Review: Stone Diamond - We Stole the Stars From the Black Night

Rock and roll is a genre of music that’s oftentimes dismissed by more “serious” fans of music as raucous and uneducated. Its three chords, played LOUD, supported by more loud drums and throbbing bass. And the lyrics and vocalists? Oh, don’t get us started on them. And while there are no doubt plenty of fly by night bands who unwittingly help to support this viewpoint, the deeper music aficionado knows that there is a lot more to rock ‘n’ roll than just loud guitars. And that music fan might readily point to independent act, Stone Diamond, as a case in point.

The players of Stone Diamond each came to music at an early age, Cy (vocals/guitars) kicking off his musical journey by jamming with his uncle at the age of six while, Josh (vocal/guitars) followed suit, beginning playing at eight as The Tongue (drums) started humbly banging a lone drum at the age of six. The youngsters would eventually meet at form a garage band, working to hone their skills together as a tight-knit unit. Now, older, wiser, and well-seasoned, Stone Diamond is ready to unleash its debut, We Stole the Stars From the Black Night, on the world.

The music is intensely all Stone Diamond’s, largely due to Cy’s tackling of producing, songwriting, and engineering, insisting that the band record the album on livetracks, bolstering the live sound and delivering the band’s signature sound just like it’s apt to feel in concert. And with some assistance from drum legend, Ricky Lawson, keyboardist, Toby Philippen, mixer, Noah Shain and for mastering, Grammy Award winner, Brian Lucey, the results are great.

Lawson makes his cameo in the first track, “Love Stays,” a mid-tempo track buoyed by some jangly rhythm guitar and Chris Cornell-feeling vocals. That moody vibe leads into the sterling blues-tinged flow of “Let It Roll,” filled with plenty of soulful guitar licks. The Tongue’s heavy drum beats open up “Flavor of Tears,” banging out a steady intro that unveils a driving guitar line and brooding vocal delivery while “Tattoo” is an emotive rocker that showcases some shredding guitar work, moody and edgy.

“Dark Lover” holds sway with a dark vocal delivery and lyric but the arrangement is bright and energetic, possessed by just a touch of funk before segueing into “U Know,” one of the top tracks on the album. Featuring guest vocals from Mimi Moo, the duet is a slow burner and more vocals reminiscent of Cornell inform the track. The guitar work is solid and Moo’s brooding voice provides the right note of that something extra, giving the track even more life.

Unfortunately, “When We Were Young” drops the ball a bit, largely due to its overly repetitive chorus line that becomes redundant very quickly. The song as a whole feels like it’s trying to do too much and just feels forced. “No Boundaries” rebounds nicely though, bluesy guitars paving the way for solid vocals and an energetic chorus. It accomplishes the juxtaposition of quiet and loud in a way that “When We Were Young” just didn’t. “Just 4 1 Day” follows after, The Tongue banging out a heavy beat while Cy and Josh carve out a bright melody.

“Traumatized” is a track that hearkens back to the great mournful rock ballads of the past, the music sparse yet heavy while the vocals capture the listener, soaring effortlessly and making this another must hear on the record before closing things out with the high energy of “Long Hard 5 Days,” a touch of Lenny Kravitz-styled vocals and funky guitar ending things on a high note.

It’s been a long journey for Stone Diamond, from junior jammers to garage band to what is now a polished and studied rock outfit. And on We Stole the Stars From the Black Night they showcase it all, their musicianship sound and solid as they perform stirring arrangements that provide broad canvases for great vocals. It’s a win-win all the way around and any fan of quality rock and roll will find something worth a listen here.

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: Jody Quine - Seven

The pop music scene is littered with more than its fair share of pop tartlets these days. From the aging attempts of artists like Britney Spears to the antics of a twerking Miley Cyrus, music seems to have become secondary to being an artist. That’s not to say that some of these young ladies can’t sing but, as further advances in technology like Auto Tune and the like continue to press their way into the mainstream, it’s making having real, well-honed talent a secondary consideration.

Yet, for all of the fluffy pop out in the world, there are still intelligent, talented women making great music. Following along in those footsteps and making a name for herself is rising artist, Jody Quine. Quine first discovered her love for music at an open mic night when, closing her eyes and letting loose her voice, she silenced the room in awe. She honed that talent and has performed as part of Balligomingo, serving as lead singer and songwriter for the band, as well as with Sleepthief. Along the way, she’s had her music featured on television shows such as “Queer as Folk” and “Dead Like Me,” among others.

