Category: Americana (Page 3 of 23)

Bullz-Eye’s Favorite Albums of 2010: Staff Writer Greg Schwartz’s picks

December 7, 2010 /

It’s been another bad year for the recording industry, but another great year for music fans. Rock ‘n’ roll is alive and well, as is the opportunity to see it performed live. Musicians can still make a living, but they have to hit the road and seize modern marketing opportunities. One thing that will never change is the public’s desire to hear great music. Bands that can deliver still have a chance to write their own ticket.

Top 10 lists are of course inherently subjective, and this observer’s faves will always lean toward the guitar-driven rock side of the music spectrum. I was certain that the debut album from the long-awaited Derek Trucks & Susan Tedeschi Band would be topping my list this year, especially after the slew of terrific new tunes they delivered in two stellar shows at the New Orleans Jazzfest back in April. But the album isn’t coming out until 2011. Here’s my take on the best albums and songs that were released in 2010.

10. The Henry Clay People: Somewhere on the Golden Coast
This is just an old-fashioned, ’90s-style indie-alternative rock ‘n’ roll album that stands out with its energetic yet down-to-earth sound. No Pro Tools trickery going on here, just a band plugging into their amps and turning up the volume. It’s got loud guitars with melodic hooks, rocking piano and zeitgeist lyrics from singer/guitarist Joey Siara that tap into this modern era of Depression and discontent. “Working Part Time” is one of the great anthems of the year, while “End of an Empire” sounds like an alt-rock prophecy.

9. The Sword: Warp Riders
The Austin, Texas hard rockers deliver a blast from the past that is easily the best metal album to come along in some time. It’s like a cross between Metallica, Black Sabbath, Iron Maiden and Thin Lizzy, which equals metal heaven. It’s chock full of great riffs, furious rhythms and tight metal mayhem with a twist of classic rock flavor.

8. Stone Temple Pilots: Stone Temple Pilots
Back together with their first new album in years, STP deliver a rocking platter that recalls their ’90s heyday as alt-rock icons. Guitarist Dean DeLeo is at his best throughout, putting on a clinic of plucking guitar strings and alternative guitar strumming. Scott Weiland conquered his demons (temporarily at least), and sounds great here. The band doesn’t play it safe, either. There’s big rockers like the Zepp-ish “Take a Load Off,” the swaggering “Huckleberry Crumble” and the hard-charging “Hazy Daze.” But the band also stretches out with pop rock gems like “Dare if You Dare,” the uplifting “Cinnamon” and the Bowie-esque “First Kiss on Mars.”

7. Juliana Hatfield: Peace + Love
In a year where peace and love were in short supply, the Gen-X songstress delivered a stripped-down acoustic album that comforts the weary soul. It’s low-fi, but it’s some of Hatfield’s best work, demonstrating what a deep vibe can be conjured from just a girl and her guitar (and a little bit of piano and percussion here and there.) Songs like the title track, “The End of War”, “Why Can’t We Love Each Other” and “Faith in Our Friends” offer a melodic sense of hope for the future that I found myself returning to time and again.

6. The Macrodots: The Other Side
Rock goddess Cathy Richardson has been wowing audiences since 2008 in Jefferson Starship, where she fills in for the legendary Grace Slick in stunning fashion. Now she’s taken that classic rock aura and teamed up with former Scandal guitarist Zack Smith to create a great new band. Richardson has a dynamic range that few can match, evidenced from the powerful opening title track. “Beautiful Girl” shows a softer side, yet in compelling fashion. The metaphysical “I Am” soars, while “Not Too Late” and “Every Time” just flat out rock with great hooks and arrangements. This is a band ready to break out to a large audience if they could just get the exposure.

5. Grace Potter & the Nocturnals: Grace Potter & the Nocturnals
Vermont blues babe Grace Potter has got her band clicking at a higher level here with the addition of bassist Catherine Popper (formerly of Ryan Adams & the Cardinals). There’s a variety of classic rock influences at work, yet the band’s sound ripples with fresh energy. There’s lots of big hooks, hot riffs and a variety of vocal styles from Potter. The songs range from hard rock to pop, blues and even a bit of reggae. The dynamic bass playing from Popper boosts the sound throughout, and especially in the live setting, making her the rock ‘n’ roll acquisition of the year.

