Short Cuts
: Summary Reviews #16Name of CD release |
Artist/Group |
| Amazon Trail | Liana |
| New & Used Tunes | Mo Mack & Company |
| Swamptown Girl | Lonesome Brothers |
| Wing and a Prayer | Marv Hamilton |
| Heads Up! | Brown Ale |
| Timber & Stream | Tullamore |
| New Jersey | Edgar Allen & The Poettes |
| If You Only Knew | Julie |
| The Way We Are (songs written by Fred Moolten) | various artists |
| The Crazy Zoo: an Animal Songfest | Joe Ross & Friends |
| Thunderin' Bluegrass | Joe Ross with Cold Thunder |
| The Journey | no comment |
| Bluesified | Ernie Hawkins |
  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 February 21, 2004. |
Amazon Trail
Liana
LCDM Entertainment Productions
1999
6 tracks
What will first strike a listener is Liana's voice and especially her vocal style. This is big voice, a powerful storytelling voice that brings to mind not so much opera as Ethel Merman. This is not a voice to be ignored but one that grabs you by the throat and drags you into the song. As in real life, either the experience will scare you off or else you'll love it and keep coming back for more.
With her almost overwhelming vocals and well-constructed music, Liana's songs run to the serious end of the scale. Her lyrics tend as well to touch on serious aspects of love and life in our modern world and throughout time. To some degree, this is an illusion. Liana's lyrics betray an interesting if somewhat quirky sense of humour that brings fun and even a sort of revelry to her performance.
If you want to see what's happening away from the folksy, middle of the road, soft-rock centre of Canadian music, out at the tattered edges, then the larger than life music of Liana Di Marco may be just the tonic you've been seeking.
New & Used Songs
Mo Mack & Company
White Rose Media
2000
13 tracks
A scholar of the history of country and western music, Morris McClellan is at his best performing in the older country and folk styles. Mo Mack, as he calls himself, has a dry countrified voice and style reminiscent of artists like Doc Watson and Oscar Brand. Laid over a simple guitar backing, this voice has a powerful down-home feel. As is made clear by the songs on this release, attempts to ornament and fill out the arrangements can be counter-productive. At his best, Mo Mack is a simple country singer.
While his voice is well suited to American folk music, Mo Mack's voice and style are best suited to the old country-blues and country-gospel epitomized by Doc Watson and Jimmie Rodgers. Set against basic instrumentation, his vocals on these songs are simple and unaffected, yet strong and emotional.
A bonus on this release is a sixteen-panel insert that includes a longish note from Mo Mack, background information on all of the songs, and a complete set of lyrics. It all makes very interesting reading.
New & Used Tunes is a mixed bag, a sort of sampler of different approaches that Mo Mack takes toward music. For those who are interested in hearing this artist at his best, listen for the several songs that revert to traditional country blues and gospel. If you're old enough, they'll take you back to great artists of an earlier time.
Swamptown Girl
Lonesome Brothers
Captivating Music
2001
12 tracks
Swamptown Girls is a quirky, eclectic blend of performances centred around rock and roll that's rediscovered its roots in country music and seems more often than not to be presented with tongue firmly in cheek. For the overall mix, the closest comparison I can come up with is the music of Luther Wright and the Wrongs, although Michael Nesmith or Lyle Lovett might also fall into a similar category. The individual songs bring to mind a variety of popular if often niche recording artists.
Try to imagine a trio that blends elements of John Mellenkamp, The Eagles, Bare Naked Ladies, Michael Nesmith, Jeanie C. Riley... in fact a stew of American country rock sounds that fall just outside the popular music mainstream. If you can imagine that group, then you've got a good idea of the diverse sounds of the Lonesome Brothers.
Every song on Swamptown Girl is different and every song is interesting. This release is sure to be enjoyed by those who enjoy an edgy mix of country music and rock and roll ranging from skiffle through Mellenkamp/Springsteen Americana to hard rockabilly-tinged rock. This music is most likely not destined for mainstream popularity but is sure to find a loyal niche audience.
