Author: Lee Zimmerman (Page 12 of 20)

Todd Snider: The Excitement Plan

Over the course of his career, Todd Snider’s gained a well-deserved reputation as something of a smart-ass, an artist who apparently can’t resist the temptation to mingle his sentiment with satire, much the same as Kinky Friedman, Randy Newman, Shel Silverstein and other musicians known for their humor and chutzpah. Snider’s last effort, the obviously irreverent Peace Queer EP, found that line between sarcasm and sincerity all the more difficult to discern, and even though The Excitement Plan has Snider turning somewhat introspective, its also clear that his tongue is still situated comfortably in his cheek. Even so, Snider seems to be plowing his roots, turning down the amps and relying primarily on acoustic guitar, piano and harp for a steady, bluesy shuffle. The rustic appeal brings to mind more esteemed musical masters like J.J. Cale and Dr. John, but when he opts for a weathered and reflective perspective – as on “Greencastle Blues” and “Corpus Christi Bay” – the music becomes unexpectedly endearing. Happily, Snider’s observations are as wry as ever – borne out by the trippy tale of the ballplayer who pitched a no-hitter zonked on acid (“America’s Favorite Pastime”), an amiable diatribe on the spoils of success (“Money, Compliments, Publicity”) and a rambling lament about a shiftless spouse (“Barefoot Champagne”). Whether or not The Excitement Plan is as energized as its title suggests may be a matter of debate, but there’s no denying the lure of these entertaining observations. (Yep Roc)

Todd Snider MySpace page

John Vanderslice: Romanian Names

With a recording history that dates back a decade and some seven remarkable albums, John Vanderslice has established himself as a genuine fixture in the San Francisco indie pop community. Having the advantage of owning his own base of operations – his highly regarded Tiny Telephone recording studio – Vanderslice freely dabbles in all sorts of sonic settings, creating a gloriously vibrant pastiche replete with rich arrangements and sunny textures. Romanian Names is merely the latest of these delightful offerings, an enthusiastic indulgence in varied musical hues that run the gamut from the massed harmonies of the ebullient opening track, “Tremble and Tear,” to the shimmer and sparkle of “Too Much Time” and steady shuffle of “D.I.A.L.O.” Vanderslice spares no measure when it comes to engineering the ambiance; a full regimen of strings, horns, keyboards and Mellotron aid and abet the collective effort, resulting in a sound that’s as radiant and expansive as anything by the Beach Boys, XTC or Todd Rundgren in his prime. A wonderful record all around, Romanian Names deserves to serve as Vanderslice’s calling card to broader recognition. Dead Oceans

John Vanderslice MySpace page

Lisa Donnelly: We Had a Thing

Although Lisa Donnelly is but unknown at this point, there’s something uncannily familiar about her solo debut. Having fronted the L.A. outfit A.M. Pacific and after mining the Hollywood club circuit, it’s only natural that she should exude the air of a veteran, and indeed the confidence and ease with which she delivers her material belies any hint of relative inexperience. If anything, Donnelly may be too ambitious; We Had a Thing suggests she may be trying to cover too much ground for a first outing. And in fact, with songs that run the gamut from ethereal ballads to propulsive hip-hop, it’s hard to get a handle on Donnelly’s true essence. Try Sarah McLachlan meets Madonna. She even throws some sitar into the mix with the song “Blue,” suggesting a psychedelic spin that quickly turns into a meditative mode. Still, the most telling track on the album – both literally and figuratively – is the leadoff tune “Laugh,” an intriguing narrative about a dinner party encounter with a psychic who preps her for the future. Being that she’s a bit derivative, it’s difficult to read Donnelly’s chances for success based on this album alone. Still, it suggests there’s plenty of potential for ongoing endeavors.
(BT Media 2009)

Lisa Donnelly MySpace page

Eilen Jewell: Sea of Tears

Eilen Jewell doesn’t take anything for granted in her multi-faceted approach. As comfortable emitting a bluesy wail as she is in delivering a down-home croon, she eschews the folk singer format to take a more old-fashioned approach, one that’s as close to a rootsy template as any other modern singer has ventured nowadays. On this, her fourth album and second for Signature Sounds, Jewell asserts her seductive prowess and spans references ranging from Billie Holiday (“Everywhere I Go,” “Final Hour”) to Patsy Cline (“The Darkest Day,” “Codeine Arms”). In between, she varies her delivery from sassy to seductive, maintaining an easy lilt that’s melancholy and mournful without sinking to the depths of depression. An unexpected cover of “Shakin’ All Over” notwithstanding, Sea of Tears does reflect its title accurately, but given her comfort with the material, this particular sea allows her remarkably smooth sailing. (Signature Sounds)

Eilen Jewell MySpace page

Ed Harcourt: Russian Roulette

After effectively hopscotching from label to label – four in approximately the past ten years – Ed Harcourt seems to have found a comfortable home with Dovecote, a company that presumably grants him the ability to follow his creative whims without regard to commercial consequences. Still, Russian Roulette doesn’t divert all that much from his usual template, a reliable mix of stirring, angst-ridden ballads and soaring anthemic outpours that capture the heart while seizing on more cerebral possibilities. Being more of a modest affair – six songs recorded rather quickly as in deference to the original demos – it also serves as a stopgap prior to the unveiling of his next full-length opus, due sometime next year. Regardless, its certain to satiate fans unable to wait that long, courtesy of such enticing offerings as the title track – an opening volley of over-arched emotion – and “Sour Milk, Motheaten Silk,” a song which, despite its curious title, proves both elusive and alluring. However, the EP’s true highlight emerges in the form of “Caterpillar,” a purposeful and effusive number written about his newborn daughter that also ranks among the most stirring songs he’s ever written. Dovecote

Ed Harcourt MySpace page

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