Short Cuts
: Summary Reviews #11Name of CD release |
Artist/Group |
| Welcome to my country | Rebekah Florence |
| Live at the Davy Lamp | Jez Lowe with The Bad Pennies |
| Small Fine Pleasures | Don Osburn |
| Long Road To One | Harry Bryan |
| Mining for Gold | James Gordon |
| Disenchanted Monk | Ruby Zoo |
| Crazy Horse | Denise Miller & Son |
| Skywriter | Bill Hammond |
| It's Wonderful | Susie Arioli Swing Band |
| Barney-Adams Blues Attitude Live! | Barney-Adams Blues Attitude |
| The Anthracite Shuffle | Tom Flannery |
| Mnemonic Device | Michael Bolla |
| Songs for the Time Being | Eric Folkerth |
  live at Newlands Pavilion |
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Since Saturday, February 19, 2005 musicians and fans have read the reviews on this page, originally created August 21, 2002. |
Welcome to my country
Rebekah Florence
Understress Records
2000
9 tracks
From her promotional information and liner notes, it appears that Rebekah Florence is purely a California girl born and bred. You wouldn't know it from the songs on Welcome to my country. This is hillbilly music, right down to a vocal twang that sounds like it came from a Kentucky mountainside or a dirt farm in the heart of Oklahoma. While these performances are American hillbilly folk reminiscent of early Emmylou, they are ornamented with pop and country influences that give them a timeless feel.
Because this is a solo release, it's not clear whether this is Florence's regular band or a group of studio sidemen put together just for this recording. Either way, her performance benefits by having them back up her vocals. This is an excellent country band with the traditional (read mid-20th Century) sound you might expect to hear behind folk-country artists such as Merle Haggard or Emmylou Harris in her country mode.
Rebekah Florence is a talented if somewhat inconsistent lyricist, alternating between deeply touching tales and ditties that approach being just plain silly. Whatever the content, the lyrics are tight and well written. This is definitely one of her strengths: to create and tell a story that will capture and move an audience.
There may be a temptation at first listen to dismiss Rebekah Florence and move on to the next record. I suggest listening a second or third time to discover the depth that lies below the surface of her songs. You'll be in for a pleasant surprise.
Live at the Davy Lamp
Jez Lowe with the Bad Pennies
Tantobie Records
2000
23 tracks
At first blush, Jez Lowe's music sounds very traditional, not so much old-fashioned as along the lines of the updated folk music we were hearing in the Fifties and early Sixties of the last century, especially as performed by artists from England, Scotland, and Ireland. In a sense, this is indeed traditional music, with melodies drawn or adapted from the folk tradition and lyrics that tell stories of everyday life. However, on each subsequent listen, it becomes increasingly apparent that there is much more happening in the songs of Jez Lowe.
These are songs built brick by brick by a highly skilled craftsman who knows how to bring melody and lyric and instrumental mix together to achieve just the right impact. Hidden behind the folkish facade are elements of popular music ranging from the classics to rock and roll. It is with these elements that Lowe molds his songs artfully, so that they become something more than just folk songs.
This is bright, lively music that owes as much to Lonnie Donegan as it does to The Clancy Brothers. It tells its tales in a rollicking pub-pleasing blend of words and music well enough written to satisfy the academics in the crowd but clearly performed to speak to the common man. This is folk music that hews to tradition yet remains contemporary in the new century.
While all of the songs on this release contain more or less of the elements of traditional folk and have a more than occasional political edge, they manage to avoid that preaching to the converted sense and should appeal to a broad audience. Musically, they are much more wide-ranging and eclectic than they may at first appear, making them approachable by listeners far beyond the traditional folk music audience.
Small Fine Pleasures
Don Osburn
Versability Music
1999
13 tracks
Don Osburn may have lived in Canada for a couple of decades, but his musical roots are still firmly planted in America. It's Osburn's roots in the American traditional music that later became called country music that distinguish his sound from the usual run of Canadian folk artists. Although in a different vein than early Lightfoot or the later Ian Tyson, this artist's music is pure country.
Osburn's smooth yet gritty vocals remind me most of two artists most responsible for preserving the folk element in American country music: Merle Haggard and Randy Travis. Osburn's interpretation carries with it the same sincerity of expression as can be heard in the most down-to-earth country music in America.
"Where the Westerlies Blow Onshore" is perhaps the most Canadian feeling song on this release, both for it's thematic content and for its sound. Here's a song that echoes Ian Tyson's early work or some of Gordon Lightfoot's, sweet country-tinged folk music about our connection to this land to which we are so bound.
