Moot Davis
Goin’ In Hot
(Crow Town Records)
Like the Mavericks’ Raul Malo, Moot Davis is an old-school singer, a man who makes his music from both a selective and cerebral point of view. Consequently, the songs included on this, his latest opus, find him emoting in a way that brings to mind the great country crooners so prevalent back in the day – iconic artists like Hank Sr., Johnny Cash, Roy Orbison, Charlie Pride, Porter Waggoner et. al. Aside from his singing, Davis is also a terrific tunesmith, a fact evident on every one of these tracks, without exception. While most of the songs are the kind of lovelorn ballads that demand an ample infusion of tears in a beer, there are enough uptempo tunes – “Midnight Train,” “Love Hangover,” “Ragman’s Roll,” “Lights” and the like – to ensure that Davis evades any lingering effects of moodiness and melancholia. Credit producer Kenny Vaughan for imbuing the ambiance and guitarist Bill Corvino for adding exhilaration. This is a stunning set from beginning to end. (www.crowtownrecords.com)
The Dirty Guv’nahs
Hearts on Fire
(Summertown Records)
One of the many outstanding reasons why the city of Knoxville, Tenn. has, in the past decade or so, become such a bastion of great music: the band that calls itself the Dirty Guv’nahs conveys a combination of rock, roots and soul with an urgency and intensity that begs immediate attention, even from those previously unaware. There’s something remarkably profound about this music, and when it’s delivered with the passion and conviction that this sextet musters, the results are never less than revelatory. That’s an earnest element of both revelation and rebellion within these grooves, from the R&B-flavoured inflection of “Lovin’” to the sense of yearning and remorse immersed in songs like “Ever Start to Wonder” and “Canyons.” It’s only a matter of time before the Dirty Guv’nahs get the kudos and acclaim they so decidedly deserve, but for now, Hearts on Fire offers every indication that that wider recognition is merely a matter of time. (www.thedirtyguvnahs.com)
Kerri Powers
self-titled
(independent)
Kerri Powers has been a staple of the New England music scene for the last decade or so, yet it’s been something of a struggle to attain the wider acceptance that’s so clearly her due. Powers’ supple vocals give these songs a cool caress, creating a quiet aura of authority and conviction only the most accomplished artists have the ability to attain. Powers’ own compositions are excellent, as always, but the gentle touch she instills in songs such as Janis Ian’s “Jesse” and the oft-covered “To Love Somebody” by the Bee Gees finds these songs sounding like they’re being heard for the very first time. Powers is a soulful singer, an extraordinary interpreter and an artist with a decided folk finesse that can make even original songs — the Dylanesque duo “Old Shirt” and “Train in the Night” being prime examples – sound both timeless and telling. At this point in her career, Powers is due for a big breakout and, if justice prevails, this is the album that will provide it. (kerripowers.com)
Ad Vanderveen
Beat the Record
(BTR)
Ad Vanderveen’s exceptional reputation as a singer-songwriter with a superior skill set is well entrenched in his native Norway but, sadly, here in the States, he’s hardly known at all. That’s despite a string of exceptional LPs and intermittent efforts with sometime collaborator Iain Matthews. Nevertheless, this latest set of songs offers all the proof needed as why his fan base continues to build back home. Exceedingly mellow, melodic and engaging, these tracks demonstrate his innate ability to create a compelling sound from the most tender of trappings. There’s not an abundance of fuss or fastidiousness in terms of preparation; as he explains in his back cover comments, his aim was to convey the music in “the most direct and pure way by sharing… the first expression in recording, the original demo.” Yet despite the relatively spartan settings the songs still resonate remarkably. Modest though it may be, here’s hoping – and expecting – that Beat the Record will propel this talented artist towards even greater awareness.(www.advanderveen.com)
Brett Gleason
Self-titled
(independent)
