Of Note: CD Reviews

I've always preferred music that tries to say something honest and real over music that tries to be slick and cool. For those of you familiar with Earl Thomas, you will find him without the flashy city-slicker suit, to which we've been accustomed for some time now, on this record.

On Plantation Gospel, you will find a more inspired, honest, and important singer in Earl Thomas on this outing, upping things a passionate notch or two. In fact, if I had to take a wild guess, the passion of this work might indicate something deep and personal shifting deep within the soul of this artist. Artists go through changes, and when they do, there is a rebirth in their art that is parallel to their shift. This strikes me as just that. Like a refined elegant howl, the vocal artistry is urgent, animal, bluesy, yet razor-sharp, deliberate, and beautiful. Here is a singer deeply and emotionally involved with something he really needs to sing about.

For the most part, this is 17 tracks of public domain gospel coming from its place of origin and ancestry. It comes from West Africa, the cotton fields, the Southern Baptist choir, suffrage of an entire people, and in this case Earl's personal lineage to it.

The whole thing sounds like it was recorded at a church in the deep South. The instrumentation successfully strives to be traditional and I find it contributing to the believability of the work. The arrangements sound appropriately of another era Ñ no electric instruments (just vocals piano, mandolins, fiddles, guitar, and percussion), which I not only found interesting, I also found it mood-altering. You can't listen to this without thinking about what it really means. And why.

You'll hear a few renditions of popular favorites such as 'Swing Low, Sweet Chariot' and 'Will the Circle Be Unbroken,' along with a few lesser-known gems, each capable of locating and unlocking a different aching joy in your compassionate heart.

On each track I am reminded of the irony about how unthinkable things can lead to such a joyful

noise Ñ how love, faith, and courage lead to character. How three chords changed a people Ñ all people Ñ and their world. How many records do that these days?

It makes me think about how we don't need another over-produced formula 'babe of the year' record, when there are records like this. 

This is an important CD. www.earlthomasmusic.com.

A self-proclaimed acoustic philosopher, Eben Brooks' charm is as much in his naivetŽ as in his experience. Featuring 12 songs representing nearly a decade of material, much of his personal life and strife are evident in his new release, Mirrors, a highly emotional, heartfelt record. 'For me, acoustic philosophy is about making good music and doing good things, thereby becoming better human beings,' Brooks said.

A worldly yet very introspective record, Mirrors is sentimental, nostalgic, and philosophical. Brooks comes across like a former brazen hippie who has found a more secure and spiritual place. The music isn't incredibly original, but it's very well arranged and accompanied.

Producer Steve Langdon does a fine job of complementing the quirky, sometimes spastic songwriting. The orchestration serves to color an ambitious album that required added texture. Mandolin, stand-up bass, violin, and even an alto recorder contribute subtle touches that make a huge difference. This collection of acoustic anthems are utterly playful and catchy. The socio-political jabs are balanced by a self-deprecating awareness that makes the listener comfortable laughing and singing along.

Brooks' lyrics contain the spirit of growth and realization, not so much about changing America or achieving world peace but rather about changing oneself, being loving and tolerant, and the journey from delusion to fulfillment.

'Lightbringer's Fall' deals with the frustration of having lofty dreams but ending up working at a dead-end job. Ultimately empowering and existentialist, its message deals with demons in a harsh but brave manner in taking control of our lives, relationships, and destinies. 'Too often,' Brooks says, 'People blame their problems on anything but themselves. It's their bosses' fault, or their spouses' fault, or the government's or the media's. They never take time to figure out how they are responsible for their situations.'

A few tunes demonstrate Brooks' first stabs at alt country. The result is poppy and refined, delivering raw Americana in a satirical, almost cheesy fashion. But his nasal, borderline whiny voice is endearing in its unadulterated authenticity.

Some songs are silly and lighthearted, but most are emotional and reverent. 'Black Train' is dedicated to his mother who died of breast cancer Ñ a symphonic, harmony-packed requiem of epic proportions. The title track plays off a Stephen Donaldson novel, a beautifully melancholy song about coping with loss and depression. You can feel the loneliness in the orchestral arrangements and dreamy ambiance.

Another song inspired by a book is based on Roger Zelazny's The Courts of Chaos. It contains striking imagery, inducing visions of city lights, leafless trees, and lovers on a Parisian sidewalk. It was cowritten by Allison Lonsdale, a local singer-songwriter and Brooks' frequent collaborator.

A flamenco frenzy of mad bohemians and Gypsies! Fishtank Ensemble's debut record is a contemporary blend of up-tempo roots music from Romania, Rome, Spain, and Japan. From the smoky cafes of Bucharest to dusty Middle Eastern caravans, this thunderous album evokes the spirit of the past, offering a savory taste of what traditional music can sound like when it's played loud and fast by some of the most gifted young musicians in the world.

A seven-piece orchestra is led by the soaring vocals of Ursula Knudsen who sings in multiple dialects and multi-tasks on saw and violin. Fishtank offers a truly unique and worldly experience, and their shows are one hell of a time!

The group's talented members include two former vagabonds who toured Europe via mule-drawn convoy, a French fiddler prodigy, a punk accordionist, the master of twenty-first century modern flamenco guitar, and one of the best Japanese shamisen players in the world.

Fishtank Ensemble presents a unique amalgamation of Gypsy, Balkan, flamenco, klezmer, and staggering original compositions. The arrangements are constantly shifting and slashing, darting and dashing, interweaving between quick riffs, wild scales, time signature changes, and complex rhythms.

Fishtank Ensemble formed in Oakland following the immigration of fiddle phenom Fabrice Martinez, who spent seven years with Knudsen traveling around Europe in a Gypsy caravan learning folk music.

