Category Archives: Free Download

King Wilkie: King Wilkie Presents- The Wilkie Family Singers

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kingwilkie_singersAudacious pop concept by former bluegrass wunderkind

If you caught King Wilkie’s bluegrass debut Broke, and somehow managed to miss their break with orthodoxy on 2007’s Low Country Suite, you’re in for a really big surprise. With the original group disbanded, and founding member Reid Burgess relocated to New York City, the band’s name has been redeployed as the front for this stylistically zig-zagging concept album. The Wilkie Family Singers are an imagined co-habitating, musically-inclined family fathered by shipping magnate Jude Russell Wilkie, and filled out by a wife, six children, a cousin, two friends and two pets.

In reality the assembled group includes Burgess, longtime collaborator John McDonald, multi-instrumentalist Steve Lewis, and guest appearances by Peter Rowan, David Bromberg, John McEuen, Robyn Hitchcock, Abigail Washburn and Sam Parton. And rather than constructing a storyline or song-cycle, Burgess wrote songs that give expression to the family’s life and backstory. As he explains, “Jude Russell Wilkie, Sr. had success with a Great Lakes shipping business, and becomes the father to a great family, whose normal familial roles aren’t neatly defined as they grow older. Their insular lifestyle and wealth has them in a sort of time warp. They’re wedged in limbo between past and future. Too big to hold mom’s hand or ride on dad’s shoulders, but still somehow too small to leave their childhood house.”

Much as the Beatles used Sgt. Pepper as a backdrop to inform the mood of Sgt. Pepper’s Lonely Hearts Club Band, Burgess works from his sketch to conjure a family photo album rather than a written history. There are snapshots of togetherness, isolation, and stolen moments of solitary time, there’s lovesick pining, unrequited longing for the larger world, lives stunted in adolescence, violent dreams and medicinal coping. The band ranges over an impressive variety of styles that include acoustic country, blues and folk, rustic Americana, Dixieland jazz, ’50s-tinged throwbacks and ’70s-styled production pop. There’s even some back-porch picking here, but this edition of King Wilkie has much grander ambitions than to embroider the bluegrass handed down by Bill Monroe. The festival circuit’s loss is pop music’s gain.

Burgess paints the family as lyrical motifs and musical colors rather than descriptive profiles. The latter might have been more immediately satisfying but would have quickly turned stagey. Instead, the family’s dynamic is spelled out in small pieces, fitting the broad range of musical styles to create an album that plays beautifully from beginning to end. The songs stand on their own, but the family’s presence is felt in the flow of the album’s tracks. Casa Nueva hits a homerun with their maiden release, and King Wilkie proves itself a daring band whose next step should be highly anticipated. [©2009 hyperbolium dot com]

MP3 | Hey Old Man
King Wilkie’s Home Page
King Wilkie’s MySpace Page

David Serby: Honkytonk and Vine

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davidserby_honkytonkandvineTerrific throwback to mid-80s West Coast country

Though he grew up in Illinois with adoptive parents, Serby’s a bona fide throwback to the throwback sounds of mid-80s Los Angeles. Ironically, he was born in Los Angeles to a biological father, only recently discovered, who was also a country musician. Serby’s honky-tonk swells from the same roots as the Blasters, but with a deeper helping of the country twang and two-step rhythms Dwight Yoakam brought to the scene. Serby’s vocals favor a gentler version of the Blasters’ Phil Alvin, but he also dips into a croon, such as with the Tex-Mex “For Cryin’ Out Loud,” splitting the difference between Yoakam and Ricky Nelson. The influential echoes are a bit eerie, but the swinging and songwriting are the real deal.

The album opens with twangy electric guitar and hot fiddle licks on the car themed “Get it in Gear.” Serby chases the object of his affection with enough hot rod allusions to make Brian Wilson and Roger Christian smile. He rains tears into his beer, despairs of cheating, and chases the tail-ends of revolving relationships to emerge with a sense of redemption when the dumper finds herself the dumpee. He writes sad songs, but doesn’t sing them sad as the band mostly sticks to jaunty mid-tempos. The down-tempo numbers, including the empathic ballad “Tumble Down,” and country soul “Honky Tonk Affair” are terrific, making you wish Serby would slow down a bit more often.

