life is our love

Sarah Jaffe

2010-02-27T00:10:00.009-05:00

I'm a sucker for girls with guitars. Denton, Texas born singer-songwriter Sarah Jaffe is most definitely a girl with a guitar. But there's also something more brewing behind those piercing green eyes. Her captivating stage presence, a wonderfully aged voice that brings to mind the stylings and inflections of Emily Haines, Missy Higgins and New Buffalo and beautifully simple folk songs that effortlessly work their way into your gut.

Ever Born Again [from 2008's Ever Born Again EP] Right-Click, Save as...

Sarah's full-length Kirtland Records debut, Suburban Nature, will be out in May. In the mean time she'll be flexing her vocal chords as she opens for Norah Jones on six upcoming tour dates.

Clementine [from the forthcoming album Suburban Nature]Right-Click, Save as...

Mouse Fire

2010-02-24T11:47:00.007-05:00

Lakeland, Fla. based Mouse Fire had it all going on with their 2007 Lujo Records debut Wooden Teeth. Critics poured superlatives over them like a chunky oatmeal bath. Their strong sense of self as a band was applauded. They were the local band to watch. And then their front man decided he wanted out.

Instead of curling up in paralysis, the three remaining members forged ahead with conviction. They toured relentlessly--opening for, among others, Margot and The Nuclear So and So's, Colour Revolt, win win Winter, Matt Pond PA and Inkwell in just a few short years. Now's their time to shine as a refined trio--their sophomore album hits shelves this May and they're currently touring the country to support its release.

The biggest difference that immediately strikes me through the headphones is current front man Shane Schuch's buoyant vocals in comparison to Joey Bruce's hushed, velvety tone. It's almost as if a plug has been tucked into a socket. That's not to discredit Bruce's contributions to the band, but Schuch brings such vivid life to the new batch of songs. "Hungry Like A Teen Wolf" has one of those jangly tambourine synth-beats that is begging to be heard in a crowd of drunken fans.

In fact, most of these dance floor-ready songs posses that intrinsic quality of being aided by a live performance. Check out for yourself when Mouse Fire storms through New World Brewery in Ybor on March 6.

Get out your hair brushes

2010-02-23T21:44:00.006-05:00

Kelly Clarkson's fourth (and likely final) single from 2009's All I Ever Wanted was finally sent to radio today. "All I Ever Wanted" sees its release nearly six months after "Already Gone," her third single which spent eight weeks at #1 on Billboard's Adult Pop Chart, was first premiered. The new single, the album's title track produced by Louis Biancaniello and Color Me Badd's Sam Watters, is a whopper of a pop anthem with a thumping bass line ala Spoon and funked up electric guitars.

The real powerhouse here is Clarkson's layered pipes--feisty, husky and thirsty to plow the field of label suits that lay in her path. This was an immediate favorite of mine when I heard the album and, for the record, I'm partial to candle sticks when belting out my favorite pop tunes.

Concert review: Blind Man

2010-02-22T09:19:00.002-05:00

The lack of uploading is based on a number of things--Brandi Carlile rocking my world Thursday night would be one of them--and the following review is another. Help a blogger out? My first published review is available at Creative Loafing now. Follow the link!

Concert review: Blind Man’s Colour, Sons of Hippies and MillionYoung at New World Brewery (with pics)

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Ana Egge

2010-02-13T09:00:00.003-05:00

For an artist that's received such fervent critcal adoration and praise from artists as revered as Rox Sexsmith, Buddy Miller and Lucinda Williams, North Daktoa born singer-songwriter Ana Egge is surprisingly low-key. It's probably safe to say that's been largely by choice--Ana's been releasing music since 1994 to stellar reviews. Now based out of New York, her blend of folk-rock is a mix of social commentary songwriting and lush, velvetly vocals that have a remarkable comparison to one of my favorite Aussie gals, Butterfly Boucher, and a sweeter Gillian Welch.

With seven albums under her belt--includng 2009's Road to My Love--Ana has flexed her folk sensibilities on the Loretta Lynn-inspired ("Farmer's Daughter") to pop/rock ("Storm Comin'") and Sunday-morning soul complete with "(Sittin' On) the Dock of the Bay" whistlin' ("New Tattoo.")

Oh, and she built her own guitar. You know, just your average chick.

Aleshea Harris

2010-02-12T09:30:00.001-05:00

A few weeks ago I attended a demo listening paty as part of my first official assignment as an intern at Tampa's Creative Loafing magazine. There were three budding groups/musicians that shared the best of their demos with a group of CL editors and local music buffs.

While everyone delivered great performances--17-year-old Dominique Pecchio (who goes under the music moniker of The Sepia Sound) absolutely charmed me when she dropped her pick and bashfully bent down to get it--Aleshea Harris' thought-provoking poetry and honey-drenched vocals were enough to make me melt into my seat.

Aleshea's demo, "Back Roads," was clearly an anti-war sentiment, but it never came off as preachy. The room fell silent as she effortlessly sang a three-song set of spoken-word soul. Aleshea earned her degree in theatre from the University of Southern Mississippi and has spent most of her adult life working as an actress, poet and songwriter. She recently began incorpoating guitar in her performances to more effectively promote herself as an artist. She's a perfectly adept guitar player, but her presence as a live performer lies in her voice. Her husky alto reminded me of a young Odetta and, truthfully, the subtle way she bent her notes was pure bliss to my ears.

Aleshea also devotes her time to music education. She founded Bag of Beans Productions-- an endeavor to foster creativity in young minds by holding various workshops in classrooms and organizations.

Head over to Aleshea's MySpace to purchase he EP Back Roads or her most recent release No Gun--a mix of poetry and song.

Edie Carey

2010-02-11T10:00:00.000-05:00

Vermont born singer-songwriter Edie Carey didn't always have her sights set on music. It all changed during her freshman year at Barnard College when she spent her evenings listening to Jeff Buckley, Ani DiFranco and Lisa Loeb play in The Postcrypt Coffeehouse. Then, during a year spent studying abroad in Italy she taught herself how to play the guitar and spent her spare time performing in the street. Just that small taste of being a musician gave Edie the push she needed to pursue a career in music.

Her first album, The Falling Places, was a subdued acoustic offering. Three albums later and she's found a comfortable ground between simplicity and production--the songs that comprise her 2006 record Another Kind of Fire are propelled by her earnest singing and heartfelt songwriting.

