Review: The Mercy Alliance - Some Kind of Beautiful Story

Songwriter Joe Rathbone had lived in several big cities along the East Coast, hanging his hat in towns like Philadelphia, Nashville, and Atlanta. But there was something about his new home place of Washington, D.C., that simply called to him, awakening his muse and drawing him into a place of reflection and creativity. And with the help of a few old friends, Rathbone has brought those reflections to life with the September 9th release of The Mercy Alliance’s Some Kind of Beautiful Story.

Those friends include Rathbone’s longtime drummer and collaborator, David Lopez, who smooth rhythms have played foil to Rathbone’s crunchy guitar tones. Also along for the ride are some featured percussion parts from former Counting Crows drummer Steve Bowman, bassist Brad Jones, and David Henry’s string work providing the final cherry on top. Helping to keep it all together is producer Thomas Johansen.

Sonically, Some Kind of Beautiful Story toes the fine line between indie pop and rock with touches of Americana thrown in for good measure. Opening track “Washington” is a solid collision of all three, Rathbone’s sweeping composition rich and breezy, his vocals warm and accessible with gentle notes of hope throughout. In contrast, “Angel of Mercy” segues fully into indie rock mode, Rathbone’s guitars gritty throughout, grinding against a melodic lyric and kicking percussion while “All For the Love of You” keeps those hardcore guitar licks flowing, accenting them with some compelling string work.

 

Some old school rock textures and a moody vibe color “Moving In Time,” Rathbone and company evoking some tension with minor chords as “This Is How They Know” lightens the load, bright tones and some tasty drum work and percussive notes, with more of Henry’s strings bridging things together. “I Can’t Do It” is a simmering pop rock gem, Rathbone’s guitars playing just along the surface, their textures willing the track to just the edge and being brought back by swells of strings and his own smooth vocal delivery before “Libertine” allows him the opportunity to let the cat out of the bag, delivering a funky groove that really shines. It’s a rich, bluesy jam that showcases his flexible vocals and creative guitar work and is one of the album’s clear highlights.

“Save Me” finds things drawn back into a mid-tempo flow, Rathbone delivering some solid falsetto notes and pleading tones across lines of reaching guitar and Lopez’s consistent backbeat. And perhaps saving their greatest creative moments for the last, The Mercy Alliance close out their latest offering with “Drifting In,” a track that offers up a plodding yet engaging path, guitar feedback echoing thoughts of static reflected in the lyric as a myriad of textures build in the background. It’s a track that closes without any real resolution but, for some reason, that seems to work here.

Joe Rathbone and The Mercy Alliance have conceived of an album that is right in their wheelhouse, allowing for each component to shine while still contributing to the whole. At the forefront are Rathbone’s well-crafted lyrics and vocals, crooning throughout these nine tracks with purpose, while his guitar playing shows stellar creativity and musicianship, giving the rest of the members a launching point. And they build upon that and have crafted a worthwhile listen in Some Kind of Beautiful Story, a listen that will no doubt have many going back for more.

For more info on The Mercy Alliance and Some Kind of Beautiful Story, visit www.facebook.com/themercyalliance.

Review: Hillary Reynolds Band - The Miles Before Us

When Hillary Reynolds sings the powerful lines, "Have you ever been to the bottom of a bottle/And wanted just a little bit more," stark instrumentation framing her soulful voice in the intro to the song "Can't Let You Go," you're know you're in for a treat. With their third album, The Miles Before Us, the Hillary Reynolds Band delivers a plethora of these moments, laden with emotion and richly textured with strong Americana that's flavored with elements of folk, country, pop, rock, jazz, and bluegrass. The result is an album that is well worth the listen.

The collective formed when they met at the vaunted Berklee College of Music, coming together over a love of traditional music, and they quickly gelled and took to one another. Now based in Boston, the band has enjoyed a number of accolades and opportunities, performing on the stages of the "Northeast Pennsylvania Bluegrass Festival, Mile of Music Festival in Appleton, WI, the Blue Plate Special on WDVX Knoxville, the EAA AirVenture air show in Oshkosh, and Green Bay's Meyer Theatre and Fox 11 morning show “Good Day Wisconsin.” Further praise has come their way from critics and fans like fantasy author Patrick Rothfuss and they've seen their songs work their way onto the playlists of multiple radio stations while individual members of the band have been afforded the chance to work with "notable artists like Wyclef Jean, Imogen Heap, and The Click Five, and Michael Manring."