Wing and a Prayer
Marv Hamilton
Best Dog Records
2000
11 tracks
The music of Marv Hamilton wanders effortlessly through the territory occupied by easy going country flavoured blues with an occasional touch of popular MOR music for variety. His vocal style is laid back and comfortable, well-suited to a small folk club or house concert or perhaps a romantic evening with wine in front of a crackling fire. His guitar complements his voice with lazy day rhythms that set a calming air to carry the songs softly forward.
The songs on this release are of equal high quality, so I won't embark on a prolonged discussion of any one, but there are a few that especially struck me. "Ready to Sail" is a sad, soulful piece about loss and survival with the moral, "...if you lose yourself there's no one to come home to." "When You Call My Name" has some of the most stylish blues guitar I've heard in a long time, overlaid with an emotion-laden country blues vocal that somehow echoes some of the old soft rockabilly songs. Very nice. "Ah Ho" sounds so much like that first Lightfoot album that you might think this was the man himself singing under a pseudonym. Each of the other songs has its own points of interest and is well worth a listen.
Marv Hamilton is clearly an artist who pays close attention to all facets of his art, whether words, music, or performance. There is a polish and attention to detail in this work that is so often lacking in contemporary so-called singer-songwriters. This is work of a quality and class that this reviewer rarely sees. I'd highly recommend to anyone interested in contemporary American songwriting that they give Marv Hamilton a listen.
Heads Up!
Brown Ale
Independent
2000
19 tracks
This is pub-music, the sort of rollicking, not always serious folk music that draws crowds to the "Irish" bar that exists somewhere in every Canadian town that has a college or university. The music is a mix of traditional sounds from Canada's Maritime Provinces and the United Kingdom and the presentation, geared toward a possibly rowdy bar room audience, might not always please the folk purists.
Transplanted Maritimers Glenn McFarlane and Les Smith, now resident in the industrial heart of Ontario, bring a certain energy and authenticity to their performance of this mix of Down East, Scots-Irish, and contemporary songs. The result is a lively, interesting set that must surely keep a live audience awake and quaffing the Guinness or some Canadian draught right through to closing time.
The performances on this release are recognizably Canadian, featuring traditional Canadian themes (closing with "Squarin' Up Time," an interesting alternative lyric set over the melody of "Squid Jiggin' Ground"). If you don't have the time to go to the Irish pub downtown, you might do well to pick up a couple of Guinness on the way home from work and play Brown Ale as background music for your relaxing evening at home.
Timber & Stream
Tullamore
Independent
2000
12 tracks
Tullamore's debut release features the group in its original configuration as a traditional folk music trio. (Since the release of Timber & Stream, Tullamore has added a fourth member and replaced one of the originals.) Performing on this release are Mark Clavey, Sonya Baughman, and Mary Hanover. The sound is Irish, traditional but with arrangements that give at least some songs a distinct American flavour.
A special treat on this release is Mary Hanover's delightful work on the hammered dulcimer. This is especially apparent on the two and one half minute instrumental introduction to "Lowlands of Holland." Sonya Baughman provides an emotional and even dramatic interpretation of a young girl's love for and loss of her sailor husband.
A bonus is that the insert includes not just lyrics but a brief historical background on each of the songs, adding a further dimension to the performance.
Those who enjoy traditional Irish folk music, especially with a political bent, may want to add Timber & Stream to their music shelves.
New Jersey
Edgar Allen & The Poettes
Independent
1998
5 tracks
There are only five songs on this release, less than a half hour of music, yet that's enough to provide a fuller listening experience than many releases more than twice the length. While the writing here seems at times frivolous, there is some depth that pervades New Jersey and holds the listener's interest. Like the sound, the writing falls somewhere between schlock rock and Jim Steinman but leans more toward the latter.
It's hard to get a handle on this group's style, instrumentally or vocally. Sometimes, it has the feel of musical theatre, varying between the sort of big European cabaret you might remember from the musical Cabaret, the rich rock sounds of The Rocky Horror Show, the dramatic rock of Queen and Meat Loaf, and snippets of other sounds. Sometimes it echoes the spoken comedy of sixties rock and roll groups like the Hollywood Argyles. Sometimes it just feels like seventies and eighties hiphop influenced rock.