After three short weeks together, Fishtank recorded their debut album Super Raoul, which means 'way cool' in Gypsy slang. The album was recorded live, showcasing the band's unmatched chops and breadth of styles and influences.

The opening track, 'Bordeas,' charges out of the gate like a fuming bull. With intricate flamenco picking, flaring fiddle, wailing Spanish vocals, and castanets, the album immediately feels like a bustling procession atop a cobblestone courtyard.

Other instrumentals like 'Itty Bitty Snitty Little Frenchman' and 'Troll Wedding' feel much like the suggestive titles, playful soundtracks to European follies. They are rich, innovative pieces that make the listener feel more cultured for having experienced them.

In late 2005, the Fishtank Ensemble left West Coast audiences insatiably delighted and enthralled, prompting the European members to settle down in America. A forthcoming DVD will showcase the bands exceptional live energy and, considering their uncanny ability to jam and churn out new music, a follow-up album is looming.

They will be performing at Claire de Lune on Saturday, March 3.

www.fishtankensemble.com

File the new CD from Mike McGill under beach-folk-pop.

Not to name names, but if someone were to ask me the question, 'What does it sounds like as far as influences go?' I'd say, 'Equal parts Jimmy Buffet, Jack Johnson, and Don McLean's ÔVincent' mode.' It works in a coffeehouse. It works at a beach bonfire.

This 14-track collection of music was primarily written on acoustic guitar and then built into the mix with supportive arrangements contributed by producer, multi-instrumentalist, and accompanist Lee Coulter, along with Jared Gianquito and Jim Woodruff.

This is a friendly, breezy-sounding work. The songs are good, well-written songs, which possess a charming quality to them by way of their gentleness and simplicity. The melodies are simple and right where they need to be, managing to maintain a sing-along quality. What's most interesting here is the relationship between the writer and the producer in that the writing weaves between the moves of, say, the '70s pop-folk thing and more current trends that are still being defined. The productions are really cool, sometimes leaning toward retro Ñ sometimes leaning forward Ñ sometimes combining both and always finding the perfect middle.

Lyrically speaking, you'll find nuggets of light irony and humor, personal insights and experiences, doses of spirituality, a few good questions, and tender relationships. Thematically speaking, McGill sings along the lines of hope Ñ sort of an inspired 'chin-up' attitude, with a soundtrack evoking seagulls, salt air, five-knot southwesterly on-shore breezes, and the hush of soft surf at the green-flash moment of twilight. It is the CD's common denominator, the thing that threads it together.

And even though there are 14 cuts on here, the running time of each is inside two or three minutes, which is amazing, because I usually think records have one or two too many songs on them, diminishing a certain 'wow-ness' for the overall listen. I kinda get the same feeling when I overeat. I was ready to say that here, but I retract the thought. He gets into the song, does his business, and he's back out. Finding another spot on the beach and another song to sing.

Nobody does that anymore. Cool.

Make yourself a tropical bevy with those little paper umbrellas, sliced pineapple, a curly straw, and ice cubes. Then cheer up, have a nice day, and pop in this Mike McGill CD.

Earthy and organic, cathartic and introspective, pristine and delicate are the sounds of husband-and-wife duo Podunk Nowhere. The impassioned statement in their debut CD is both personal and relatable.

Recorded at StudiOB, the duo's heartfelt effort evokes sentimental yet painful memories. Birth and death, surfside romances and barren landscapes, obsession and release Ñ this album feels like the diary of a wayward folk artist coming home.

Like a road trip at dusk, Podunk Nowhere captures that solitary moment when the stereo and setting sun meld as nostalgia flutters about. Reflective and hopeful, regretful and resilient, its sense of longing captures the day and milks our fleeting lives.

Heather Janiga and guitar wielding hubby Johnny J. are a formidable songwriting duo. Her airy voice has an indie vibe, at times hinting at a folky Portishead or P.J. Harvey. Their country songs' sweet vocal arrangements are akin to Lucinda Williams and Wilco.

Their tunes are catchy and playful with forthright lyrics and production. The tasteful and infectious melodies are interwoven with acoustic guitar riffs, sultry bass lines, ambient noise, and creepy whispers. The subtle experimentation sprinkled throughout brings the album to life. Minimal yet textured, utterly rich and beautiful, the content is well developed for a debut release, with lyrics that hold up against the wishy-washiness of many singer-songwriters today.

A contemporary sound with traditional elements, this album is fiercely independent and unapologetic. Podunk Nowhere will strike a chord in all listeners because it's about accepting the past and embracing the present without worrying too much about the future.

The brutally honest 'Junkee Love' chronicles the battle of addiction and its ugly cycle. Heather admits, 'I'm not a stupid girl, but I've made stupid girl mistakes,' later declaring, 'I'll try forever.... I go down on my face and get back up for more.'

The bittersweet anthem 'Easy Does It' deals with self-doubt. The chorus is an explosion of acceptance and resolve with catchy soaring vocals that feel sincere. Heather's earnest lyrics and emotional delivery complement her husband's aggressive strumming, which spontaneously floats into dissonant slides and intricate picking.

Hitting the album's stride halfway through is 'Embroidery Queen,' a bold waltz that piles crunchy guitar leads atop a cabaret with weird chord changes, heady bass riffs, and wicked acoustic rhythms.

The country tune and final track 'And, Yes' features rich harmonies, blues harmonica, and head-bobbing acoustic jams. A soulful sing-a-long with touching lyrics both genuine and charming, it's a perfect ending for this CD. The bar stool is waiting, so turn up the juke box and put your feet up.

A CD release will be held at Winston's on February 14. www.myspace.com/podunknowhere.