Now, Quine’s stepping out on her own, letting her heart speak for itself.

“I used to date boys for song fodder,” Quine jokes, “but since I met my husband I’ve been happy and lacking material to write about!”

And while Quine may joke, on Seven she shows that she still has plenty to say.

“You Are” opens the record up with a soulful, organic acoustic arrangement that easily draws reminders of Sarah McLachlan. Quine’s voice is clear and resonant and the gentle arrangement frames her voice wonderfully, letting her lyrics of love hold center stage. The artist brings more energy to “Tonight,” poignant piano setting the stage against a set of electronic influences that press the track into a mid-tempo pop flow while “To Be Frank” reins things back in, threatening to break out with some electronica-tinged fills but never quite going all the way there.

Quine aims for some radio play with the keyboard driven “Piece of My Heart,” her voice rich, resonant, as the arrangement colors itself with guitar and perky percussion and the lyrics speak of lasting love and remembrance. She returns to an acoustic template with the simply titled, “I Love You,” and continues to shine vocally, singing both her own lead and backing vocals and harmonizing magically while an ethereal keyboard swell lends an emotive note.

“Finch Diving” lets some strings set the tone before a pop-tinged R&B vibe drops, recalling recent work by Ellie Goulding. The composition is tight and performed with ease by Quine and is easily on of the best tracks on the record. Quine closes out the record with “Come Back Home,” letting her voice do most of the talking, supported by some orchestral strings and a solo piano that present something of an epic feel to the song as Quine showcases her power and range to full effect.

Jody Quine is the real deal, not only possessing a voice that any artist would love to have, let alone listen to but also a keen mind for songwriting and composition, crafting intelligent and hooky songs here on her solo debut, Seven. That’s no small feat but it’s one that Quine does time and time again here. If she can keep up that streak, she’s bound to go far.

Review: Grand Old Grizzly - Grand Old Grizzly

The past several years have seen a revival of roots music and, along the way, a resurgence for that heartfelt genre known as Americana. Artists such as The Civil Wars, Jim Lauderdale, Slaid Cleaves, and more have done their part in contributing to that revival. And while they’ve been hard at work on their various niches, the great state of Texas has had its share of contributors as well as guys like Robert Earl Keen, Jr., Tom Petty, Wilco, and The Old ‘97s have honed their craft. They’ve never needed a revival, as their signature sound is as fresh and relevant as it’s ever been, inspiring artists from all over the Lone Star state.

Count Will Thomas and the crew of Grand Old Grizzly among those inspired and influenced. Comprised of a selection of seasoned players, boasting credits playing for artists ranging from Kate Stuckey, Mike Stinson, The Small Sounds, and Beetle, the band came together when front man and principal songwriter Thomas began putting pen to paper. As a member of Stuckey’s band, Thomas had the opportunity to write a few songs for her and received good feedback so he kept writing. Then, during a break from touring, Thomas drew his bandmates together to perform his original compositions.

“Everyone was so prepared. It was wild to sit around for two hours and play my own songs with a band,” he says, recalling that first rehearsal.

Soon after, inspired by a margarita fueled night on tour where Thomas dubbed himself “Grizzly,” the band was named.

Comprised of Thomas (vocals/guitar), Paul Beebe (guitar/vocals), Mark Riddell (bass/vocals), and Chris Lewis (drums) and boasts a sound faithful to their Houston-based roots. The classic elements are there, the resonant “boom chicka” sound of the guitars and the woefully soulful vocals and lyrics, capturing the attention of listeners already with their authentic sound. Local stations have already been drawn to their work and the local Houston Press has nominated them for “Best New Act” and “Best Folk/Americana” awards.

After one listen to their self-titled debut and you’ll understand why.

From the first strains of the catchy toe tapper, “The Mad Ones,” listeners are drawn into GOG’s earnest Americana, jaunty electric guitars and live drums bolstering Thomas’s honest, Petty-feeling vocals. “The Sundowners” follows with more plucky guitar, the “boom chicka” acoustic strums pushing the track ahead like a lonely train down the line and Wilson doing his best Rhett Miller impression while electric strains provide additional color before seguing into the heartbreak of “Indecision,” finding Thomas singing, “My indecision led to her decision not to stay/She had a large outstanding balance/We all knew she’d never pay.”