Edie returns to the jam-packed Cayamo Cruise for a second time in a matter of weeks, but before she departs for sea she'll be in St. Pete on Feb. 19 at the Craftsman House Gallery.

Sarah Bettens

2010-02-10T10:36:00.001-05:00

K's Choice lead singer Sarah Bettens has been doing it on her own since 2003 when the Belgium-based band, started by Sarah and brother Gert, decided to temporarily split (they're returning with an album this spring, according to their Web site). I stumbled upon her video for the song "Stay" and immediately became transfixed by her voice (the charming animated video didn't hurt either).

Eager to learn more about her, I took her 2007 album "Shine" for a spin and was pleasantly surprised at the amount of guilt-free ear candy. Sarah's trademark raspy vocals evoke hints of what Tegan and Sara would sound like if they sang Shawn Colvin's catalog. Sarah's familiar style is anything but tired, however--there's something comforting about listening to this seasoned 37-year-old woman ruminate on love and life.

Perhaps it's her innate ear for melodies or producer Brad Wood's smart interpretations of her songs. Either way, I found myself feeling remarkably energized as I stood over the stove at 11:30 last night and threw together a pot of tomato sauce. The aroma of garlic, onion and basil with the sweet sounds of Sarah wafting from the other room...can't ask for a better weeknight.

More miles than money

2010-02-09T22:29:00.007-05:00

In the previous entry I posted an old acoustic performance from Patty Griffin taped at Austin's beloved Cactus Cafe. The 31-year-old venue has become as much a staple of the University of Texas as the Austin City Limits studios--which is traversing its way through a $300 million relocation to downtown Austin in 2011. Last week the student body was outraged to learn the Cafe would 'close' in August.

In the days since the announcement was made the administration has clarified that the venue would remain open, but it's management and inner-workings would be changed to accommodate for the $66,000 a year the venue loses. Alternative plans have been proposed--including one that increases tuition four percent for the next two years-- but as of now the administration is going ahead with their plans.

Upon reading some of the heated Web comments toward the administration it was clear these students had a strong emotional attachment to a place they thought belonged to them. One person recalled an evening spent at the cafe a mere feet from Austin based musician Alejandro Escovedo as he played "Last to Know" from his 1992 solo debut "Gravity." As I listened to this gorgeous song I thought about how I would feel if a place I saw, say, Patty Griffin were to close down. Music venues are like churches in a way--they hold a rich, deep-seated history within their walls for all who enter their doors.

Universities will always think with their wallets(how else would they maintain operations?)but it would be refreshing to see a music-related program spared from the budget cuts one day.

All Things Patty: Part Three

2010-02-06T09:41:00.003-05:00

The four years between Patty Griffin's balls-to-the-wall "Flaming Red" and 2002's breakthrough "1000 Kisses" was rife with fuel for songwriting. A tour with the Dixie Chicks propelled her from playing modest gigs to arenas. She appeared on television shows to promote her album. She'd garnered a glimpse of notoriety only to have it swept out from under her during a label merge. When her third album (fourth, if you count the produced version of "Living With Ghosts" that was scrapped in favor of the demo) was shelved she negotiated her way out of a record deal. Determined to not let label politics get the best of her, Patty was at guitarist Doug Lancio's doorstep in Austin to record the songs that would eventually make up "1000 Kisses."

Recorded in five days, the 10-song collection is a reintroduction of sorts. Up until then, Patty had shown she could craft songs that were brilliantly crafted to fit her voice and also push her vocals to their limits amidst a wall of sound. She exerts far more restraint here and it benefits the album substantially. Starting with the tranquil, sonically wet lullaby "Rain"--arguably her most popular single to date. Patty uses her voice to convey strength in the most fragile way.

"Kisses" is actually the only Patty album to receive multiple video treatments, and "Chief" was the second--it even earned airtime on CMT. But while the song reached substantial popularity, it was never a favorite when I first played the album. The pitter-pattering verses seemed like a rushed attempt to get to the bridge and then it was over. It took me several listens to wrap my mind around this tune, an when I finally did it revealed itself as the poignant, maddening, heart-swelling poem it is.

"Well I wish that you could see me when I'm flying in my dreams
The way I laugh there way up high, the way I look when I fly
The way I laugh, the way I fly..."

The funny thing about these songs is how they quietly creep into your subconscious. They can leave you completely flattened--like the desolate beauty of Springsteen's "Stolen Car"-- and they can also bring an odd cheerfulness to something as hard as losing a loved one ("Long Ride Home"--it's more hootenanny than hymnal.) But that's the beauty of Patty Griffin--she finds the lightness in even the darkest of places.

And then there is a different breed altogether with "Nobody's Crying." The minute that chord rings out the tone is dramatically set for a vocal tour-de-force. It is, I think, one of the finest examples of Patty's songwriting. There's a sense of loss conveyed that is also underlined with the hope for reconciliation. Maybe not today, but soon.

Patty Griffin "Nobody's Crying"
[Recorded on March 8, 1998 at the Cactus Cafe in Austin, Texas.]

Ode to...

2010-02-05T00:34:00.013-05:00

Rachael Yamagata has one of those smoke-bred voices that grips you by the throat. She won't waste your time with petty pop songs once she's got your attention-- Rachael delves into the dark subconscious more than you might be able to stomach on first listen (particularly on her gorgeous 2009 double album Elephants...Teeth Sinking Into Heart.) But you can't fault a girl for wearing her heart on her sleeve. Especially when the songs are this good. Her lyrics are brimming with questions about love, grief, longing, heartbreak--and that's only disc one. On disc two guitarist Kevin Salem and producer Mike Mogis strap on the guitars for some devilishly-good steering wheel moxie-rock.

After a four year gap between her RCA debut Happenstance, Rachael toured the world, took a vacation, recorded her follow-up, changed labels, changed management, toured again, and finally released the aforementioned follow-up. That's a lot of waiting around if you're a fan. Good thing there were perfomances, like the following on Morning Becomes Eclectic, to tide us over. The new songs are quite different from their recorded counterparts, but hearing them in the early stages makes it that much more intimate. From delicate piano confessionals like "Parade" and Happenstance's "Quiet," to the slow build of the epic, crushing "Sunday Afternoon," these songs make for some soul-stirring poetry.

