Lee’s Listening Stack: A Baker’s Dozen for Early December

Jonathan Byrd
You Can’t Outrun the Radio
(Waterbug)
Jonathan Byrd’s trajectory began more than a dozen years ago as an expression of his Southern roots and more than a hint of cowboy country. He’s continued to pursue both styles with equal aplomb ever since, emerging as a kind of cross between John Hiatt and Lyle Lovett, both in equal measure. Consequently, there’s plenty of truth in the title of Byrd’s latest LP, which in this case suggests that outrunning the radio is more akin to outpacing the airwaves, at least in terms of diversity. For example, Byrd begins on a decidedly bluesy note with “38 Baby,” but just as quickly segues into a beautiful ballad, “Slip Away,” a song that’s matched in terms of euphoric engagement by the title track a little later on. He also takes a measured detour into Bakersfield with “A Big Truck Brought It,” and goes for a swampier sound with both “Mama’s Got Wheels” and “Working Offshore.” Such a show of strength is as impressive as it is unexpected, a fine reflection on Byrd’s way with a phrase and sheer savvy overall. An impressive offering all the way through, You Can’t Outrun the Radio suggests Byrd is in fact actually taking flight. (www.jonathanbyrd.com)

Phil Cody
Cody Sings Zevon
(Back & Belly Recordings)
Singer-songwriter Phil Cody pays heartfelt tribute to the late Warren Zevon via a set of songs from Zevon’s own piano and pen, and does so with such obvious admiration and sentiment that it casts an entirely new light on these rich and rugged narratives. Whereas Zevon’s gruff vocals often turned his tales into defiant anthems, Cody lowers the level of veracity and adds more of a tender touch, demonstrating the gentle and sometimes sad vulnerability that carved into Zevon’s iconic imprint. There’s no “Werewolves of London” included here, but the unwavering remorse etched into the tale of the hapless boxer “Boom Boom Mancini,” the lonely lament of “Splendid Isolation,” and the anti-war tirade “Roland the Headless Thompson Gunner” are all especially striking in Cody’s capable hands. Likewise there’s no escaping the sad irony woven throughout “Don’t Let Us Get Sick,” a plaintive plea that’s especially affecting in light of Zevon’s early demise from an incurable illness. In short, Cody Sings Zevon emerges as far more than just another timely tribute. Cody actually succeeds in doing something few others ever achieve, that is, to bring a new dimension to songs that have already attained their own kind of indelible immortality. And for that Cody deserves congratulations. (www.philipcody.com)

Sara Jackson-Holman
River Queen
(Expunged Records)
Sounding at times like Kate Bush or Tori Amos in a more jubilant mood, Sara Jackson-Holman makes a powerful impression on this stunning six song EP, both in terms of her effusive designs and her knack for carving a rich tapestry of celestial sound. Beginning with the dominant refrain and dance designs of the title track, Jackson-Holman exudes a confidence that won’t be lost on even the most casual listener. Whereas some who dabble in similar flights of fancy often come across as precious or posturing, Jackson-Holman sounds fully committed and determined to avoid the sense she’s simply purveying pure whimsy. Each of the six tracks shine brightly, from the compelling chorus of “Push Back” to the powerful piano ballad “Keep Score.” A true chanteuse, Sara Jackson-Holman turns River Queen into a regal triumph. (www.sarajacksonholman.com)

Jason McNiff and the Lone Malones
God Knows Why We Dream
(Independent)
By now, it’s almost a cliché, but the truth is incontestable. Jason McNiff may be the best artist no one’s ever heard of, at least outside the UK. Giving equal billing to his band, The Lone Malones, he’s come up with the best album of his brief career, an assured mix of affecting Americana and honest emotion. Although he doesn’t emulate anyone in particular, strains of Blood on the Tracks-era Dylan linger in the foreground, particularly in the dramatic and dynamic melodies which come to the fore on “The Picture,”  “A Different World,” “Green” and “Game Over.” Yet McNiff is far removed from any semblance of a turgid troubadour; his low-cast, unassuming vocals sometimes seem at odds with the music, a reluctant cheerleader who finds himself caught up in a sweep and surge. The results are so compelling, so assertive, so infectious, that they beg repeated listens. Likewise, McNiff’s slower songs – “God Knows Why We Dream,” “Thanks Leonard,” “Before I Love You” — ring with the same kind of resilience. God Knows Why We Dream is one of those albums that comes along only once in a long while, but it’s already a contender for being called an instant classic. (www.jasonmcniffandthelonemalones.com)

Pete Molinari
Theosophy
(Clarksville Recordings)

