bluegrass

Apple Core

mandy — Sat, 16 Oct 2010 08:00:00 +0000

So much folksy lady rock, so little time. Add Kendl Winter’s Apple Core to the ever-lengthening list of guitar-loving, country-inspired singer-songwriters with a flair for bluegrass. It may not be terribly original, but Winter makes a fine effort on her fourth solo album. At times, her work is hauntingly beautiful; at others, it’s frustratingly cliché.

“Everyone’s so avant garde,” Winter sings on “Made It Through the Yellow,” perhaps referring to the sudden rise in folk hipster chic that makes committed musicians cringe. Should there be more beards and flannel on stage or in the crowd? On “Waiting for the Taker,” a would-be somber track about death with a jaunty guitar riff, she reminisces about apple pies, loyal dogs, and droopy-eyed cowboys.

A tribute to the late abortion provider, “Dr. Tiller” is clearly a lovely sentiment, if not the most enchanting song. Descriptive lyrics about the doctor’s murder feel more appropriate for some sort of spoken word tribute. In a song, phrases like “I’m walking through a mob of pro-lifers just to get a pap smear” feel awkwardly earnest and self-referential without any possibility of reaching people unfamiliar with the story or less than sympathetic about George Tiller’s fate.

Winter is a great talent. It isn’t her fault that so many artists in the last few years have grabbed washboards and banjos and sound oh-so-similar in their nature-themed crooning. While I’m perfectly content listening to Apple Core, if I’m looking for folksy jams, I’ll admittedly seek out albums by Mountain Men, Fleet Foxes, or even some old Wilco first.

Written by: Brittany Shoot, October 16th 2010

The Road Home

admin — Tue, 03 Aug 2010 17:51:00 +0000

By Eliza Blue

When I opened my package containing Eliza Blue’s album The Road Home, I was greeted with a little bit of Southern hospitality; the CD was wrapped in a piece of twine and included a hand-written note saying, “Thanks for listening, hope you enjoy!” I felt comforted by that note. It was a little wave “hello” from home, and more than that, a connection between artist and audience. When I popped in the CD, I was immediately drawn in and stopped whatever inconsequential thing I was doing at the moment. The soothing meandering of a folksy style met with the bluegrass accoutrements of banjo, fiddle, and guitar, but it was Blue’s voice that made me pause.

Blue’s voice is smooth, with something deeper, thicker and something nostalgic—an old yellowed book sitting in afternoon sunlight, a glass of sweet iced tea, and for me, the sound of home. Her intonation and velvety middle range are reminiscent of Allison Kraus, but her tone is darker and earthier than Kraus’ ethereal sounds. I found myself playing this album on loop for days on end, getting lost in her voice. “Oceans & Fields” and “Mending Fences” were lovely in their acoustic melancholy, in the pizzicato ostinato and weeping duets of violins. “Gospel Song” pays tribute to the religious origins of old time, bluegrass, and country. I could spend more time describing the pieces, which are finely crafted, but I, for once, had difficulty capturing the aural experience in words without sounding contrived and thus doing the album injustice.

Eliza Blue is a versatile and pioneering artist; many of the instrumentals are played by Blue, and all songs are original compositions. It is a self-produced, self-promoted album to boot; this is actually her third album to date, having already garnered much attention in the Minneapolis area. This bluegrass/folk amalgamation is a beautiful accomplishment, an album of thoughtful, layered pieces where the lyrics and instrumentals are equally captivating.

Written by: Cristin Colvin, August 3rd 2010

3

admin — Wed, 13 Jan 2010 17:01:00 +0000

By Nouvelle Vague

Peace Frog Records

If there’s one word to describe the works of Nouvelle Vague, it's génial. Generally, I don’t trust cover versions. Many of them are an abomination that spits all over the originals, but somehow, the cover band Nouvelle Vague makes me forget that. Yes, that French band that rehashed “Love Will Tear Us Apart” in pure bossa nova sweetness—a complete turnaround from the original melancholic version by Joy Division that followed more melancholic versions (the Wild Swans among others)—it became the anthem of the brokenhearted. Granted, Ian Curtis would cringe in his grave while hearing Nouvelle Vague’s version, while I, in turn, was amusing myself.