All of these accolades come honestly as the Hillary Reynolds Band is a talented quintet, making music that is alternately honest and enjoyable. With Reynolds managing lead vocal duties, she's joined by Connor Reese on guitar, Trevor Jarvis on cello and backing vocals, Jeff Hale on drums, and Chris Mewhinney who shines on electric and acoustic bass. There's a strong chemistry that's evident throughout the whole of the record and it's no doubt due to the strong ties this group shares.

The Miles Before Us starts simply with "Took Me a While," a breezy pop-tinged track with singsong vocals and bright piano and twinges of strings that give it that touch of country and "Pretending I'm In Love" continues that same vibe, Reynolds' vocals smooth and rich and somewhat reminiscent of Norah Jones in its lower registers. "Honey Come Home" marks a shift, the pace slowing to a gentle acoustic shuffle, brushed drums and plucks of banjo and swells of cello lending emotional tones before seguing into the gem that is "Can't Let You Go."

Forrest O'Connor guests on "I Surrender," which opens with a soul-stirring Appalachian a cappella feel before breaking out into a barn burning acoustic jam, mandolin, guitar, and more raging forth with passion while "Braver Than We Think" pulls things back to a gentler, rolling listen with warm harmonies. "What It Is" picks up those sunny melodies and runs with them followed by "Balloon & Kite," two tracks that are playful but are among the few that fail to truly register here.

"Crossing the Line" returns to where the band really excels however, a strong acoustic arrangement providing the framework for Reynolds' voice to shine as "This Love of Ours" makes a case for the highlight song of the album with its powerful instrumentation and lyrics like, "Oh, take my heart when you leave/In the morning/Leave your love on the pillow/So I can love you/While you're gone." It's rich with emotion and makes the best of Reynolds and company. The goodness continues with the stark sounds of "I Didn't Know Who Else to Call," the band working a "less is more" approach that really works while they let it all hang out on the rock-inspired "Keep On Driving," ending things out with plenty of energy and leaving listeners chomping at the bit for more.

And that’s exactly what’s bound to happen after folks give The Miles Before Us a listen. The Hillary Reynolds Band shows here that they’re the real deal and deliver your money’s worth and more, crafting compelling Americana-flavored jams with authenticity and passion. And that’s a formula that will have you reaching for the “repeat” button time and time again.

Review: Ashley Davis - Night Travels

Growing up, we were always taught the old adage that one could tell a lot about a person by the company they kept. And as we stick to that tried and true teaching as we take a glimpse at Ashley Davis’ latest, Night Travels, I think it’s safe to say that we’re in good hands as Davis is joined by a stirring list of guest stars like Sara Watkins and Celtic music legend Moya Brennan. Not only does it hint at what good lies in these tracks, it also hints at the work Davis has put in to get where she’s at.

The Kansas born and bred Davis began traveling around the Midwest, singing and performing at the age of 14 and soon headed off to Nashville’s Belmont University where she immersed herself not only in music culture but also in Irish, British, and Latin literature. Not long after she would pursue and earn her graduate degree from the Irish World Academy of Music and Dance, under the direction of Mícheál Ó Súilleabháin and would then head off to an Artist in Residence position on the Isle of Man. Then, interestingly enough, the artist found herself drawn to Sin City by Michael Flatley in 2010 as she was the featured soloist for “Lord of the Dance.”

Night Travels is the artist’s fourth release and marks a shift for the vocalist and songwriter, as she shares, “On my other albums I would have been more cerebral, more academic. This one I really let go and allowed myself to understand that sometimes simplicity is elegance."

The term “simplicity” here is misleading, however, as it’s a term that fails to capture the grace and beauty that Davis brings to the recording.