Rachael recently lent her voice to a duet on the soundtrack for the film adaption of Nicholas Sparks' "Dear John." Rachael co-wrote on the track "You Take My Troubles Away" with Dan Wilson. Rachael will be appearing on the upcoming Cayamo Cruise along with John Hiatt, Emmylou Harris and more. She's likely to perform some new material considering album three is currently in progress.

Rachael Yamagata on Morning Becomes Eclectic 2005

1. What If I Leave

2. Be Be Your Love

3. Parage

4. Quiet

5. Sunday Afternoon

6. Reason Why

Download

Here she comes just a-walkin' down the street

2010-01-31T11:00:00.002-05:00

I thought the day would never come. Lilith Fair is back, and it's coming to Tampa. The news was released little over a week ago and my mind has been reeling at the possibilities ever since. The sheer magnitude of this show blows my mind: Emmylou Harris, Loretta Lynne, Brandi Carlile, Ingrid Michaelson, Tegan & Sara, Sia, Sara Bareilles, Erykah Badu, The Indigo Girls, Cat Power, Kate Nash, Ingrid Michaelson and of course, the matriarch, Sarah McLachlan. The list goes on and on and on.

I was thrilled to see some of my favorite chicks-- Butterfly Boucher and Rosie Thomas--among the lineup, although whether they'll be appearing in Tampa isn't known yet. The exact dates are unknown but Aussie songbird Missy Higgins made it known via her official site that she'd be playing Philadelphia, Boston and New York the last three days of July and Hartford, CT and Washington, D.C on August 1 and 3, respectively. Can't wait to find out more!

We want to live forever, we want to live forever

2010-01-30T14:56:00.008-05:00

Part of my duties as a new intern at Tampa's hippest weekly publication, Creative Loafing, include updating the scrolling list of upcoming concerts to the West/Central Florida area. The amount of bands filling the local bars of Ybor City on a single night is enough to boggle your mind. So, how does one pick where to go? Well, if you're a Creative Loafing devotee, you'd probably check the weekend's 'Best Bets.' But I like to choose things a bit more randomly.

While slouched over the keyboard in an attempt to get some work submitted yesterday, I ran across Morningbell. This eclectic psychedelic rock quartet based out of Gainesville, FL has become so ingrained in Northern Florida culture that some considerate the band to be as equally important to the city as the Gators themselves. The footballers, not the reptiles (which might be an even bigger compliment.)

What I first noticed about the songs from their stellar 2009 offering Sincerely, Severely are the addictive percussive beats. "Dancing In The Jaws Of A Lion" and "Marching Off To War" in particular have one those groves that can only be bettered by a being packed into a dark bar with a cold beer in your hand. Child-like screams and rock swagger from lead singer Travis Atria compliment the smooth bass lines brother Eric lays down along with harmonies. Stacie Thrushman lends her talents to the keys (she's also Eric's wife) and Chris Hillman became the band's 6th drummer in 2007.

Originally hailing from Miami, the band recently told Delusions of Adequacy that the decision to move to a more friendly scene for rock music was essential if the band was ever going to reach its potential. The warm welcome received by a college town of more than 55,000 students helped the band develop a sense of community among up-and-coming local bands. Clearly the move was the right thing to do. In addition to playing at Bonnaroo in 2008, the band will add this year's SXSW to their line-up. Morningbell are scheduled to light up the Beauty Bar on March 17.

...it's just life.

2010-01-27T00:49:00.001-05:00

A few months ago on a cold, crisp November night I was coerced into attending a concert at a local bar by a few friends. It was one of those venues that literally shares its walls with a shack, has a section of the roof torn off so you can drink up the night sky and dig your feet into the sandy floor. A perfect pairing for the featured performers of the night-- Thomas Wynn & The Believers. The band has been winning fans over through non-stop touring for the last couple of years and with a new album (The Reason, Spring 2010) months away they show no signs of stopping. The song that really shook me was the stirring, powerhouse duet of Thomas and sister Olivia on "It's Alright." It was completely unexpected and inspired.

You can actually download the very show I attended that evening right here for FREE, courtesy of the band. You even get to choose the format. How can you pass that up?

Thomas Wynn & The Believers are playing at New World Brewery in Tampa tonight at 9P.M. If you're in the area, I highly suggest you check them out.

Hallelujah!

2010-01-26T22:23:00.006-05:00

Today marks the release of Patty Griffin's Downtown Church, a warm collection of tracks with surprising range for a gosepl album. Yes, gosepl. Bite your tongue- this isn't a very special evening with Michael W. Smith. This record has spunk. There's the secular band jam "Move Up," the Patty-originals "Little Fire" and "Coming Home to Me" in which she applies her finely tuned gift for heart-wrenching melodies. The former receives gorgeous harmony from Emmylou Harris; the latter from Julie Miller.

Downtown Church is in no way a "Patty Griffin" record. It's a team effort--and what a team it is. Buddy Miller-- who is quite possibly the luckiest man alive-- produced the record in addition to mixing, playing and lending his instantly recognizable chords to a handful of tracks. Rounding out the guest vocalists are Ann and Regina McCrary, Shawn Colvin, Jim Lauderdale, Mike Farris and Raul Malo.

But while Patty shares the spotlight with an impeccable team of musicians and vocalists, the album works on so many levels because of the strength of the material itself. With the exception of the two original Patty tunes, the most recently written song on the album was penned in 1967--and nearly half of the album belongs in the Public Domain.

One of those traditional songs--"Death's Go A Warrant"-- and the Leiber & Stoller track "I Smell A Rat" are two prime examples of the sweet soul pipes Mama Griffin posesses. To put it simply, Patty makes these melodies her bitch.

Never has a record in her discography so perfectly captured the many flavors of her voice. Children Running Through came incredibly close, but here it's evident within the first three tracks that this production quality puts her catalog to shame. I'm on my fourth listen of the night and all I can say is thank you, Buddy Miller. Thank you, thank you, thank you.

