Of Note: CD Reviews

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.

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 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.

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.

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