4. The Dead Weather: Sea of Cowards
With the nation plunged into the worse economic depression since the 1930s, there were plenty of blues to mine. Few albums provided as cathartic an antidote for venting out those blues than this barnburner from Jack White, Alison Mosshart and company. White sets up Mosshart to be the star, giving the dark angel a perfect setting to belt out those intense blues in compelling fashion. “Hustle and Cuss” has one of the year’s best grooves, while “The Difference Between Us” and “I’m Mad” find Mosshart really cutting loose over the deep, dark riffage. The album’s urgent energy and masterful old-school production value really stand out.

3. Ryan Bingham & the Dead Horses: Junky Star
This album finds Bingham moving in bit more of a country-ish direction, following his Oscar win with “The Weary Kind.” But he still delivers some of his best rock ‘n’ roll tunes – he’s just interpersing them with some more atmospheric tunes. It’s hard to think of anyone else who is blending rock, country and blues as seamlessly as Bingham does. He’s got one of the most soulful, comforting voices in rock and everything sounds great here thanks to production from T Bone Burnett. The album has a cinematic sort of flow, and some of the year’s best lyrics with zeitgeist rockers like “Depression” and “Direction of the Wind”, both of which tap deep into the hard times of the foul economy and shameful political climate.

2. Galactic: Ya-Ka-May
The New Orleans funk masters score their best studio album yet by bringing in a wide variety of friends to help them explore their diverse influences. There’s memorable vocal tunes like “Heart of Steel,” “Dark Water” and “You Don’t Know.” There’s deep party grooves like “Boe Money” and “Cineramascope,” where the band emphasizes the horns. There’s raucous bounce rap, atmospheric blues, a little bit of everything. It’s all an intentional mix to emphasize the Crescent City’s many diverse sonic flavors. The common denominator is drummer Stanton Moore, who puts on a groove clinic throughout.

1. School of Seven Bells: Disconnect from Desire
It’s always hard to decide which album is the best of the year, but this one gets the nod due to the utterly unique sonic landscape it explores. There’s no other album that made me feel like I was hearing a new sound. Guitarist/producer Ben Curtis conjures a mystical vibe by blending his creative guitar work with trippy electronic flavors and big beats for a soaring dream pop sound. Twin sisters Ally and Claudia Deheza then add their siren-like vocals for mystical harmonies that often seem to conjure another reality. It’s too bad that Claudia dropped out of the band this fall, but it doesn’t diminish what an achievement this album is.

Honorable mentions

Herbie Hancock: The Imagine Project
Beats Antique: Blind Threshold
Big Gigantic: A Place Behind the Moon
Earl Greyhound: Suspicious Package
Sheryl Crow: 100 Miles From Memphis
Los Lobos: Tin Can Trust
The New Pornographers: Together
Robert Randolph & the Family Band: We Walk This Road
Tom Petty & the Heartbreakers: Mojo
7 Walkers: 7 Walkers
Hole: Nobody’s Daughter
Nas & Damian Marley: Distant Relatives
Sharon Jones & the Dap Kings: I Learned the Hard Way
Here We Go Magic: Pigeons
She and Him: Vol.2
Arcade Fire: The Suburbs
LCD Soundsystem: This Is Happening
Sleepy Sun: Fever
Jenny & Johnny: I’m Having Fun Now
Railroad Earth: Railroad Earth
Devo: Something for Everybody
Melissa Auf Der Mauer: Out of Our Minds
Michael Franti & Spearhead: The Sound of Sunshine
Slash: Slash

Songs

10. “The New Fuck You,” Street Sweeper Social Club
This killer tune blends Boots Riley’s hip-hop rebel style with some of Tom Morello’s classic Rage-style riffage for one of the year’s best anthems. In a world that is rapidly sliding down the tubes while most stand around feeling helpless, Street Sweeper Social Club lays it on the line in this instant classic chorus – “Revolution is the new fuck you.” You wanna stick it to the Man? Stop spending your money at McDonalds and Wal-Mart.

9. “Summer Day, Sheryl Crow
This combo of deep soul and a catchy hooks is what great pop songs are all about. Sheryl is at her best here and it’s great to hear her tapping back into her roots.

8. “Collector,” Here We Go Magic
This is a next-level song that has the kind of unique sonic energy that suggests this band is just scratching the surface of what seems to be an immense potential. The blend of minimalist style with surging sonic hooks is one of the year’s most unique tunes.

7. “The Game Gets Old,” Sharon Jones & the Dap Kings
This majestic soul tune about dealing with another broken heart offers instant catharsis to the lovelorn. That makes it an instant classic, especially with way Jones and crew bring the old soul vibe into the modern era with such feeling and craft.