Pete Molinari has been gigging and recording a few years in the U.K., but thus far overall awareness has eluded him here in the States. That ought to change with the release of Theosophy, an emphatic baker’s dozen of songs that show off both his songwriting skills and ability to demonstrate a dynamic, thoroughly indelible presence. Beginning with a powerful pair of unapologetic rockers — “Hang My Head in Shame” and “You Will Be Mine,” Molinari and crew surge forward with little respite. That said, the trudging ballad “When Two Worlds Collide” six songs in, shows him slowing down only momentarily. Apparently Molinari learned his lessons from any number of key British forebears — hints of the Stones, the Kinks and Elvis Costello are plentiful throughout — but there’s never any evidence that Molinari is anything but his own man. An excellent introductory statement, Theosophy suggests that there’s plenty of potential yet to be uncovered. (www.petemolinari.com) 

Ben Rabb
Until It’s Gone
(Independent)
New York based, but raised in the midwest, Ben Rabb exudes a sure confidence and command on this modest yet authoritative debut. Although it’s only six songs long, every note is assured and astute, reflecting an honesty and integrity that precludes the presence of any insincerity whatsoever. “On the Fence” and “New York” are sung with such credence and conviction, it’s safe to assume Rabb is sharing real-life experiences and mining a wellspring of his own convictions. While occasional comparisons to James Taylor are inescapable, Rabb’s clearly convincing regardless, so much so that even on first hearing every song makes a powerful first impression. It’s fairly obvious even early on that Rabb will be around for a while, and indeed, Until It’s Gone suggests he has the talent and tenacity to sustain him for quite some time.(www.benrabb.com)

Liz Frame and the Kickers
Justine
(Independent)
After a superb debut entitled Sooner back in 2011, Boston’s Liz Frame and the Kickers return with an equally excellent EP that confirms the quality evidenced the first time around. Frame is a terrific front woman, which gives these breezy rockers just the right combination of edge, soul and sensuality. Her cool confidence is obvious throughout, and while Justine is but four songs long, it effectively demonstrates the strengths this quartet has at its command. The determined delivery of “A Good Day to Say Goodbye,” the tinge of bluegrass that colors the title track, the somber strains of “I Don’t Wanna Let You Go” and the sultry finale, “The Secrets I Been Keeping,” offer an impressive snapshot of a group with a truly powerful potential. The New England music scene has a long tradition of producing acts that seemingly emerge fully formed and ready for the national spotlight, and it’s already evident that in this case as well,  Liz Frame and the Kickers are both ones to watch and ones worth relishing as well. (www.lizframeandthekickers.com)

Jamie Hoover
Jamie Two Ever
(Loaded Goat Records)
Given the explanation Jamie Hoover offers on the back cover of his new solo album, one would expect it’s a solo album in the strictest sense. The sometime Spongetone explains that after a recent surgery, he was temporarily unable to play guitar. As a result, he chose instead to do vocal renditions of some of his favorite songs, those written by others and material written with his own pen. Happily though, this isn’t solely an acapella offering. While some tunes offer examples of Hoover’s voice overdubbed in multiple layers — his covers of Lennon/McCartney’s “Misery” and Stealer’s Wheel’s “Star in particular — others offer evidence that he was not only able to pick up his guitar but a variety of other instruments as well. As a result, we get wonderful renditions of “Walk Away Renee” and the Beatles’ “I’m Looking Through You,” all lavishly appointed so as to do credit to the originals. But the biggest bonus of all is hearing a new batch of Hoover originals like “You Took Away the Birds,” Wait” and “Take Care of You,” all exquisite examples of the sumptuous song craft Hoover’s known for. That in turn finds Jamie Two Ever destined to become a forever favorite. (www,jamiehoover.net)

Frazey Ford
Indian Ocean
(Nettwerk)
Best known as the lead voice behind the alt-folk trio The Be Good Tanyas, Frazey Ford offers up a sophomore set that finds this unassuming songstress addressing some difficult issues — love, loss and the tenuous realities of living these difficult times. Yet, for all the challenging scenarios it attempts to grapple, Ford finds a sublime setting thanks to the recruitment of the Hi Rhythm Section, the same band that added the gilded edge to Al Green’s most iconic recordings. Ford herself has a distinctive vocal that frames each of these songs with just the right balance of knowing and nuance, but the silken underbelly provided the Hodge Brothers on guitar, bass and keyboards sets this album up for success. “Natural Law,” “Runnin’,” “You Got Religion,” and “Done” glide along with a supple sound that’s as assertive as it is intimate, a remarkable achievement by any measure. In essence, that’s what Ford has achieved throughout, and in essence, she deserves credit for her creativity and credence. In summation, this is a wonderful record. (www.frazeyford.com)

Greg Humphreys Electric Trio
Rock at Live Wood
(Phrex Records)

