Posts Tagged ‘Singer-Songwriter’

Peter Himmelman: There Is No Calamity

Friday, September 15th, 2017

Philosophical rock ‘n’ roll looks at the world’s ills and cures

It’s been three years since Peter Himmelman rebuffed his own doubts with the introspective The Boat That Carries Us. The disillusion displayed in the 2007 documentary Rock God gave way to a more emotionally agile life that turned obstacles into opportunities for recalibration, and found happiness in the realities that his youthful dreams of fame had spawned. On this follow-up he focuses on dialectical questions of the mind and heart, looks outward at society’s barriers and wonders how one’s thoughts and emotions create and might ultimately contribute to the resolution of the world’s problems.

The opening “245th Peace Song” condemns the toxic political and social atmosphere that currently dominates America, but Himmelman seeks healing in place of scapegoating; pleading for solutions rather than protesting problems. He laments fear’s corrosive impact on societal bonds and advocates collective action as an antidote. At turns Himmelman can be defeated, deterministic, nihilistic and existential, noting that rich men run the world, wondering if we can even know whether meaningful decisions exist, and pitying those who coast through life without the friction that creates opportunities for redemption.

But in his heart, Himmelman is an optimist. The gospel-tinged “Ropes or Wings” opines that bitterness and hate are choices, but that hope, kindness and mercy are always ready options. He contemplates the seemingly infinite wealth of one’s memories, and cleverly rhymes his way through the impressionistic “Ribbon of Highway.” He strikes an inspirational tone that is part Springsteen and part Neil Diamond on several tracks, and the guitar playing, particularly the solo on “Smoke and Flames,” will remind you of how much you miss rock music. This album is intellectually deep and emotionally soulful, which will come as no surprise to Himmelman’s many fans. [©2017 Hyperbolium]

Peter Himmelman’s Home Page

Mike Younger: Little Folks Like You and Me

Thursday, September 14th, 2017

Canadian transplant makes socially aware country-rock in Nashville

The hoarse edge on Mike Younger’s voice might remind you of a young Don Henley, and there’s an earthiness to his delivery that’s more middle-America than Los Angeles. Originally from Nova Scotia, he wandered the world before setting down in Nashville where his rootsy honky-tonk and folk fit easily into the scene that lays beneath the city’s commercial sheen. His years as a busker taught him that gimmicks might stop a passerby, but it’s having something personal to say that will make them stay. That same lesson works well on record as he sings of both his own plights, and those of the audience to whom he’s played face to face.

He identifies with a working class that seeks a moment to dream of something better for themselves, as well as those they will leave behind to inherit the planet. His protagonists nobly hold to their convictions, even as their principles become their last possession, and they remain optimistic that the good in people will win over society’s most selfish instincts. He rejects the short-sighted profits of “Poisoned Rivers” and reflects on the gained experience of shared hardship as he laments a mortal ending on “How To Tell a Friend Goodbye.” The latter song’s lack of emotional resolution will be familiar to anyone who’s felt they came up short in a final farewell.

This is a serious album, but not one without lighter charms. “Never Was a Dancer” recalls Younger’s clever effort at turning his lack of experience into an invitation for instruction, with neatly crafted lyrics that leave the actual definition of “dancing” to the listener’s imagination. He falls for a honky-tonkin’ gal on “Rodeo Queen” and celebrates the week’s end with “The Living Daylights.” His songs of social conscience suggest Woody Guthrie, John Mellencamp, Steve Earle, and his first producer (for 1999’s Somethin’ in the Air), Rodney Crowell. Younger’s voice is authentic and he has something to say. [©2017 Hyperbolium]

Mike Younger’s Home Page

Guy Clark: The Best of the Dualtone Years

Friday, March 10th, 2017

Selections from his last three albums, plus demos

The Nashville-based Dualtone label has an enviable catalog, including albums by the Lumineers, Shovels & Rope, and perhaps most precious of all, Guy Clark. Clark arrived at Dualtone in 2006 as an oft-covered songwriter and a well-loved recording artist. His three studio albums for the label were each nominated for a Grammy, and 2013’s My Favorite Picture of You took home the trophy. Clark’s May 2016 passing turned these recordings into a capstone to a thirty-nine year career that made earlier stops at RCA, Warner Brothers, Asylum and Sugar Hill. Dualtone’s 19-track collection cherrypicks Clark’s three studio albums and his 2011 live release Songs and Stories, and adds a trio of previously unreleased demos that were co-written with Hal Ketchum, Marty Stuart and Holly Gleason.