That beauty begins right from the start as Davis duets with Sara Watkins of Nickel Creek fame on “His Bride I’ll Be,” acoustic strings and emotive fiddle notes framing the stunning vocals as Davis delivers a tale of whimsy and love. “I’ll Follow You (Leanain Thu)” taps even deeper into the singer’s Irish love, lush guitar work providing the space for her soulful and ethereal vocal delivery to shine. She then joins with Irish guitar great John Doyle to deliver a painfully bittersweet version of the traditional classic, “Barbara Allen.”

The title track follows, laden with fiddle reels and more of Davis’s sensitive vocals while “The Blackest Crow” is reminiscent of work by Alison Krauss. Fiddler Eileen Ivers makes an appearance on the hauntingly beautiful “With You Love,” the ethereal elements recalling Loreena McKennitt as “In The Blue” samples from both Irish and Americana camps, the piano notes lovingly accented by accordion fills.

Moya Brenna is Davis’ guest on “Beside You Near,” a song the artist crafted specifically to highlight her friend and mentor’s voice and it does that and more, proving to be one of the definite highlights of the record. “Alone With Me” is another strong track, largely in that it’s a bit of a departure from the rest of the album, bridging into a touch of country yet still tinged with Celtic leanings. Davis then closes things out with “Horses” and the almost theatrical “Dreams Will Come.” It’s the type of track that feels as though it’d fit perfectly into a musical and that seemingly tells the story of Davis’ life, of a life that’s had her dreams come true.

Ashley Davis has worked hard to achieve the status that she’s achieved and it’s all well-deserved. Night Travels highlights an artist who continues to grow in her craft, writing compelling and heartfelt songs and delivering them with not only poise, but passion. Ashley Davis is the real deal and for fans of Celtic flavored sounds, this is one journey you’ll want to join up with.

Review: Carry Illinois - Siren EP

The best kind of artist is one that performs from a creative space that is altogether his or hers, tapping into experiences honest and personal. Up and coming artist Lizzy Lehman is such an artist.

“I write about my life, and my perspective of the world surrounding me. My songs are more local than global, but the themes are universal,” the Austin-based artist shares.

Lehman’s musical experiences began like most, singing and performing in school but it was when she hit college that she really took to the craft, meeting a gifted guitar teacher, engaging in songwriting head on, and finding a community of singer-songwriters that she could connect with and learn from, drawing her deep into the folk music scene.

And those experiences, combined with her keen talent for both songwriting and singing, have led the artist to some of the highest thrones of the Austin music world, seeing her perform on such legendary stages as Antone's, The Cactus Cafe, The Parish, Cheer Up Charlies, and the Mohawk while also having the opportunity to travel and open for Gregory Alan Isakov at George's Majestic Lounge in Fayetteville, Arkansas. She’s already recorded a solo EP, performed with The Blackwells, and now finds herself fronting her own collective, Carry Illinois.

The band draws from a different palette than Lehman’s more traditional folk leanings, opting for a more indie rock vibe that leans heavily on Americana flavors. Joined by fellow musicians Nick Droz on bass, Rudy Villarreal on drums, and Darwin Smith on guitar, Lehman and company invoke the inspirations of singer-songwriters like Carole King, Brandi Carlisle, and Joni Mitchell while putting their own unique spin to things, delivering five stirring tracks on their debut EP, Siren.

“Weakest Limb” gets things off to a strong start, an ominous and dark tone coloring the track, and the better part of the EP, with solid, thudding drumbeats and a moody guitar line running throughout as Lehman’s voice is haunting, contrasting uniquely with the surprisingly hope-filled lyric at its conclusion. The title track follows hard after, a beat pulsing like a heartbeat opening things up with Lehman’s electronically distorted vocals carrying the track forward. An industrial meets folk arrangement unfolds, distorted elements melding with smooth and soulful strings in an instrumental jam that is at once unsettling and engaging.