1. House of Gold [Hank Williams]
2. Move Up [Traditional]
3. Little Fire [Patty Griffin]
4. Death's Got A Warrant [Traditional]
5. If I Had My Way [Traditional]
6. Coming Home To Me [Patty Griffin]
7. Wade In The Water [Traditional]
8. Never Grow Old [Traditional]
9. Virgen de Guadalupe [Traditional]
10. I Smell A Rat [Jerry Leiber and Mike Stoller]
11. Waiting For My Child [Sullivan Pugh]
12. The Strange Man [Dorothy Love Coates]
13. We Shall All Be Reunited [A. Karnes and B.Bateman]
14. All Creatures of Our God And King [Traditional]

Talk to Me of Mendocino

2010-01-21T10:50:00.002-05:00

The other night as I stretched my legs out on the couch and curled up to NPR's preview of Patty Griffin's gospel-bathed "Downtown Church," I was shocked to read that singer Kate McGarrigle died.

My introduction to the Wainwright family has been stretched over a period of five years or so, starting with the gorgeous melodies of Rufus' "Want One," catching up with father Loudon's "Attempted Mustache" last year and being introduced to Lucy over Christmas. I was aware of, yet managed to avoid, Martha's subtle songs somehow.

And I had only heard of Kate before her death on Monday. Upon reading the story I followed the page to a clip of Kate and her sister Anna singing a song from their highly acclaimed self-titled debut called "Talk to Me of Mendocino." To say I was floored is an understatement. Hymnal chords and some of the most impeccable harmonies I've ever heard seeped into my ears and I immediately felt compelled to get in my car and find my nearest record store. Unfortunately, it was after midnight. But this song has been on repeat for days and evokes the same feelings each time. Rest in peace, Kate.

A (belated) tribute to MLK

2010-01-19T10:49:00.005-05:00

It's been well over a month since I sat down to squeeze some thoughts out of my finger tips, but what can I say--life. It struck me that yesterday was a perfect way to get back into the blogging regimen, but then I found myself standing under the largest tree I've ever seen and sorting through piles of vegetables and loaves of chocolate chip banana bread at a market. Like I said, life.

Living aside, there is no better way to get back into this than with a combination of my favorite singers and perhaps one of my favorite messages conveyed through song. By now many people are familiar with the song "Up to the Mountain" by Americana songbird and personal hero Patty Griffin, but not because they've heard her sing it.

First there was Solomon Burke, who covered it on "Nashville" in 2006 (Patty lent her mellifluous vocals to the track) and then the song appeared on Patty's 2007 release "Children Running Through."

The song reached its peak popularity thanks to Kelly Clarkson after an appearance on the 2007 charity show "Idol Gives Back." Bolstered with Jeff Beck on guitar, Kelly really brought the melody to a completely different level and being the obsessed Patty fan that I am, that's a big compliment.

The song took on a life of its own on YouTube after that--it was even covered by Bushwalla, and if you're familiar with his catalog that's pretty amusing.

Recently, Susan Boyle covered it on her monster debut album. I can't even wrap my head around the number of copies this has sold in three months, but I'm thrilled more people than ever are being introduced to this gloriously written song (the liner notes credit 'Patricia J. Griffin').

Now, clearly Patty is emotionally invested in this subject enough to write about it, but there's something about Kelly's delivery that pulls at my heart. People can rag on pop music all they want, and they're often justified, but you can't discredit the power of this woman's voice merely because she was discovered on a talent show. If anything, it only increased my faith in her abilities.

But that's all besides the point really. The point of this is to celebrate a day that should put a little extra spring in everyone's step. Civil rights should never be bargained, and I'm thankful Dr. King was here long enough to make an impact on the world.

Chris Thile

2009-12-16T19:36:00.008-05:00

I’ve been introduced to several great artists thanks to Paste Magazine through the years, but none have I followed to the extent of Nickel Creek front man Chris Thile.

In the three years since I swiped the 26th issue’s music sampler from my uncle’s subscription, I’ve enjoyed expanding my collection of Chris’ impressive catalogue. In addition to the brilliant musicianship and air-tight harmonies of Grammy-winning trio Nickel Creek, Chris’ captivating endeavor with The Punch Brothers received multiple listens during my spring break this year.

But it’s his most recent "solo" album, 2006’s “How to Grow A Woman From the Ground,” with the How to Grow A Band that still tugs at my heart strings the most. Amid riveting interpretations of popular singles from The White Stripes and The Strokes, this gorgeous ballad gently tells the story of Chris’ struggle to accept the collapse of his marriage at age 23. The fragility of his voice breaks way into this desperate moan during the bridge that absolutely kills me every time.

And for Radiohead fans check out this absolutely brilliant cover of "Morning Bell."

I believe in fate, I believe in good things coming to those who wait

2009-11-28T00:25:00.014-05:00

My love for Jason Mraz is like a tide—it ebbs and flows. The lows are, for the most part, never that low. The highs have been some of the best times of my life—like the summer of 2006 when my sister graduated college. I bought my weekend ticket to Sun Fest with the intention of also seeing Fiona Apple, scheduled to play the day before Jason, but brotherly duties prevailed and I proudly sat in on my sister’s commencement.

The following day, me and two of my friends embarked on the first leg of our journey: a 300-mile drive to West Palm Beach. We endured the scorching sun and stood arm to arm to keep our place in the crowd of sun drunk youngsters. It was a great concert eventually eclipsed by the stellar Jacksonville show we drove to the following day (crazy, I know). Regardless, it was the perfect way to jump-start a summer vacation.

But the absolute highlight of the summer, and perhaps of all my concert experiences so far, was the solo acoustic show in NYC at Irving Plaza. The intimate Songs for Friends Tour was Jason’s way of thanking the devoted fans who have stood by him since his humble beginnings at Java Joes.

Playing to a packed house on July 21, Jason stood under a single spotlight with a vase of white roses and a bottle of water behind him. He performed one gem after another, sailing through one of his strongest collection of songs, The E Minor EP in F, in the first 20 minutes. It was an unbelievable experience and I don’t think any future concert I catch of Jason’s will ever match it.

Alas, the closest I can get to that experience is playing the mind-numbingly beautiful Internet album Homemade—a collection of garage-recorded tracks compiled by Jason sometime in the late ‘90s. Long before the record-breaking reggae shuffle of “I’m Yours,” the bombastic “Wordplay,” and the monster-sized chorus of “The Remedy,” Jason was a bustling acoustic performer in San Diego’s music scene. Much of his early sets contained selections from this 14-track collection. One even made it onto his major label debut in 2002. For the most part, these songs are a snapshot of simpler times for Jason’s career and it’s absolutely thrilling to look back on. It’s Jason at his best—effortless, angelic harmonies and brilliant songwriting. I couldn’t possibly sum up my feelings on each track in a few paragraphs, so I’ll let them do the talking.

