|
|
|
Of Note: CD Reviews
Get the Flash Player to see this player.
Christy Bruneau
Somewhere in the Middle
Written by Frank Kocher

San Diego
country-rock singer Christy Bruneau has been on hiatus for a while, getting
married and having a child. During a break of over four years, she has
continued to write music, and her new full length disc, Somewhere in the Middle, offers songs written over a decade.
The new CD
was recorded locally by Tom Andrews, who co-wrote several of the songs with
Bruneau and plays multiple instruments. Bruneau's vocal style is like Shawn
Colvin with a bit of country twang; she has also been compared to Natalie
Merchant, with an easy, melodic clarity that isn't full of drama. The band here
(mostly Andrews, guitarist Andy Lohr, and drummer Nathan Moon Swift) rocks the
house with mixed results.
Power
guitar chords usher in "Time," while Bruneau tells a slice of life about "past
and old friends" and "all the girls getting married and having babies." Not a
country song, and the blues-rock edge serves notice that this isn't a soft,
folk-oriented affair. "Lay Me Down" is a pleasant country shuffle that would be
a highlight, but suffers greatly from an arrangement that features poorly
tuned, dissonant steel guitar by Andrews, whose playing is good elsewhere.
Sometimes letting a National steel wander a little off will make for rustic
authenticity on an old blues tune, but this one sounds all wrong. Everybody's
rocking again for "Get You Out of My Mind," as Bruneau gives a drinking lover
the heave-ho, nearly swamped by the layered sound of wah-wahs, background singers,
and keyboards. The vibe for "2 a.m." is much quieter, as she is mixed hot over
a nice, mysterious sounding acoustic guitar and drums. The atmosphere for her
tale of dark thoughts in the dark of night is perfect.
The disc is
unevenly mastered, and the recording mix is muddy on several tracks. On others,
it is sharp and clear with good separation.
A good
example of the crossover style of the music overall is "She Says," a good
country ballad given a bit of rock-up. The storyline, about female friends who
sing "Hey, I'm not a mess/I just want one kiss/Is there anything wrong with
this?" The song works. "Angels of Mercy" is mastered for some reason at a
volume level so far down that listeners will be grabbing their stereo dials.
After that, the song has a catchy hook. On "Hey Now," Bruneau's vocal, buried
in the previous tune, is almost too hot as she is singing a song probably best
realized as a soft folk ballad. An acoustic version of "Time" closes matters, a
good idea as the words hit home more without a band to compete with.
Fans of
country-rock and female vocalists should find much of interest on Somewhere in the Middle. This aptly
named crossover-style disc shows that Christy Bruneau has written some good
music and promises to do more of the same.
|
Colin Clyne
Doricana
Written by Frank Kocher

Folk-rocker
Colin Clyne is originally from Scotland and though he has relocated to Southern
California, the roots of his music remain in the green highlands. His new CD is
Doricana, a title that says a lot -
the style of the music and the sound of the singer blend elements from both
sides of the pond.
The 13
songs on the disc were recorded local producer/engineer Alan Sanderson, a
veteran whose board talents help Clyne achieve the most from his material. The
overall sound is primarily acoustic, with steady guitar support by James Hood
throughout and judicious use of percussion, keys, and Dennis Caplinger's banjo
and fiddle touches. Clyne wrote all of the tunes, with help on one from Hood,
and they are a mix of stories, observations, and love messages - sung to
country/folk ballads in his strong Celtish accent.
"Pockets
and Envelopes" has interesting lyrics, about how the "tramps on the streets
well known as lords," but there are stretches where it is difficult to decipher
the words - printed lyrics would have helped. On "Traditional Song," Clyne
sings about his homeland, following strong acoustic guitar figures by Hood to
chant the chorus.
The
structure on these tunes is similar to many of the others on the disc; after he
sings a couple of verses over subdued guitar licks, the simple, repeated chorus
line comes, sometimes with a "na na na" or a "la la la" melody scat. Repeat,
and after repeating the third chorus, end. One problem with songs with a
similar beat, structure, and vocal sound is that it can become like a visit to
the ice cream store, getting many different minor variations on the same
flavor. Thanks to Clyne and the musicians, that flavor isn't vanilla.
The single
on this disc is "Into My Garden," and it is a catchy treat. This tune is about
how Clyne has opened up his life to a new love, with good imagery. The sound is
fuller and more robust than other tracks on the disc, thanks to organ and full
band, and the hammered-home chorus sticks with the listener. While Clyne
generally avoids using any Doric dialect on the disc, he comes closest on
"Crying at the Sky," which has a Celtish folk vibe. "Dance with Her" is slower,
a folk lament that delivers a simple, haunting melody, and amounts to a sleeper
highlight. "Hey I Miss You Too" comes after some slower filler tracks with
cello and keys, turning things around with banjo and cajon-pounding percussion,
as a studio crowd claps along.
Doricana has its feet in two worlds. It
is Americana roots music, pleasant folk with country underpinnings. Add Colin
Clyne's distinct taste of Scotland to the music and the combination is unusual
and distinctive.
|
For Strangers and Wardens
Retrograde
Written by Mike Alvarez