The masterminds of Nouvelle Vague—Marc Collin and Olivier Libaux—lead the pack of chanteuses, including Melanie Pain, and are armed with sixteen new secondhand tunes in their new release, 3. Instead of copying the songs one to one, the boys from Nouvelle Vague stick to the formula: strip the songs off and rework them, sometimes to the point of being mundane and unrecognizable. Hence, Nouvelle Vague, which means new wave in English and bossa nova in Portuguese, has taken on a different meaning altogether. It is French chansons for the twenty-first century gone alternative.

If imitation is a form of flattery, then don’t wonder why Depeche Mode’s Martin Gore decided to join the fray. On the first single “Master and Servant,” Gore serves as a back-up vocal to Pain. Strangely enough, it feels like listening to a dialogue between a man and a woman engaged in BDSM, only they are singing. For a while the song was on the black list of many radio stations in the U.S. due to its theme. While retaining the guitar parts, Nouvelle Vague added a flavour of bluegrass and country. Voilà! The single is set to conquer radioland without any scandal.

Terry Hall (Funboy Three and The Specials) and Ian McCulloch (Echo and the Bunnymen) make a cameo. Hall sings with Marina Celeste on “Our Lips Are Sealed,” which he co-wrote for the girl pop group The Go-Gos; McCulloch renders his voice on the original EATB tune, “All My Colours,” in another duet with Pain.

Nouvelle Vague’s acoustic version of Sex Pistols’ “God Save the Queen” has lost its teeth. However, laid-back this version is, the message is still depressive and amazingly clearer due to its sinister lyrics. “Such a Shame,” an original by Talk Talk, heavily reminds you of Air’s hit single “Playground Love.” The treatment is moody, yet hauntingly pretty. The torch song “Say Hello Wave Goodbye” could even impress Soft Cell’s Marc Almond. The French accent on “Blister in the Sun” accentuates its cuteness, while Plastic Betrand’s original “Ça Plane Pour Moi” is darn upbeat and cheeky—great songs to perk up your day.

Some might find Nouvelle Vague’s repackaging of old New Wave and punk anthems an act of blasphemy, but in truth, this is the group’s testament of paying a tribute to their favourite songs. So music purists, eat your hearts out. Nouvelle Vague is here to stay and 3 is the proof of that.

Written by: Elen P. Farkas, January 13th 2010

The Holy Open Secret

admin — Tue, 15 Dec 2009 00:53:00 +0000

By Hoots & Hellmouth

Mad Dragon Records

I would not have selected this album to review if I’d actually read the liner notes. However, I did my due diligence, went to iTunes and listened to a sample or two. I loved singer Sean Hoot’s voice, the uncomplicated lyrics and definite rock beat.

When my package arrived with Hoots & Hellmouth’s The Holy Open Secret, my children, who are teenagers, made their way into my room as I played it. Looking slightly bewildered at my musical choice, my son entered with the comment, “Is that really someone playing the saw?”

I am a lover of most kinds of music. I have every genre on my iPod, often listening to Everclear, Annie Lenox, and Frank Sinatra in short order. But The Holy Open Secret threw me for a little bit of a loop. It was like the first time I watched Napoleon Dynamite—I kept waiting for the funny, engaging, or meaningful moment. But it never came. Except that it did—tenfold.

I love this album. Absolutely adore it. I play it for anyone who will listen. I’ve listened to it at least seven times myself. I have come to obsess over the simplicity, the unusual and amazing concept, and the unique instrumentation pulled together by Hoots & Hellmouth. This is amazing stuff.