Download this album—even if you aren’t a fan of Jason Mraz as you currently know him. The joyful serenity of “One Find,” “Strange” and Khalil Gibran adapted “God Moves Through You” is something you just can’t beat.

Jason Mraz Homemade

Best Seat in the House

Burning Bridges

Run Boy, Run

One Find

Wear Your Sign

Strange

Falling All Over the World

Water

Running

Eyes Open (Remember My Name)

Take Me Away

God Moves Through You

The Boy's Gone

Stranger in the Sky

(note: you'll notice fuzz on a few tracks, especially "Stranger in the Sky", but that's just the way the album was released)

All Things Patty: Part Two

2009-11-26T20:40:00.016-05:00

Not many artists can survive a fall out with a disagreeing label—whether because of exhaustion, depression or debt. Even fewer manage to emerge from two dysfunctional label relationships and garner the adoration of critics and fans like Patty Griffin has.

Her career began in the late 1980s with gigs in Boston bars and pubs booked by a guitar teacher from the Cambridge Music Center, John Curtis. It was a slow start for Patty- at one point she held jobs as a telephone operator and waitress at Pizza Uno to support herself. The dissolution of a marriage and the collapse of an artist development deal on "Like A Virgin" producer Nile Rodgers’ label sent Patty into a deep depression. Out of this tumultuous period sprang the songs that would eventually comprise her phenomenal 1996 A & M Records debut, Living With Ghosts.

Patty’s 1998 follow up, the Jay Joyce-produced Flaming Red, was a pulsating rock ‘n’ roller with loud guitars, biting lyrics and soaring vocals. Two weeks into its release, Universal Music took control of A & M and Patty was displaced to Interscope Records. Misfortune would yet again plague her young career when Universal Music was acquired by Vivendi in the spring of 2000. After recording her third album, Silver Bell, in New Orleans with producers Joyce, Craig Ross and Malcolm Burn, Patty’s new label sat on the finished product for a year.

They wanted singles, and Patty was told exactly that—record 10 radio friendly songs, and her work would see the light of day. The label handed her a copy of U2's All That You Can't Leave Behind for inspiration. She went back into the studio, but soon found the "hit" songs weren’t there. Patty asked her manager to cut her a deal out of the contract. The label conceded on the condition that she was only entitled to re-record five of the album’s tracks for future releases. Any more than that and Patty would have to pay for each additional song. Eager to get the nearly two-year ordeal behind her, she agreed.

Ironically, it was her performance of selected songs from Silver Bell on the television program Austin City Limits that caught Dave Matthews’ attention. Shortly thereafter, Patty was signed to his label and made her ATO Records debut in 2002 with 1000 Kisses.

Silver Bell is one of many albums to never see a commercial release. It did, however, find its way to the Internet to the delight of Patty fans around the world. The 14-track collection is a testament to her range and talent—emotive, well-crafted and achingly beautiful songs.

Little God
Boston
Perfect White Girls
Truth #2
What You Are
Silver Bell
Driving
Sooner Or Later
Top Of the World [alternate version featured on Impossible Dream [2004]
Sorry And Sad
Making Pies [alternate version featured on 1000 Kisses[2002]
Mother Of God [alternate version featured on Impossible Dream [2004]
One More Girl
Standing [original recording used on Impossible Dream [2004]

For the entire album, including a bonus cover of "Kiss Them For Me" by Siouxsie & The Banshees, head over to Omnipop.

(Not so) Little Voice

2009-11-26T01:49:00.007-05:00

I just realized I bought Sara Bareilles' debut on Epic Records two years ago today. I had only heard one song from the San Diego songstress, but it was enough for me to pick up her album on the way home from work. Her voice hit me immediately--the way she swoops and soars with such mellifluous ease is truly captivating.

It's somewhat appropriate that I update this on Thanksgiving because I see Little Voice as a pop record cooked in a sultry oven for five hours and basted with soul. It's got a fair amount of gloss to it, but the songs are able to survive the heavy handedness that comes with overproduction. "Come Round Soon" was an immediate favorite--as was the beautifully written"Between the Lines." But it wasn't until the stunning closer, "Gravity," that the breadth of Sara's talent peaked its head from behind the wall of sound.

And that's what I'm ending this with for tonight. A low-key performance that I remember watching repeatedly upon finding it. This will have to hold me over until her next album, due in early 2010.

While I'm procrastinating...

2009-11-23T14:48:00.005-05:00

I could blabber on about this performance, the song, Queen of Soul, etc., etc...but the word that best encompasses my impressions when I watch this clip is: perfection. What better way to kick off your week? A box of these doesn't hurt.

He's a millionaire...

2009-11-20T10:26:00.003-05:00

Before Jason Mraz brought Anya Marina on tour as an opening act in 2008, they were buddies on the San Diego music scene. This performance from 2001 is one of my favorite Jason tunes for obvious reasons. Silly, but satisfying all the same. What better way to start the weekend?

Imogen Heap: Ellipse

2009-11-19T23:19:00.015-05:00

I like to take my time before I analyze an album. It may not be the timeliest decision, but it’s the only way for me. And it’s a good thing I waited. Had I reviewed Imogen Heap’s Ellipse after I bought it in September I wouldn’t have been able to fully appreciate the sonic beauty of this album.

Lead single “First Train Home” was an instant favorite for its gradual build to a frenetic wave of synths and drum beats. It shines in the smallest moments and enthralls in the biggest, which is nothing new for her—more like a gentle refinement.

Imogen could’ve fared just as well to continue the beat heavy tracks of Speak for Yourself. Fortunately, Ellipse knows its strengths. There’s warmth and richness to the melody of “Little Bird” that echoes a few of her older tunes, most notably “The Moment I Said It,” but takes them to new heights. The dizzying ethereal harmonies and instrumentation blend so effortlessly that on first listen I didn’t pay much attention. With repeated listens I’ve become completely elated for this understated, four minute and seven second track that has the bones of a folk song and the flesh of Feist’s “Honey Honey.”

She flies her Frou Frou flag proud with the swelling “Tidal,” another prime example of her masterful pop sensibilities. At times the music overpowers Imogen’s lighter-than-air vocals, and even she might be aware of this. A deluxe edition of the album was released with instrumentals of the album’s 13 tracks. Perhaps it was merely to please the segment of her fan base eager to cut and paste an honorary Heap mix.