With lyrics that are sometimes but not always compelling and with a melange of musical styles, Edgar Allen & The Poettes is a group that some will love and some will hate. Whatever the feelings their recorded or live performances may inspire, their music will be hard to ignore.
If You Only Knew
Julie
Sound Wave Productions
2001
12 tracks
Hearing Julie sing takes me back forty years to when I was working at CFCW, a Canadian country music station, and Dolly Parton was just starting to get a lot of air-play. Here is a similar sweet hillbilly voice edged with a strong sense of story and a pop-sensibility. Julie's music has come down from the mountains and learned to be very comfortable in the city.
It doesn't hurt that Julie, whose full name is Julie Angela Griffin, has collected seven terrific musicians around her for support. With such fine performances by the musicians and with polished harmonies all 'round, even a lesser vocalist would sound good. With Julie at the centre of it all, the sound comes near perfection.
If You Only Knew is a professional, well-performed set of country music with an old-time feel enhanced by innovative arrangements and striking harmonies. It's well worth the listen.
The Way We Are (songs written by Fred Moolten)
various artists
Great Gulf Records
2000
13 tracks
The cover describes The Way We Are as "a blues, folk, and cabaret album." Perhaps. There are elements of all three styles included here. However, when I think of folk or blues I tend to think in terms of single musicians or small ensembles. Cabaret might be the more accurate description of this music. For me, it falls even more neatly into the category of American music theatre.
These are songs that do not just tell a story but tell it from the point of view of a specific character. These are songs that might spring naturally out of a conversation, the way it happens on the Broadway stage or a movie musical. All that's missing is a linking script and these songs could be the libretto for a new musical. With more than thirty performers involved, this is a big, theatrical production rich with dramatic possibilities.
This is an intriguing exercise in making music that is uniquely American in style and scope, and is well worth giving a listen.
The Crazy Zoo
Joe Ross & Friends
Zephyr Records
2000
19 tracks
Intended to be a collection of songs for children, this ain't exactly Sharon, Lois and Bram. It's a great idea. Record a collection of songs about animals, including one song about strange animals with mismatched parts. Performed by a group of talented musicians, this concept should produce a wonderfully entertaining album for children. Should. In this case, something has been lost in the translation. The performance is technically good, but the set is dry, inconsistent, and mostly just boring.
I listened to The Crazy Zoo with my eighteen year old daughter and sixteen year old son. It's true that these are not little children, but the label does claim that "families from 3 to 93" can enjoy these songs. Both of these young people found the music not just boring but bad. My daughter questioned whether any of these songs would hold the attention of a pre-schooler for more than five seconds. I agree with her. The songs had trouble holding my attention, and I was trying to give them a fair audition. Hearing several songs that performed by other artists are bright and lively, the kids questioned whether they were meant to be played at a funeral. Although not professional reviewers, my children found nothing to redeem the songs in this selection.
Interestingly, and for me surprisingly, this release was an award nominee for the Parents' Choice Foundation, an organization that prides itself on "honoring the best in children's media" for almost three decades. Clearly these folks saw something in this release that was missed by me and my children, so you may want to take our opinions with a grain or two of salt.
Given the high quality and talent of the musicians involved in this project, I'm very surprised that it fails so badly. About the only thing that could save it would be to start again from scratch: revise, edit and polish, then test the material with a live audience of kids before going back into the studio.
Thunderin' Bluegrass
Joe Ross with Cold Thunder
Zephyr Records
1998
13 tracks
An older release, Thunderin' Bluegrass came to me on cassette. The music is mostly bluegrass with a modern feel to it. This is old-time music that doesn't have an old-timey feel to it. While always keeping bluegrass at the centre of its sound, this band wanders into folk, country, and even jazz stylings. The result is an eclectic set held together by its bluegrass underpinnings.
