‘Best of’ year-end lists are very subjective, being subject to the individual musical tastes of the compiler and my list, of course, is no different. Thus, the albums I have named (in no particular order) are simply the newly released ones that I enjoyed listening to the most during 2014.
Love and Gravity – Mary Fahl: This newest album by Mary Fahl recalls the glory days of her now defunct group October Project and excels them. Fahl’s rich contralto voice sounds as good as ever with no fillers here. Each track is a treasure, but a few standouts warrant special mention. It is hard to imagine a siren more spellbinding than in the song, “Siren,” and Fahl’s cover of “Both Sides Now” sounds like the song was written especially for her, infusing it with a deep emotional introspection I never appreciated before (not to take away from Collins’ timeless original). Then there is the beautiful memorial, “The Dawning of the Day,” written for the fallen firefighter heroes of 9/11. This is a stunning album from start to finish.
It might shock you to learn that the authors at Music is Good love music and listen to a lot of it, and we’re guessing you do too. One of the great things about music, are those occasions when we are struck by a particular song that resonates with us in a special way. Maybe a catchy beat simply caught our ear. Maybe it’s a particularly beautiful voice. Maybe it was a particular way the lyrics blended with the melody and the musical accompaniment, or perhaps the lyrics were especially apropos to a current experience or feeling we had at the time. Whatever the reason, that particular song had us hitting the ‘replay’ button over and over. This series spotlights some of the songs that did it for us. They will vary in genre but all will have one thing in common – that special ‘something.’
My Song of the Week is “Psalm of Life”. It is on the album Gift, the first collaborative recording by the mother-and-daughter team, Eliza Carthy and Norma Waterson, who make up part of British folk’s great dynasty.
I will admit it. At the end of each year, I attempt to come up with a “best-of” list of my own but struggle to identify even a handful. This is partly due to the fact that I am so bad about paying attention to the actual release dates of albums that I will invariably include several recordings that are older than I thought. This time, however, I had no trouble at all. 2012 proved to be a stellar year for releasing good music. Here are my picks for the best of the best, in no particular order:
O’ Be Joyfulby Shovels & Rope (Dualtone Music Group). (AMERICANA) Shovels & Rope is Michael Trent and Cary Ann Hearst, a husband-and-wife duo. Their website says they “sing harmony driven folk, rock and country songs using two old guitars, a kick drum, a snare, a few tambourines, harmonicas, and maybe a little keyboard sometimes.” There’s plenty of that on O’ Be Joyful, plusfiddles, banjos, and some wonderful, slightly off-kilter horns that take the genre to a new level (“Hail, Hail,” and “Tickin’ Bomb”). Clanky percussion is prominent on most of the tracks. Songs like “Carnival” demonstrate the duo can dazzle with slow-tempo ballads, too. It’s just quirky enough that it may not be for everyone, but if you like an old-timey country sound with a rockin’ edge to it, this album just might be right up your alley. ( Listen to samples here.)
“I have no doubt that in a very short time John Fullbright will be a household name in American music.” – Jimmy Webb
“[At SXSW], this young Oklahoman’s name was on everybody’s lips.” – American Songwriter
In a graveyard on the north side of the small rural town of Okemah, Oklahoma, where 23-year-old John Fullbright was raised (and still resides) are two tombstones marking the graves of two very different men. One is on the east side of the cemetery; the other on the west. In between the two is where Fullbright says he’d like his own tombstone to be placed. Why? Because the two tombstones bear the names of the two most influential people in his life – his grandpa and Woody Guthrie. It is the subject of a song Fullbright wrote called “Tombstone,” one of the standout tracks on a live recording of a concert he performed three years ago at the Blue Door in Oklahoma City bearing the simple title of Live at the Blue Door. It was not promoted nationally, but it was an attention-getter for those who heard it (it set sales records at the 2009 Woodyfest, the annual folk festival honoring Woody Guthrie), and Fullbright has continued to promote the album through a heavy touring schedule with his shows steadily gaining him a growing fan base one gig at a time.