Regardless, there’s something to be said for believing that your music can stand on its own without help from a voice.

Imogen not only shows she’s well adept at production, but also at recognizing how imperative placement is. The pacing of this album is impeccable—ample time to get cozy with the lush, orchestration of ballads (“2-1”) and sing into your rear-view mirror (“Bad Body Double”). And when the final chords of the subtly rhythmic, reflective and gorgeous “Half Life” rang out I felt comfortably whelmed—neither under nor over, just full. It just needed a bit to digest.

LISTEN: Little Bird, Aha!, Half Life.
(But it should really be taken as a whole.)

Jamie Lidell moves my feet

2009-11-19T11:54:00.008-05:00

For me, there is nothing better than driving with the windows rolled down, and blaring the blue-eyed soul of Berlin-by-way-of-England musician Jamie Lidell. You've heard his songs--even if you don't know it yet.

Jamie attracted the ear of Grey's Anatomy music supervisor Alexandra Patsavas in 2006. His song "Multiply" was not only featured on the show, but earned a coveted spot on the show's official soundtrack for season two.

What I love about Jamie is his willingness to try new things. He started as a producer of electronic music. His 2005 Warp Records debut was a truly sublime marriage of soul tracks and the music he made his name with. But 2008's "Jim" stripped away much of the electronic and got right down to Prince and Stevie Wonder-esque soul. It's a completely joyous listen from start to finish that's carried by Jamie's velvety chords and spot-on songwriting. The melodies this man comes up with are inescapable. I think I've sang this song to myself a hundred times this year.

I had the chance to see Jamie at the Austin City Limits festival last year...but I missed him. I don't want to talk about it. But I will say that while standing on a line to meet my musical hero, Patty Griffin, after her stellar performance my friend decided to catch Jamie as he was leaving the signing tent. An acquaintance of his played in Jamie's band and he wanted to see him. So, Jamie told him to hop on his golf cart. In a move that will plague me for the rest of my life, my friend comes running back, urging me to come with him. Jamie was waiting on the cart. I decided to stay in the line. How often do you get to meet Patty Griffin? Off he went, sitting on the back of Jamie Lidell's golf cart kicking up dirt into the air and zipping through the crowds of sweaty people.

Jamie's saying "Goodbye" to Jim, and that means new music is on the horizon. Fingers crossed he'll grace the Sunshine State with a show. But in the meantime, I think I'll drown my sorrows in this delightful tune. See you next time, Jamie.

All Things Patty: Part One

2009-11-05T21:43:00.020-05:00

It was almost four years ago when I first heard of Patty Griffin. My sister dragged me to a late showing of Cameron Crowe’s “Elizabethtown”. Clearly, I was not interested when I entered the theater. As the film unfolded, though, I found the music irresistibly good. I had my keys in hand the minute the credits rolled, ready to buy that soundtrack. I did, and immediately tore open the plastic wrapping, slid it into my car stereo and gripped the wheel. It was everything I needed at that moment—musically and personally. I listened to that soundtrack every day, and eventually decided I should seek out a few of the artists on their own turf.

I found Patty’s “Impossible Dream” at a Best Buy inside Gulf View Mall. It was the only copy left and I remember holding it in my hands, flipping it over to read the track listing and being completely enamored with the artwork.

And then it sat on my CD shelf for months. It wasn’t until I bought the 2003 live album-- “A Kiss in Time”--for $6 at a Sam Goody closing sale and fell completely in love with this woman’s charming presence that I revisited my first Patty purchase.

“Impossible Dream” is, quite possibly, my favorite album by any artist. It’s definitely my favorite of Patty’s and has stood up to repeated listens time and time and time again. The stories never tire, the melodies never wane and that voice never ceases to completely rip me to pieces.

It begins with the moody bayou gospel of “Love Throws a Line”. Patty said this song was inspired by her love of gospel—which she considers to be some of the most inspirational music written. I may not be adept in gospel, but if this is Patty’s attempt at coping with sadness, it succeeds. Those hand claps just work for me—not to mention the sublime choir of voices that harmonize on the chorus.

She follows it superbly with the stark “Cold as It Gets.” There is nothing happy about this song. There is nothing beautiful about it. It is harsh, sparse and incredibly effective. The thoughts of a Holocaust survivor are interpreted through the stunning, yet focused vocal. The song is so deliberately restrained that I can only imagine a person singing these words who has held on to this grudge for decades, waiting for the day they can avenge the dead.

I'd hate to single out a particular track as a favorite because I rarely listen to them individually, but "Top of the World" is one of Patty's most recognizable songs for a reason. Lifted from 2002's unreleased album --"Silver Bell"--and stripped down to the bones, the lyrics immediately grab your attention.

I wished I was smarter, wished I was stronger;
wished I loved Jesus the way my wife does;
I wished it had been easier instead of any longer;
I wished I could've stood the way you would've been proud,
but that won't happen now, that won't happen now...

Regret is a hard thing to capture in music, but Patty brings this sentiment to life so vividly that it never ceases to send chills up my spine.

I could go on about these songs for days. The placement and pacing of each track is exquisite and extremely emotionally charged. For me, this is an album that never peaks. It continues to build on a foundation of incredible songwriting ("Useless Desires", “Florida”), visceral production (“Mother of God”) and delivery (“When It Don’t Come Easy”) that leaves you utterly baffled by the final strums of the gorgeous closing ballad “Icicles.”

Basically, if you picked up no other artist from this blog than Patty Griffin, I'd be content.

Kelly Clarkson is a big baby.

2009-11-02T00:01:00.005-05:00

What could possibly elevate a good show to legendary status? The artist performing in their Halloween costume? Most definitely. This video has kept me giggling all day. Enjoy, folks. I don't think you'll see Kelly Clarkson dancing to Peanut Butter Jelly Time as Stewie (from Family Guy, of course) on American Idol next season.

If that wasn't enough, Kelly and her costumed band deliver an absolutely blazing version of The White Stripes' "Seven Nation Army".

Rachael Yamagata

2009-10-29T11:38:00.017-04:00

I've been out of the country twice. Once to Canada in 2007--although, most would dismiss this excursion because my friends and I literally walked over from Niagara Falls. The first time, however, was an Atlantic hopping flight to London, a train to Scotland and a detour to York (the terrorist bombings during the summer of 2005 kept us from heading back to London for several days, causing much stress and strenuous planning on my dad's part).

