Great video (though maybe not for acrophobics) for a preview track from Arto Vaun’s upcoming The Cynthia Sessions. The press release describes the album as the answer to the question “How does one put oneself back together after a gut-wrenching break-up that had no genuine closure?”
Arto Vaun’s Home Page
The Cynthia Sessions’ Kickstarter Page
Masterful reinterpretation of a country classic
Twenty years after his debut as a solo act, Radney Foster revisits the record with which he broke through commercially. The original Del Rio, TX 1959, released by Arista in 1992, spun off five Top 40 singles, including the memorable “Just Call Me Lonesome†and “Nobody Wins.†Foster’s continued to record terrific material, including 2009’s masterful Revival, and developed an intensely loyal following, but he’s never re-struck the chart success chord of his debut. To be fair, he long ago gave up making records for the mainstream, leaving Arista after three albums for independent releases and more recently, his own label. With his latest effort, he ties the two ends of his solo career together by re-recording his debut with twenty years of hindsight and a free artistic palette.
The original album’s honky-tonk and then-contemporary country sounds are replaced here by unplugged, live-in-the-studio arrangements; the comfortably worn-in product of two decades touring this material. At 53, Foster’s new interpretations work on two levels: looking back at his 33-year-old self (who was, at the time, looking back at his even younger self), and rethinking younger responses with mid-life reflexes. The broken heart of “Just Call Me Lonesome†is twenty years further from the singer’s first and twenty years closer to his last. Experience turns out to be both informative and exasperating, and repetition both soothing and alarming. The farewells are more fatalistic than wounded, broken promises no longer hold an emotional surprise that’s due a meaningful apology, and unfulfilled expectations are met with more weariness than disappointment.
The eagerness of Foster’s 30-something self, a singer then on the cusp of his solo career, has given way to a more considered and wizened voice. The emotional centers of his songs gain layers as they’re slowed and sung in a reflective tone. “A Fine Line†initially offered the urgent feel of Steve Earle’s Guitar Town, but replays as a songwriter’s nostalgic meditation, and “Louisiana Blue†resigns from a two-stepping honky-tonk bruise to a deeper wallow in blue misery. The younger Foster sings “Hammer and Nails†with the full-throated enthusiasm of an explorer setting out on a monumental journey, while the elder Foster sings with the experience of one who’s already hacked his way through love’s jungle.
Foster’s tweaked the original album cover as well, adding the easy smile and forward-leaning confidence (not to mention gray hair) of an artist who’s proved himself. He welcomes numerous harmony singers, with particularly notable performances from Georgia Middleman (“Nobody Winsâ€) and Jack Ingram (“Hammer and Nailsâ€), and Ashley Arrison sings her accompaniment on the stripped-down arrangement of “Nobody Wins†as more of a duet than did Mary Chapin Carpenter on the original. The album’s original ten-tracks have been shuffled slightly, with “Old Silver†moved up from the album’s end, “Went for a Ride†dropped to the last position, and a new track, “Me and John R,†added to the lineup. All in all, this is a terrific bookend for the first twenty years of Foster’s solo work. [©2012 hyperbolium dot com] 
Alter egos have a long history in popular music, ranging from individuals such as Hank Williams’ Luke the Drifter and Lady Gaga’s Jo Calderone, to entire groups, such as XTC’s Dukes of the Straosphere. Actors dabbling in music have also had a long history, though often one that’s more of opportunism and dilettantism than actual craft. Luckily onn his debut as the nomadic Escape Tailor, actor Jeremy Sisto (Six Feet Under, Law & Order, Suburgatory) shows himself to be both a good storyteller (Tailor’s history includes fifteen years busking the streets Los Angeles) and a talented musician. His self-titled debut is led off by “Just Cuz,” sung in a voice whose emotional quality quietly supersedes Tailor’s fright wig and chalk makeup.
Early ‘70s country-rock, blues and soul from Marin County
Clover was a Marin County, California four-piece that formed in the late ‘60s and recorded this pair of albums for Fantasy Records in 1970-71. Their renown, however, stems from later exploits, including the slot as Elvis Costello’s backing band on his 1977 debut, My Aim is True, as well as spinning off Huey Lewis and the News, and launching the solo and songwriting (including Tommy Tutone’s “867-5309/Jennyâ€) career of Alex Call. Their original albums didn’t catch on upon initial release, and have been tough to find. Reissued on this two-fer, the performances reveal a band drawing inspiration from both the San Francisco scene and the country-rock wafting up from Los Angeles, and with additional dashes of blues and soul Clover was ready to rock the local clubs and bars.