I’d almost hate to call this roots music and turn anyone off from discovering the depth and strength that is possessed in its simple concept. I want to beg everyone to listen to it more than once before making a decision. I’m not big into bluegrass or Appalachian music, but this is such a unique and phenomenal group—those who venture past the initial moment of understanding that something special is happening will be amazed at the result. There is stomping, clapping, and other unique forms of percussion—I read someplace that they rarely play with a drummer—and it’s an exciting concept to feel the music without the pounding drums that can overwhelm a subtle lyric.

Formed in 2005 as a two-man group, the now four-member Hoots & Hellmouth caught my attention. And how. I’d give anything to see them live—I bet it’s something to behold to see them in person. Stomping on stage. It all but gives me chills.

They have a great website that includes YouTube clips of live performances. Come on, you know you want to check them out—give it a listen and watch this most unusual quartet. I absolutely, positively guarantee that you’ve never seen anything like it before. Of course, too late to do anything about it, I discovered, as I write this, that they’re traveling through my home state. Now, how do I follow someone on twitter again…? Did they play here? That would be devastating, to have missed them when I just found them.

Written by: Rachel Petzold, December 14th 2009

Letter from New Virginia

admin — Mon, 26 Oct 2009 23:31:00 +0000

By Donny Hue and the Colors

Kora Records

Did you know that one of iTunes musical categories is “unclassifiable”? Such a description is apt for the music of Donny Hue and the Colors. The group uses many unusual instruments, including autoharp, melodica, glockenspiel, and theremin, as well as guitar and organ on an album that can alternately be described as psychedelic, minimalist, and orchestral.

The instrumental “Into the Woods” plays like the opening of a movie, setting the tone for the album. It is pleasant sounding yet laid back until the music stops abruptly and we hear a very very quiet sound resembling wings. Both the emphasis on melody and the bizarre use of ambient sound carry over as the album progresses.

“You’re On Your Own (We Could Help)” is a bit left of center, but whimsical in a Beatles-esque way. The lyrics make little sense: “Mr. Romo, how do you so elegantly bow?” “I Speak of the Hayseed Cousins” sports a country vibe with jangling guitar and laconic vocal while “Callidope” has a bluegrass feel and is marked by prominent harmonica and a fast-paced rhythm. We then have “Fairlady of the Springboard,” a waltz on which we hear piano and violin, and as with many other songs, the music obscures the vocals. It’s not that you can’t hear them, but that they don’t seem to be saying much, and the music is more the focus. The band gives a Southern rock feel to “Woods,” which has drawling vocals, ambling solos, and piano and horns that add to the crescendo finale.

Musically, Donny Hue and the Colors know their stuff, and while the album is interesting to listen to once, it doesn’t get any less strange or chaotic the second time around. Until the group learns to focus their talents more, I won’t be adding them to my playlist.

Written by: Karen Duda, October 26th 2009

Jewell Ridge Coal

admin — Fri, 13 Mar 2009 00:04:00 +0000

By Jeni and Billy

As someone with a very limited knowledge of folk music, I found Jeni & Billy’s second album Jewell Ridge Coal to be like Billy Elliot meets the Mamas and the Papas meets Dolly Parton. A little bit bluegrass, a little bit folk, and all original, the music feels simultaneously familiar and completely new.

Acoustic duo Jeni Hankins and Billy Kemp’s unique sound is not only easy to listen to, it creates an atmosphere. Jeni’s roots, born in the coalfields of Southwest Virginia, must have more than a little something to do with their choice of subject matter for the album: the Southwest Virginia coal mining community of Jewell Ridge.

Each track tells its own aspect of the story of this town. Opening with the miner’s tale on track one and covering everything from a union’s anthem, to a drug addict’s tragedy, to marital woes, we see all sides of life in a far-off place. My favorite song, not surprisingly, is the title track. It typifies their sound and is the best use of instrumentation in story telling on the album. Most importantly, it demonstrates how effectively Jeni and Billy’s voices compliment each other.

