guitarist Tim Ellis, the second guitarist and percussionist add important parts to this full sound. The songs combine folk, pop hooks, and deep emotions in a way that will have you thinking of some of your personal favorite bands. Simple comparisons are tricky here, as Ghost Trains successfully blend the UK and American styles as well as combining mainstream light rock with traditional folk. The balance is extraordinary.
© David Hintz
Ger Wolfe "fréamh : root"
Raggedy; 2011
If you enjoy the House Band, early Clannad, or basically a mix of classic Irish music with a slightly modern folk group sound, Ger Wolfe should please you. They mix up the arrangements with full band, with some solo voice or solo violin offsetting things nicely. It sometimes lapses into pleasant rather than compelling, but that is not much of a criticism. The band does not aspire to shove its way into a loud pub blasting away on their instruments, but instead chooses to invoke a mood and spirit of Irish (and some English) music. I like the album and it had the added plus of having the best cuts bookending the decent middle section.
© David Hintz
Derby "Madeline"
Green Submarine; 2011
This is a six-song ep (excuse me, this is a four song ep with two bonus cuts for those of you scoring at home) coming from the musically fertile shores of Portland, Oregon. They play a solid indie rock style with some pop touches. There are some acoustic folky moments amidst the interesting rock textures. Vocally it reminds me of Hush Arbours. Musically, it rocks, but there is an emphasis on the hooks and things go from a slower pace to mid-tempo pending the son. It was no surprise to learn of them opening for the Posies, as they are right in that musical sphere. The aptly named “Creeping Climbing” is the one cut I want to play over and over as its mannered pace is just above a dirge with the guitars and vocals ringing in and out of the crawl. Evocative song, this. This band is worth a listen and is certainly on the right track.
© David Hintz