For
Strangers and Wardens is a collaboration between English-born singer/songwriter
Tim Mudd and Wisconsin transplant Cody Williams. The group's unusual name is
taken from a placard in Boston's Old North Church. The church's interior layout
features box pews that were reserved for the local families who came to
worship, but there was one that was designated for the use of visitors and
wanderers. The sign on that particular box simply reads "For Wardens and
Strangers." The impression it made on Mudd was profound and it stayed with him
when he came back to San Diego. When he and Williams started performing and
writing a couple of years ago, he felt that it was an apt name for the group
because, as he explains, "This is who our music is for. Whether you're a fan of
music or simply looking for a little comfort in song, we write and perform
these songs for you. Our only hope is that you take from the experience
whatever brings you the most peace and understanding. Nothing more, nothing
less." And true to his word, the vibe is contemplative and soothing, the words
reflective. Their first release is an EP-length recording comprised of five
songs in the Americana genre. The sound is predominantly acoustic and the arrangements
are spare, more than ably fulfilling their function of showcasing the vocals
and lyrics. Mudd's guitar and Williams' mandolin are the main instruments,
backed by the rhythm section of David R. Nordgren on bass and Clayton B. Payne
on drums. Vocalist Jessica Hull rounds out the studio lineup.
The
country-inflected "Stay With Me" kicks off the CD, setting the tone with its
mid-tempo beat and natural, unforced vocal performance. As it progresses, the
arrangement swells into a full band sound with some electric guitar licks
sprinkled in for flavoring. Williams' mandolin takes the lead in "Blame and
Alternatives," a song propelled by a train-like rhythm. As the words tell of
the various paths life can take and their consequences, subtle organ chords behind
the band provide mood and texture. A slow and dramatic intro sets the tone for
"Wish I Knew," a song that relies heavily upon the bass for its anchor. It
progresses through a number of rhythmic changes and has a subtle backing vocal
arrangement that perfectly complements the mandolin melodies that run
throughout. The leisurely pace continues on "Missed You," a plaintive
waltz-time ballad whose main theme is nicely summed up in the title. It's all
too apparent that the singer is speaking from personal experience. "Carry On"
is a very apt note to end on. The sound is uplifting even though the lyrics
still retain a certain poignancy. After a leisurely beginning, the tempo picks
up to reflect the hope and acceptance that is being expressed.
This is
honest and straightforward music, stated directly. While relaxed in sound, it
is meticulously arranged. Every part counts. Fans of folk, country, Americana,
and acoustic music in general will find much to appreciate. This online-only CD and a couple of bonus tracks
can be heard for free at: http://www. myspace.com/forstrangersandwardens.
|
Peter Sprague
Calling Me Home
Written by Bart Mendoza