The albums, like the band’s set list, sprinkled covers (Jr. Walker’s “Shotgun†Rev. Gary Davis’ “If I Had My Way†and a Creedence-styled jam on the spiritual “Wade in the Water†that surely stretched out to fifteen minutes on stage) amid originals that included country, electric blues, and jazz- and funk-rock. The former comes in several varieties, including the traditional-sounding lament “No Vacancy,†Bakersfield-influenced “Monopoly,†Clarence White-styled guitar picking of “Lizard Rock and Roll Band,†and bluegrass “Chicken Butt.†Guitarist John McFree shows off his steel playing on “Howie’s Song,†and drummer Mitch Howie adds funky beats to “Love is Gone.†In the end, Clover was a good band, though not particularly distinct, and their albums provide a reminder of how deep the bench was in the San Francisco scene. [©2012 hyperbolium dot com]
Jackie Gleason’s moody mood music
Jackie Gleason was a man of many talents, not the least of which was his ear for music. Gleason didn’t write a great deal, nor play any instruments, but as a musical director he picked the songs and arrangers, and conducted the orchestra in creating a lush body of romantic mood music. For this first album, originally released as an eight-song 10†in 1952, he featured the cornet playing of Bobby Hackett. Hackett became a regular on Gleason’s recordings (see the 4-CD The Complete Sessions for more), and here he helps establish the intimate, forlorn feel of Gleason’s recordings. These are neither the syrupy sounds of the ‘50s, though they include lush string scores, nor the swinging sounds of the ‘60s. The mood, particularly in the searching tone of Hackett’s lonely horn, blends dreamy seduction, the tears of Sinatra’s Where Are You? and the fatalism of film noir. The song list draws from the great American songbook, including titles by Rodgers & Hart, George & Ira Gershwhin and Mel Torme; Gleason’s original “My Love for Carmen†closes the set. The original eight-song LP was expanded to sixteen tracks in 1955, all in mono; a 12-track stereo re-recording was issued in 1958. Real Gone reaches back to the 16-song lineup, expanding on Collectors’ Choice’s out-of-print two-fer. [©2012 hyperbolium dot com]
All-star tribute to Johnny Cash on the 80th anniversary of his birth
This CD+DVD set documents an all-star tribute to Johnny Cash that was held in April 2012 inAustin,Texas. The lineup includes Cash’s outlaw peers, Kris Kristofferson and Willie Nelson, and a lengthy list of No Depression favorites that includes Buddy Miller, Rhett Miller and the Carolina Chocolate Drops; the latter burn up their cover of “Jackson,†with Rhiannon Giddens sawing her fiddle and channeling the sass of June Carter Cash at the same time. The nineteen tracks also include pairings of Kristofferson with Jamey Johnson, Nelson with Sheryl Crow, and Shooter Jennings with Amy Nelson. Nelson, Kristofferson,Jenningsand Johnson band together to sing the Highwayman’s “Highwayman,†and the full ensemble gathers to close the show with “I Walk the Line.â€
The song list stretches from Cash’s first single “Cry Cry Cry†(and its flip “Hey Porterâ€) to his last, “Hurt,†the latter sung pained, weary and a bit wandering by Lucinda Williams. The house backing band (led by Don Was and featuring Kenny Aronoff, Ian McLagen, Greg Leisz and perennial all-star Buddy Miller), draws continuity across the performances, and the live setting wrings terrific emotion and energy from the singers. Brandi Carlile may not have done jail time, but her growls and blue yodels hit the notes of anger, desperation and resignation Cash wrote into “Folsom Prison Blues.†Shelby Lynne sings “Why Me Lord†with arresting gospel fervor, and Iron & Wine’s “The Long Black Veil†is both sad and stalwart.