A touch of banjo lends some breath to “Morning,” the shuffling guitars holding sway against a “give a damn” type of lyric while “Tallahassee” plugs in and rocks out while lamenting heartbreak on the road. Slowing things down to an acoustic crawl, “I Was Thinkin’” is a simple track filled with heartfelt relationship issues as “Marvelistic Coward Band” is a musical fun fair as the band plays at some playful self-mythology.

“Approaching Cars” is a solidly written track but the subdued arrangement, while well performed, just leaves you wanting more but the acoustically atmospheric “Lament” rights the course with persistent percussion and a driving lyric that Thomas delivers with comfort and ease. The chorus is a frenzy that sits well before flowing out into album closer, “Pretty Little Head,” which showcases some stellar guitar work and more strong lyricism and emotive vocals.

Grand Old Grizzly is a band that does a great job of nodding its head at its predecessors, giving props to those who’ve paved the road ahead of them, while still carving out their own place within that niche. The band’s self-titled debut is a warm, skillfully performed collection of ten Americana-flavored tracks that are perfect for a drive down a long Texas road or for listening to contemplatively under a full night sky. Either way, you win.

Review: The Nikhil Korula Band - The Solo Sessions EP

Every young artist has that dream of one day playing alongside their musical heroes. They grow up listening to those albums, soaking in those influences, practicing those riffs, and hoping to one day just meet those influential voices and thank them. Unfortunately, it’s the rare person who truly has that opportunity to meet their creative muses let alone to play with them. But, Nikhil Korula is something of an uncommon person and he takes full advantage of his experiences and, on his latest recording, The Solo Sessions EP, sees his dream come true.

Korula’s musical journey began early as five-year-old child prodigy, his classically trained vocals leading him to share the stage with a plethora of talented artists from multiple genres. Yet, it wasn’t until the artist hit college and deeply encountered the freedom found in jazz, R&B, funk, and pop. Drawn to that “creative liberation,” Korula began crafting songs that spoke to his heart and drew from several different disciplines and soon joined forces with some of L.A.’s strongest session players, musicians who’d performed with the likes of Herbie Hancock and more, to form the tightly knit Nikhil Korula Band.

And, for the past ten years, Korula and company have taken their music, informed by a variety of influences including Dave Matthews Band, Van Morrison, Sting, John Mayer, Stevie Wonder, Michael Jackson, and more, and stirred it up into their own signature gumbo of sound, leading them to perform alongside some of the biggest acts in music. In addition to garnering strong airplay on college radio and showcasing their skills at festivals like Bonnaroo and Summerfest, the six-piece group has also shared the stage with the likes of Jason Mraz, Ben Harper, Tim Reynolds, The Roots, and, most specially, Dave Matthews Band, among others.

That connection to the Dave Matthews Band is a special one as the Korula was fortunate enough to have Jeff Coffin (sax) and Butch Taylor (keyboards) play on the record. Speaking to that, the artist shares, “It’s come full circle for me. I used to see DMB play stadiums, then the NK Band played shows with them, and now I’ve had the opportunity to record with them. It blows my mind this happened.”

And as Korula’s mind stands blown from his musical dreams coming true, listeners are equally blown away by the musicianship of The Solo Sessions EP.

“Spark” kicks things off with a distinctly DMB feel, playful acoustic guitar plucked out by Korula and supported by smooth backing vocals informed by a solid R&B groove while Taylor’s killer keyboards provide subtle notes that carry the track ahead just right. Korula’s lyric is hopeful and he delivers it with gusto, his rich baritone weaving and flowing its way through the sonic jam before “He Said, She Said,” steps to the fore. The longest track on the album at nearly eight minutes, it takes full advantage of Coffin’s presence on sax, letting him riff through a number of soulful grooves that set the tone while Korula’s vocals huskily tramp through a gentle soundscape.

Rich organ tones open up “Broken Roads,” soon joined by plucky acoustic guitar and Korula questioning, “Where is the fork in this road?” before the percussion drops and some backing vocals join in, electric guitar wailing out some southern-flavored soul as “Silent Tears” brings in some powerful strings to convey an extra dose of emotion. It’s one of the strongest tracks here as Korula’s voice comes across as very vulnerable and open, the arrangement actually better for its simplicity. Album closer “Fade Away” steps up to bat and kicks the pace back up, peppy percussion, great piano fills, and plenty of rich electric guitar supporting Korula’s further hope-filled lyrics and rising vocals, ending on a strong note.