Serby’s a superb craftsman, expanding clever song titles into lyrics whose rhymes flow as smoothly as conversation. He’s just as clever with his music, mixing up straight two-steps, accordion lined Tex-Mex, Bakersfield sting, and Blasters-styled blue roots-rock. His band is terrific (the rhythm section of bassist Taras Prodaniuk and drummer Gary Ferguson is truly propulsive), as is guest steel from Rick Shea and the legendary Jay Dee Maness and fiddle from Gabe Witcher. Adding to the historic coincidence, Maness played with Serby’s birth father in decade’s past. Shaking off a career in insurance, Serby indulged unknown musical genes and crafted a career filled with the joy of making music. That joy is in every country root he intertwines here. [©2009 hyperbolium dot com]

MP3 | I Only Smoke When I’m Drinkin’
David Serby’s Home Page
David Serby’s MySpace Page

Eilen Jewell: Sea of Tears

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eilenjewell_seaoftearsBlue country cool meets hot rock twang

Jewell’s third album retains the 30s jazz phrasings of her vocals, but the folk and country sounds of 2007’s Letters From Sinners & Saints give way to electric guitars that twang like slow-motion rockabilly. No fiddle or harmonica this time, and only a few vocal harmonies supplement the basic guitar, drums, and bass. Dark strums of sustain contrast interestingly with Jewell’s reflective vocals, turning Johnny Kidd & the Pirate’s “Shakin’ All Over” into a contest between cool reserve and hot guitar licks. Imagine the calm and collected Julie London backed by the Blue Caps’ galloping Cliff Gallup. The British Invasion also provides Them’s “I’m Gonna Dress in Black,” rousing Jewell to angry self-pity.

The three covers (which also include Loretta Lynn’s “The Darkest Day”) have been reworked to downbeat- and mid-tempos that dovetail seamlessly with the blue twang of the nine originals. The opening “Rain Rolls In” contrasts chiming 12-string and a languid vocal with a lyric whose resignation extends to the grave. A similar pairing is heard in the mid-tempo title track, a jaunty vocal mouthing words of romantic misery. The aftermath of rejection threads through many of these tunes, alternating between quests of forgiveness and solitary rejections of the outside world; even the blue-jazz pep-talk “Final Hour” is more an escape from lethargy than a trek towards self-empowerment.

The closing “Codeine Arms” bookends the opener’s sense of doom with a consumptive plea that’s closer to the ignominy of McCabe & Mrs. Miller‘s opium den than the desperation of Buffy St. Marie’s “Cod’ine.” Yesteryear jazz and blues vocalists, most obviously Billie Holiday, cast a spell over Jewell’s vocals, but the rootsy support of her band tends more to Christy McWilson territory than Madeline Peyroux. The absence of direct folk and country influences gives this disc a distinct roots-rock sound that’s more singularly focused than her previous releases. Jewell’s a talented songwriter and compelling vocalist, but guitarist Jerry Miller may be the real hidden treasure here. [©2009 hyperbolium dot com]

MP3 | Sea of Tears
Eilen Jewell’s Home Page
Eilen Jewell’s MySpace Page

Various Artists: Stax- The Soul of Hip Hop

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various_staxsoulhiphopThe soul behind the samples

The usual exercise one enjoys with hip-hop and other sample-based music is to work backward from the collage to its sources. Sample-crazy DJs such as Girl Talk’s Greg Gillis are often the subject of lengthy crowd-sourced lists that deconstruct the construction, and the releases themselves sometimes include an official list. Some samples, such as Clyde Stubblefield’s performance on “Funky Drummer,” have become so iconic in their abbreviated form that the sample all but eclipses the original source. Other samples continue to live as obscure, failed singles or album tracks only known to a few.