The recording project was simple – a one-man show with just a voice, a guitar, and a harmonica, but lest you are thinking (like I was) that this by definition spells ‘boring’, think again. I was surprised at the depth and fullness that is generated by this one-man band and captured in the live recording. Thirteen of its 17 tracks are Fullbright’s own compositions, and he writes surprisingly insightful and mature lyrics that belie his youth (he was a mere 21 years old then, but had already become a favorite at outdoor music festivals before he was out of high school). He is able to create quite a sound all by himself, slapping the guitar strings with such fervor that the lack of a drumset is not even noticed, and gives a unique vocal delivery that makes the listener stand up and take notice.
“It’s breathtaking…The achievement here is enough to make the stars weep.” – Sarah Liss, cbc.ca
Heavenly – that’s a concise but accurate description of Tafelmusik Baroque Orchestra’s newest release, The Galileo Project: Music of the Spheres – a fusion of the arts, science and culture in the 17th and 18th centuries captured in an imaginative DVD and CD soundtrack commemorating Galileo’s first public demonstration of the telescope. It’s not only heavenly in its subject matter, but it’s pure heaven both visually and in an aural sense. With the recent January launch of their very own recording label, Tafelmusik Media, the Toronto-based ensemble (touted by Gramophone as one of the world’s top baroque orchestras) place themselves at the very cutting edge of what they describe as the “classical online recording revolution” of the 21st century. The new label’s first releases hit shelves on March 27, 2012, and include the debut of The Galileo Project. It is Tafelmusik’s ace card and playing it now assures their new label gets off to an impressive running start.
The Galileo Project was conceived in 2007 and brought to fruition in 2009 with its premiere performance at The Banff Centre in Alberta. Since that time, Tafelmusik has been touring the world with performances before awe-struck audiences. Now, for the first time ever, listening audiences everywhere can experience this one-of-a-kind production through DVD and an accompanying studio-produced CD of the gorgeous baroque music featured in the concert. The DVD/CD set was co-produced by Tafelmusik and The Banff Centre and is being distributed by Naxos USA through the Americas and by Naxos Global Logistics in the rest of the world, as well as through most digital retail outlets.
When I wrote a recent review on Kate Campbell’s last album, Two Nights in Texas, I predicted that we would be treated to a new one from her any time. Well, the time is here – the new CD, 1000 Pound Machine, was released April 3, 2012, on Kate’s independent Large River Music label, and it’s a beauty filled with all the Southern folk charm that fans have come to expect in a Kate Campbell album. Her unique stamp is imprinted all over the tracklist, including songs about the American South of Kate’s youth, people of the South (famous and not-so-famous), gospel tinged spirituals, a love song, a Mississippi delta blues piece, and a couple of instrumentals. This time around, though, the arrangements are sparser and the music more subdued. It is a beautifully cohesive album held together by an overall “lay-your-burdens-down” kind of theme offering rest for the weary and peace for the troubled soul. This is comfort food at its most palatable, served up in classy southern soul fashion.
“To me, it’s bogus that art can only be in museums. The real art is what goes on when people don’t expect it. My idea of a good time is getting in front of an audience and giving them more than they expected. That makes it a worthwhile, fulfilling thing to me.” – David Olney
Townes Van Zandt’s short list of favorite music writers included Mozart, Lightnin’ Hopkins, Bob Dylan, and … his buddy, David Olney. Obviously Olney keeps pretty good company, and deservedly so (except Eric Taylor once said, “Townes must have had a drink or two when he said Olney was up there with Mozart – Olney’s about as good as it gets when it comes to writin’, but he don’t sing like Mozart.”). With a career spanning more than four decades, he’s had time to polish his art to a fine shine. Whether performing blues, jazz, country, or folk ballads, Olney excels in them all – not to mention he can seriously rock. In short, David Olney is one brilliant artist – even if he doesn’t sing like Mozart. I am constantly amazed at what he comes up with next.