Lehman’s folk leaning make themselves known on the lighter feeling “Jackson Square,” her vocal soaring above a plucky banjo line and brooding guitar while “Nothing to Despise” brings together the best of both worlds. More banjo fills provide texture throughout the track while Lehman employs more vocal distortion, giving her voice even more texture, as the track layers itself with atmospheric guitar work. “Good Farewell” provides the EP a perfect ending, acoustic guitar and Lehman’s stark voice leading forward, accented by just the right touches from her band. It’s a track that reminds one of the darker tracks brought forward by the Man in Black and that is high praise indeed.

And Carry Illinois’ Siren EP is a collection of songs that more than earns its praise in spades. Lehman and company deliver nuanced, layered textures of sound that honor the traditions of folk, Americana, and rock while combining them all at the same time into a musical gumbo that is good for the soul. Dark, brooding, yet also uplifting, Carry Illinois’ Siren EP is one you won’t want to miss.

Review: Heather Stewart - What It Is

Sometimes you’ve just got to step out of your comfort zone and go for it. For rising artist, Heather Stewart, that concept is what has defined her life since she did just that. At one time a producer on the E! Network’s “Talk Soup,” Stewart found herself a natural working behind the scenes. Yet, when she found herself drawn into the show’s playful sketches, stepping out of the shadows and into the spotlight, if but for a moment, the artist found herself thinking, “This is what I need to be doing.”

And that’s what she did, leaving a plush job for the hard streets in pursuit of her dream of acting and music. She eventually landed a gig performing with the Inda Eaton Band, gaining tons of experience as a backup vocalist and having the opportunity to open for acts like Hootie and the Blowfish, Leann Rimes, and Blues Traveler. She also worked on writing her own material, writing and starring in her own one-woman cabaret act, as well as recording her debut album, Life of the Party, in 2008. Making herself a triple threat, she continued to act and splits her time between her acting gigs and music.

Stewart’s sophomore album, What It Is, was written after the death of her father and reflects those painful and conflicting emotions throughout. “Music to me serves such a dual purpose, emotional catharsis and escape,” she says. “I wanted these songs to capture the rush and multitude of what I was experiencing, from ‘Life is so f*cking short so I better make my mark,’ to ‘What the hell is this all about,’ to ‘Oh yeah, love!’”

And while the lyrical content is strong, it’s Stewart’s voice that gets top billing here. She possesses a vocal tone that is strong and clear, resonant in its delivery while colored with a sultry sexiness as well. She sings with poise and precision and every note seems specifically chosen for the moment, conjuring just the right amount of emotion out of a line as she croons lazily through the title track or rocks out on “Another Perfect You.”

Stewart’s ensemble of players isn’t too shabby either. Featuring a stable of players whose credits boast session work with artists the caliber of k.d. lang, Fiona Apple, Lucinda Williams, and John Mayer, Stewart’s compositions find themselves in more than capable hands. Further enhancements come by virtue of Greg Critchley’s inspired production, choosing to record the record in a “live off the floor” mode, capturing the energy and emotion in a setting as close to live as you can get.

And when all of those elements are put together, the results are truly enjoyable. Stewart and company navigate an Americana-flavored set of tracks colored with elements of rock, blues, country, and more. Tracks like the high-energy and rocking “Underneath” recall work by Brandi Carlile while the open air country flair of “Tell Me Who” hints at Bonnie Raitt’s influences. “Black and Blue” appropriately brings some bluesy notes and a boozy vocal delivery that shines like a Lucinda Williams B-side.

But while Stewart’s influences do make themselves known, she’s clearly her own person and is about crafting her own art. On “I Lied,” she lets a smooth, guitar lead and plodding drum line move her sensuous vocals around, bringing to mind a stripped-down Bond movie them while “What It Is” is a lazy river ride of warm country fills and heartfelt vocals. “We’ll Learn” is an upbeat roots rocker and “Had It All” tones it down, the painful lyric confronting the frailty of life alongside a contrasting acoustic backdrop.

Heather Stewart’s latest is, quite simply, a great album. All the components are in place; great vocals, killer musicianship, and quality songwriting. Americana music fans of artists like Bonnie Raitt, Brandi Carlile, and Lucinda Williams will find plenty to enjoy here as will fans of what is simply great music. Let’s just say if you’re wondering What It Is, is good.