The fourteen songs gathered here, released by Stax primarily between 1971 and 1975, represent the record collection of hip-hop’s parents. These tracks provide figurative and literal ancestors in the form of beats, riffs and breaks handed down from one generation to the next. Heard in full, these productions offer both sonic context and musical ethos in their re-emergence from the shadows of deep album cuts. Only three of these tracks (Booker T. & the MG’s “Melting Pot,” The Dramatics’ “Get Up and Get Down,” and Rufus Thomas’ “Do the Funky Penguin (Part 1)”) became even moderate hit singles, the rest were rescued from closets and dusty record store backrooms by fans undeterred by artistic obscurity or the need to flip an LP to side two (or, really, play an LP in the first place).

A drum break or instrumental riff that can be effectively looped, stretched and otherwise repurposed doesn’t necessarily spring from an original track worth hearing in whole. But producer Jonathan Kaslow has repeatedly hit the trifecta of artistically meritorious tracks whose samples add catchy hooks to historically important hip-hop releases. The result is a highly listenable collection of old-school soul whose sampled moments will surprise you with their original context, and send you searching for their multiple reuses. For example, those who recognize the signature guitar sting of Cypress Hill’s “Real Estate” may be surprised to find it surrounded by deep bass, stabbing organ, crisp horns and funky drumming on the Bar-Kay’s original “Humpin’.”

Isaac Hayes’ “Hung Up On My Baby” is instantly recognizable as the backing for the Geto Boys’ “Mind Playing Tricks on Me,” but the original’s cinematic reach is constrained to a small looping sample behind the Geto Boys’ gritty lyrics. Similarly, the signature organ of Wendy Rene’s 1964 “After the Laughter (Comes Tears)” is easily picked out of the Wu Tang Clan’s “Tearz,” but in this case an original vocal sample reused in the chorus brings more of the original’s mood to the rapping remake.

In addition to the best known breaks, many of these tunes offered up second and third samples that led in different directions. Kaslow’s liner notes pay tribute to the original artists and tracks, and trace the multiple reincarnations of their works. All that’s missing is a companion disc of the sample reuses. No doubt (and with great irony) cross-licensing and royalty sharing likely made that financially insolvable. You can hunt down the reuses on services like imeem, but having the often obscure original sources in one place is the real treat. [©2009 hyperbolium dot com]

MP3 | Hung Up On My Baby Isaac Hayes
Stax Records Home Page
Stax Museum of American Soul Music

Collin Raye: Never Going Back

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collinraye_nevergoingback’90s hitmaker adds indie heart and soul to the spit and polish

Raye came out blazing in 1991, reeling off four straight million selling albums and a string of hit country singles. He waxed a compelling catalog that mixed standard Nashville topics with more daring message songs, but his commercial success tailed off at decade’s end. Freed from his contract with Epic, Raye’s gone the indie route with a live disc and a series of studio albums that rekindle the melodic productions of his hit years. His latest is more relaxed than 2005’s Twenty Years and Change, staying closer to the balladry of 2006’s Fearless. Raye’s Nashville fans may wonder where the twang got to, but his adopted West Coast country-rock sound fits him well. Eagles fans will do a double-take as the title track borrows a good page from the Don Henley songbook.

The echo of Henley’s voice is actually heard throughout the album, even when the lyrics turn to more straightforward love ballads and the productions gain a smoothness the Eagles typically didn’t seek. Raye clearly learned a thing or two about record production during his tenure with Epic, and with producer Michael Curtis he’s waxed an indie album that sounds as polished as anything on the majors. That may seem easy in this day of vocal tuning, digital processing and automated mixing, but knowing what to record and how to record it aren’t lessons that come with computer software. This is a mainstream album, but Raye’s loosened up his Nashville instincts by recording in Muscle Shoals, allowing local players to add a dash of swinging soul that pushes the music beyond cookie cutter contemporary country.