New Yorker Brett Gleason makes a striking impression with his full-length debut, an album of jarring soundscapes balanced against demonstrative songs and suggestive settings. Having journeyed through adolescence with a severe speech impediment, Gleason takes pains to convey his dark and descriptive imagery with aptitude and precision, doing so in a tone that’s generally dark and defiant. In a sense, this disc would work well as a soundtrack, even though the film to accompany it has yet to be made. If it ever would be, it would like emerge as an apocalyptic tale cast with stern warnings and harsh rebukes. While this description may seem to suggest an intimidating encounter, it would still require several listens to fully decipher. Ultimately, a track named “Calculated” sums up the album as a whole, because it’s clear at the outset that a great deal of strategizing went into this vivid and visionary project. (www.brettgleason.com)
Noam Weinstein
Bottlefed
(independent)
Singer/songwriter Noam Weinstein takes an unusual turn with his latest album, choosing to explore the wonders, rewards and unexpected turns that come with raising a child. While one wouldn’t expect such an entertaining album to emerge with this trail of discovery, Weinstein manages to make music that’s still wholly adult in its delivery, its nod to adolescence notwithstanding. As a performer, he leans towards the Elvis Costello school of sarcasm and cynicism, so even as he celebrates life’s peculiarities, his observations take on a wry perspective that’s both tender and tenacious. To be sure, this is not a children’s album, at least not in the traditional sense. These songs can be edgy and irascible, whether they take the form of ready rockers like “Avatars,” “Til the Comet Comes” and “The 80s” or lean towards the gentle lilt that glides through “My Voice” and “Milk Talking.” He eschews any predictable precepts here, and though he may be aiming his intents at parents and couples pondering the prospects of offspring, even the single set will find plenty to appreciate here. Best of all, no diaper changing is required. (www.enoam.com)
Drivin N Cryin
Songs for the Turntable
(Blank/New!)
The final instalment in a series of EPs that have touched on cars, space, the Ramones, psychedelia and the laundromat (?), Songs for the Turntable finds Drivin N Cryin returning to their roots as a vibrant and dynamic country rock combo. There’s no pretence here, no hedging of the MO, no elusive melodies to keep listeners at arm’s length. Each of the five tracks comes with an immediacy and accessibility that rings and resonates effortlessly and efficiently. The ready hooks that accompany “Strangers,” “Turn” and “Roll Away the Song” make each of these songs a standout, and even the proselytizing found in “Love Is the World” and “Jesus Christ” entices in its own way. While the band’s Kevn Kinney has yet to reveal his next move, one can only hope his muse remains intact. And yet even if it does, suffice to say it will be a challenge to top this superb set of songs.
Vaudeville Etiquette
Debutantes & Dealers
(Sunyata Records)
While their handle might imply they’re some sort of old fashioned string band of classic vintage, Vaudeville Etiquette are, in reality, a communal combo in the same vein as Mumford & Sons and the Lumineers, one whose seamless harmonies and sense of spontaneity makes them a good candidate for mainstream success. Their melodies are riveting and full of revelry, and when they get going, as on tunes like “Clara Bow” and “Blood & Bone,” the energy is so infectious it practically begs a sing-along. On the other hand, beautiful ballads like “Abilene,” “What Better Time” and “Enemy Lines” reveal a sentimental side that ratchets up the overall appeal. This foot-stomping Seattle combo can romp and roll, and with Debutantes & Dealers, they demonstrate they’re only just beginning. Consider this an invitation for the rest of us to join in. (www.vaudevilleetiquette.com)
The Slambovian Circus of Dreams
A Box of Everything
(Slambovian Records)
It would be all too easy to classify this bunch of music makers as a band of extreme oddballs, based on name and packaging alone. However, given a well deserved listen, it becomes immediately apparent that the Slambovian Circus of Dreams is in fact a band of skilled musicians possessing a certain sophistication and sobriety. Their songs rock with an anthemic thrust, and there’s a melodic tunefulness that’s infused in the music throughout. As a result, there’s no way to simply shrug them off as arch eccentrics. Still, they aren’t newcomers by any stretch of the imagination. In fact they’ve garnered quite a catalog and a faithful following to boot. A Box of Everything is actually a compilation that draws from four previous albums and a pair of unreleased recordings. And considering the fact they were compelled to select their best efforts for inclusion, it’s clear they were up to the challenge. “The Trans Slambovian Polar Express” is as riveting a theme song as any, while “Very Happy Now” and “Lost Highway” assert the band’s ability to make music that’s both memorable and incisive. And if “A Very Unusual Head” suggests their carnival trappings taking the lead… very well. Every band of vagabonds deserves some time in which to tinker. (www.slambovia.com)