"Great Songs About Life" is the song that most makes me feel that Osburn feels most comfortable writing and performing traditional country music, what our neighbours to the south have taken to calling Americana. This is a beautiful soulful song that picks up themes from Irish folk music, Stephen Foster, cowboy songs and other aspects of the American folk tradition as it existed before we started calling American folk music country music. This is the song that reminds me most of singers like Don Williams and Randy Travis, who always bring sincerity and folkish simplicity to their country songs.
While it probably hasn't hurt this release that it was produced by the multi-talented Ken Whitely, Don Osburn carries his own load and does it quite well at that. This is Canadian country, folk, whatever you want to call it music that's a joy to hear. I look forward to hearing more of Don Osburn. Once you hear this release, you will too.
Long Road To One
Harry Bryan
The Canadian Tunes Corporation
1996
11 tracks
Avoiding the well-trod singer-songwriter path of voice and guitar sometimes filled out by schmaltzy orchestration or maudlin cello, Bryan brings a tough rootsy folk feel to music that is still at its core rock and roll. Within what some might consider a narrow genre definition, Bryan manages to cover a lot of territory. The result is an interesting eleven song set and some excellent songwriting.
While many of the songs are, by their very pop nature, musically pretty standard, Bryan manages to introduce just the right elements to make these sounds new again. What really makes the songs shine, though, is Bryan's talent as a lyricist and storyteller. His lyrics are tight, well-written bits of pop poetry. Bryan is no Leonard Cohen or Joni Mitchell writing poems which become song. Rather he writes the sweet poetic stories of the best Fifties rock and roll, stories of everyday people such as we might have expected from Buddy Holly or Carole King or Leiber and Stoller. The listener can judge whether Bryan's writing rises to the level of these greats, but in this difficult arena his songs do stand up, unbloodied and unbowed.
Mining for Gold
James Gordon
The Borealis Recording Company Ltd.
2000
38 tracks
No matter where you start on this two disc set, it's immediately clear that the work of James Gordon is something special. With thirty eight songs to choose from, and all of the same high quality, it's hard to know where to start discussing them. That said, I'll make the attempt anyway. My selection of songs to discuss is just one step away from random, but will I hope give some sort of picture, however incomplete, of the art of James Gordon.
My first observation is that the music on the two discs is different. The labelling does make it clear that the songs on the first disc were written for his band Tamarack and the songs on the second disc were written for his own recordings. The difference may, therefore imply reflect that Tamarack is essentially a Canadian folk group but that the scope of Gordon's interest ranges far beyond that possibly narrow definition. The Tamarack songs tend to fall loosely into the style of English and Irish folk music with not infrequent excursions into American western music, itself based on English and Irish traditions. The songs written for his own recordings, while retaining the British-American core material, include a wide variety of the sounds that have become categorized as "world" music.
In my own chauvinistic way, what I especially like about the songs of James Gordon is that [with the possible exception of "Pioneer Tower Road"] all of his images and referents are manifestly Canadian, yet his words and music are world class. What a great vehicle to carry the story of Canada to the rest of the world.
Would I recommend getting this two CD set for your collection. Absolutely. This is a very special release not to be missed.
Disenchanted Monk
Ruby Zoo
Independent
2000
13 tracks
I like Ruby Zoo. The music on Disenchanted Monk is like a compendium of rock music from the mid-Sixties to the present [okay, maybe the late-Nineties], and yet it also has a fresh, innovative creativity to it. Since the musicians who make up Ruby Zoo are very young, this convergence of the old and the new may be because they do not know from whence they have come. How many generations have there been between the influences this group reflects and the actual groups who influenced them?
In the music of Ruby Zoo, I can hear echoes of Pink Floyd, The Bare Naked Ladies, Live, The Who, Moody Blues, CSN&Y and others. Yet I can also hear something new and original emerging, much as the Beatles emerged from playing Little Richard and Carl Perkins to come into their own. Yet, how many artists have shown such promise and have come to nothing?
Disenchanted Monk features an interesting variety of musical styles written and performed with a maturity beyond the years of this young band, in their early twenties. Both the words and the music demonstrate a level of craft not often found in the work of beginning artists.
Each of the songs on Disenchanted Monk is interesting in its own way. While there is a certain unity and cohesion to the music on this release, the musical treatment varies from song to song and the usually breathless lyrics convey a surprising variety of messages. The songs here may or may not be hit parade material, but they are sure to find a niche market of people who enjoy their rock with a quirky, folkish edge.