Theoretically, if you heard Jeni and Billy sing separately you would probably not assume their voices would mesh well but in fact it is the intermingling of their vocals that makes this album for me. Each exemplifying somewhat stereotypical folk tones, their combination creates this powerful and unique flavor, and they sound so natural together, it feels calming and clear. Its as if you were there sitting on a back porch in old-timey South and they were right there with you and just stumbled upon some instruments.

Taking the trip down South with Jeni and Billy to a time gone by is well worth the journey, and I am quite sure you will not only learn a little about Jewell Ridge but also about yourself.

Written by: Nicole Levitz, March 12th 2009

When Your Feet Hit the Stars

admin — Thu, 26 Jul 2007 12:57:00 +0000

By Carrie Biell

The first time I listened to Carrie Biell’s new album, When Your Feet Hit the Stars, I felt like falling asleep. All but nine of its ten songs are ballads. However, during the second listen I came to appreciate Biell’s smoky, soulful voice. The music is indeed mellow and great to listen to when you are stressed out. However, there are two songs that pick up the pace a bit. The sixth track “Parading” is a bit of a jolt with its driving drum beat because the first five songs are so mellow. “Bound to Be” is the last song, and it too is unexpected for the same reason as “Parading.”

When Your Feet Hit the Stars is folk music with bluegrass instrumentation (dobro, banjo, mandolin, pedal steel, upright bass). The lyrics are intense, but interesting. For example, in the song “Gone without Me” Biell sings about her blind mother:

My mother she said to me “I lost my eyes when you were a child and I never got to see you turn into a lady. I used to blame the Lord for doing this to me, but feeling bad for yourself don’t do a thing.”

If you like to listen to female folk singer/songwriters Carrie Biell is your girl, and When Your Feet Hit the Stars is the next album you should buy.

Written by: Gina-Marie Cheeseman, July 26th 2007

Balls

admin — Fri, 06 Jul 2007 14:01:00 +0000

By Elizabeth Cook

31 Tigers Records

As I listened to Elizabeth Cook’s new album Balls, I wanted to open the window and scream, “Why doesn’t country radio play her songs?” I love country music that sounds authentic, the kind that one has to search the internet to find. Cook’s music definitely fits the bill. I really appreciated the blend of different old-time sounds: bluegrass, rockabilly and traditional country. Cooks seamlessly blends the three styles while giving it her own unique twist.

Balls is a stellar album from an undervalued singer. All eleven tracks are fantastic and make for great car-ride play. Not only does Cook possess a sweet soprano voice similar to Alison Krauss, but great songwriting ability as well. On the opening track, “Times are Tough in Rock n’ Roll,” a bluegrass-flavored tune, Cooks makes her disapproval with the current state of pop music known loudly and clearly. “Sometimes It Takes Balls to Be a Woman” is a rousing feminist anthem with a rockabilly sound. “He Got No Heart” blasts a lover with the searing line: "I’d shoot him down if I knew where to aim.”

Perhaps one day country radio will wake up and discover Elizabeth Cook is the real deal: a traditional country singer with soul, and a songwriter with much to say.

Written by: Gina-Marie Cheeseman, July 6th 2007

Ladyfest South (January 25-28, 2007)

admin — Fri, 13 Apr 2007 23:30:00 +0000

Various Locations

Atlanta, Georgia

Ladyfest South is always a blast because it is back to back lady talent for a good cause. Ladyfest South 2007 happened over four nights at four venues in Atlanta and featured over fifty music and spoken word acts. This year’s beneficiaries are The Rock N’ Roll Camp for Girls and The Fund for Southern Communities.

