Of Note: CD Reviews

East coaster folksters, Coco and Lafe, traveled cross country to record their recent release, Cafe Loco. Their ride broke down in Tucson, and, for a moment, they believed they might not make it to their destination: a quaint little studio in Ocean Beach. Be it luck or fate, they managed to fit those extra few hundred miles in, arriving in time to lay down 14 tracks that would befit even the ficklest folk junkie.

From the pluck of the first guitar string your ears will be roused and stay tuned, anticipating each next move. "Cambridge Underground," a solemn tale of love lost and still longed for, is perfectly poised as the album's intro. A lone acoustic guitar lies against the sorrowful bellow of a cello, and Lafe's voice commands with brazen beauty - exposing hints of some of yesteryear's greats, with a touch of Cat Stevens, a pinch of Pete Seeger, and a well rounded scoop of James Taylor.

The duo sways from songs of heartache to light and carefree jubilees, such as "Let's Get Away," a contagious composition that will have your toes a-tapping and the chorus line ringing through your head for days. Though they claim Boston and Vermont as their stomping grounds, after hearing this song you have little doubt that their true home is the open road.

"Reservation Billboards" carries you to the hot dry heat of the Arizona desert, where the only color comes from cactus blossoms in springtime and the ominous air feels hundreds of pounds heavier from the scattered "rusted trucks and big RVs." This song is delivered with flawless precision and packed with clever imagery. I visualize large tumbleweed rolling down a steamy highway as the chorus line howls out the cowboy cry "Aye yi yi."

"Bandido" is a western tale of a search for love that roils into armed robbery, desperados, and, of course, tequila. Here, we are introduced to Coco's lead vocal, which sparks an instant comparison to a vintage Kate Bush. When singing background harmonies she rings out like a Joan Baez, offering further insight into her versatility.

In my opinion, the standout track on this album goes to "Ocean Beach." This type of song was made for the repeat button on your player. The song flows with a gorgeous and catchy melody line and is composed with poetic phrasings.

Throughout the album, Coco and Lafe are accompanied by several of San Diego's all-star local musicians, such as the late great Craig Yerkes, Robin Henkel, John McBride, and Bill Ray to name a few. Each adds a bit of their own personal touch while leaving the songs room to breathe, so that the folk essence isn't buried under too many distractions. Chuck Schiele, producer and owner of StudiOB where this album was created, did a fabulous job of organizing and executing his vision for Coco and Lafe and has once more added a fine piece of work for us to feast upon. Cafe Loco

will fit nicely into any music lover's collection.

For anyone who hasn't had a chance to meet the beautiful and incredibly talented Gayle Skidmore, her new EP Cowley Road is only a hint of the artistic ability that she holds. One may be surprised to realize that almost everything about the CD was orchestrated by Skidmore, including the artwork and many of the instruments on the recording. Gayle is easily one of the most talented lyricists in town as well and proves that in songs like "Cheap Imitation" and "Still," which are filled with anguish over a broken heart.

Gayle's voice is similar to that of Feist, Sarah McLachlan, or Beth Gibbons (Portishead), but different in the sense that it is less polished and much more organic or folk inspired. By using only real instruments in the recording, the CD has an early 1900s' feel, with lyrics that would be similar to many of the current European songwriters such as Damien Rice and Glen Hansard.

Gayle's songs may seem simple, but are much more difficult then they appear. With drumbeats coming in and out of different time signatures and a clever placement of tasteful (and not overly busy) background pieces, the CD could also be very enjoyable as an instrumental project. There is a musicianship following Gayle that simply is not present in the normal San Diego scene. One of the reasons for this master craftsmanship can be attributed to Skidmore's unusual influences, which include Sufjan Stevens, Andrew Bird, My Brightest Diamond, Ihasa De Sela, and Brandi Carlile.

"Crazy" is easily the best song on the album. The song starts with classic Aaron Bowen banjo and lap steel, but out of the blue comes a whole new version of Gayle Skidmore. Gayle sings this song with a different attitude and style that honestly is the way she should sing every song for the rest of her life. There is a hint of cockiness that seems to replace the usual melancholy sound on many of her other recordings. This song is definitely the sound that could propel Gayle Skidmore from a local artist to a national recording star.

