Category: Folk (Page 21 of 23)

Jonatha Brooke: The Works

Here’s something unexpected: Folk-pop pixie Jonatha Brooke, granted access to Woody Guthrie’s archives, takes the opportunity to co-write a batch of new songs with the American icon from beyond the grave, adding music to Guthrie’s lyrics, and drafting a sterling group of players (including Joe Sample, Steve Gadd, Christian McBride, Keb’ Mo’, Glen Phillips, and Eric Bazilian of the Hooters) to lend support. The end result sounds pretty much like any other Jonatha Brooke, which is both a little disappointing and a tribute to Brooke’s strength and presence as an artist. Listeners hoping for a whiff of the Dust Bowl will probably come away disenchanted; The Works tries hard, but although Brooke’s vocals might boast several compelling colors – weary, strong, sensual – they’re always pretty, and that placid, unflappable beauty prevents her from digging into the beautifully uneven spirit at the heart of Guthrie’s work. Still, even if it makes for a disappointing Woody Guthrie album, The Works stands tall as one of Brooke’s most assured and down-to-earth solo outings, and the musicianship is flawless from start to finish; the sessions were recorded in a two-day burst, leaving the songs with a wonderfully relaxed warmth. Add it to your brunch playlist and repeat as necessary. (Bad Dog 2008)

Jonatha Brooke MySpace page

Josh Rouse: The Best of the Rykodisc Years

His sales have never quite caught up with the critical accolades his albums have piled up over the last decade, but for lovers of gently introspective singer/songwriter folk-pop, Josh Rouse has been one of the last decade’s most trustworthy artists. He’s been one of the most prolific, too, racking up an impressive eight “official” releases over the last 10 years, plus an array of EPs, digital collections, and other assorted goodies – which is why, even though you may have never heard of Rouse, this two-CD best-of both fills a need and serves a purpose. The first disc collects 18 tracks from Rouse’s five Ryko full-lengths and adds a song from his collaboration with Lambchop’s Kurt Wagner for good measure. The track listing leans slightly heavier on Rouse’s more recent stuff, which is a good thing, as it means more room is devoted to the sunny 1972 and stellar Nashville; meanwhile, on the second disc, fans are treated to the entirety of 2001’s rarities compilation, Bedroom Classics, Vol. 1, as well as a smattering of demos and outtakes. There probably isn’t much here that Rouse fanatics haven’t already found one way or another, but it’s still nice to get it all in one place – and as a primer for one of the most sweetly melodic artists of the genre, it’s just about flawless. (Rykodisc 2008)

Josh Rouse MySpace page

Whitley: The Submarine

Whitley (a.k.a. Melbourne singer/songwriter Lawrence Greenwood) lies at the junction of Nick Drake, Paul Simon, and bedroom-electronic pop acts like the Postal Service and Cassettes Won’t Listen, and his debut effort, The Submarine, is filled with husky-voiced, mostly acoustic goodness for lovers of any of the above named artists. It’s an uncommonly assured debut, one that resists showiness in favor of gently catchy melodies and thinly layered arrangements. At first listen, The Submarine might sound like just another album of wispy navel-gazing from just another indie-pop songwriter, but give it time to sink in – there’s more going on here than may initially meet the ear. Greenwood has a gift for production, and a knack for grafting small, subtle bits onto his deceptively simple songs; plug in your favorite pair of earbuds, and you can easily get lost in the soundscapes he paints here. Toss in a cover of Jeff Buckley’s “Mojo Pin,” and you’ve got an undeniable magnet for the hoodies-‘n’-iPods set, but something with crossover appeal for fans of good old-fashioned singer/songwriter stuff. Whitley won’t kick your doors in, but if you sit still long enough, he just may end up becoming one of your favorite musical discoveries of the year. (Dew Process 2008)

Whitley MySpace page

Mark Geary: Opium

Born in Ireland but a New York City transplant since 1992, Mark Geary has quietly worked below the radar while fashioning an eerily hypnotic musical motif. There’s always been something both confessional and contemplative about his material, a shadowy aura that casts him at a distance. With Opium, his fourth album, Geary takes steps to remedy that elusive stance, thanks to a set of songs that’s beautifully beguiling in its sensual, seductive appeal. The music is framed with his usual hushed ambiance, but it finds its footing in muted tones, plaintive vocals, gentle entreaties and wistful sentiments that soar with a quiet resolve. The delicately percolating rhythms of “See-Saw (Houpacka),” the kinetic urgency of “Not on Your Life” and the easy shuffle of “Tuesday” ensure a steady foundation rather than an aimless drift and an array of organic instruments – acoustic guitars, violins, clarinet, flute and piano – combine to create some lovely soundscapes. Ultimately, this Opium proves as addicting its title might imply. Sonablast Records

Mark Geary MySpace page

Murry Hammond: I Don’t know Where I’m Going but I’m On My Way

It stands to reason that when the bass player of a successful band opts to make a solo album, he’d choose not to compete with his day job. So you won’t find Murry Hammond following the lead of his longtime collaborator Rhett Miller and recording a solo set that suggests his regular gig with the Old 97s is a superfluous sideline. Despite its exhaustive title, I Don’t know Where I’m Going but I’m On My Way offers a rootsy respite, one that shares its foundation with the Old 97s’ alt-country core, albeit at a more essential level. In fact, there’s more than a hint of Johnny Cash in these meditations and ruminations on mortality, spirituality, the railroad and the hereafter. Hammond takes a solemn and scholarly approach to these themes, and if some seem rather solemn and austere, the heartland authenticity remains true to tradition. Happily too, there’s enough sentiment stirred in the folk-like flourish of “In The Shadow of Clinch Mountain,” “Wreck of the 97” and “Life is Like a Mountain Railroad” to provide compelling listening, with acoustic guitar, banjo, harmonium, yodeling and whistling ensuring authenticity. It all adds up to an impressive solo foray and one that also ought to raise the worth of his stock in his regular band as well. (Hummingbird 2008)

Murry Hammond MySpace page

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