The Muscle Shoals sound refreshes a cover of Stealers Wheel’s “Stuck in the Middle with You.” You can still hear the song’s signature melodic hook, but the organ and guitar are rowdier and the vocal is more of a bar-band blues shout than the original’s nasal nod to Dylan. Dire Straits-styled guitar chords open the satisfied “Mid-Life Chrysler,” and a serendipitous Las Vegas adventure provides the story for the carefree “Where it Leads.” A few of the love songs sound pedestrian in this company, and a cover of “Without You” is staged as a duet (with Susan Ashton) that’s professional but no match for Nilsson’s signature hit. More engaging is the lost-husband tearjerker “The Cross” and Raye’s thought-provoking take on a Christian’s individual responsibility, “The Only Jesus.” The album closes with the highly personal “She’s With Me,” a tender acoustic ballad written by Raye for his granddaughter.

On its surface, this album sounds like others coming out of Nashville, and could readily catch on with radio. But there’s a lot more heart, soul, craft and emotion here than the typical Music Row construction, and this could also catch on with those who’ve forsaken mainstream country. Raye’s fans will find him in great voice and spirits, and those alt.country fans who find that commercial production favorably crosses their ears once in awhile should check out the upbeat tracks for a taste of country rock and soul. [©2009 hyperbolium dot com]

MP3 | She’s With Me
Collin Raye’s Home Page
Collin Raye’s MySpace Page

Slaid Cleaves: Everything You Love Will Be Taken Away

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slaidcleaves_everythingyouloveDevastating album of anguished folk, rock and country

Austin singer-songwriter Slaid Cleaves returns with an album of Americana whose quiet beauty belies lyrics of deep resignation. Just as Springsteen’s anthems can obscure his bite, Cleaves presents his songs with an offhandedness that, on the surface, offsets the despondency of his words. The angst of love’s vulnerability, the political, social and economic polarization of a new gilded age, and the human misery of war are just a few topics that lead Cleaves to close with the fatalistic proscription “live well and learn to die, soon in the dust you’ll lie, with everything you know / Cruel death will not spare, the wise the young or fair, let’s drain this cup of woe.” The album is titled Everything You Love Will Be Taken Away, after all.

Cleaves sings with a warmth that infuses an element of hope in the crushing blows he delivers. Is there hard-won pain or only a clever couplet in singing “Every man is a myth, every woman a dream / Watch your little heart get crushed when the truth gets in between”? Is there bitterness or repudiation in “Here comes another blown up kid from over there / Making the whole world safe for the millionaires”? Probably a bit of each. The deftness with which he explicates characters in a perfectly framed, heartbreaking moment is breathtaking; he highlights the comfort and torment memories create in a war widow with the lyric, “I lose a little bit of myself with each tear I wipe away,” and captures the humanity of hookers in their attempt to keep warm on a Christmas Eve stroll.

Even when singing in the first person, Cleaves is more of an observer than a participant, and when he reports, it’s with a keen eye. His story of an old-time hanging, “Twistin’,” is an uncomfortably business-as-usual outing that connects to a devastatingly modern indictment. His quiet vocal lets the horrors speak for themselves, with corporal drum and moaning fiddle standing as characters. His cover of Ray Bonneville’s “Run Jolee Run” cycles from hunted to hunter and back to hunted, and the romantic of “Dreams” wonders “where do all your dreams go to, when it all starts to turn untrue / what is all your wishing for, when you don’t believe in dreams anymore?”