Cowley Road is a masterpiece that deserves much more buzz from the local media than it is currently receiving. She has more talent than many other songwriters in town and a work ethic that is second to none. Even if Skidmore's style doesn't appeal to your musical taste buds, do yourself a favor and download her single "Crazy," because she is one of those people who has greater things ahead of her - you are definitely going to wish you could say that you heard her before she made it.

The melodies themselves don't sound particularly tropical, but several lyrics on Lindsey Yung's latest album Opal Essence are ripe with sun and sand, turquoise waters, crystal blue skies, and warm ocean breezes. It's no surprise then, to learn that Yung wrote these songs while in Hawaii, which she visits frequently, photographing and writing about its natural beauty.

"Away from It All" appropriately jump-starts the album. Though San Diego itself has a healthy portion of sun, sand, and surf, it certainly has its share of "pavement and break lights/sirens and bustle" too. The intensity of the daily grind is heard in the opening pulse of drums and from then on the song balances a tension between up and down tempos for both piano and drums; it's a clever aural reflection of the lyrics.

Yung's instruments of choice are piano and ukulele, but it's her strong and crystalline voice that commands every song and is custom-made for power ballads such as "Should Be." Even though a few songs sound overproduced instrumentally, her vocals always rise to the top without overreaching. Evan Bethany on violin and Ray Suen on violin and viola accompany Yung on many of these songs, sounding as if they'd given their arms and shoulders impressive workouts.

Lyrically, Yung is unafraid to wear her heart on her sleeve. Whether it's the adamant holding onto individuality in a world of conformists in "Like Them," the in-your-face, brutal truths of "Authentic Counterfeit," or the awareness of life's fragility in "With Every Breath," Yung's writing is personal and her vocals are emotive without being sentimental or melodramatic. She is self-expressive without being self-absorbed, not an easy thing to accomplish with such intimate song writing.

Other reviewers have noted the lack of acoustic guitar in her compositions, which might make Yung a bit of an anomaly in San Diego. Though Yung may stick out as one of the few pianists in San Diego's acoustic scene, it doesn't keep her from performing at numerous bars, clubs, coffeehouses, and open mics. Yung is a native San Diegan, after all, and she does play ukulele.

In fact, it's surprising that ukulele is only heard in three songs on this album. On these songs Yung's vocals are mellow and languid and her ukulele, accompanied by bass guitar and djembe, meanders breezily along in tandem. It's a nice respite from the high energy heard throughout the rest of the album. It also begs the question as to whether Yung might eventually create an entire album of such songs, if she hasn't already. And if she hasn't, well, another trip to Hawaii just might be the ticket.

If I were a gambling man, I'd bet good money that Thom Landt is a huge Bruce Springsteen fan. His immensely likeable new CD Bordertown often calls to mind many of the sounds and feelings that can be found in the Boss' most potent recordings. Those who favor the rock in their country-rock will have much to enjoy here. As can be expected, the music is guitar-centric, with many of the instruments played by Landt himself. This is not cause for concern, however, because he is a very proficient all-around musician. There is no danger that he spreads himself too thinly. He manages to create a tight ensemble sound with a good measure of chemistry and interaction between the tracks.

Landt establishes his sound from the get-go with the songs "Lonely Town" and "Drivin' Wheel." Layers of acoustic and electric guitars and a solid rhythm section give his husky vocals a solid foundation. Pedal steel guitar is used to add to the western vibe. Back-up harmony vocals provide the final ingredient in the sonic mix. While he channels some of the emotional mannerisms of Springsteen, oftentimes I found myself comparing the timbre of his voice to Glenn Frey of the Eagles.