Crazy Horse
Denise Miller & Son
Independent
2000
9 tracks
Crazy Horse is a quirky, even quixotic, blend of this and that which almost works in spite of itself. This release is uneven, not so much because of the quality of writing, performance, or production as it is because of its crazy-quilt of instrumentation, genre, and vocal arrangement. Artists' self produced works are among the most interesting and surprising releases I receive. Crazy Horse is one of those.
Recorded in New Jersey, these songs are deeply rooted in the American west of Arizona and the Dakotas. Without exception, the lyrics resonate with a longing to return to the life of a simpler and earlier time. These are stories of loss and reminiscence sung with a plaintive edge more hillbilly (by which I mean like Dolly or Emmylou perhaps) than anything else yet ranging widely across genre boundaries.
The songs on Crazy Horse run the gamut of folk, country, and pop styles with perhaps too little control exerted by the producers to keep the sound consistent and balanced. Miller has a sweet voice that harks back to any number of singers of the late Sixties and early seventies. However, this feels more like a demo put together for bookers at the local bars than it does a commercial release. The talent is clearly there. It's the arrangement and production that bring this release down.
Skywriter
Bill Hammond
Flippo Records
2000
12 tracks
Hammond sets the mood and draws the listener into his work with a lovely solo guitar piece ("Raven") seguéd into a pleasant version of Peter Mayer's "Gitchi Gummi" (one of only two songs on this release not written by Hammond). I can see this medley fitting in quite well as fill on some program on the CBC or some American NPR station, enhancing the mood of whatever might be the topic of the day.
"Raven" is only the first of eight solo guitar numbers on Skywriter. In my opinion, these are the best, most interesting tracks on this release. Hammond has an unassuming approach to the guitar that allows the listener to relax and settle into the music like an old chesterfield. There's no virtuoso turns here, no hot licks to astound the players in the audience, no ego trips. The playing is restrained but skilled and confident, suitable for background at the local supper club or to make up a relaxing set at any folk club. As a composer and player of guitar songs, Hammond excels.
The remaining songs written by Hammond stand up well but are not really exceptional. These songs too have a solid musical base, being both composed and performed by a musician with obvious talent. However, the lyrics are not as strong as the music, and Hammonds vocals are still at the playing for friends at the local folk club level. This is not to say that either the lyrics or the vocals are inferior in any way, only that they are commonplace.
Skywriter is a collection of pleasant music that will fit well in almost any quiet environment. As a recording, this feels mostly like background, environmental music designed to set a comfortable ambience. I get the feeling that this set would work better performed live in a small folk club and would possibly take on a life all its own in such a welcoming surrounding.
It's Wonderful
Susie Arioli Swing Band
Fleming Artists Management
2000
14 tracks
There's a remarkable consistency to the music on this release, especially considering that the songs range through a variety of genres dating from the Thirties to the Fifties. In an era where the rage is the sort of big band zoot-suiter post-war swing that immediately preceded rock and roll, Susie Arioli epitomizes the quieter, jazzy swing sounds of an earlier era. With a band comprising some of the finest jazz and blues musicians in Montreal to back up her sweet but gutsy vocals, Arioli has a winning sound.
While it harks back to earlier times, Arioli's music has a strikingly contemporary feel to it. This is the old music not replicated but reinterpreted and revitalized. With no percussion except Arioli keeping time with brushes on a snare this is cool guitar and piano based swing music. Arioli sings the classic lyrics with soul, not just mouthing the words but bringing her full emotionality into play. This is swing music with heart.
The songs on this release range through sultry torch-songs, jazz, blues, jump jive, and a compendium of styles that may be categorized loosely as swing music. The mix is more eclectic than it may at first seem, yet it's a controlled and unified presentation by a group of highly skilled musicians.
It's Wonderful is a very important debut release by a Canadian artist who I'm sure will continue to surprise and delight us.
Barney-Adams Blues Attitude Live!
Barney-Adams Blues Attitude
Blues Attitude Recordings
1999
11 tracks
The core of Barney-Adams Blues Attitude is the duo of Gary "Doc" Adams and Gord "Barney" Barnes, who write original songs for the group and bring their distinctive vocals to the mix. Their band fills the stage with a steady rocking sound that's pretty typical of Ontario regional blues bands. The playing is competent and the blues rock out with proven audience pleasers. This is not the stuff that makes hit records but it's definitely music that will fill the local bar with fans.
This is a live performance recorded in an old town hall and brings with it the expected selection of production issues. The sound is often muggy and lacking in a sharpness that would bring the individual instruments into focus. At times the mix sounds a little off, but only a little at that. There are other aural anomalies here and there. This is not a bad thing, just a fact of life. In fact, this is how I expect a live recording should sound, especially if it's a recording of the blues or of rock and roll.