Review: Chris Leigh and the Broken Hearts - Broken Hearted Friends

Somewhere in the past several years, country music has experienced a shift in style. While subtle
elements like songs about the everyday man and love and family still undergird things to some degree, there’s been a swell of raging rock ‘n’ roll guitars, dancehall riffs, and more. Sure, there’s a steel guitar fill here or a touch of banjo there but, suffice it to say, it’s getting harder and harder to distinguish country from the pop and rock that’s ruling the charts these days.

And while the good or bad of those shifts in the country style are always up for debate, there are some who’ve continued to make hay performing true, classic country music. Artists and musicians like Marty Stuart, Dwight Yoakam, Jim Lauderdale, Shooter Jennings, and more have fought long and hard to preserve country music culture and authenticity while making great music. And along the way, they’ve inspired countless numbers of rising artists, artists like Kentucky-based Chris Leigh and the Broken Hearts to forge a path true to that of classic country and on his debut record, Broken Hearted Friends, he does just that.

“Three years ago my wife left me,” Leigh shares. “I sat there in an empty house wondering what to do with my life. I thought about all the things I should have done and picked up the guitar and started playing. These songs just came out.”

Those songs are cut from the same thread as great artists like Johnny Cash, Hank Williams, Lyle Lovett, among others, managing to capture slices of life that celebrate and lament the process of love and loss, redemption, and everything in between. Leigh’s lyrics are such that capture the seriousness of these situations, conveying the sense of pain and heartache that accompany much of this journey while always managing to keep something of a smile at the edge.

A great case in point is the great weeper, “If You Make It To Heaven,” where, surrounded by a plodding acoustic guitar lead and steel guitar fills providing key emotive vibes, the artist sings of the woes of the world before hitting the chorus where he sings, “If you make it to heaven/Tell ‘em I’m not doing well/Could they send me an angel/’Cause I’ve done my time/Here in hell.” It’s a serious lyric but, somewhere in there, you can picture a smile in Leigh’s eye as he sings it, perhaps since he’s experienced the redemption the song hints at.

And while Leigh has not shortage of heartfelt moments, with songs such as “Like I Love You Forever,” carrying a homespun father’s love along a mid-tempo, swaying arrangement, the artist clearly still likes to let loose, something he does with abandon on “Ramblin’ Man.” The type of track that clearly sees him drawing comparisons to Yoakam and Cash, complete with a “boom chicka” guitar line, Leigh chews off his vocals with pleasure, chewing them up and spitting them out with country-flavored gusto.

Classic country sounds get a heartfelt nod with tracks like the tear in my beer weeper, “Heartache & Misery,” while “Whiskey River” takes a more direct nod, naming the point of its homage, none other than Willie Nelson, within the lyric. Leigh also harnesses the great story songs of country gone by as he sings out “The Ballad of Bobbie Sue.” Despite its longer track length and vintage lyrical style, it’s actually one of the more contemporary sounding songs here, the chorus ripping with emotion fueled by Leigh’s capable vocal delivery.

While country music fans continue to battle over what country really is, there are still artists like Chris Leigh who shoot from the hip, drawing from their life experiences, and putting it to music. Inspired by the great musicians of then and now, Leigh takes those inspirations and weaves them into a sound that, while reminiscent of the past, is resolutely his and that honest authenticity permeates this entire release. For those weary of country radio’s slick, pop-laden fills, Chris Leigh and the Broken Hearts’ music is a breath of fresh air.

Review : Brian Larney - At the Starting Line

It seems that within the heart and soul of many successful band members, there always lies that
powerful question of, “What if?” Most specifically, “What if I were to try and do this on my own?’ And, for years, band members have been stepping out of the shadows of their comfort zones and have tried to forge ahead with their personal visions. In some cases it’s been wildly successful while others have unfortunately met with far less success.

Rising artist, Brian Larney, knows all too well those introspective longings and questions. A longtime member and collaborator within local Northeast bands, Larney has long felt the urge to venture out solo, seeing if his particular brand of pop-rock could stand on its own.