6. “Laredo,” Band of Horses
If the whole album rocked like this infectious melodic gem, Band of Horses would be my favorite new band. Alas, this is far and away the best tune on the album.

5. “Black Elk Speaks,” Railroad Earth
This bluesy ode to the legendary Sioux medicine man is probably the hardest rocking song the band has ever put out, and it’s got an appropriately mystical flavor that makes it one of the year’s best. Deep stuff.

4. “Tiny Light,” Grace Potter & the Nocturnals
The band’s lead single has it all, a classic rock vibe with a mystical twist, some of Grace’s best lyrics and most urgent vocals, plus a smoking jam at the end that proves you can stick a jam into a pop rock song and get away with it.

3. “Babelonia,” School of Seven Bells
This tune is a magical blend of rock, pop and psychedelia. The tight rocking beat and angelic vocals make for a compelling dichotomy.

2. “Shotgun,” Earl Greyhound
Power trio rock at it’s best, this hard-hitting tune has a mesmerizing quality that can transform an audience of casual onlookers into instant converts.

1. “Depression,” Ryan Bingham & the Dead Horses
The government is clearly lying about the unemployment rate, but leave it to the rockers to tell the truth about how this so-called Recession is really a Depression. This cathartic, up-beat rocker about transcending that economic Depression taps the current zeitgeist like no other tune did this year.

Alternative, Americana, Artists, Blues, CD Reviews, Electronica, Hip Hop, Hipster, Jam Band, Metal, Pop, Progressive, Rock, Rock Babes

Bullz-Eye’s Favorite Albums of 2010: Staff Writer Ted Asregadoo’s picks

December 6, 2010 /

The days of getting lost in an album have passed me by.  This year, I really tried to rekindle that lost listening art of playing entire albums – instead of compiling playlists in iTunes.  It hasn’t been easy.  I think the ease of digitally downloading albums has dried up the sense of anticipation that used to come with a purchase of a physical copy of an album at a record store.  Now, the record store is just part of the millions and billions of distractions that await you on the Internet – much of it for free.

Now, I don’t mean to go on a diatribe against the devaluation of music because of the Internet, but one thing that has occurred because of the sheer plethora of music available with one click of your mouse is a kind of ADD when it comes to listening to music. My colleague both here and at Popdose (that would be Jeff Giles) has written about it more eloquently than I can, but the sentiment is very much the same:  because of the volume of music that is available in downloadable form, it’s difficult for me to form a deep connection with an entire album.   If we could flash back 20 years, it would have been a different story to feature 10 albums.  Nowadays, it’s rare that an entire album can hold my attention.

But, never say never, right?

What you will find here are mostly my favorite songs of 2010, but occasionally you’ll find entire albums.  I know, after all that “downloadable music is ruining my attention span” crap, I say that there were some albums that really captured my attention.  But like I said, I’ve tried to rekindle the art of listening to entire albums, and while I feel I’m losing that battle, I haven’t entirely lost the war.   So, here we go with my top 10 of 2010!

10. Paper or Plastic, “The Honest Man”
Every now and then a link arrives in my inbox that lives up to the hype.  Case in point is the New York group, Paper or Plastic, who has a kind of Ben Folds thing going on with “The Honest Man.”  The song is an example of some very lovely power pop, and you’ll find yourself humming the chorus after a few listens. The band is giving away their EP Ron Save the King on their website.  Get it, if only for “The Honest Man.”

9. Somebody’s Darling, “Lonely”
In my review of this album, I was upfront about my allergy to country music – even if it’s alt-country.  But Somebody’s Darling has enough rock-n-roll in them to make the musical waters safe for a guy with my particular affliction.  “Lonely” is by far my favorite track on the album, and it’s not difficult to hear why. The song is just one big fireball of energy with a great driving beat and some wailing guitars.  But it’s the full-throated vocals from Amber Ferris that takes this song from good to great.

8. Daft Punk:  Tron Legacy
I used to be an avid soundtrack collector, but those days have passed me by.  When I got a hold of the “Tron Legacy” soundtrack, however, it reminded me what I used to love about these kind of soundtracks:  the combination of standard orchestration with tasteful touches of synth laced in for good measure.  And that’s what Daft Punk has delivered in what could have been some cheesy-ass electronica music cues.  Serving the weighty tone of the movie, Daft Punk avoided the familiar clubby territory of their music and went right for a fusion of classic music cues with flourishes of electronica.  