The 64-minute CD omits the stage patter (including that of stage host Matthew McConaughey) presented on the 77-minute DVD, and reorders the set list. The widescreen, multi-camera video (with either stereo or Dolby 5.1 audio) adds dimension to the performances, as you see the emotion the vocalists put into their performances and the distinction with which the instrumentalists pull together as a band. Drummer Kenny Aranoff plays with joy and freedom on “Get Rhythm,†Don Was sways blissfully with his bass as he watches Buddy Miller solo, and McGlagen’s fingers fly across the piano keys for “Wreck of the Old 97.†The DVD extras include Willie Nelson rehearsing “I Still Miss Someone,†McConaughey performing “The Man Comes Around,†artist interviews and a short making-of video. [©2012 hyperbolium dot com]
Booker T. & The M.G.s’ 1962 debut LP couldn’t possibly live up to the invention and excitement of its title single, but it doesn’t have to, as even without the catchy hooks of their hits, the band’s soul grooves cut deep. With only three originals (“Green Onions,†the cooler variation, “Mo’ Onions,†and the exquisite late-night organ blues, “Behave Yourselfâ€), the Stax house band was left to pull together cover songs from a wide variety of sources. They give instrumental hits by Dave “Baby†Cortez (“Rinky-Dinkâ€) and Phil Upchurch (“Can’t Sit Downâ€) solid shots of Memphis soul, and though Acker Bilk’s “Stranger on the Shore†could be the last slow dance of the evening in a restaurant’s cocktail lounge, Steve Cropper’s guitar still manages to add some flavor. More impressive are his chops on Ray Charles’ “I Got a Woman†and Jones’ soulful chords and lightning-fast single notes on “Lonely Avenue.†The original track lineup closes with a wonderful take on the jazz tune “Comin’ Home Baby,†with both Jones and Cropper shining brightly. The 2012 reissue includes a 12-page booklet featuring full-panel front- and back-cover shots, Bob Altshuler’s original liners and new notes from Rob Bowman. Also included are hot live takes of “Green Onions†and “Can’t Sit Down,†recorded in stereo in 1965 and originally released on Funky Broadway: Stax Revue Live at the 5/4 Ballroom. Though Booker T. & The M.G.s are best known for their hits (e.g., The Very Best Of) and the Stax singles they powered for others, their original albums hold many lesser-known charms that will delight ‘60s soul fans. [©2012 hyperbolium dot com]
Many have heard gentle, harmony-laden folk-revival covers of “500 Miles” by The Journeymen, Peter, Paul & Mary, and The Brothers Four, but none of these versions have the visceral impact of Hedy West’s stark banjo-accompanied original.
Redd Kross returns to bless us all with brilliant power-pop
Redd Kross’ first studio release in fifteen years actually reaches back an additional decade to the line-up that recorded 1987’s Neurotica. Six years ago the brothers McDonald reunited with guitarist Robert Hecker and drummer Roy McDonald for live appearances (including the DVD Got Live if You Must!), and have now mixed and released this album of songs written and recorded in 2007-08. Everything you ever loved about Redd Kross is here, including the pop culture references in the monster-themed titles “Dracula’s Daughter†and “Meet Frankenstein.†The former is drenched in Beach Boys-styled vocal harmonies and the latter draws perfectly on 65/66-era Beatles, and while the drum lead-in to “One of the Good Ones†may have you humming the Monkees’ “Mary, Mary,†the song’s original melody quickly proves itself as sweet as anything Kasenetz-Katz ever produced. The lead single, “Stay Away From Downtown,†is one giant earworm and the garage buzz of “Uglier†is augmented by Stones-y â€whoo-hoos.†Redd Kross has never sounded better: their guitars buzz and ring, their rhythm section charges madly and their sha-la-las are sung as if their lives depend on getting you to sing along. If you’re having a bad day, this album is the cure. [©2012 hyperbolium dot com]
Rootsy Nashville duo’s third album stirs controversy
Rory and Joey Feek have a history of hard work and struggle that could have just as easily led them to day jobs as it has to a record deal. Rory Feek found success as a songwriter, penning hits for Clay Walker, Blake Shelton and Easton Corbin, but failed to catch on as a solo performer. Joey Feek also recorded solo material, but it wasn’t until the couple competed as a duo on the television show Can You Duet that performing success came calling. Even with a third-place finish, the duo attracted the interest of Sugar Hill, and their Top 10 debut album spun off the single “Cheater, Cheater.†Their second album also cashed in the Top 10, and after a Christmas album last year, they’re back with their third studio album in five years.
As on the first two albums, the arrangements lean to acoustic backings, but with the duo trading leads more often, and bringing their record in line with their live show. The productions are polished, but thankfully devoid of Nashville’s more overwrought crossover sounds. The drums provide accompaniment and rhythm, rather than booming bottom end, and the guitars, dobros and fiddle all twang freely. The album opens with “Josephine,†a moving letter home from an embattled, frightened and remorseful Civil War soldier. The first-person lyrics run down dire circumstances, and leave the writer clinging to the hope that he’ll one day see his loved ones at home. Joey sends her own letter home in “When I’m Gone,†but this time from an anticipated afterlife to those left behind.
There’s lighter fare, including the rockabilly-tinged “Let’s Pretend We Never Met†and the Randy Newman-esque “Someday When I Grow Up.†Rory’s songwriting regularly touch on bittersweet family scenes and matters of the heart, but some listeners will hear sour notes in his reminiscence of corporal punishment, and the idea that the world would be improved by its widespread return. The convolution of religion, discipline and Abrahamic fear (“’cause one had my daddy’s name on it, the other said King James / With love they taught us lessons, but we feared them both the sameâ€) is already creating debate among listeners; but whether you read it as loving discipline or child abuse, it feels out of place next to the album’s other eleven songs. [©2012 hyperbolium dot com]