“It’s a triumph of the spirit,” the Bridgeport, Connecticut artist says laughing playfully. “I always hid within bands so everything about this is like starting over, hence the title, At The Starting Line.”

The product of a longtime musical education, Larney spent his early years honing his songwriting and focusing on the “art of harmonizing.”

“I would get to school at 6:00 AM and go into the piano practice room and pick out songs and work on harmonies,” he says.

And while his initial efforts resulted in over the top, “overly complicated 7-minute opuses,” Larney eventually found his way, merging his personal tastes as a listener, which encompass everything from pop to bluegrass and everything in between, together with his work as a traveling musician where he worked with bands playing everything from pop-punk, power pop, post-punk, and hardcore. Through all of those experiences, Larney found the strength and the skill to step out of the shadows and being casting one of his own.

And with the early verdicts coming in, Larney has nothing to worry about.

Larney’s number one coup was in snagging Americana songwriter, David Mayfield, to produce, the singer/songwriter lending a refreshing tone to Larney’s work. But, while Mayfield’s production keeps things clean and clear, it’s Larney and his compelling songs that are the star here and they don’t disappoint.

Fueled by Larney’s humble yet smooth vocals and an eclectic sense of composition that fuses soulful harmonies, tasty indie pop-laden hooks, and elements of country and Americana together in a highly listenable gumbo of sound. There are elements of bands like Wilco and others to be found but, through and through, this record resounds with Larney’s own signature.

That signature is most notably heard on the album’s highlight track, “Why God Why,” which finds the artist dealing with the loss of his father. It’s a simple arrangement, surprisingly mid-tempoed and driven ahead by subtle percussive notes as Larney sings, “Wake up, Dad, I need you now/Is this the place you were laid down/And why are you still sleeping?/And I ask/Why, God, why?” It’s powerful, haunting, and lovely all within it’s two and a half minutes and captivates the listener.

Not afraid to tackle other heady topics, the artist wrestles with religion on the bluesy “Dogma (On a Leash),” calling out his take on swarthy preachers who repeatedly speak with “forked tongue” and coax parishioners into giving money that they use to line their own pockets. Soulful pockets of both acoustic and electric guitar bolster the track, lending it a vital, swampy note.

“Whistling Past the Graveyard” is a track that makes great use of the artist’s pop leanings, featuring great harmonies, killer keyboard chops, and a toe-tapping arrangement, making it another favorite. Ditto that for album opener, “You, Me, and Alison” which captures an expansive Americana vibe, perfect for long summer road trips, and harnesses the great line, “Jesus in your tears.” Flipping the tables, “Solace” slows things down with a lyrical journey that explores spiritual oppression with stringent honesty, offering up the thought that, “There ain’t no difference if you’re good on the outside/Still got your demons locked up inside your heart.”

Merging genres and writing honest, poetic, insightful lyrics that speak to the heart and doing so while providing a great hook, Brian Larney’s At the Starting Line is a masterful work. And while Larney may have been content to rest in the shadows for some time, he’s going to have to get adjusted to the spotlights because if he keeps making music like this, they’re going to be shining on him for a long, long time.

Review - Arlon Bennett : World of Possibility

We’re all drawn to honesty in music. No matter the genre, whether it is hip-hop or heavy metal, we long for our musical muses to reach out and touch us with sounds and lyrics that carry themselves with an air of authenticity, relevance, and connection. And it’s those best artists, those that have stood the test of time, that manage to continue to captivate audiences with their ability to, time and again, deliver honest music.

If he keeps on pace, Arlon Bennett is a name that will bandied about with those artists who have, and are, making music that connects in that way. Calling Long Island, New York, home, the artist is set on making music that carries his simple philosophy, “Shoot for the moon and ask questions later,” capturing elements of folk and singer-songwriter stars like Harry Chapin and James Taylor. Since the release of his debut album in 1998, Fountain of Dreams, the artist has seen solid success, scoring opening acts for Americana stars Glenn Tilbrook, Jill Sobule, and Tom Paxton while as being honored by being “twice selected by Noel ‘Paul’ Stookey (Peter, Paul & Mary) to perform in his Music-to-Life showcase at the Kerrville Folk Festival featuring America's best songs of social consciousness.”