7. Kanye West, “Dark Fantasy”
While most music critics are jizzing in their pants over Kanye’s My Beautiful Dark Twisted Fantasy, I was underwhelmed by most of it. However, give me a great hook, and I’ll take West’s tone-deaf singing any day.  And Kanye delivers both on the album opener, but thankfully keeps the singing to a minimum. Sure, the chorus of the song is tremendously catchy, but West also adds some lyrical heft with rhymes like these:

Hey, teacher, teacher / Tell me how do you respond to students/

And refresh the page and restart the memory / Respark the soul and rebuild the energy / We stopped the ignorance, we killed the enemies / Sorry for the night demons still visit me / The plan was to drink until the pain over / But what’s worse, the pain or the hangover?

6. Devo, “Sumthin’”
Devo was such a part of my high school and college experience, that it was so refreshing to hear that classic Devo sound resurrected for 2010.  With “Sumthin’,” it’s like it’s 1982 all over again, and it’s heartening that the Spud Boys, after their breakup and detour into the world of TV soundtrack work, haven’t lost that jerkin’ back and forth feel on this song.  The entire album is good, but this track stands out as the strongest on the album – and one that I keep coming back to over and over and over. 

5. Prince,  “Lavaux”
In this day of the instant download, how do you create a buzz around an album release? Well, if you’re Prince, you make it difficult to obtain the album outside of the certain geographic region. Case in point is the release of 20Ten – which Prince only gave away in the UK to readers of The Daily Mirror and The Daily Record.  He undoubtedly knew that once the physical CD was ripped and uploaded to a torrent, it would go viral and people would be talking about the entire album – and not just a single.  Alas, the album for me was more of a miss than a hit.  But when Prince did “hit,” as he did in “Lavaux,” it was reminder of the kind of sublime pieces of music he’s capable of making.

4. Chromeo, “Hot Mess”
This Canadian duo’s brilliant lead track on their 2010 release, Business Casual, is a sonic delight with some wonderful ‘80s throwback production techniques. Plus the fact that song is just pure pop joy doesn’t hurt matters at all.  Pretty good work from a group whose lead singer is working on a PhD at Columbia University.

3. Arcade Fire, “Suburban War”
Another album that’s bound to make many ‘o critic’s top 10 this year, and yet it’s another album that really didn’t impress me.  But what did impress me was “Suburban War” with its ’60s-era Byrds-inspired guitar work and hypnotic vocals. If the song stayed with that tempo and style, it would have been a kind of sleepy standout track on the album, but Arcade Fire did something interesting:  they upped the tempo (and the tension) of the song for the final ride out that masterfully raised the emotional depth – which is something rare in popular music.

2. Rush, “Caravan”
I don’t apologize for my love of Rush, but I’m not such a fanboy that I will laud everything the band puts out.  The two singles they released in conjunction with their Time Machine Tour are a study in contrasts.  “Caravan” has a number of classic Rush flourishes, but it’s also a song that has enough quirky elements that it demonstrates Rush’s commitment to progressive rock in that, they are never quite comfortable resting on their reputation.  I have to admit to not liking the song when it first came out, but when I saw it performed live, it was such a blistering rocker that it quickly became a favorite in Rush’s oeuvre.  I can’t say the same for “BU2B (Brought up to Believe)” – which I found a bit of retread of some of the weaker songs on Snakes & Arrows.

1. The Gaslight Anthem, American Slang
If you’re a fan of rock anthems that’ll get you singing songs that sound like they were written during Bruce Springteen’s heyday, then you’ll fall in love with the Gaslight Anthem’s second full album release.  Song after song exemplifies the best in this style of rock music. The album is free of any filler, and while the hybrid of Springsteen and the Clash suggests a lack of originality, The Gaslight Anthem are able to use the old wine skins that has influenced their music and make a new wine that’s tasty, taut, and thunderous. 

Alternative, Americana, Best of 2000s, CD Reviews, Country, Electronica, Hip Hop, Instrumental, Pop, Power Pop, Progressive, R&B, Rap, Rock, Soul

Bullz-Eye’s Best of 2010: Staff Writer Scott Malchus’ picks

December 6, 2010 /

Each year, when I sort through my favorite songs, I have trouble ranking them because each one has a different meaning to me. I always wind up creating a mixtape (or a playlist, for you younger readers) of those songs and arrange them so that the music flows like a great album or concert set. Without further ado, here’s my mix of the twenty songs I returned to for repeated listens throughout 2010.

