Of Note: CD Reviews

One expects great things from a band whose lineup contains some heavy hitters from the local scene.  Fronted by Jeff Berkley with bass and backup vocals by Marcia Claire, this talented group of musicians creates an appealing sound that is notable for its emotive vocals, engaging harmonies, crisp rhythms, and sinewy guitar work. The melodies are catchy and couched in robust arrangements that showcase how well-crafted they are. Citizen Band plays rock, first and foremost, but they infuse it with stylistic touches of country, Americana, alternative rock, and folk.

Influences abound. One can hear flashes of artists like Neil Young, R.E.M., the Traveling Wilburys, Heart, Crosby, Stills & Nash, and the Byrds in their melodies and delivery. The combination of Berkley's lead vocals and the harmonies spearheaded by Claire sometimes even evoke Buckingham/ Nicks-era Fleetwood Mac, particularly on a song like "For Lillian." Lyrically, the songs tend toward the personal and introspective, but they aren't sung with the intent to make them depressing or heavy. These guys make music that is at once fun and entertaining but also artful in its execution.

The songs encompass a variety of styles. "Boomerang Love" is a pretty country ballad with soulful vocals by Berkley who relates the melancholy lyrics with a husky world-weariness. It serves as a nice interlude before "Slide," a perky alternative rock number that could have been the result of a collaboration between Michael Stipe and Crazy Horse. "Love You to the Bone" is reminiscent of Tom Petty's "I Won't Back Down," but it goes in different directions, melodically.

Some other standout numbers include the electric guitar-driven "Broken Man," which calls to mind "Victim of Love," one of the harder tracks from the Eagles' classic Hotel California album. It's got a deliciously nasty riff that's fuelled by a relentless bass and drum rhythm track. "In Among the Roses" is a southern rock tour-de-force that wouldn't be out of place in a Lynyrd Skynyrd playlist. The 12-string guitar comes to the fore in "Crush," giving this song a distinct Byrds/R.E.M. flavor, that is, if either of those groups were fronted by Don Henley. The penultimate track is also my favorite. "Waste of Time" sounds like the Beatles went country, complete with a George Harrison-style slide guitar break. It has what is possibly the most engaging melody of the album. It's an unlikely but highly appealing amalgam of Brit-Pop and Americana.

While I cite many points of reference, I don't mean to imply that they are the sum total of their influences and nothing more. Citizen Band avails itself from a cornucopia of classic sounds, then combines and re-interprets them to create a really nice vibe. It might sometimes remind listeners of things they've heard before, but it has the virtue of being brand new music created by a terrifically talented band.

Josh Damigo's first full-length record, Raw, is unusual. It plays a bit like a diary and a live show rolled into one. The songs thread together and flow well throughout the playlist and the lyrical message typically explores reflections and sentiments on young love, lust, and overcoming personal challenges. So, is this a "been there, done that" record? In short, no it isn't. Permit me to answer a cliché question with a cliché answer. There's more to Josh Damigo than meets the eye.

My favorite song on the whole album is "Sleeves." As a cynic, I like it because it reminds me that sometimes we're misunderstood and life is hard. How many of us like a song just because it lets us brood? Track 10, "Rain," echoes a similar mood and ironically the melancholy tone makes me feel… well, better. When I thought about why I liked those songs most, I discovered something unexpected - that most of the other tracks stray into unfamiliar territory for the genre. They're positive and optimistic. Is a singer-songwriter allowed to be so content?

There are many common themes here, particularly songs that describe the kind of young love characterized by long walks on the beach and awkward moments that make for spontaneous laughter. Many of us have come to the conclusion that love is a double-edged sword. Damigo doesn't follow that cliché but instead directs our attention toward the "good times" side of the love story that I was willing to abandon my cynicism (albeit temporarily).

Raw ends with a surprise spectacular - a track co-written and produced by Jeremy Rubolino, called "Shooting for the Sun" - and the only track not produced by Aaron Bowen (who also produced Damigo's 2007 release, Pocket Change). While Bowen's production style is very conservative, Rubolino's approach couldn't be much more flamboyant. Each approach has its virtues and while "Shooting for the Sun" stands as an obvious reflection of standard pop design, it is a great closing song. In summary, the song is about breaking through and making it. That, too, is a cliché, but it's also at the very heart of why many creative people have created anything at all. Of all the songs on the album, this final track has the best shot at radio success (a fact not lost on Rubolino and Damigo, I'm sure).

