Ad Vanderveen Final Refuge CRS
An invitation by Van Morrison to be his opening act is a compliment any singer songwriter would be proud of. Such was the positive impression Ad Vanderveen’s 2017 album WORLDS WITHIN made on Van the Man, that this gesture was made by him and gratefully accepted.
Dutch born but with Canadian parentage, Vanderveen has been performing solo, as a duo with Kersten de Ligny and with his electric band The O’Neils, throughout a career that spans over twenty-five years and boasts over thirty albums. Despite that output and its quality, he remains very much under the radar yet hugely regarded by his peers, which includes John Gorka, Dave Olney, Eliza Gilkyson and writer Joe Boyd, to name but a few.
His latest offering is an impressive collection of eleven songs, uncomplicated stories that visit simple every day occurrences, yet demand your undivided attention. Whereas many artists draw you in initially with melody, Vanderveen, in classic singer songwriter style, stops you in your tracks with his lyrics. Dylan’s Every Grain Of Sand is remodelled and covered, but it’s the original material that stands out. Know Yourself certainly does just that, a reminder of the power of our inner selves and our capabilities to self-cleanse and survive. Tinytown revisits times gone by and considers how particular people and places change over time, yet others appear timeless. Coming Home has a mid-70’s California ring to it. The Signet Ring, the album’s most powerful track, speaks of a broken and detached family and a path to forgiveness and healing.
You get the impression that Vanderveen never had ambitions to be a household name. More important to him has been his carefully measured and refined writing, always without compromise. He has achieved this once again with FINAL REFUGE, another delightful chapter of stories, impressively put to music.
Review by Declan Culliton
American Pleasure Dome Self-Titled Self Release
Minneapolis four-piece band American Pleasure Dome have delivered a power pop and guitar driven gem in their up-tempo swirling debut album. Drawing on influences that range from brooding art pop to full on indie rock, they hardly draw breath from opener Time Wave to the closing track Sister Adelheid.
The band members listed are lead man and songwriter Hans Schumacher, who plays rhythm guitar, keyboards and is lead vocalist. Park Evans adds lead guitar, Brenda Shepherd is on bass and contributes backing vocals and Greg Shutte plays drums. This may be a moveable feast as the current line up on their website lists Lindsay Paine as guitarist and Joel Arpin as drummer.
Schumacher’s songwriting is both visionary and slick, his songs cover both the lighter and darker life spectrums. Obey That Bling considers the increasing influences and obsessions of the so-called reality TV world. Saint Grumpy drifts towards country, it’s a cleverly crafted tongue in cheek high five to his favourite bar tender. Dark Side is dark and brooding, recalling a close friend who tragically took his own life. Alcohol fuelled infidelity is the subject matter of Bad Girlfriend. Happy Pills dwells on the prescription drug epidemic in America. It boasts an infectious melody with equally poignant lyrics (‘The day has not been fun, life’s not for everyone’). The previously noted Time Wave is a raw edged opening track that wouldn’t sound out of place on an early REM offering.
Schumacher is a Buddhist, a painter, and self-confessed fantasy literature lover with music tastes that included Led Zeppelin, The Replacements and Rush. He’s waited until he reached the ripe age of 53 before recording this debut album with a simple explanation. ‘’Buddha said, the body ages, the mind doesn’t age.’’
Review by Declan Culliton
The Campfire Flies Sparks Like Little Stars OverPop
This is the debut album from a band of musicians and writers that reside in the New Jersey area. They are all multi-instrumentalists and all eleven tracks are performed, arranged and produced by the Campfire Flies.
The members are John Baumgartner (vocals, keyboard, accordion, percussion), Toni Baumgartner (vocals, flute, recorder, clarinet, percussion), Matthew Davis (vocals, guitar, bass, percussion), Jon Fried (vocals, banjo, guitar, bass), Ed Seifert (vocals, guitar, mandolin, harmonica) and Deena Shoshkes (vocals, guitar, bass, percussion).
The sound is very much Folk/Roots based with acoustic arrangements that contain great melody lines and which allow the musicians room to flex their individual talents. With all six members providing vocals, it is hard to know who is singing on specific tracks but suffice to say that the harmonies are really strong and full of nuance in their delivery.
John’s Song is particularly memorable with a great arrangement and vocals that dove tail in and out of the melody, underpinned by the piano playing of John Baumgartner. I’m Not Changing My Mind (Ed Seifert) has a nice tempo and a warm sound, as does the Piano-led melody of Lost My Place In A Small Town (Matthew Davis).
I Can’t Find A Place That Feels Like Home (Ed Seifert) is a song that highlights the fine harmony vocals again with some nice flute playing by John Baumgartner. Waiting To Shine (Matthew Davis) has a dreamy quality in the arrangement and some nice restrained guitar lines while Deep Water (John Baumgartner) is another piano based song that highlights the ensemble singing across the sweet melody. Way Way Back (Deena Shoshkes) has a traditional air about it with accordion and harmonica fitting in perfectly with the song arrangement.