A standout track is "Blue Sunday," a Tom Petty-like tune that showcases his songwriting and arranging abilities. He has an ear for interesting chord changes and song structures that naturally arise from the way a song progresses. He has a keen instinct for arranging his songs, whether it's by embellishing with extra production or just keeping things simple. It keeps things fresh and interesting. Perhaps his most Springsteen-esque effort is "Nothing Ventured, Nothing Gained," which tells the tale of ordinary people with dreams. A series of blazing electric guitar solos over a pumping rhythm really gives this song an emotional lift. A real attention getter is his muscular cover of the Bob Dylan's "My Back Pages," a song made famous by

the Byrds. It's performed with great enthusiasm and obvious affection for

the original.

If I were to single out some nits to pick in an otherwise solid album, they would be these: lyrically it's not a home run. "Angel Of Mercy" is a terrific tune that is somewhat hobbled by a patchwork of cliched images and phrases. "Isn't It About Time" suffers from some awkward phrasing in the chorus. I also felt that Landt's influences sometimes took center stage much of the time. Perhaps too much. Although I mentioned the Boss on a few occasions, there are also other muses informing this music. Tom Petty, Jackson Browne, the Eagles ... all giants who cast long shadows. Thom Landt is an obviously gifted artist whose work need not stand in them. This album is ample proof that he's got a lot to share. I find myself looking forward to a follow-up.

You can learn more about Thom Landt here: Myspace

Guitarist Wayne Riker is a clear exception to the old saying "those who can't do, teach." He has been a columnist for prominent guitar magazines, published books and instructional DVDs, and taught guitar in a variety of styles for over 35 years. His new CD, Fretology, shows that he not only knows his subject but can also compose and play complex styles, ranging from bluegrass, funk, and jazz to bluesy and genre-bending improvisational tunes.

Riker's earlier disc, Fretful, showed the same approach, using a single, finger-picked, steel-stringed acoustic guitar with no overdubbing. The new disc's production, by local jazz guitar icon Peter Sprague, seems crisper than the earlier disc, which helps the harmonics and intricate pattern-picking cut through the simultaneously played bass lines and chords. Riker recorded the disc's 12 original cuts using eight different tunings, a way that he enhances his jaw-dropping technique by getting additional voicings from the guitar by tuning certain strings to open chords or tones.

"Tumbleweed Trot" starts things off with a breezy chord figure that Riker spices up with an alternating conversation on the strings that climbs the neck as the song progresses. Any remaining doubt about his prowess is extinguished on "Blue Sunset," which follows with a speed-picked, bluegrass-inspired lick that resolves, several times, into a bluesy roll only to pick up steam again. "Vertigo Waltz" features rapid-fire fretwork in the mold of early Michael Hedges, while "Hopscotch" is a funk exercise, with plucked staccato notes and a strum pattern that simulates a slap bass and reggae shuffle. "Integrity Blues" shows blues chops in the midst of some smooth country-blues finger-picking that brings to mind the best playing of Steven Stills. On this nearly six-minute tune Riker is cooking, which is the blues highlight of the disc. The title tune, "Fretology," is firmly on jazz footing, showing Riker can play a straight ahead, finger-picked jazz tune with a good feel for taking his time.

Throughout, Riker makes this disc a departure from many other acoustic guitar discs, avoiding the temptation to use studio gimmicks like reverb. At the same time as refraining from fast scales that would not fit his one-take presentation, he also avoids a boringly restrained, unadventurous, sonic wallpaper sound by keeping lots of notes flowing evenly, and there isn't a missed note or a buzzed fret anywhere on the album.

"Soul Stroll" is another showpiece, moving back and forth from an unassuming jazzy structure into a funk bridge with quirky scales and blues figures. String harmonics, used sparingly elsewhere, dominate "Tintinnabulation Whispers," a piece built around them and sounding like rain drops splashing. "Rest Easy" is difficult to peg but has a catchy hook and folk-bluegrass feel. The closer on the disc is a classically influenced piece, "Introspection," with baroque tones - almost a punctuation by Riker to show his ability in one type of music not yet covered on the disc.

Fretology is a great listen, easy on the ears, and presented with the mastery of an accomplished teacher.