No song in this collection is more emblematic of Clark’s observational powers than “My Favorite Picture of You,” in which he draws a lifetime’s worth of knowing – “a thousand words / in the blink of an eye” – from a bent and faded snapshot of his wife. Elsewhere in the collection he turns a thrift store guitar into a ghost story, and under his watchful gaze, a roadhouse parking lot harbors the drama and detail of a novella. The dreamlike interior of that dancehall is extolled in “Cornmeal Waltz” as a fiddle moves dancers gently around the floor in three-four time. Clark was a writer’s writer, musing on the physical and psychic costs of his art in “Hemingway’s Whiskey” and turning fierce weather into humorous poetry with “Tornado Time in Texas.”

The live tracks add several of Clark’s most-loved songs to the collection, including “L.A. Freeway,” “Homegrown Tomatoes,” and “The Randall Knife.” The former features a mid-song monologue that further illuminates Clark’s poor fit in Los Angeles, while the latter draws a portrait of his grief from an elegy to his father. Clark’s mantle as a songwriter is represented by songs that were covered by Kenny Chesney, Jerry Jeff Walker, Brad Paisley and John Denver, and his influences by a cover of Townes Van Zandt’s “If I Needed You.” The three newly uncovered recordings that end disc two are guitar-and-voice songwriter demos that emphasize the songs’ folkloric qualities. The tri-fold digipak includes liner notes by Gleason and spreads 68 minutes of music across two discs. [©2017 Hyperbolium]

Guy Clark’s Bandcamp Page

Scott Nolan: Silverhill

Monday, February 27th, 2017

A singer-songwriter balances hope against defeat

There are several shades of weariness in Scott Nolan’s latest album. He’s exhausted by a lifetime of emotional weight on his shoulders, both his own, and that which he’s assumed, and his soul seems worn by having to tell these stories. It’s a tone that effectively brings the listener into both the confidence of the story and of the singer. Nolan sings of emotional dead ends and the positive expectations that make them all the more depressing, drawing fragmented details that reveal a shared picture in the chorus. He opens the album with a canny observation of the dichotomy between temporality and immortality, surrendering to the inevitability of change while still seeking to guide its course. He may feint to fatalism, but there’s a current of hope animating his songs.

Recorded in Alabama with the band Willie Sugarcapps, the tempos are contemplative, almost tentative in spots, as the group discovered the songs live, without rehearsal. The result taps into the slower pace of the South, and turns the session into an intimate performance. Nolan draws on childhood nostalgia for “Fire Up,” but it’s tinted blue by innocence lost. Grayson Capps opens “Curl & Curves” inhaling and exhaling long notes on his harmonica, building up the nerve of Nolan’s quest for love – something that turns hoarse with sleepless expectation on “When Can I See You Again.” The album is beautifully crafted without being overworked, and closes with a pair of melancholy portraits that touch on the moods of John Prine and Neil Young. Nolan may be haggard, but he’s not defeated, and his music harbors a spark of hope. [©2017 Hyperbolium]

Scott Nolan’s Home Page

Joe Goodkin: Record of Loss

Sunday, February 12th, 2017

A singer-songwriter’s contemplative view of loss

On the second of a planned three-EP series, singer-songwriter Joe Goodkin continues to mine a deep streak of observation and self awareness. The first EP, Record of Life essayed a catalog of loss, regret and memory, rendered in detailed, personal images. This follow-up segues with the emotional fallout of its predecessor, recounting his losses nightly on tour, suffering additional bereavement, and finding that success doesn’t fully fill those voids. This time out he continues to sing of those he’s seen suffer and those he’s lost, but framed as celebrations of the remarkable and eulogies of the beloved, rather than lamentations of difficulty or loss. He’s mindful to appreciate what’s in front of him, rather than lament what’s gone, and to use each loss as an opportunity to refocus on what remains. The powerful closer, “For the Loss,” provides a rarely heard man’s viewpoint on the emotional consequences of abortion. Goodkin’s production, using only a 1963 Gibson ES-125T for backing, is remarkable as well. His multi-miked and overdubbed guitar creates a multitude of sounds, and vocals mixed from close-in and room mics build atmosphere around his singular voice. The third EP in the project, Record of Love, is due Summer 2017, but the first two parts stand strongly on their own and pair nicely as two-thirds of the full project. [©2017 Hyperbolium]

Joe Goodkin’s Home Page

Various Artist: Highway Prayer – A Tribute to Adam Carroll

Friday, November 11th, 2016

various_highwayprayeratributetoadamcarrollSome of Americana’s finest songwriters salute a peer

It’s one thing for a songwriter to be fêted with a tribute album at the relatively young at of 42, but to be honored by a who’s who of one’s peers speaks louder than words. And with the likes of James McMurtry, Hayes Carll and Slaid Cleaves having satchels full of terrific original material, their willingness to saddle up a favorite from Adam Carroll’s catalog is both a tributary offering and an artistic opportunity. The largely acoustic productions of Jenni Finlay and Brian T. Atkinson rightly leave the limelight on lyrics whose emotional resonance is immediate, and whose meters are so natural that they barely sound composed.