We made our way to London. One thing my dad was adamant about showing me was Harrods. My dad and I had spent hours perusing every department on every level of this massive consumer complex. $40 t-shirts weren't exactly in my price range. Once I recovered from sticker shock, I found my oasis. 3 for 15£. That was the sale on the third floor of Harrods' music department.

I flipped through the racks of albums for at least an hour before deciding on David Gray's "A New Day at Midnight", another album I can't recall, and Rachael Yamagata's "Happenstance".

I spent the entire evening glued to my headphones. I played these tracks over, and over, and over again. I had never heard anything like her voice before. Now, I've noticed how she draws from revered musicians like Tom McRae, Joni Mitchell and Tom Waits. But then, her intimate style of writing hit me like a double-decker bus.

"Happenstance" is a fine debut- and certainly a step above most female singer-songwriters that find their way into the pop world. Yamagata made her mark with the slick, melody driven catharsis of “Worn Me Down”.

She gained some attention for the lush, opening waltz “Be Be Your Love”--featured in The Sisterhood of the Traveling Pants-- but it wasn’t until her appearance on Zach Braff’s “Last Kiss” soundtrack that she reached a wider audience.

“The Reason Why” is a classic break-up anthem through and through--despite being written about her decision to embark on a solo career and part with her first foray into the music world, Chicago funk band Bumpus.

All of those songs are well-crafted, pleasing to the ear and a fine display of Yamagata's talent. But my personal favorites are the album cuts featured below:

"Meet Me By the Water"
Beautiful melody, direct lyrics and hypnotizing production by John Alagia.

"Quiet"
Understated lullaby that renders me speechless every time I listen.

"Ode To"
Featured as a hidden track on "Happenstance", but clearly one of the best examples of her songwriting on the album.

And those are just a few examples of this woman's talent. In later posts, I'll share some live recordings, unreleased songs and selections from her second release, 2008's double album "Elephants...Teeth Sinking Into Heart". Get acquainted with Rachael Yamagata.

The night could just bend forever...

2009-10-26T12:09:00.004-04:00

It wasn't until I reached the 13th track of "The Historical Conquests of Josh Ritter" on my drive from Spring Hill to Tampa last night that I fully realized the gift this songwriter has. The song permeated my speakers and my mouth immediately stretched into a fat grin.

I think that's what I admire about his music the most. Whatever mood the song conveys--whether it's the intimate, lonely croon of "Idaho" or the hopeful sway of "Empty Hearts"-- that mood is immediately rooted in the listener. His music makes my heart ache in the best possible way. Do not wait another day to listen.

Flames

2009-10-18T01:13:00.006-04:00

I get completely lost in the swelling strings of this romantic, brooding song. There's something unhinged in the way he sings "Just put me inside you/ I would never ever leave". Creepy? Certainly. But romantic, nevertheless.

I could be lovely given the chance.

2009-10-16T12:46:00.014-04:00

Experimenting with new sounds and songwriting styles is taboo in the world of pop. Messing with a tried and true hit-making-formula is destined to alienate radio’s eager listeners anticipating their next anthem. For most of 2004 through 2006, those anthems were supplied by inaugural American Idol champ Kelly Clarkson. In those three years she had a string of radio hits, won two Grammy awards and embarked on four successful tours in support of the album “Breakaway”. So, it came as no surprise when she divulged to the media her third album, “My December” , would be entirely composed of material she co-wrote with members of her band that rumors began circulating Clive Davis, former CEO of RCA Records, was displeased with the results.

Never Again [Kelly Clarkson/ Jimmy Messer]

ps: check out that money note at 1:57.

The outcome of the “My December” ordeal is now somewhat of an industry parable. It was hailed as “The Return of Kelly Clarkson”, despite that she was only off public radar for a few months. Radio stations were buzzing about the first single weeks in advance. Fans were curious how Clarkson could possibly live up to the success of her previous album. So was her label.

“Breakaway”, the sophomore album juggernaut that propelled her into super stardom, was not an overnight success. In an interview with Blender Magazine, Clarkson said her label wasn’t optimistic the project would have any longevity. She was told to her face the album would be lucky to sell more than 650,000 copies once it was released. “[RCA] thought there was only one single—“Since U Been Gone”, Clarkson dished in an interview with on-demand channel Music Choice. “They thought all the other songs, especially the ones I wrote, were just crap,” she added. As Clarkson made the publicity rounds in support of the album, the subsequent singles began to receive more airplay on radio stations. When that happened, the label came on board to support their bubbling star.

Five singles later and 11 million albums sold worldwide, Clarkson was one of the most popular female artists in the world. Following the Addicted Tour [on which she performed one of the best versions of this song to date] she headed into the studio in the fall of 2006 to lay down tracks for her third album. From the beginning, it was a highly anticipated project. Fans were curious how she could possibly deliver an album of equal success to “Breakaway”, but duplication wasn't part of Clarkson’s intentions.

Be Still [Kelly Clarkson/ Aben Eubanks]

Foregoing expectations that she would work with the same producers that crafted memorable pop songs “Since U Been Gone” and “Behind These Hazel Eyes”, Clarkson teamed up with producer David Kahne—who had previously worked with Paul McCartney, Sublime and The Bangles. At the suggestion of her band mates, Clarkson asked legendary punk musician Mike Watt to play bass on six of the 26 songs recorded for the final project. Fans and critics alike were intrigued with the developing project and wondered what a pop star was doing among an unlikely group of musicians.

The album was finally released after a media-fueled battle of artistic integrity over commercial success that hounded Clarkson for months. Reviews among critics were generally positive and on par with the singer’s previous works. Casual fans, however, didn’t quite warm up to the new material at first. After a change in management, a second single that failed to chart and a cancelled summer tour, the impression was left that the label had been right all along. The new material simply wasn’t good enough.

How I Feel [Kelly Clarkson, Jimmy Messer, Dwight Baker, David Kahne]

What was most interesting about the “My December” ordeal was the actual music took a back seat to label politics and media created tension. Despite the criticism that the album was too dark and that there weren’t any radio friendly singles, “My December” has remained a favorite among her fans, including me. The pop sheen of her earlier albums was replaced with rollicking bass lines, crunchy guitars, strings and synths. The lyrics were a rebel yell for a scorned, misunderstood and lonely youth. And then there was Clarkson’s finest asset—her voice. Passionately wringing every ounce of emotion from each lyric, she presented an impressive amount of range throughout 14 tracks. It was exactly the album no one expected from an American Idol winner.