His latest venture is a unique series of thematic mini-album EPs on his own Deadbeet Records label, two of which have been released so far. Each EP consists of reinterpretations of some of Olney’s classic catalog tunes combined with brand new songs to create its own unique theme. The series capitalizes on Olney’s special talent for spinning a tale, which has made him one of the most original and impressive storytellers in the music business.
“Something happened. Back there all those centuries ago. Something not easily believed or easily dismissed. Two thousand years of glory and horror, of love and hate, of beauty and violence have only made those long ago events more murky and more enigmatic. But nothing comes of nothing. Something happened. The Stone is an attempt to address those events. From varying points of view (a con man, a donkey, a murderer and a soldier), a story is told. A picture struggles to emerge. Nothing is proved. Nothing is denied.’” (From the CD cover)
When country/folk-roots singer songwriter Kate Campbell opens her mouth to sing, you definitely know she’s from the Deep South – telltale signs ooze from her every syllable. But this southern bred artist from Mississippi is no country bumpkin. Her inherited country twang is tempered by a polished refinement and beautiful expression that adds irresistible charm to her voice, captivating audiences and drawing them into her southern world which is the birthplace of such notable writers as Harper Lee, William Faulkner, Eudora Welty and Flannery O’Connor. Kate’s formative years were spent in Sledge, Mississipi during the height of the civil rights movement and much of her music is inspired by her coming-of-age experiences as a young middle-class white girl during those tumultuous times. As the daughter of a Baptist minister, she was exposed to a heavy dose of spiritual singing, having grown up singing hymns out of the Baptist Hymnal that proclaimed a love for God and fellow man at a time and locale where paradoxical community attitudes abounded. She also grew up listening to a melting pot of music on the radio, including country, folk, pop, R&B and southern rock – all played on the same radio station. Her songwriting is a hodge-podge of all these diverse influences. Many of her compositions are autobiographical yet presented in a way that reveals the bigger picture of universal humanity, and her talent for singing her stories is every bit as evident as the talents of the authors previously mentioned whose works she admires and to whom she is often compared. Her CD booklets frequently include some of her favorite quotes from these literary giants and others.
This is part of a series suggesting ingredients for mixtapes or playlists on a variety of themes.
Whether you have a special someone to be your valentine this year or not, we’ve got you covered with this genre hopping “two-fer” mixtape of old and new songs ranging from easy listening to rock, pop, R&B, and lesser known indie singer-songwriter folk stuff. Side A is just the thing for happy couples to play while celebrating Valentine’s Day with a romantic evening alone – or, if the love affair’s over, flip it to Side B and let the music keep you company this Valentine’s Day. Either way, it’s a night spent with some great music.
Links to artist websites are provided for each track – a good way to learn more about the artists or to catch up on their latest news. Many of them are working on new recording projects for 2012.
When Irish troubadour Declan O’Rourke wrote this song, he thought no one would want to hear it. But he liked it and says he only finished it because he thought his family might enjoy it. He was more than a little surprised when he learned Josh Groban picked it up for inclusion on one of his albums – and a little sad to say goodbye to “his little song.” Since then, it has been covered by numerous artists and is destined to become a romantic standard.
I was never more surprised than when I saw the self-titled album Burlap to Cashmere on a recent list of Top 100 best albums of 2011. I knew this band. Discovered by an agent who heard them playing in a New Jersey coffeehouse, Burlap to Cashmere had independently released a live record in 1997 and the following year signed with A&M to release their major label debut, Is Anybody Out There? (an award-winning unconventional Christian music album). Within a few years, they had disappeared without a trace. They were a high-energy folk/rock band with a unique sound, thanks to the band’s talented songwriter and lead singer, Steven Delopoulos, and his cousin’s (John Philippidis) quick-fingering flamenco guitar riffs. That combination created their one-of-a-kind Mediterranean-influenced folk/rock sound of Greek rhythms and world beats that reflected their Christian Greek Orthodox heritage.
That was 13 years ago. Now an album bearing their name appears on a 2011 best albums list and I’m thinking it must be a re-issue or something. But, no. It is indeed a brand new album with 11 brand new songs. And it is creating quite a stir: