Lee’s Listening Stack — Slightly More Than A Baker’s Dozen For Early April

Various Artists
The Music Is You: A Tribute to John Denver
(ATO)

Always popular among the masses, John Denver was sometimes scorned as unhip, uncool and just a little bit of a geek. Firmly established in the show biz firmament (he was a designated guest host on the Tonight Show during Johnny Carson’s reign), his music expressed his unabashed love for Colorado and the spectacular environs of the Rockies and the American West. So while a tribute to the bespeckled singer/songwriter from such cutting-edge entities as My Morning Jacket, Old Crow Medicine Show, Edward Sharpe, Brandi Carlile and Evan Dando may seem somewhat out of sync, the passion and admiration that shines through in these readings boast a heartfelt humility that can’t be denied. What’s even more surprising is that the contributors don’t tamper with the template; signature songs such as “Leaving on a Jet Plane,” “Sunshine on my Shoulders,” “Annie’s Song” and “Take Me Home Country Roads” retain the same sense of wide-eyed wonder encapsulated in their original incarnations. An A-list cast offers special inducement (Dave Matthews, Mary Chapin Carpenter, Emmylou Harris and Train are among the other participants), but ultimately it’s the songs themselves that make this set so sublime. (www.atorecords.com)

Anais Mitchell & Jefferson Hamer
Child Ballads
(Wilderland Records/Thirty Tigers)

Anais Mitchell previously made her name with breathless ballads and ethereal impressions both sensual and serene. With Child Ballads – the name refers to the traditional English and Scottish folk songs collected by Francis James Child in the late nineteenth century, and not any attempt at characterizing this as a children’s album – she employs the same hushed approach and applies it to material that begs the same delicate approach. Teaming with traditional singer/guitarist Jefferson Hamer, Mitchell effectively delivers on that premise, transforming songs like “Willie of Winsbury,” Sir Patrick Spens” and “Tam Lin” and into the kind of soothing lullabies that, under different circumstances, might have befitted the album’s title. Those familiar with the folk-rock renditions retro-fitted by Fairport Convention and Steeleye Span might be surprised by any take that lacks the fire and ferocity of the early interpretations, but Mitchell and Hamer’s versions still boast a charm all their own. Like any soothing serenade, these ballads have the power to comfort and caress. (www.anaismitchell.com) (www.jeffersonhamer.com)

Assembly of Dust
Sun Shot
(self-released)

If their previous albums offered any indication, Assembly of Dust were destined to be classified as a jam band in the strictest sense. With Sun Shot, their most fully realized release to date, the band place their emphasis more on songs and less on rambling instrumentals, resulting in a bounty of mellow tunes with obvious engaging intent. Opening track “Grey Believer” welcomes the faithful with its celebratory stance, rather like the Dead or the Allman Brothers in wistful rural mode. “Sun Shot” recalls Neil Young in a similar state of repose, while tracks like “Unvarnished” (“My days are all fragile/My nights are all pale…”), “Avenue of the Giants” and “Cluttered” hold to that lazy, languid flow. In concert, Assembly of Dust’s populist precepts will likely get a fuller venting, but for the moment anyway, the band seems content to drift nonchalantly and take a more contemplative approach, one that finally culminates in the communal revelry of “Mrs. What Your Are.” That, then, is the very thing that makes Sun Shot so radiant and iridescent. (www.assemblyofdust.com)

Whitehorse
The Fate of the World Depends on This Kiss
(Six Shooter Records)

Melissa McClelland and Luke Doucet, known collectively as Whitehorse, may be the most intriguing musical couple Canada has to offer, a notion quickly confirmed after only a single listen to the pair’s sophomore disc, titillatingly titled The Fate of the World Depends on This Kiss. Edgy and even unnerving, it finds McClelland and Doucet boldly venturing into unexpected realms, plying a sound that’s stark and ominous, as well as sensuous and suggestive. Doucet kicks off the proceedings with the blustery blues of “Achilles’ Desire,” which in turn segues into the snaking, swampy sound of “Devil’s Got a Gun.” More mischief follows — the solidly rocking “Peterbilt Coalmine,” the tenuous desire of “Jane,” the cooly ominous “Annie Lu” — even as a sense of deadpanned desire hangs over it all almost like a shroud. The sweet acoustic ballad “Mismatched Eyes (Boat Song)” notwithstanding, it’s that detached perspective that dominates the atmospherics overall, making the allure that much more palpable in the process. This Whitehorse clearly moves at its own pace. (www.whitehorsemusic.ca)

Annie Keating
For Keeps
(self-released)

One of the chief prerequisites for any singer/songwriter worth their weight in angst and emotion is the ability to vary their template from full frenzy to solitary suggestion. Annie Keating knows this well, and five albums and nearly a decade on, it’s telling that she should choose to cover Neil Young’s “Cowgirl in the Sand” as the final entry on her excellent new effort, fittingly titled For Keeps. Young’s original deftly towed the line between the agile and the assertive, and Keating, aware of that precedent no doubt, transforms the song into a fitting send-off — graceful, yearning and immersed in a plaintive pastiche that even its author may not have imagined. Likewise, by starting the album with a visceral rocker like “Storm Warning” and then segueing seamlessly into a pedal steel coated ballad, “Right For You,” she immediately makes it clear she can switch sentiments with the best of them. If that isn’t obvious enough, she tosses in the horn-tinged funk of “Let It Come” for good measure. Mostly however, she navigates the easy, affecting Americana environs also inhabited by Emmylou Harris, Patty Griffin and Lucinda Williams, and in so doing, proves she’s every bit their equal. A flawless encounter from beginning to end, For Keeps is clearly a keeper. Fittingly so in fact. (www.anniekeating.com)

The Miners
Miners’ Rebellion
(self-released)

It’s always heartening to come across a new band whose lessons seem to have come so quickly. The Pennsylvania quartet that call themselves the Miners take both their music and their mettle from their rural environs, and the sound they make is as striking and emphatic as anything that might come from a band with far greater experience and expertise. It’s obvious from the first reverberating refrains of the feisty title track of this initial six song EP that this is a group blessed with grit and determination. That dogged stance is affirmed throughout, from the fiddle-fueled hoedown of “I Recall” through to the steel guitar gilded celebration of “W.T.A.” The pastoral pastiche serves them well, and the back porch sensibility that accommodates the edgier groove of “Doggone,” as well as the wistful refrains of “Norton’s Pond” is as vivid as the sepia images that grace the cover inside and out. These Miners have quickly found the light at the end of the tunnel and based on the evidence offered herein, it’s evident that an able and adept band has suddenly surfaced for all to enjoy. (www.minersmusic.com)

The Kruger Brothers
The Best of the Kruger Brothers
(Double Time Music)

Yours truly first encountered the Kruger Brothers on the Mountain Song at Sea cruise this past February and I found myself instantly smitten. Jens and Uwe Kruger, two Swiss siblings who relocated to North Carolina some twenty years ago, were inspired after meeting Doc Watson, who not only befriended them but also became their mentor. The third member of the group, bassist Joel Landsberg, joined them in the mid ’90s and from then on, they’ve been in an upward trajectory. Yet despite their friendship with Doc and their emphasis on banjo and other Appalachian instruments, the trio eschew any direct connection to Bluegrass or most other traditional templates. Jens Kruger plucks notes from his banjo like most guitarists would string a rapid-fire riff, while brother Uwe plays guitar and sings in pleasing tones that bring to mind British folk stalwarts like Fairport Convention, Steve Tilston, Ralph McTell and others who bow to their old country origins. It’s lovely stuff indeed, which makes The Best of The Kruger Brothers an essential sampler for anyone who favours music drawn from idyllic environs. Culling tracks from the majority of the 14 albums they’ve released over the course of nearly 40 years, it shows the depth and breadth of their talents, with seductive folk melodies (“Watches the Clouds Roll By,” “Carolina in the Fall”), country concertos (“The New Country,” “Winterport”) and poignant takes on rugged old standards (“People Get Ready,” “Long Black Veil”). It’s a strong showing, filled with heartfelt sentiments, nimble performances and the kind of commitment that suggests some serious intents. It’s also a remarkable revelation! (www.doubletimemusic.com)

Mountain Sounds
self-titled
(self released)

You’d think that naming your band Mountain Sounds, using your brand as the title for your debut album and then putting a pastoral nature scene on the cover would affirm the fact that, well, you were making mountain music, what with banjos, fiddles, washboards and a distinctive back porch sensibility. And that’s where you’d be wrong. Mountain Sounds – the handle used by Tim Hoyt and Franc Castillejos – veers more towards an arched pop approach that’s melancholy at times, and manically expressive at others, while generally adventurous in its overall bearing. Despite the quirks in the template, the sound is still quite inviting and as each song unfolds, the intrigue only increases. While the pair are primarily intent on maintaining basic pop precepts – “Find That Man” and “The Barely Living Son” being the primary examples – there’s ample attention paid to the intricate arrangements and the atmospheric elements that drape the album overall and give songs like “I Do What I’m Allowed” and “When You Have Money” their earnest undertow. Considering the fact that Hoyt and Castillejos recorded the album in an abandoned orphanage in Guatemala (the two friends were forced to do so by circumstance, because the latter is Guatemalan and lacks a green card), there’s no doubt the unlikely scenario contributed to their accessible ambiance. Consequently, Mountain Sounds offer proof positive that transition and challenge can reap rich results. (www.mountainsoundsmusic.com)

Susan James
Driving Toward The Sun
(SJM)

Susan James is another of those artists whose output over the years would seem to rate more awareness than she’s received so far. Her latest, Driving Toward The Sun, provides another fine example of what James does best, that is to purvey an engaging heartland approach that takes in the softer delights that are evidenced in gentle, entrancing numbers like “Anniversary” and “Tule Fog”  as well as giddier, pedal steel-infused upcountry entreaties such as “Wandering” and “Agua Dulce Tears.” James’ wholesome, winsome vocals lend themselves nicely to this sublime approach, making each tune sound like an unequivocal invitation to join in and enjoy. To her credit, she also surrounds herself with some first rate assistance, counting among her players pedal steel player Eric Heywood, drummer Walfredo Reyes Jr., and guitarist Neal Casal. The combination of talents turns Driving Toward The Sun into the warm embrace the title seems to suggest. For those unaware, now is an ideal opportunity to hitch a ride and enjoy the view it brings. (www.susanjamesmusic.com)

Smoke Fairies
Blood Speaks
(Year Seven Records)

Jessica Davies and Katherine Blamire, former university chums that refer to themselves as the Smoke Fairies, reflect an obvious affection for British old school folk, the kind that comes bereft of attitude and filled with wide-eyed innocence. In the hands of others, this pursuit could be prickly and precious; after all two angelic voices singing in harmony doesn’t exactly suggest the edgier attitude that modern music often demands. Nevertheless, the Smoke Fairies’ charms go a long way without ever feeling tiresome. The light caress of songs like “Let Me Know,” “Awake,” “Radio Clicks On” and “Somebody Speaks” is airily effervescent, soothing as well as satisfying. There’s a certain comfort that can be taken knowing that a pair of ladies can create an indelible impression without having to rely on the heavy-handed surround sound that can often impedes on silkier suggestion. That’s not to say that the pair lack an emphatic approach when need be, as is evident on the dogged delivery that accompanies the slide guitar enforced sound of “The Three of Us” or the steady back beat that underscores “Take Me Down Where You Go.” Fans of early Steeleye Span, the Incredible String Band or solo Sandy Denny would best be advised to take note. The Smoke Fairies cast a similar spell.(www.smokefairies.com)

Jason Blum
Radio Dial
(Bitchen Records)