This recording features some very good and sometimes innovative guitar work by Adams, and Barnes is exceptional on blues harp. Supported by a solid rhythm section (Alex Paris and Nelson Poirier) plus guest keys by Terry Blankley, these musicians put on what sounds like a rocking good live show.
As independent recordings go, Barney-Adams Blues Attitude Live! is a respectable effort. The band's regional fans should welcome this release into their private collections. Blues fans everywhere else will find in this recording an excellent representation of the state of contemporary regional blues in Ontario.
The Anthracite Shuffle
Tom Flannery
Kikomusic
2000
16 tracks
The Anthracite Shuffle is a brilliant and eclectic tapestry of American folk music drawn from the hearts of the men who work in the depths to bring coal out of the earth. Although the songs are contemporary, all but one written by Flannery, most have a strong traditional feel to them. Yet there's a range of styles on this release that's impressive. Some songs are simple, reflecting the folk traditions that originated in the British Isles and morphed into something uniquely American as the nation grew. Others have a large feel that evokes Copland in their scope and musical range. Yet others approach rock and roll while still retaining their folk-music core.
A fine songwriter and performer, Flannery has the good sense not to attempt doing everything himself. Producer George Graham has given this release the professional polish that makes it shine like anthracite in the summer sun. Flannery's choice of musicians only serves to complement his own fine performance. This is a band that will stand up against any in the land. Flannery has also chosen not to be the only singer on this release, a rare event indeed among today's ego-ridden singer-songwriters.
Besides Flannery, lead vocalists on The Anthracite Shuffle include Lisa Moscatiello ("My Little Boy in the Mines"), Kate Jordan ("Miner Boy"), Eddie Appnel ("Why Do You Blame Me" and "We'll Burn With the Anthracite"), and Lorne Clarke ("The Breaker"). As well, these and other singers provide superb backup vocals on many of the songs.
The Anthracite Shuffle is a bright, well-written, well-performed, and well-produced release with a genuine folk feel to it. The dark that fills the lyrics is as deep as the mines they reflect, speaking for and honouring the men who work those mines. I believe this is an important release of contempory folk music in the old tradition.
Mnemonic Device
Michael Bolla
Independent
2000
5 tracks
The biggest disappointment in this release is that it doesn't contain more songs. The five songs that are included are indefinably special and a treat to hear. That's my opinion. On the other hand, I suspect this music falls into the you-love-it-or-you-hate-it category. I'm sure that for some listeners it will be just too eclectic or even... well, weird. I love it.
On first impression, I was reminded of Bill Cosby's jazz work on albums like Badfoot Brown and the Bunyons Bradford Funeral & Marching Band, a wonderful release in its own right. Bolla's use of musical entropy and chaos is reminiscent of the experimental work heard on some of The Monkees' less well-known songs. Bolla's excellent guitar playing ranges between Santana and Hendyx, but elements of jazz and the classics are scattered thoughout like stars set against the dark rock underpinnings.
If you enjoy music that's experimental and falls somewhere along the jazz rock-fusion continuum with bright splashes borrowed from the classics and pop music, then Mnemonic Device may be just your thing. If you like your music regular and predictable, then maybe this release is the one to change your mind.
Songs for the Time Being
Eric Folkerth
Independent
2000
13 tracks
In the songs of Eric Folkerth, I can hear echoes of Paul Stookey ("I Will Sing" and "Sequoyah"), John Denver ("Song from the Spring"), Buddy Holly ("Voices" and "These Rooms"), Bobby Goldsboro ("Mom Went Bungie Jumping"), James Taylor ("These Rooms" and several other songs), and other artists. Are these Folkerth's actual influences? I don't know, but the echoes are definitely there in his work.
If any song on this release is likely to represent Folkerth's own voice drawing upon but unfettered by the influence of others, it's "The Birches of Moscow" with its tight, evocative lyric and comfortable melody. If this is indeed his true voice, then it's a fine voice indeed, a voice he should allow out more often.
Eric Folkerth is best as a storyteller, but his writing and presentation could be stronger and more effective. The writing is colloquial and even conversational, but in its phrasing much of it still feels more like an academic literary exercise than oral story. The melodies, formal and often almost classical, only serve to add to this literary affect. Folkerth might do well to listen to artists like, say, Harry Chapin or perhaps some of the great songwriter-storytellers of his native Texas. Folkerth is not a bad storyteller, but he would be so much better if he loosened up both his writing and performance.
While I believe that he can become even better than he is now, Eric Folkerth is a fine storyteller in a pop-folk genre ideally suited to middle of the road programming.