Susan Clynes
Life Is…
(Moonjune Records)
With its dark, descending minor chords, Susan Clynes’ sound takes its cue from the Tori Amos/Kate Bush school of emotion and expression. Fleeting melodies that are both earnest and detached remain the constant, while somber piano, an occasional mournful cello and the suspended sound of distant violins provide the album with its sparse scenario. It takes time to discern exactly where Clynes is coming from; on a song like the nearly ten minute long “Les Larmes,” she lingers on a phrase, takes it through its subtle changes and eventually emerges with a hushed and haunting suite of sorts, one that’s unfailingly alluring. Then again, Life Is… like that, a wholly unexpected departure from the typical singer-songwriter fare. (www.moonjune.com)
The Secret Sisters
Put Your Needle Down
(Republic)
The sound of sibling harmony is a wonderful thing, something that the Secret Sisters – AKA sisters Laura and Lydia Rogers – share in sync. In addition, on this, their T Bone Burnett-produced sophomore set, the two show their proficiency at crafting timeless melodies that do justice to their vocal blend. There’s a certain retro familiarity evident in all of these these songs, and while a track like “Lonely Island,” a onetime staple of the Everly Brothers’ repertoire, is a natural inclusion, it doesn’t overshadow original numbers like “Good Luck, Good Night, Goodbye,” “Let Me Be Lonely” and “Black and Blue” all of which sound like they were gleaned from that same era. However, even more impressive is the fact that Bob Dylan agreed to collaborate with the Sisters on an original song, a tenacious tune called “Dirty Lie.” In concert, a cantankerous element is especially evident; the two have clashing personalities that make for comedic interaction in a Smothers Brothers sort of way. A hint of irony comes to the fore on the song “Rattle My Bones,” where love and lust become all but interchangeable. After only two albums, The Secret Sisters are now fully formed, a duo that boasts a classic stance crafted from a timeless technique. It’s doubtful they’ll stay secret very much longer. (www.secretsistersband.com)
Dawn Landes
Bluebird
(Western Vinyl)
Ever so sweet and seductive, Dawn Landis boasts a sound that rings with casual desire. On her latest outing – tellingly titled Bluebird – she sings with an elusive allure as striking as the feathered creatures she salutes. These are songs filled with hope and longing, sung with a winsome charm that is as fleeting as the breeze. While the no-frills arrangements ground these melodies with a hushed delivery, there’s no shortage of sentiment and emotion. That’s all too evident on “Try To Make A Fire Burn Again,” a song that pleads for renewed romance, and the ever so beguiling “Cry No More,” which begs for affirmation and recovery in the wake of lost love. Landes has a gift for expressing more with less, and yet Bluebird proves to be as striking a set of songs as any in recent memory. To simply describe this album as anything less than unerringly lovely doesn’t begin to do it justice, but as far as summations go, it’s as good a place as any to begin. (www.dawnlandes.com)
Riley Etheridge Jr.
The Straight and Narrow Way
(Rock Ridge Music)
Riley Etheridge Jr. is a multi-purpose musician – the supple tunesmith of “Second Chance, Saving Grace,” ”Song for Amy” and “The Maize (Of My Own Creation), and the obvious R&B maven who comes to the fore on “What’s A Man To Do?,” “Roll Away The Stone, “(She’s) Only In New York”” and “Heart Attack.” His sound is clearly grounded in a smouldering bluesy approach, one which makes The Straight And Narrow Way effectively live up to its unassuming title. While the music evokes a kind barroom appeal, Etheridge is a nuanced musician, one who makes every lick resonate with a fiery purpose. The albums has all the trappings of a classic, a record that might have at one time emerged from the down home environs of Muscle Shoals or Stax Studios. They don’t make music as earthy as this anymore, but Etheridge has clearly tapped into a soul and spirit that’s transformative in a very singular way. (www.rileyetheridge.com)