The choice of songs here reflects and influences the eclectic sound. Four of the songs are written by Joe Ross and maintain a folkish bluegrass style. Several songs are arrangements of traditional folk songs. Then there are songs by writers as disparate as Jim Croce, Mickey Newberry, and Patty Loveless. There's even a version of Johnny Horton's pop novelty hit, "The Battle of New Orleans."
The musicians of Cold Thunder are talented and are clearly very comfortable playing with one another. The instruments weave their sounds together like finely woven cloth. It's clear that Ross has been with this group a long time. The credits on the CD are a bit misleading as Ross is not with Cold Thunder but is actually an integral part of the group.
Cold Thunder is a more than competent group of musicians whose interests and influences clearly reach far beyond bluegrass music. These outside influences add to their bluegrass sound, bringing to it a certain cosmopolitan air. It's easy to understand why their live performances are popular in their home state of Oregon.
The Journey
no comment
Independentbr>
2001
10 tracks
There's no doubt that AJ Houston and the members of his musical troupe are competent musicians. Sometimes, though, simply being able to put the notes together in the correct order is not enough. In their present form, the songs on The Journey have no spark to bring them alive. The instrumental arrangements seem written for a low-rent elevator and the vocals are weak and sometimes off. It doesn't help that the lyrics are mostly maudlin and sometimes just plain sappy. The music here may be strong enough to hold its own half heard in the local make-out lounge, but it doesn't bear closer scrutiny than that.
While the music on these songs is performed by actual musicians, it has a very artificial feel. Each song feels like a set of instrumental loops, each layer slightly overlapping the other. It's the sort of thing some of the more clever teens make using a midi keyboard and a multi-track computer recording program. After a while, the repetition becomes quite monotonous. That's a shame because, done different, this music might have been quite interesting. The overall sound is like the moodier late Sixties and early Seventies sounds: The Sandpipers, perhaps, or The Mystic Moods Orchestra.
The lead vocals, which I'm assuming are by AJ Houston, often sound flat and sometimes seem to slip slightly off key. His voice has a plaintive quality which, with better control, might be a real asset to songs in this genre. As with the instrumental music, the combination of a flatline vocal style and repetitive melodies tends to make the songs less interesting than they have the potential to be.
This band has been performing live and recording (beginning with their first release in 1985) for more than twenty years. Clearly, there's a wealth of experience shared among the members of this group. They're certainly a group with the tenacity to keep making music through the decades. Anyone curious might want to give them a listen. It's possible that you may not agree with my appraisal of their work. And that's alright.
Bluesified
Ernie Hawkins
Say Mo' Music
2000
11 tracks
Diversity seems to be the key to understanding the selection of music on Ernie Hawkins' Bluesified. The title notwithstanding, this is not strictly speaking a blues release. Rather, what unifies this somewhat eclectic selection of songs is their traditional or old-time sound. Even the two more contemporary numbers written by Hawkins conjure visions of a bygone musical era. This is quiet, comfortable music spanning a number of once popular styles including traditional blues, ragtime, gospel, western, and even a touch of klezmer. Although an oddball mix, it somehow manages to hold together and to work very well as a set.
Ernie Hawkins is an accomplished guitarist with a scholar's understanding of the old music. To his performance, he brings an obvious love for the music he plays. To hear him play is to visit a musical snapshot of America's increasingly distance past and to discover in it a certain beauty and vitality that resonates into the present.
As a vocalist, Hawkins brings a rough, amateurish (but not amateur) sense to the songs he sings. Here is not music sung for the pop radio audience but rather the music of back porches and kitchens across the nation. There is a comfortable, familiar feel to this man's vocal style that brings the songs out of the studio and back home where they belong.
A traditional artist in a modern world that often ignores or rejects the past, Ernie Hawkins is one of those who helps to preserve what has gone before so that future generations can discover what it has to offer. A talented guitarist and songwriter, Hawkins is more importantly a scholar of music that is no longer in the mainstream, of its sources and of its finest practitioners. It's in this regard that Hawkins has the most to offer, not just to music fans but to all Americans seeking to understand their past. For them, music can be the first gateway to the national memory.