Damigo is ambitious and he wears it on his sleeve. Throughout the record, he delivers more natural performances that demonstrate considerable growth vocally and performance-wise over his 2007 EP. His lack of cynicism makes him different and may align him with a broader listening audience. Someone once said, "Country music is great because you can always sing along the first time you hear it." One could say that Damigo often states the obvious as a songwriter, but on the other hand that, makes for a lot of common ground with his listeners. On track seven Damigo admits, "Come on, sing it, it's really easy. I don't write complicated [songs]." Eventually, I agreed with him and am happy to sing along.

San Diego's Middle Earth Ensemble plays world fusion music with a Middle Eastern and gypsy flavor. Their first two albums, especially 2006's Lavender, featured many songs that placed the band as a favorite of gypsy and other traditional belly dancers. Their new disc, Passage, expands the palette to include more eclectic styles and music, while not abandoning the exotic scales, rhythms, and instruments that define their sound.

The group is built upon the pulse of percussionist Frank Lazzaro's work on the doumbek chalice drum, deff frame drum, and other Middle Eastern instruments. Andy Villas-Boas (who also sings) gives the band a solid bass bottom, and the melodies are carried by Michael Mesleh on oud and guitar, Anthony Sarain's wind instruments, and violin, viola, and mandolin played by Robert Rotzler. The disc's 16 songs are a mixture of traditional Turkish music, several established belly dance and flamenco-style gypsy songs, and eight originals.

"Gibraltar" starts things off with an original that features flute weaving in and out of the rhythm of a Mediterranean beat. This is one of several originals on the disc that features a jazzy feel and a departure from Middle Eastern, Turkish, or gypsy forms. "El Helwa Di" follows, a slower belly dance song with oud and violin playing in unison, then giving way to flute, now playing scales that evoke Northern Africa. With "Passage," all band members are again in fine form on an original tune that combines Celtic, Mediterranean, and Spanish flourishes with a bit of oud raga riffing over a drum and tabla beat. For the Turkish traditional dance tune "Uskudara Giderken," Villas-Boas sings and Rotzler takes a dark, gypsy-style violin solo. "Galaciana" is a bright, brisk jazz tune featuring violin and 12-string figures and a soaring flute break, followed by "King Ramzy," another fusion piece that mixes styles effectively. A disc highlight, the structure features a breezy framework that is driven by Lazzaro's beat, with guitar and violin melody, and features a superb soprano sax solo by Sarain.

Though four of the songs feature vocals, these are essentially part of the instrumentation and fabric of the tunes. All of the players are masters of their craft, and the 74 minutes gives each moments to shine.

"Mirayah's Veil" is mysterious and different, with Villas-Boas chanting in English to a haunting violin melody. "Lileta" brings a taste of Spain with percussion, vocals, and rhythms that bring to mind a fiesta. For "Nadya," it is back to a Turkish marketplace for another dance tune, followed by "Ottomar," a gypsy-style ballad with oud and violin weaving a dark spell.

Passage offers a montage of many sounds and musical places. It is an enjoyable experience for listeners who are fans of world fusion music and offers an interesting glimpse who are new to this genre.

Like many a wee lad growing up in El Cajon, I'll admit: I lost my virginity to a very short woman. Like a stiff drink in an East County bar, she stood five fingers high. But, soon after I began frequenting the El Cajon dives, searching for those tall, elusive East County goddesses that the older guys promised were lurking in the neon shadows. Gusser's Lounge, the Grand, the Coo-Coo Club, the Quarterdeck, and Winn Cody's. These were the lush rooms filled with drink and sin where the mysterious East County sirens prowled.