All the players are involved in other bands and came together for this project to explore each other’s songs that didn’t quite fit on prior records and to share their love for playing together with no boundaries. One can almost the band sitting in a circle around a campfire and teasing out these tunes in the warmth of a starry night and a few shared bottles of inspiration to keep the spirits high.
Review by Paul McGee
The Truehearts Songs For Spike Self Release
The Truehearts are singer-songwriting duo, Debra Buonaccorsi (vocals, guitar, keyboards) and Steve McWilliams (vocals, acoustic and electric guitars). They originally performed as The Hummingbyrds and moved to Nashville some years ago. This debut release was co-produced by them, along with Dave Coleman (baritone guitar and percussion), in East Nashville and the other players featured are Pete Pulkrabek (drums), Brian Hinchliffe (bass) and Coleman
There are additional musicians with Richard Bailey of the Steeldrivers playing banjo (one track) and Paul Niehaus of Calexico playing pedal steel guitar (two tracks). There are also horns on the opening track, Won’t It Be Something, featuring Diego Vasquez (trombone) and Robert Gay (trumpet). No credits for the piano that appears on closing track, Goodbye, but apart from this oversight, the music is both varied and interesting. Across ten tracks and some 38 minutes, they touch upon Pop (Milky Way/Won’t It Be Something), Americana (Goodbye), country (Let It Sing/PFC Frankie Walker), rock (32nd Street), rhythm and blues (Mamzelle Marie), reggae (Hey Hey), and folk (Late July) music.
The harmonies are excellent throughout with the solo vocals of Debra particularly sweet and strong. The songs are melodic and well produced but with so many styles covered, it is hard to place a definitive stamp on the Truehearts overall sound – not that it’s a bad thing to be able to move across genres with their range of influences.
Review by Paul McGee
Brad Byrd Phases Elusive Tiger
This is the fourth album from an artist who first came to media attention back in 2005. His sound is a cross between Americana and country rock with plenty to recommend the ten songs included here. Released on his own label, Byrd draws on all his experience as a musician to mix the dynamic of That Great Feeling, an up-tempo arrangement, with more reflective tracks, like Is There Another Way.
Sunset Girl has a cool acoustic melody and takes a look back at a relationship that has influenced everything that followed. Lies is a slow burn with some nice guitar playing on top of the easy rhythm and horn backing. American Life is a duet with Kay Hanley of Letters To Cleo fame that simmers and builds to a satisfactory climax. 1982 has a strong rock beat and a good band workout and Vampires is more reflective and layered.
Another Direction and All For You are both gentle arrangements that highlight restrained and understated playing and the sense that all musicians were very much in the moment. Closing track, The Stars Are Out Tonight, Boy is a highlight, with atmospheric touches on guitar and a slow groove that ends things in real style. No information arrived with this CD so I hope I am accurate in saying that Byrd is joined by John Kimbrough (electric guitar, piano, keys), Matt Pendergast (piano), David Ralicke (bass) while he contributes on lead vocal, drums and guitars. Bryan Cook, John Kimbrough, Matt Pendergast and Byrd himself took on co-production and mixing duties in what was clearly a collaborative affair. Does it work? Most definitely - these are very engaging songs that are filled with nice moments and fine playing.
Review by Paul McGee
Sonny James The Capitol Years 1963-1972 Hump Head
Sonny James, was a country singer who also crossed over into the Pop arena and proved very popular during his reign in the 1960’s and into the 1970’s. He had 23 number one hits, starting with his teen ballad, Young Love and he was known for his revivals of old pop and rhythm n’ blues hits. He also broadened country music's appeal across the nation and during the late '60s, he had a five-year run of number one singles which held the top spot for a combined 45 weeks. He was vocally seen as similar to other stars at the time, such as, Ray Price, Charlie Pride and Conway Twitty. Included here are 50 tracks and favourites like Take Good Care Of Her, Heaven Says Hello, Don’t Keep Me Hanging On, Here Comes Honey Again, It’s The Little Things and Behind The Tear. Inducted into the Country Music Hall of Fame in 2006, James was never really accepted by a number of the purist brigade who favoured a more traditional approach but his legacy on this release stands against any such narrow view.
Review by Paul McGee
Bobby Goldsboro With Pen In Hand Hump Head
During the 1960’s this artist caused quite a stir on the radio and the charts with a number of top selling singles, among them the million seller Honey, a song that pulled at the heartstrings of a generation. He also had the gift of crossing over between the pop and country genres with his voice and his clean-cut image very representative of the times – the kind of guy you would want your daughter to bring home.
His popularity lasted through to the 1970’s and only began to lose momentum as the succeeding decades brought new generations with different musical preferences and tastes. Indeed, the production on many of the songs included here is very thin and lacking in real depth, making a lot of the songs sound similar. What is never in doubt is the clear, melodic voice that Goldsboro used to great effect. His sound falls into the broad area of perhaps, Pat Boone, Gene Pitney or Bobby Vee. There is a total of 50 songs included on this 2-CD Hits collection that covers his output for the United Artists record label between 1964 and 1976. Most of the favourites are here, from See The Funny Little Clown, to Summer (The First Time), plus Autumn Of My Life and It’s Too Late.