The album winds down with a bitter critique of politicians, global industrialists and sleepwalking media, somehow managing to retain a belief in the goodness of man. The closer, “Temporary,” resigns itself to existential impermanence. The magic of this album is how appealing Cleaves and his producer, Gurf Morlix, make such downbeat material. The arrangements are spare and quiet, the tempos deliberate, and though Cleaves is in his mid-forties, his voice retains a youthful tone that’s slightly scratched at the top end of his range. This is the most absorbing album Cleaves has recorded so far, and a strong contender for album-of-the-year honors. [©2009 hyperbolium dot com]

MP3 | Cry
Slaid Cleaves’ Home Page
Slaid Cleaves’ MySpace Page

The Wanteds: Failure Looks So Good

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wanteds_failurelookssogoodCathartic, hard-charging indie guitar rock

This Portland band was originally a one-man project of singer-songwriter-guitarist Tommy Harrington. His debut, 2004’s Let Go Afterglow led to extended solo touring, but unexpected fatherhood and a regression into drugs shelved the project until Harrington was able to get clean and refocus. Gathering together a bass player and drummer, Harrington self-produced this nine-track release, combining hard-charging guitars and brutally personal lyrics. A few of the tracks, particularly the opener, recall the guitar textures and cathartic fire that fueled U2’s early, pre-messianic, albums. Harrington frees himself of childhood trauma as he flays his brother with the album’s title phrase, “failure looks so good on you,” and retraces the steps of his recovery in the daily commitments that keep an ex-addict anchored. As a songwriter, he keeps his sleeves rolled up so you can see the scars, and his guitar is a good match for the ferocity of his words. [©2009 hyperbolium dot com]

MP3 | Ladysmith
The Wanteds’ Home Page
The Wanteds’ MySpace Page

On Tour: Radio Moscow

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In support of their second album Brain Cycles, this hard-rocking Iowa power trio will be touring Europe throughout April and May.

MP3 | Broke Down

Apr 15 @ Sala Stereo – Alicante, Spain
Apr 16 @ Savoy Club – Gijon, Spain
Apr 17 @ Helldorado – Vittoria, Spain
Apr 18 @ Rock Sound – Barcelona, Spain
Apr 19 @ Durango Club – Valencia, Spain
Apr 21 @ La Mecanique Ondulatoire – Paris, France
Apr 22 @ Inside – Dortmund, Germany
Apr 23 @ Roadburn Festival – Tilburg, Germany
Apr 24 @ Db’s – Utrecht, Netherlands
Apr 27 @ MFK – Strasbourg, France
Apr 29 @ Clubkeller – Frankfurt, Germany
Apr 30 @ Queen Days Festival – Rotterdam, Netherlands
May 1 @ Klub 700 – Orebro, Sweden
May 2 @ The Garage – Oslo, Norway
May 5 @ The Duchess – York, UK
Mat 6 @ Cluny – Newcastle, UK
May 7 @ The Globe – Cardiff, Wales
May 8 @ Mr. Wolff’s – Bristol, UK
May 9 @ The Luminaire – London, UK
May 12 @ Bohemien – Bari, Italy
May 13 TBA – Tuscany, Italy
May 14 @ Magnolia – Milan, Italy
May 15 @ Stoned Hand Of Doom Festival – Rome, Italy
May 16 @ Festintenda – Mortegliano, Italy
May 17 TBA – Rovigo, Italy
May 19 @ Rock Palace – Madrid, Spain
May 20 @ Mardi-Gras – La Coruna, Spain
May 21 @ Orfeau Club – Velo, Portugal
May 22 @ Plano B – Porto, Portugal
May 23 @ Castrus Bar – Foreas, Portugal
May 25 @ Rockadelic – Gandia, Portugal
May 27 @ Gallion – Lorient, France
May 28 @ Heretic – Bordeaux, France
May 29 @ Astrolabe – Orleans, France
May 30 @ Festival Mixed Up – Beauvais, France
May 31 @ Art Rock Festival – St Brieuc, France

Scott Miller: For Crying Out Loud

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scottmiller_forcryingoutloudPop, rock, country and blues from former V-Roy

From the top: this is not Scott Miller of Game Theory (or the Loud Family), nor is it the Scott Miller who’s self-released five blues albums throughout the last decade, nor the Scott Miller who played drums for Agent Orange. It is, in fact, the Scott Miller who sang, played guitar and wrote songs for the late ’90s power-twang band, the V-Roys. Since the group’s demise, Miller’s been recording solo albums and performing with a revolving aggregation called the Commonwealth. After three studio releases and a live set on Sugar Hill, this self-released album features a similar blend of country and rock influences, though with acoustic power chords mostly replacing electric.