“Fade Like a Shadow,” KT Tunstall
Tunstall continues to produce pop gems that are spirited, bright and full of life. This single from her latest, Tiger Suit, has everything you want in a single: a passionate delivery, a great melodic hook, and a unique rhythm that helps it stand out from other songs. A great way to kick off a mix tape.

“I Should Have Known It,” Tom Petty & The Heartbreakers
The lead single from Mojo has that vintage Petty snarl and bite. The rest of the album may be a mixed bag, but this great rocker builds to kick-ass guitar jam and stands up with some of their best.

“Baby,” Justin Bieber featuring Ludacris
I make no excuses for liking this guilty pleasure. When a song reminds you of your kids, it becomes a favorite whether it’s cool or not. Plus, come on, Luda’s rap is pretty choice.

“The Weary Kind,” Ryan Bingham
“Crazy Heart” was a great movie and Jeff Bridges was definitely worthy of his Academy Award, but the film wouldn’t have succeeded if the song Bridges’ character, Bad Blake, wrote in the film, wasn’t perfect. Ryan Bingham and T-Bone Burnett wrote that perfect song in the form of “The Weary Kind” and Bingham captures everything about Bad Blake and delivers it in his performance of the Oscar winning composition.

“Cuckoo,” Lissie
My big discovery this year was Lissie’s, Catching a Tiger, a collection of lovely melodies combined with the singer’s remarkable voice. “Cuckoo” is the song I played most from the album. It’s one of the finest expressions of being a teenager and feeling like an outcast that I’ve heard in years.

“Can I Change My Mind,” Stone River Boys
Guitarist Dave Gonzalez and singer Mike Barfield, aka the Stone River Boys, blend Memphis soul, Austin blues and old time country for music they like to call country funk. Their cover of Roy Buchanan’s  “Can I Change My Mind,” conjures images of warm summer evenings with my family and friends, the grill cookin’ steaks, the kids playing corn hole, and the cooler stocked with ice cold beer.

“Fuck You,” Cee Lo Green
Besides being one of the catchiest songs of the year, and also one of the slickest, there’s an emotional side to “Fuck You,” that taps into the wounded heart of every young guy who’s been jilted or turned down by the girl of his dreams. Show the dejected face of that kid, and I guarantee he’s thinking everything that Cee-Lo is singing on this damn fine song.

“Crash Years,” The New Pornographers
Neko Case and her band mates reconvene for another great jangly rock song. My favorite whistle solo of the year.

“The Power of the Heart,” Peter Gabriel
Gabriel does a cover of Lou Reed and creates magic.

“My Brand New Day,” Michael Stanley
Stanley is a musical icon in Cleveland whose height of popularity was  the ’70s and early ’80s. These days he’s a well-loved DJ for Cleveland’s classic rock station, but he continues to write and record music.  This unabashedly romantic up-tempo rocker somehow found its way to my favorite L.A. station and made my spring much brighter.

“Bring It On,” The Gaslight Anthem
These Jersey boys shed the Springsteen label with an intense album, American Slang. Although lead singer Brian Fallon received the lion’s share of the press, the album is truly a band effort, best exemplified on this phenomenal track. Drummer Benny Horowitz lays down a tight, solid foundation, bassist Alex Levine holds the song together like glue, and lead guitarist Alex Rosamilia uses his instrument like a second voice, as it sings a counter melody to Fallon’s vocals.

“January Wedding,” The Avett Brothers
The Avetts certainly know how to rock out with their acoustic guitars, bass and banjos, but they also have the ability to pull back, as they do on this lovely ballad from their album, I and Love and You.

“He’s Not a Boy,” The Like
Capturing the joy and harmonies of ’60s girls groups and blending it with the edginess and short precision of the British Invasion, the Like, had one of the most biting and danceable records of the year. Listening to “He’s Not a Boy” makes my head bounce, my foot tap, and makes me happy that I’m not the subject of lead singer Z Berg’s biting words.

“Wake Up Everybody,” John Legend & the Roots, featuring Common and Melanie Fiona
Teaming up with the Roots, the most important band in popular music right now, John Legend takes a brief respite from being the utmost authority on love to record Wake Up!, a collection of socially conscious songs. On this track from that superb album, Legend duets with Melanie Fiona, then steps aside for Common, who delivers a classic rap that carries this cover of a cover of a 1975 song by Harold Melvin & The Blue Notes into the 21st Century.

“Anchor,” Alejandro Escovedo
This meaty rocker wears its heart on the rolled up sleeves of the sea-faring protagonist. With songs like this, it’s no wonder that cult figure Escovedo has fans like Springsteen.