That's why I'm glad the Farmers found one on their new CD Fulmination. Standing six-foot-four, pirate patch over one eye, butterfly tattoo, and cowboy chaps sans pants and panties, our feminine archetype provides the ammo for the opening cut, "East County Woman." Jerry Raney croons about the Cajon Zone über-dame while old friend, new bassist Chris Sullivan and longtime drummer Joel "Bongo" Kmak build a web of rhythmic thunder. "East County Woman" revitalizes Raney's lust for the raunch of the Beat Farmer era. But, the groove is now deeper, the music more seasoned, the guitars, well, this is a rock guitar album. Sure, it has moments of subtlety. But, Raney's guitar and amp are set on 13. From the opening track through "Flying Man" through eight other rockers, Raney takes his Les Paul double cutaway on a sonic tornado ride, reminiscent of his 1970s super group Glory. The lyrics follow an autobiography that Beat Farmer fans know well, a life of racing down the asphalt, big women, and big promises. The lyrics are funny, honest, profound. But, there's that old saying, "Song lyrics only take up space between guitar solos." That's the truth of this album: it's Raney's furious guitar, pushed heavily in front of the beat by an equally furious bass and drums. His sound is triangulated between the Fogerty brothers, Jeff Beck, and Walter Trout - swampy, exotic, with the kinetic potential to demolish anything in its path. It's Cowpunk as only Blue Cheer with Alvin Lee sitting in could play it. The Farmers also explore other heroes with the Dylanesque "Your Own Way" and funkadelic "Mr. Dynamite," which is introduced at shows as a song by Sly and the Family Farmers. Respite comes when Bongo Kmak grabs the mic on "Walkin' Back to Lakeside," his voice tinny and old-timey, paying homage to 1940s radio and country legend Hank Snow. On "Mexicali Nights," junior Farmer Corbin Turner drops his vocal chords into his belch-bucket for a baritone tour of that pleasure town south of Calexico. Turner's sightseeing through Mexicali is sweetly underscored by the trumpet of Sweetlips Mysterioso. Still it's Jerry Raney's guitar, shot full of either rabies or trailer candy, that'll surprise and delight longtime fans. Much of the credit goes to producer Sven-Erik Seaholm for capturing a "live" sound on this studio project. The Farmers sound less like they've gathered "in front of the glass" and more like they've plunged into their second set at Pete's Place at 11:45 on a Saturday night.

When a group called Tornado Magnet releases an album called Double Wide, the good times begin even before the first note rings out. The cover art depicts a trailer taking flight while a twister looms in the background. As one might expect, it's a country-rock extravaganza that celebrates the redneck lifestyle even while gently lampooning it. Their portrayal of life in the sticks is playful and often tongue-in-cheek. While firmly rooted in country sounds, they give their music a distinctive rock edge courtesy of some blazing lead guitar work. Along with plenty of guitars they employ instruments like mandolin, pedal steel guitar, keyboards, accordion, fiddle, and upright bass. Some local star power lends support, including Jerry Raney and Joey Harris of the Farmers as well as Cactus Jim Soldi from the Eve Selis Band. This winning combination of talents creates a rich and textured sound.

This is a very accomplished and polished recording with just enough grit to keep it credible. The musicianship is first rate and the songwriting is solid. They generally keep things comedic and lighthearted, which sometimes undermines their efforts at more somber material. Phillip Bensimon's voice is perfect for the characters and situations portrayed in the lighter songs, but his delivery isn't quite as effective for the more serious moments. He's like your good buddy who always has a story to tell. The mere sound of it often was enough to make me want to break out into a grin.

Right out of the gate they sing the praises of fishing and all the activities that go with it. In the song "Hook Up" they unabashedly paint a picture of an idyllic day on the lake with buddies and beer. Things take a turn for the melancholy on "Pistolero," a poignant ballad in which a father implores his son not be like him. A choir of female backing vocalists serves to punctuate the song's emotion. This is followed by another ballad called "Austin City Lights," a wistful vignette of a musician's life on the road. But the mood doesn't remain somber for very long because "Highfield" is a spirited country rave-up with a bluegrass-style intro. The group's whimsical humor comes to the fore once again in "King of the Campus," a track that lets them display their alternative rock side as well as their storytelling acumen.

And what country album would be complete without a love song? "Reminds Me of You" is exactly that - no more, no less, complete with violins! Perhaps the thematic centerpiece of the album is "Rednecks," which trots out all the hallmarks of country life, including NASCAR, mullets, moonshine swilled from mason jars, and tractor pulls. It's all delivered with a deliciously wicked sense of delight. "Whiskey Tango," the most compelling song, is a hilarious account of inebriation's aftermath. These guys have a knack for writing lyrics that seem crude on the surface but are actually quite clever and poetic. Listeners with a taste for country sounds will have a lot of fun with this album.