Each performer finds a natural fit to their chosen song, with the Band of Heathens’ digging a gospel groove for “Oklahoma Gypsy Shuffler” and Matt the Electrician adding anxious fingerpicking to “Old Town Rock ‘n’ Roll.” There’s two-stepping mandolin and steel as Noel McKay and Brennen Leigh sing the story of Bob, the “Karaoke Cowboy,” and Walt Wilkins explores a showman’s life in “Highway Prayer.” Carroll’s lyrics derive from fleeting moments, snapshots whose studied details conjure life stories. His narratives drop their baggage on the platform to chase expectation down the tracks, one step ahead of consequence.

Carroll slips easily between observed detail and poetic flight, framing everyday images as literary moments. He’s particularly adept at portraiture, whether it’s a colorful hustler, a rural taxi driver or a karaoke singer, he sees what you might feel, but couldn’t verbalize, capturing a person’s essence in the details of their physical being and actions. The titles draw heavily from Carroll’s first two albums, South of Town and Lookin’ Out the Screen Door, as well as 2008’s Old Town Rock ‘n’ Roll, and Carroll himself appears at CD’s end to honor “My Only Good Shirt.” It’s a sweet way to close this tribute to a much loved songwriter. [©2016 Hyperbolium]

Adam Carroll’s Home Page

Mason Summit: Gunpowder Tracks

Saturday, October 22nd, 2016

Mason_Allport_cover-1400x1400.inddSouthern California pop prodigy spreads his wings

On the cusp of adulthood (his twentieth birthday party was held October 15th at Genghis Cohen), Mason Summit’s already on his third full-length album of original music. He’s a singer, songwriter and multi-instrumentalist whose music brings to mind the craft of Brian Wilson and Chris Stamey, and the emotional delicacy of Elliot Smith. Working with engineer John McDuffie and a selection of top-flight L.A. studio players, Summit has fashioned an even more sophisticated version of his introspective sound, and his lyrics showcase the emotional and artistic discovery that marks the transition from adolescence to adulthood.

Summit wrestles with the onset of outside awareness (“What I’m trying to say / Is that I don’t know what to say”) and the disturbing things it can bring to light. He struggles with relationships that are out of balance, the mystery of temptation, the banalities of daily living, and – surprisingly for a teenager – mortality. His introspection gives voice to teenage thoughts that aren’t often spoken aloud, at least not within earshot of adults. “When Time Was Mine to Spend” ruminates on the heavier burdens and narrowed freedoms of adult life, and though sung in the second person, “Suede Pockets” rings with first-person break-up details.

Without a band identity to maintain, Summit is free to give each song a unique mix of instruments, and though the mood is typically pensive, the textures are varied. The music thins to guitars for “Side Street,” turns jazzy with the muted trumpet, piano and guitar of “Detour,” and gains a Nilsson-like feel on “Snakeskin Shoes and Crocodile Tears.” Summit’s put a lot of craft into the arrangements, vocabulary, meters and rhymes, using his freedom as a developing indie artist to experiment. He’s also gained experience interning with Rob Schnapf, working shows at McCabe’s ,and attending music school, all of which should multiply the opportunities for this talented singer-songwriter. [©2016 Hyperbolium]

Mason Summit’s Home Page

Shane Alexander: Bliss

Friday, August 5th, 2016

ShaneAlexander_BlissCalifornia singer-songwriter spans acoustic folk and canyon pop

After five solo albums, and earlier records recorded with Young Art, Damone and the Greater Good, singer-songwriter Shane Alexander has self-produced his most sonically fetching work yet. The sparseness of 2013’s Ladera can still be heard in the opener, with Paul Simon-styled finger-picking and a double-tracked vocal that suggests Elliot Smith. But the album quickly expands beyond acoustic folk with the second cut’s driving drums and atmospheric piano and steel, echoing 1970s canyon rock with a melancholy lyric of haunted memories and a memorable chorus hook. And melancholy turns into panic as a relationship dies in the power ballad “Hold Me Helpless.”