“Women of the Ages,” Laura Cortese
I was riding the train to work one October morning, as I read the tragic account of Seth Walsh, a 13-year-old teen who chose to take his own life instead of enduring another day of abuse from his “peers.” This gorgeous song by Laura Cortese was playing while tears rolled down my cheeks.

“Silver Rider,” Robert Plant
On his new album, Band of Joy, Robert Plant found kindred spirits in Buddy Miller and Patty Griffin. The way Plant and Griffin complement each other on “Silver Rider” is uncanny, while Miller goes all Spyboy on us with a chilling guitar solo. Before the new album, Plant and Daniel Lanois did some sessions together.  This song may give us an idea of what they would have sounded like.

“Love the Way You Lie,” Eminem, featuring Rihanna
It’s impossible to listen to this explosive number and not think about the tumultuous histories of both Eminem and Rihanna. Em spits out his lyrics like a machine gun and Rihanna makes your heart hurt in one of the best rap collaborations of all time.

“Bloodbuzz Ohio,” The National
I hear this song and I can’t help but think of the gray winter skies of my home state of Ohio. Not sure if that was the intention of the National when they recorded this song, but the song makes me homesick as the end of the year approaches.

“Looking Out,” Brandi Carlile
Another strong, emotional song by the underrated Carlile. The singer-songwriter seems incapable of singing a false note, plus she kicks some serious ass when it comes to rocking out. “When you feel like giving in… like your heart could break in two / Someone loves you!” What better message to end the year on.

Adult Contemporary, Americana, Artists, CD Reviews, Country, Hip Hop, Pop, Rock, Songs, Soul

Sarah Sample: Someday, Someday

November 17, 2010 /


RIYL: Patty Griffin, Shawn Colvin, Ray LaMontagne

Sarah Sample rises above the typical “Grey’s Anatomy” genre of female singer/songwriting-heart-on-my-sleeve-because-the-whole-world-hurts music with her distinct voice and country-tinged songwriting. It’s the kind of voice that gets under your skin and can lift you up. Her voice can also lift up the material she’s singing, as it does on her album, Someday, Someday.

This album of adult alternative music is full of intimate songs about love and relationships. The lyrics are straightforward and effective, coupled with Sample’s gift for beautiful melodies. Upon first listen, you’ll be immediately taken by Sample’s upbeat delivery, even on the gentle ballads she’s written. Someday, Someday grows on you after repeated listens and soon you’ll find yourself with songs like “I’m Ready,” “One Mistake,” and the soulful rocker “Staying Behind” stuck in your head for days on end. You’ll also feel your heartstrings being tugged.

Sample’s voice can really stir up the emotions, making her much better than so many of her contemporaries. Since radio is dead and TV and film soundtracks are where new artists get most of their exposure, let’s hope some music supervisor comes across this fine album and helps Sample get the exposure she deserves. Until then, it’s up to word of mouth to spread the word about an artist like her. We’ve done our part; now it’s up to you. (Groundloop Records 2010)

Sarah Sample’s website

Purchase Someday, Someday through Amazon

Americana, CD Reviews, Folk

Laura Cortese: Acoustic Project

November 17, 2010 /


RIYL: Uncle Earl, Pete Seeger

Laura Cortese is a well known side musician whose skill on the fiddle, vocals and bass have made her a favorite with artists as diverse as Uncle Earl and Band of Horses. She’s released two solo LPs and two EPs before the release of Acoustic Project, a seven-song set of music featuring just fiddles and cello, with Coreste handling vocal duties on five of the songs (the other two are instrumentals).

Acoustic Project is short and sweet. All of the songs have their own unique sound and feel as if they were drawn from some time long ago when folk songs were passed down from the mountains to Greenwich Village. However, most of these compositions were recent compositions, so their timeless quality is a tribute to the songwriting talent of Cortese and the few collaborators who helped her out.

“Perfect Tuesdays” is a rollicking, Cajun-influenced song, while “5 Tune” has the charm and spirit of an old pioneer jig.  The highlight of the Acoustic Project is “Women of the Ages,” a haunting, beautiful song that features plucking violins, a cello and Cortese’s gorgeous voice. It has the stature of an old Irish folk song and will stay with you for weeks. That song alone you should give you reason seek out Acoustic Project. However there is enough great music on this EP to make it well worth your while the next time you’re looking for something unique and adventurous. (Laura Cortese 2010)

Laura Cortese website
Purchase Acoustic Project through Amazon

Americana, CD Reviews, Instrumental

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