A professional chef turned singer and songwriter, Jason Blum packs a world of experience into his debut disc and stirs it to fruition. While he’s enlisted a veteran session crew to help with his recipe — singer/songwriter Lee Alexander, Andrew Borger and Greg “Wiz” Weickzorek (both from Norah Jones’s band), Rufus Wainwright bassist Jeff Hill, world class drummers Shawn Pelton (of the Saturday Night Live band) and J.J. Johnson (formerly with John Mayer and now with the Tedeschi Trucks Band), singers Kat Edmonson and Betty Black, among them — credit has to go the man himself for creating a musical blew that transitions smoothly from the easy sway of songs like “Thinkin’ About You” and “Radio Dial” to the south of the border tango adds enticement to “Las Estrellas” and “Barcelona.” As its title suggests, Radio Dial is multi-formatted, shifting suddenly from the skittish double time tempo of “I Know Evil” to a pair of languid duets, as realized in “Blooming in the Sun” and “New Mexico Sunset.” So many flavours, so many delights, and Blum seasons it all masterfully on this exemplary effort. (www.jasonblummusic.com)

Keaton Simons
Beautiful Pain
(Best Revenge Records)

If the dictionary had a listing under perfect pop, it’s very likely that Keaton Simons would have his photo displayed there prominently. An impressive talent with a steadily developing resume, Simons sounds like he’s ready-made for radio, at least the kind of radio that once played intelligent songs with easily accessible melodies. From the self described initial entry “Thrill Of It All” through practically every song that follows, Keaton purveys intellect, intuition and a brilliant twist of the phrase that turns everyday expressions into lyrics that are thoughtful and worthy of consideration. “Black and White,” for example, speaks to the fact that there aren’t always opposites, but sometimes rather colours in-between. “Hearts Don’t Break Themselves” makes it clear that people do have control over their destiny, especially in matters of love and romance. The eternal optimism that pervades “Gonna Shine Brighter,” “You’re the Spark” and “Inspiration” ensures that the upbeat intent remains intact throughout. It’s hard to listen to this Beautiful Pain without feeling good simply by soaking up its songs. Consequently, Simons makes celebration come naturally.(www.keatonsimons.com)

New American Farmers
Brand New Day
(Big Barncat Records)

Bay Area-based duo, New American Farmers, (previously known by the somewhat more ambiguous handle Mars Arizona), offer up a striking debut with the aptly titled Brand New Day, an album that preserves their Americana instincts and mixes it up with an ample does of Southern California style, ‘60s and early ‘70s. A prominent guest shot by latter day Byrd Gene Parsons certainly doesn’t diminish their prospects (check out “Facing the Divine” and “Everywhere” for examples of full flyght), but star cred aside, its clear in hearing the effusive title track and the crestfallen ballad “Bad Hotel” that the pair — Nicole Storto and Paul Michael Knowles, to give credit where credit is due — have their melodies measured out quite nicely, thank you very much. At times, they sound like a current day reincarnation of Gram and Emmylou, what with their smooth harmonies and gilded sentiments. If that wasn’t enough — and by all standards it should be — the two resurrect a classic anthem of enduring desire in ELO’s “Can’t Get It Out of My Head,” deleting the emphatic drums, maintaining the violin flourishes and peppering it with only the slightest Bluegrass designs, which makes it as absolutely stirring as the original. How sensational is that? (www,newamericanfarmers.org)

Naomi Greenwald
Composite
(Substance)

A singer/songwriter with a singular sound and remarkable presence, Naomi Greenwald’s career was off to a rapid ascent with only one previous album to her credit. With a voice that offers a varied range of emotion, she gives Composite the full variety of treatments its title entails. Opener “So We Try” is the set’s unequivocal declaration of purpose, a song that sets its sites on upward achievement. “Portraits,” the track that follows, returns her to the fearless rock rampage that characterised that debut disc. And so it goes, as Greenwald shifts her template practically on a dime, fearlessly transitioning through an ongoing state of flux and varying degrees of ferocity. A pair of ballads, “Another” and “One Season,” offer a less frenetic change of pace, but the inner convection proves an equally strong additive regardless. A stirring statement that reflects both talent and tenacity, Greenwald has well established herself, not only as one to watch, but as a young artist of obvious importance. (WWW.naomigreenwald.com)