Thursday January 25, 2007 - Eyedrum Art Space

Phat Man Dee from PA is amazing and fun to see. She sports interesting costumes and sings cabaret camp and pop. Julia Carroll is a "hard folker" from Gainesville Georgia, an Ani inspired, in your face young lesbian who sounds a little like Suzanne Vega, and whose style is a la Johnny Cash talk/sing. Julia’s songs are fast paced and socially conscious. Julia has really grown in her voice, stage presence and guitar work. With her high cheek bones, thin frame, high energy and jeaned attire Nashville’s Steff Mahan slightly resembles Michelle Malone. Steff is country folk, plays guitar as hard as Amy Ray, and really blew the crowd away with her impassioned performance and songs from hard time experiences. "God, Are You Mad at Me?" was about a lousy 2006.

This writer always loves to see Renee Mixon, from Rome, Georgia. Renee is a teacher with a fresh, clean, look and attitude. Her songs of love and loss are timeless, have rhythm, and are always interesting. The Morgan Rowe Band from Decatur was in top form as usual. Morgan is an amazing talent with a great band who deserves a wider audience. Morgan is a great, undiscovered talent.

Friday, January 26, 2007 - If Coffeehouse

Sabrina is a folk singer with a sixties style, powerful voice and message songs. Sabrina has a strong, commanding presence and gives advice in "Say So," and, "What R Y Waiting For," a fast paced diatribe against materialism. Atlanta’s Barb Carbon is intimate folk. Barb draws us into her world. "I am not ok… the mystery of life is wearing me down.” "Start Again" is haunting. Rana, from D.C is philosophical folk and like Mary Chapin Carpenter has a dry sense of humor. There is something expansive about Rana’s style. Her voice reaches out with strong emotion and her guitar playing is clear, strong and simple.

Tiny Nicole Reynolds from Pittsburgh looks like a young Bob Dylan. Reynolds has a sweet, striking and very soft voice - like a whisper. Reynolds majored in jazz guitar in college, but her style is pure folk. She left her audience wanting more and "Wondrin," was amazing.

Friday, January 26, 2007 - The Earl

Box, a rock band from D.C. describes themselves as: “Really pissed off lesbians who drank a half gallon of whiskey… a pack of monkeys.” Box has a lot of fun onstage. Their sound is strong and clean, one can hear the lyrics, and the song, "Holier Than Thou" is awesome. The vocalist can be a little off, but their sense of humor is right on. Also performed was "Lezzie’s for the Lord," and "Mullet Head Girlfriend," all just right for the party atmosphere of Ladyfest South.

Oriflamme, from Gainesville, Georgia is a girl band with poppy punk electric guitars and two bass guitars. Their words are hard to hear, but the music is textured, interesting and not too hard. Atlanta’s My Siamese Self, is rockabilly and punk garage rock, and featured some great guttural singing by the bass player. "Shrug Shoulder Hero" is a fine example of their unique style.

Saturday, January 27, 2007 - The 5 Spot

Easyell was a last minute fill-in, who really grabbed attention. A soul and folk singer, Easyell’s voice and songs were haunting. Spoken word artist Ryka Aoki de la Cruz from Los Angeles also performed. Her poems address issues, such as abuse, and offer hope.

Sunday, January 28, 2007 - Eyedrum Art Space

Mare Wakefield from Nashville on guitar and vocals performed with her bassist. Wakefield is alt country with an attitude, as a mix of Natalie Merchant, Shawn Colvin and Dolly Parton. Wakefield blends sophisticated bluegrass, country and jazz with funny stories. Mare’s voice is good and has rhythm, and her playing complements her singing. Wakefield performed "Love vs. the USA" and a break up ballad, "You’ve Done Enough." David and Roselyn from New Orleans performed with the rumba box, banjo, harmonica, trumpet and tambourine. Small Framed Boy from Atlanta, "Experimental, Psychedelic, and Progressive," closed out the night and the fest with their blend of noise, funk, rock and Middle Eastern elements.

The call goes out to other strong women who will step up to the plate and organize this amazing festival next time.

Written by: Katie Klemenchich, April 13th 2007