Now, the artist continues his mission to bring his dreams to life, while igniting those of others, on his heartfelt new release, World of Possibility. Coaxing classic folk sounds from his guitar and writing lyrics about real life, Bennett captures and captivates the heart here. It’s not fancy and sports no frills, much like a meal at the county diner, but its “stick-to-your-ribs” good, leaving you full and satisfied at the end.

Bennett’s key to providing this satisfaction to his listeners is in large part due to his prowess as a storyteller. Through a simple, homespun tale of an elementary school janitor, “Sal,” Bennett manages to grab the heartstrings and teach a lesson. Likewise, the snow-laden sadness of “The Christmas Tree on Salem Street” weaves a tale of holidays left sad by the loss of loved ones in the military, daring one to not wipe away the inevitable tear. And the artist’s heartland-fueled personification of the U.S., “I America,” complete with its soulful harmonica fills, has the potential of adding itself to many a listener’s Independence Day playlist.

Inspired by an invitation to perform at an international Parkinson’s conference, Bennett wrote the title track, conveying an acoustic-driven melody that brims with hope and confidence while “Nothing Like a Song” captures some old school country vibes, telling of the power of music. It’s simple and, some might say, hokey, but there’s an inherent honesty to it all.

The highlight track here, however, is Bennett’s playful and unique song, “Question for Einstein.” Celebrating the joy and mystery of love, Bennett ponders questions to the great physicist, asking in the chorus, “Dr. Einstein/The question I would ask/If you were alive and I was sitting in your class/Of all the beauty in your mind/Of all you know of space and time/What is love?” Bennett plays with asking these questions of Einstein, adding in some soulful strings, and ultimately concluding in the end, “Well you ran out of time/Before you could find/The answer to all that is/But I will keep on searching/To find the inertia/Behind a single kiss.” It’s sweet, poignant, and from the heart.

And those are the elements that truly make up Arlon Bennett’s work on World of Possibility. Clearly working as a glass half-full sort of guy, Bennett presents warmhearted, honest songs of real life and real people, continually seeming to find the silver lining in each situation. He frames these tales in musical compositions that mirror their lyrical counterparts, coming across as accessible and inviting. So, come on in and sit a spell and let Bennett tell you a tale.

Review: Lisa Bell - The Italian Project

The old adage holds that one should not judge a book by its cover. And perhaps that adage should extend to include the title as well. Because, to those unfamiliar with the music of Lisa Bell, the title of her latest album, The Italian Project, could have listeners anticipating hits of accordion, perhaps some stellar operatic notes, or at least a decent cover of “That’s Amore.” So hopefully they’ll be wonderfully surprised to find that Bell’s record is anything but that, instead offering up a warm array of Americana tinged country and jazz notes, sounds that the artist comes by honestly.


Bell boasts a B.A. in Vocal Performance from the Conservatory of Music at the University of Missouri-Kansas City and has, for the past eleven years, set herself on a path toward expanding beyond the jazz standards she was known for to embracing a sound and style that encompasses everything from jazz, blues, country, roots rock, and more, all with a positive spin, believing that that sort of music truly does help to change lives. Along the way, she’s had the opportunity to perform with a number of powerful performers such as Christopher Cross, Boney James, and Oleta Adams, as well as guitar great, Stanley Jordan.

And along the way, Bell found her way to Italy where she not only gained fans with her powerful performances but she made friendships that would last a lifetime and add to her musical repertoire, owing to the creation of The Italian Project.

And, as mentioned before, while this bears a European name, the sound is all Americana. Bell harnesses the worlds of country, jazz, blues, and even adds a few Latin influences in order to create this world that she inhabits with her honeyed vocals. Bell opens the album in a warm, country fashion with “Bring the Love,” playful lyrics merging with the artist’s great vocal work, drawing to mind an artist and sound like Bonnie Raitt. It’s those more roots-flavored tracks that seem to find her at her best, as further evidenced by songs like “Come My Way,” colored by a more contemporary arrangement, and “Walk With Me” which reads like a Patty Griffin B-side. Add “Love Hurts” and the toe-tapping tones of “The Best of Me” to that and you’re assured that at least one half of this record is more than solid.