Greg Humphreys
Cosmic Irony
(Phrex Records)
Two simultaneous releases by the former leader of North Carolina’s Dillon Fence present two similar portraits of this adept musical master, albeit in different settings. Rock at Live Wood showcases Humpreys and his band — Humphreys on guitar and vocals, Matt Brandau on bass and Keith Robinson on drums — in concert, where the group finds opportunity to stretch out and show off their ample instrumental chops, as especially evidenced on the extended boogie “Natural Child.” Nevertheless, this isn’t some overwrought exercise in needless noodling. Songs such as “More Than a Friend” and “Sayin’ What you Mean” demonstrate a decided preference for affecting melodies that find a perfect balance with the band’s ability to show off their ample chops. Indeed, “Only One For Me” and “Must Be the Moon” actually sound like standards. Likewise, Cosmic Irony spotlights Humpreys and company in a studio setting, focusing on concise songs that emphasize his jazzier inclinations and penchant for brisk, breezy melodies. Here, the title track, with its commentary on God’s master plan, emulates a soft samba, all tropical rhythms that add a light-hearted attitude which effectively undermines the weightier aspects of the nuanced narrative. “All Because of You” leans more towards overt pop, further affirming Humphreys’ prolific prowess and inherent charms. A cool, compatible duo, Rock at Live Wood and Cosmic Irony make for a perfect pairing. (www.greghumphreys.blogspot.com)

Annie Keating
Make Believing
(8th Street Studios)
The title of her marvelous new album aside, there’s no make-believe whatsoever when it comes to the consistent quality Annie Keating’s delivered over the course of her career. While some compare here to other female icons – Emmylou, Lucinda and the like — the fact is, she’s in a category all her own, a true talent who doesn’t deserve to be compared to anyone other than those on the highest plateaus. Intimate and yet endearing, her songs strike with an immediacy that can’t be denied and an appeal that’s readily apparent. There’s not a loser in this bunch but three songs in particular stand out — “Coney Island,” “Know How To Fall” and “One Good Morning” — each a demonstration of how a gilded vocal and a soaring melody can successfully intertwine. Keating can’t be recommended more highly and with this superb set, she’s at the very top of her game. Again. (www.anniekeating.com)

The Sharp Things
Adventurer’s Inn
(Dive Records)
By day, Perry Serpa’s a publicist, and a damn good one too. Trust me… I know this for a fact. By night, he’s an artist, and here again, he excels. That part of the equation is evident from the outset. So while you’ll have to take my word on the first proposition, all it takes is an initial listen to his band the Sharp Things’ new album, Adventurer’s Inn, to affirm the second. Here and there, there are hints of ornate Brit Rock (“All But These Beautiful Faces”), Prog Rock (“You KNow You Want It”), lush and lavish balladry (“Stockholm Street”), and even a bit of the Beach Boys (“Union Chapel”), but this album is so daringly original and well nuanced, it defies both comparisons and expectations. Serpa’ is at the helm with vocals, piano, guitar and songwriting, but he’s got a superb support cast in the ten piece ensemble that’s been assembled herein. With the addition of brass, violin, flute and even a choir on a couple of cuts, Adventurer’s Inn shapes up as a veritable symphony of sound, all with the beating pulse of a well regimented rock and roll band. Back in the day, Pet Sounds and Sgt. Pepper set the standard. Clearly, those lessons haven’t been lost on the Sharp Things. Previous albums hinted at that notion. However, this effort offers all the confirmation necessary. Sharp stuff indeed. And wonderful as well. (www.thesharpthings.com)

The Successful Failures
Pine Hill
(FDR)

The Successful Failures
Captains of Industry, Captains of War
(FDR)
Their name not withstanding, The Successful Failures are one of the hardiest and most prolific outfits on the planet, and if their ongoing cottage industry hasn’t yet connected to the masses, that’s in no well a reflection of their efforts and abilities. They are, in a word, quite an accomplishing bunch, astute at turning instantly infectious melodies that tread the line between power pop and Americana without wholly committing to either. Fortunately, fans and novices alike have a double opportunity to immerse themselves in their music courtesy of an EP, Pine Hill, and, more recently, a full-length, Captains of Industry, Captains of War, each of which stray in different directions. Pine Hill, which was released earlier this year, isn’t so much a prelude as it is a sidebar, one which includes a trio of covers (including takes on Johnny Cash’s “I Still Miss Someone” and Hank Williams” “Take These Chains From My Heart”) and finds them recasting those songs in both singular style and alt-country mode. Captains of Industry, Captains of War is more ambitious, but the melodies are amazingly engaging, especially “Milwaukee,” “Hit the Ground Running,” “Navigation of the Stars” and “Meal Parade Parade (Always Be Around),” songs that speak to their soft rock sentiments while still avoiding any direct retro references. Moreover, they sound like songs that have been in the ethos forever and ready for a full embrace.  Jump in. (www.thesuccessfulfailures.com)