There is no
doubt that guitarist Peter Sprague is one of the most important musicians to
emerge from San Diego's music scene over the past 30 or so years. Amazingly
prolific, in addition to his solo career, he's a popular sideman and an
accomplished producer, resulting in one seriously impressive discography that's
seen him work with everyone from Sean Watkins of Nickel Creek to trumpeter
Gilbert Castellanos, pianist Mike Wofford to busking popsters the Wrong Trousers.
Known for
his instrumental prowess, Sprague's new album, Calling Me Home, is also a collaborative effort, a theme album of
sorts, centering around vocal-led songs rather than guitar. A true all-star
project, the disc features ten Sprague originals, given voice by some of his
favorite singers: Kevyn Lettau, Allison Adams Tucker, Leonard Patton, Lisa
Hightower, and Kate Fuller. That the backing musicians include Sprague, drummer
Duncan Moore, bassist Gunnar Biggs, pianist Josh Nelson, and conga player Tom
Aros (Fattburger), gives an indication of the caliber of musicianship on
display here.
Stylistically,
Calling Me Home is an eclectic album.
Ballads rub shoulders with Brazilian samba, rock with jazz, and it's all tied
together by Sprague's stellar playing. While the main focus here is the
vocals/lyrics, fans of Sprague's fretwork won't be disappointed. Indeed, the
album is a wonderful display of his talent. He offers up nylon string,
understated counter melody, in one of the album's best tracks, the samba
flavored "Cantar." Topped by a wonderfully rhythmic guitar solo, the songs ends
on a terrific bit of scat singing from Lettau.
The title
track is also of particular note. Spargue is the rare guitarist that truly
understands the magic of arrangements and that sometimes, less is more, the
tune focusing on Patton's soulful vocals and Nelson's piano, including the
solo. But it's Sprague who shades the mood with just the right chords and some
nice picking. As nostaligic a tune as its title implies, Patton's vocals bring
out every bit of sentiment in the lyrics by Randy Phillips (who contributes to
six songs on the disc). This sounds like a lost classic, a ballad with a
timeless feel that would play well in a jazz bar circa 1961 or 2010.
A bit more
left field is "The Power of Rock," an uptempo number featuring shared lead
vocals from Patton and Hightower, with Sprague on electric guitar. Apparently
inspired by a Jack Black quote, the album features lyrics along the line of "I
ain't no rocket scientist, I got the power to rock," making for a nice sonic,
as well as lyrical, shift on the album and a track that's a lot of fun.
Whether
you're a longtime fan of Sprague's work, or of guitar in its various forms, Calling Me Home is a solid album, a
worthy addition to his recorded canon and your music collection.
|
Rightside Band
Living in the Right Side
Written by Frank Kocher

San Diego's
Rightside Band has been around for over a decade, but under the name of the
Gospel Review Vocal Band. The contemporary Christian/gospel-rock band changed
their name, but not their approach, a couple of years ago. The group was put
together in the late ‘90s by Jim Burnett, their manager and producer, and his
wife Linda Lee, who is the featured singer in a vocal quartet. A band of
supporting musicians, including long-time drummer John Watts provide the
musical backing for the spirited sounds that have been featured in numerous
county churches, festivals and coffeehouses. The old band and Linda Lee have
released discs previously, and the new one, under the new name, is Living on the Right Side.
The ten
songs are covers of Christian folk-rock and gospel songs by a number of
established genre songwriters. Recorded in "the upper room" on several of the
tracks there is a live in-the-studio sound, joyful and inspired (and with the
instruments echoing together, buried by the keyboards). No big problem, though,
when one remembers that this is a big band that plays in churches; it often
sounds like it was recorded in one.
Gospel
starts off with "Living for the Moment," as snare drum shots set up a vigorous
foot-stomp; Linda Lee sings about living the righteous life. The three male
harmony backups give her plenty of support throughout, and on "Rightside of the
Dirt" there are vocal tradeoffs. "When you wake up in the morning, no matter if
you hurt/Be glad you're still alive and on the right side of the dirt." This
one has some old-South, country-style gospel going for it, reminding the
listener that "Jesus still saves." "Eagle Song" is a harmony vocal, different
than the other music on the disc, a folk hymn that seems to float, with a nice
arrangement that overcomes the harmonies being off just a bit. A couple of
church-rocking country-style tunes follow: "Get Up in Jesus' Name" and "Have
You Traveled with the Lord Lately?" On the latter, Linda Lee is in best voice
on the disc, clear and commanding while she talks up a sermon worth of lyrics
as the guitar plays a Creedence riff.
God, of
course, loves rock and roll, and "How Long" is a boogie blues that serves as a
reminder of just how much both rock and blues owe to the church house, as the
gospel lyrics mix with blues. "How long must I wander/before I finally get
home?" The Rightsiders pull out all of the stops on the rocker "I'm Loving
Life," a highlight that uses keyboards and drums to pound out a beat as Linda
Lee leads the vocal charge.
Fans of
contemporary Christian music and gospel rock, and of bands like the Gauthier
Vocal Band should find much to enjoy on Living
on the Rightside. The Rightside Band does a good job of getting their
message out on some entertaining material. www.rightsideband.com
|
|