Yet, don’t let that lead you into thinking that the other half is any slouch. Rather, the remaining tracks find Bell erring more on the side of her jazz and singer/songwriter influences, which hearken back to her early days. “One Face One Race” bridges lyrics of unity together with a hybrid of jazz, Latin percussion, and some adult contemporary while “A Brighter Day” continues in that same vein, shakers providing some nice texture around Bell’s vocal delivery, recalling elements of Carole King and the like. “Quilt” continues those singer/songwriter elements, an acoustic arrangement providing a humble canvas for warm vocals as “From the Outside Looking In” and “I Can Be Anything” round out the record before closing up shop with the one real disappointment here, “Set It Free (The Boomba, Boomba Song.)”

But, one disappointment isn’t enough to detract from the overall promise of the rest of Lisa Bell’s The Italian Project. Filled with plenty of grounded songwriting, near-flawless vocals, and great musicianship that runs the gamut from country to jazz and back again, Bell has crafted an album that plenty are sure to enjoy.

Review: Oh, Jeremiah - Tall Tales and Tiny Fables EP

Modern music is finally beginning to re-embrace the world of great, acoustic driven and Southern style music. Bands like Mumford & Sons, The Lumineers, and The Civil Wars have done a tremendous service in helping to show the glory that is at the roots of so much Americana-flavored stylings. Now, indie recording artist, Jeremiah Stricklin, better known to some as the band, Oh, Jeremiah, is out to add his name to that circle of rising stars.

Stricklin hails from the Deep South where he’s long been drawn to quiet, honest conversations, whiling away the days over tall glasses of iced tea while sitting on the porch. An early love of music would send the artist to study at the University of Southern Mississippi’s School of Music while, interestingly enough, exposure to a Blink 182 video and a track by The National, would work to shape the artist’s journey even more.

That journey would eventually find some of its lines colored in by the sounds of artists like Ryan Adams, Shovels and Rope, and Josh Ritter, among others, working to forge his own take on the Americana singer-songwriter sound. The result is his debut EP, Tall Tales and Tiny Fables, a five song collection that shows a whole lot of promise for the future of this bright artist.

Stricklin opens up the proceedings with the fiddle and string-laden “Better Man,” singing a tale of longing and pursuit while accompanied by some pleasant female harmony vocals which help to balance out the tone overall. Buoyant percussion and passionate acoustic guitar drive the song home while “Circles” is a quieter conversation, fingerpicked acoustic guitar primarily holding the spotlight over a tale of love and longing.

A dramatic string section opens up “Happy Now,” it’s near-theatrical opening bringing a sense of excitement to the track as Stricklin plays back and forth with the heartbroken lyric, strong fiddle notes rolling throughout the track and accented by more pounding drum work. His lyrical take is spot on and the emotion, fueled with both anger and loss, is readily evident before allowing more fingerpicked guitar to take center stage on “Mississippi, I’m Yours.” A beautiful ballad, merging Stricklin’s nuanced vocals again with some nice female assistance, it’s a moving and warm track that conjures the mind to reminisce of times growing up.

“The Scariest Thing” closes the EP out and is the most sonically diverse tune on the record. While it still features the requisite fiddle notes and acoustic guitar push, as well as Stricklin’s female counterpart, a thumping electric bass offers a whole new dimension to this song, alongside some plucky piano notes, allowing it the most contemporary feel, for better or worse, to be found here.

And while it’s tough to make large decrees based upon five simple songs, it’s safe to posit that Jeremiah Stricklin is an artist with a solid future ahead of him. Offering up poignant and honest lyrics alongside great arrangements with ties to the Deep South, Stricklin and his project, Oh, Jeremiah, have hit upon a musical gold mine. Here’s to hoping Tall Tales and Tiny Fables is but the first of many tales we’ll get to hear.