The album opens with the ranting anthem, “Cheap Ain’t Cheap (For Crying Out Loud),” expressing a sideways anticipation of the New Depression. The album’s up-tempo numbers include driving acoustics, New Orleans-tinged country-rock, and the Blasters’ styled roots of “Claire Marie.” These are interwoven with singer-songwriter tunes that include the Celtic harmony duet “I’m Right Here, My Love,” sung with Patty Griffin, and the solo closer, “Appalachian Refugee.” The acoustic works turns darker on the expose “Sin in Indiana,” and the low twanging “Double Indemnity” harbors noirish secrets in its blue notes.

Miller can seem like a glass-half-empty romanticist; blowing blue harmonica as he declares his faults on “Let You Down” and shying away from opportunity on “Heart in Harm’s Way.” But the sentiments are coy in their hope that honest declaration and cautious refusal will ward off imagined disasters; think Nick Lowe, Ben Vaughn and Tom T. Hall (whose “I Can’t Dance” is covered here). Miller transitions smoothly between pop, rock, country and blues, and though at time you’ll wish he’d alight on one for more than a song at a time, the next tune always sweeps you away. [©2009 hyperbolium dot com]

MP3 | Heart in Harm’s Way
Scott Miller’s Home Page
Scott Miller’s MySpace Page

Willie Nile: House of a Thousand Guitars

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willienile_houseNile spins another rock ‘n’ roll classic

Talk about a second wind. Fifteen years after his previous studio effort (1991’s Places I Have Never Been) Nile summoned a life in rock ‘n’ roll as the musical language for his hometown love letter, Streets of New York. Nile seemed to be aging forward and backward at the same time, writing lyrics from the perspective of middle-age and setting them to the fevered musical roots of youth. He was streetwise and urban, a rebel and a student of musical history who could channel the original energies of rock’s founders without sounding retro. Last year’s Live from the Streets of New York flashed back to his breakthrough with a supercharged release party’s live run through.

Nile’s Benjamin Button-like excursion towards the verve and uncensored creativity of youth continues with House of a Thousand Guitars, featuring a dozen songs that capture both the heart of rock ‘n’ roll and the depth of middle-age. The disc opens with a lyrical tribute to Nile’s predecessors that compels his bandmates to sing along on the chorus. The baritone riff that opens “Run” is just one indication that Nile has a universal rock ‘n’ roll fever for the call of guitar, bass and drums. Here again the chorus is catchy enough to sing on its first pass, but the hooks are sticky enough to hum the rest of the day. The rocking continues with the apocalyptic “Doomsday Dance” before Nile catches his breath on the ballads “Love is a Train” and “Her Love Falls Like Rain.”

If there’s a weakness to this album, it’s that some of Nile’s similes are well thumbed, but even these familiar turns are refreshed by the fervor of his vocals, the emotional swell of his melodies and the powerhouse playing of his band. Nile writes brooding and fist-pumping love songs, aware of both the costs and the returns of relationships. The balance sheet on “Now That the War is Over” is more one sided, enumerating with sad clarity the emotional and physical wreckage of armed conflict.  The album closes with an end-of-the-night lullaby inspired by his adopted metropolis, “When the Last Light Goes Out on Broadway.”

All of the promise that Nile showed in his 20s and 30s now seems like an apprenticeship to the blossom of his late 50s. He writes in his title song of a place where “they say there are no broken strings / just some busted hearts and a bee that stings,” and it’s clearly a place he’s not only been living but helping to maintain. Streets of New York may forever remain his artistic pièce de résistance, but with House of a Thousand Guitars he’s served notice that there’s still more rock and roll to be sung. Mark this one down for your end-of-the year best-of list. [©2009 hyperbolium dot com]

MP3 | Doomsday Dance
Willie Nile’s Home Page
Willie Nile’s MySpace Page