There are some omissions like It Breaks My Heart, or The Cowgirl And The Dandy (covered by Brenda Lee, Dolly Parton and John Denver), but most of the recognised hits are included. Goldsboro played guitar in Roy Orbison's backing band in the 1960’s and there are clear hints of the great man in some of the song arrangements. He also had his songs covered by many artists, including Aretha Franklin, Dr John, Johnny Cash and Bette Midler. If you grew up with this music then a trip down the nostalgia highway is something you will enjoy, otherwise, this collection stands as very much a product of the decade in which music was finding its way towards a crossroads with plenty of new signposts.
Review by Paul McGee
Michael McArthur Ever Green, Ever Rain Dark River
This was a pleasant surprise, so late into the year. The artist is from Florida and released a few EP’s and singles since 2012, culminating in a compilation release in 2017, titled FOR ELAINE. Clearly an influence on his life and creative muse, Elaine is the title of one of the 12 tracks included on this 2019 album.
McArthur released it on his own label, Dark River Records, which he founded in 2018. He took a lot of songs that were written in Florida during a sabbatical from the music industry and travelled to Hollywood, California to hone down the writing with producer Ryan Freeland, a five-time Grammy Award winner who has worked with, among others, Bonnie Raitt, Ray LaMontagne, Aimee Mann, Joe Henry, Grant-Lee Phillips, Loudon Wainwright III and Rodney Crowell.
There was no information with the CD but if my research is accurate, studio musicians who sat in on the project were Steven Nistor (drums, percussion), Paul Bryan (bass), Lee Pardini (piano, keyboards), Jebin Bruni (keyboards), Josh Davis (guitars) and Dan Kalisher (guitar, pedal steel, bass). They gathered at United Recording Studios in Los Angeles, where McArthur sang and played live with the band, finishing these 12 tracks in just four days. An impressive achievement and the quality of these musicians is true testament to the ability to pull this off. Terrific ensemble playing and a great sound that draws you into the warm embrace that is McArthur’s vocal, not unlike Ray LaMontagne in timbre. His sensitive delivery and winsome quality mark out these songs as coming from a deeply personal place and whereas the lyrics are not always easy to hear, the mood and sentiment of the arrangements win out every time.
Stand-out tracks, among the twelve songs included, are Simple Kindness, We Live and We Die, Rest’s Unknown, Warmer Months, A Conversation Before Bed, Wild In The Blood and the closing title track that looks towards a future with a perspective gained from the past and all the life lessons learned. Quietly superb.
Review by Paul McGee
Dan Navarro Shed My Skin Red Hen
This is the first solo release from an artist that has travelled a long road in the industry and gathered many accolades along the way. Known as part of the acclaimed acoustic duo, Lowen & Navarro, until Eric Lowen’s retirement in 2009 (and passing in 2012), Navarro is also a voice actor and singer in major films, TV ads and TV shows. As a songwriter he has written for Pat Benatar, The Bangles, Dave Edmunds, The Temptations and Dionne Warwick, among many others.
This record starts with the title track, a slow, acoustic number that deals with moving on and keeping light. Night Full of Rain is a cover and a metaphor for a relationship that is going through a stormy patch with the hope that all will be better in the morning. The production from Steve Postell is quite superb with just the right touch of space and balance in the playing and the song arrangements.
Bulletproof Heart is another love-based theme, while Straight To The Heart Of Me is an invite to share the journey and be open with everything along the path. Arrows is another relationship song where he assures a friend that he will always be there as a support and a comfort. Let Her Ride is a warning to stay away from a broken relationship and a dangerous partner in the game of love. Ghosts is a rueful look at past mistakes and the memories that linger over the road not taken. Hard For Me Now follows a similar theme with it being difficult to walk away from something that was once so fine and strong.
You Drove Me Crazy, another cover, has a tex-mex rhythm that just rolls easily along and features Janiva Magness on co-vocals, as the song laments a love destroyed by crimes of passion and a jail as the final companion. New Year’s Day is about starting over and beginning with a clean slate, leaving the past baggage down and running free. Sweet Sixteen is a cover of the Billy Idol track and Navarro’s version of Wichita Lineman is perhaps a better example of his fine song interpretation skills, infused with sweet soul and a gentle groove.
Navarro has a strong and warm vocal that leads these songs while the playing of the studio musicians lifts the arrangements into a sweet spot. Navarro (acoustic guitar, percussion, vocal) is joined by Steve Postell (electric, acoustic guitars, vocals), David Glasser (mandolin, octave mandolin), Phil Parlapiano (accordion, piano, organ), Jon Ossman (upright Bass), Brendan Buckley (drums), Debra Dobkin (percussion), Tony Furtado (banjo), Joel Tepp (harmonica) and Aubrey Richmond (violin).
Studio guests on specific tracks include Leland Sklar, Danny Kortchmar, Wendy Waldman, Freebo, Grace Pettis, Janiva Magness, Bob Malone, Butch Norton, Brother Sun, Peter Adams, Dennis Edwards and each contributes to what is a really sophisticated project with excellent results.
Review by Paul McGee