Alexander can be abstract as he introspects his history and surroundings. “I Will Die Alone” is lined by moments in time, but they’re connected weigh-points rather than a linear narrative, and the allusional “Nobody Home” has the rhythm of pursuit for its fractional imagery. Alexander’s bliss may be in the act of observation rather than the observations themselves, but he shines a lovelight on “Heart of California,” pledging his undying gratitude for the state’s inspirational bounty. His greatest bliss, however, was likely the chance to record in his own studio, allowing his songs to unfold without a meter running. For those who haven’t met Shane Alexander, this is a great introduction. [©2016 Hyperbolium]

Shane Alexander’s Home Page

Tommy Womack: Namaste

Wednesday, July 27th, 2016

TommyWomack_NamasteA songwriter finds his center

Brushing up against death will make you philosophical. Or at least that’s the impact it’s had on songwriter Tommy Womack, whose 2012 recovery from near-fatal addiction and 2015 recovery from a life-threatening car accident has deepened his introspection, magnified his gratitude and optimism, and sharpened his sense of humor. All are on full display in this new collection of songs, essaying everything from wry takes on aging to blunt confrontations of faith and death.

The album opens with hope and wit in “Angel” and “Comb-Over Blues,” before turning to a Lou Reed-styled monotone for “End of the Line.” The latter reflects on the heightened awareness of mortality brought by recovery’s second chance, and segues seamlessly into the Dylan-ish “It’s Been All Over Before.” That second chance is met head on in “I Almost Died,” a harrowing first-person account of a drug-fueled near-death in which Womack recreates an addict’s obstinate dependence on “almost.”

Now in his fifties, Womack’s more sanguine about bad times, drawing from them an ability to see his own beliefs in context. He stacks his religious views against Christian history in the twangy country shuffle “God III” and his beat poem “Nashville” is a love letter to a city of contrasts, one in which songs are written by appointment and swapped in informal songwriter nights. He closes with the optimism of “It’s a Beautiful Morning,” a sentiment that’s knowing rather than naive, and a fitting cap to stories of hard-earned lessons. [©2016 Hyperbolium]

Tommy Womack’s Home Page

John David Souther: John David Souther

Sunday, April 3rd, 2016

JohnDavidSouther_JohnDavidSoutherThe debut of a ‘70s L.A. songwriter w/7 bonus tracks

Like many singer-songwriters, J.D. Souther is better known for songs performed by others, including the Eagles (“New Kid in Town”), Bonnie Raitt (“Run Like a Thief”) and Linda Ronstadt (“Faithless Love”), than for his own performances. But in the early ‘70s, the Detroit-to-Texas-to-Los Angeles transplant was introduced to David Geffen by his downstairs neighbor, Jackson Browne, and found himself signed to the nascent Asylum label. This 1972 debut features ten originals, and includes accompaniment by Souther’s then-roommate, Glenn Frey, as well as handpicked session stars Bryan Garafalo, Gary Mallaber, Wayne Perkins and Nashville West fiddler Gib Guilbeau.

The album’s sound helped develop the templates for ‘70s Southern California music, adding country to rock, while keeping the singer-songwriter sensibility front and center. The album was recorded at Pacific Recorders in Northern California, rather than one of the reigning L.A. studios, but you wouldn’t know it from the musical vibe. Souther sounds a bit like his pals Browne and Frey, and his songs have a similar shade of inviting introspection. In “Kite Woman,” which Souther had previously recorded with Frey as the duo Longbranch Pennywhistle, and “How Long,” you can hear the voice that would carry him forward, and the songwriting that would come to fit the Eagles. The latter song was in fact resurrected by the Eagles for their 2007 comeback Long Road Out of Eden.

The album failed to click commercially, and it would be four more years until Souther waxed his second solo effort, but the lack of sales doesn’t reflect on either the songs or the performances. Souther apparently didn’t have the commercial “it” of Browne, but his music is heartfelt and effective. Omnivore’s 2016 reissue augments the original ten tracks with seven period bonuses, including an alternate version of “Kite Woman” and six demos. The latter, stripped mostly to guitar and vocals, provide more intimate readings than the band versions, and include the otherwise unrecorded “One in the Middle.” Delivered in a digipack with a 12-page booklet, this is a worthy upgrade and a good introduction for those who haven’t yet dug J.D. Souther. [©2016 Hyperbolium]

J.D. Souther’s Home Page