Transforming a stint on a reality show into a thriving music career is a feat few will ever achieve. Clarkson is determined to make her career count for something other than number one hits. “There’s no way [to be number one] unless I do the formula stuff every time,” she said to Music Choice. “I want to do something different,” Clarkson said, “and different takes time for people to catch on.”

Maybe [Kelly Clarkson, Jimmy Messer, Aben Eubanks]

Clarkson followed up “My December” with 2009’s super-charged pop album "All I Ever Wanted". Producers Max Martin, Howard Benson and Ryan Tedder were enlisted to craft the album’s 14 songs—6 of which were co-written by Clarkson. Ironically, it has taken 26 weeks, three singles and months of promotion to sell more than 1 million copies worldwide—an achievement “My December” earned in eight weeks with one single. Some chalk it up to the economy. Some anticipate an increase in sales in the months to come. But as Clarkson eluded to Elle Magazine, even her most fervent fans are likely outgrow her one day.

“It’s weird to me when a 12-year-old tells me I’m their favorite artist,” she said. “In time, I’ll be weeded out, and that’s cool. I know I’m a good singer—but I know who I am, too.”

8 a.m. lectures.

2009-09-08T08:46:00.005-04:00

Once there was a way to get back homeward
Once there was a way to get back home
Sleep pretty darling do not cry
And I will sing a lullaby

Golden slumbers fill your eyes
Smiles awake you when you rise
Sleep pretty darling do not cry
And I will sing a lullaby

Once there was a way to get back homeward
Once there was a way to get back home
Sleep pretty darling do not cry
And I will sing a lullaby

Brandi Carlile.

2009-09-06T00:52:00.003-04:00

No lyrics in the title. No catch phrase to lure you in. Just the name of this absolutely rockin' 28-year-old woman. When I first heard of Brandi Carlile, it wasn't love at first sound. For some strange reason--perhaps I wasn't paying attention close enough, or I wasn't in the mood to have my world shattered--her voice bothered me.

What was I thinking?

I have enough common sense now to recognize that Carlile's singing is surely other worldly. Her songwriting skills are truly wonderful--as demonstrated on 2006's self-titled debut and 2007's breakthrough, "The Story",-- but her real strength is that voice. First, there's her power. She can brood with the best and wail like a bat in the hands of Donny Donowitz.

Second, the heart wrenching emotion in her delivery--it is ineffable.

And third, her range and control are incredible.

She may not be blowing up your radio, but this is an artist to savor. Her third album with Columbia records, "Give Up the Ghost", hits stores Sept. 22 on vinyl and Oct. 6 on CD. Elton John, Amy Ray of The Indigo Girls, Benmont Tench of Tom Petty and the Heartbreakers and Chad Smith of Red Hot Chili Peppers all lend their talents. It's sure to be a doozy.

When your feet are leaving the ground...

2009-09-03T12:21:00.005-04:00

30-year-old Patrick Watson and his eponymous band first came onto my radar in early 2007 on ABC's uuber drama Grey's Anatomy. Before your eyes start to roll let me say this- Grey's has some of the best music on television. I've lost count of the number of additions to my CD library thanks to the show over the last six seasons.

Watson's music is far from cookie-cutter soundtrack schlock, however. Upon listening to 2006's $20,000 Polaris prize winning album "Close to Paradise" for the first time, this four piece band completely immersed me in their sound scape of pure imagination. Watson, along with Robbie Kuster, Simon Angell and Mishka Stein, effectively navigate a handful of genres on the album's 13 gorgeous tracks without letting its cohesion fall apart.

"Slip Into Your Skin" is a personal favorite of mine with understated jazz lounge-esque verses and swooping orchestral choruses. Watson's vocals seem to relish in these moments, as they frequently appear throughout the album's 47 minute run. String arrangements makes their fullest appearances in the piano heavy "Drifters" and Stein c0-written "Lucious Life". Coincidentally, these are two of the four tracks to receive stunning video treatments.

I could go on and on and on about this album, and this band (and I will when I cover The Cinematic Orchestra- more on them later). I'll end by saying that as I type up this entry I'm listening to their third--and second Polaris-nominated--album, "Wooden Arms ," and have yet to be disappointed. Repeated listens are a must before making a judgement, and that's no difficult task. This is a band that really pulls you in at the wee hours of the morning.

For tour dates visit their official site.

Welcome!

2009-08-29T17:43:00.001-04:00

Hajimemashte! Making this has been in the back of my mind for about six months now. A summer of lazy (i.e jobless) days and long nights (i.e Dexter marathons) drained all of my ambition to get this blog off the ground. However, with the start of my senior year at the University of South Florida I decided to get my hands dirty in a mud bath of musical goodness.

I should introduce myself- my name is Matt Spencer. I am 22 years old and currently studying magazine journalism at USF's School of Mass Communications in Tampa, FL.

Music has always been an integral part of my life- from The Wizard of Oz to Les Miserables, I grew up surrounding myself with anything that allowed me to escape. I spent most of my childhood in community theater, but eventually gave that up. I started learning guitar in high school and to this day I consider myself only mediocre. Practicing was never my forte.

And then came college. I spent most of it commuting from my home in Spring Hill and it was during those commutes that I was able to spend two uninterrupted hours with the music of my choice. Sometimes I'd spend a week on one album, sometimes it would change every day. Whatever my mood, I had a go-to album for it.

My fondest memory was during my freshman year in 2005. With a rigorous coarse load including English Composition 1 and University Experience, I spent what "little" spare time I had making anonymous compilations of my obsession at the time- Jason Mraz. I would spend hours burning patch work collections of my favorite live (and legal) Mraz tracks I had swiped from Archive.org (more on that in future posts).

Once I packaged them and scribbled a brief blurb of enticement in Sharpie on the outside, the joy bombs were dropped around campus for lucky students to find. I did this twice a week for several months before my funds, and time, ran out. I have no idea what became of them or who picked them up. All I hope is they passed them on, and continue to share them with their friends.

I guess that's my hope for this blog, as well. There will be many, many artists featured here. You may like some and be indifferent toward others, but at the very least I hope you pass it on to your friends.

=]