Nikhil Korula is an artist who’s done what many artists only dream of, getting to not only meet his musical idols but to play with them and be accepted as a peer. And with The Solo Sessions, it’s easy to see why. The Nikhil Korula is a tight-knit collection of players, each strong in their own respect, and their knowledge and respect for the music oozes through each note they play, invoking thoughts of their inspirations but coloring them with their own flair. For fans of something more eclectic and inspired, The Nikhil Korula Band’s The Solo Sessions EP has just what you’re looking for.

Review: Solveig & Stevie - Zombie Lover

Solveig Whittle and Stevie Adamek come together from two different worlds. Adamek has held record contracts and performed with a variety of bands over the years from the See Band, Bighorn, and most notably composed and performed with The Allies, who was one of the first bands to boast a video on the fledging MTV. Since then, Adamek has continued to perform with bands throughout the Seattle area, mentoring, producing, and collaborating with artists across a wide variety of genres.

On the flip side, Whittle began performing in college, taking on covers from the top singer/songwriters of the day like James Taylor, Joni Mitchell, and Linda Ronstadt. She then took to music as a sideline to her marketing job, performing in multiple bands and even scoring an opportunity to work with Heart guitarist turned solo performer, Roger Fisher. Along the way, she joined up with the Seattle-based pop folk band, Shades of Red, leading to Adamek calling in 2010.

That call led to the two teaming together and the evolution of their debut recording, Zombie Lover. Produced and arranged by Adamek, the seven-track recording a slice of the old and the new, blending a couple of older recordings, such as “Keep Your Eyes on Your Heart” and “Fire,” from the artist’s Allies days, and blending them together with more contemporary fare like the hip-hop mix of “I Just Can’t Breathe.” Undergirding the arrangements are classic 80s elements that support the entire project and lend it a sense of nostalgia.

Those 80s influences are readily apparent from the start as the title track bursts forth with throbbing bass and drum notes, recalling great metal riffs as Solveig’s strong vocals emerge and step to the forefront, sexily slinking through the lyrics with ease. Adamek creates some ample space for Solveig and she takes full advantage of it before seguing into the strangely ambient sound of “Creation.” Another 80s-flavored track backed by filling keyboards and programmed beats that fall on both sides of the equation, both good and bad depending upon who’s listening.

The duo’s cover of The Allies’ “Keep Your Eyes on Your Heart” is a solid success, however, the acoustic intro pressing into the thumping bass notes of the full verse, Solveig’s vocals accented by Adamek’s harmony vocals, providing some needed emotion and texture while some electronic samples, ala Alex Clare’s “Too Close,” lend the track even more gravitas. Yet, the band’s true highlight here comes with the following track, “I Just Can’t Breathe.” Opening with a moody acoustic tone, guest vocalist, UltraLOVE (Michael John Wagner) steps in with a slightly distorted vocal as he channels his version of Eminem while Solveig plays the femme fatale, crooning in and out. The arrangement is beat heavy and filled with crunchy electronic elements that draw you in. It’s easily the highlight of the record.

“Fire,” another Allies cover, finds Solveig and Stevie blending their voices again to solid effect, the harmonies providing a sense of lightness juxtaposed against the darker electric guitar and keyboard fills while “Waiting on the Thunder” falls back into Solveig’s wheelhouse, the R&B influenced jam providing her the acoustic space to let her vocals shine and they do. It’s subdued but beautiful but finds itself marred by a somewhat abrupt fade out at the end, leading into the closing track, “Menta E Rosmarino,” a cover originally performed by Zucchero. It’s a classic 80’s ballad, emotive keyboards building the platform for Solveig to soar but is marred somewhat by elements of flute that take away from the darker tones of the track.

Solveig and Stevie are a tandem that boasts years of experience between them and on Zombie Lover, much of that experience comes to bear. The two sound great together and Adamek’s arrangements are solid although sometimes they fall on the side of being almost too eclectic, leading listeners to question what direction the band is really heading. But while there are a few hiccups along the way, the duo provide enough sound material here to warrant a second listen and to build some anticipation for more.

Review: Jeffery Straker - Vagabond

Every so often an artist emerges from the masses with the ability to evoke thoughts of a vintage time but color it in modern tones. Canadian-born and bred artist, Jeffery Straker, is such an artist and on his latest recording, Vagabond, he takes his listeners on a musical trail that links great Elton John-flavored piano pop together with Neil Young-inspired folk.

While that might seem like something of a leap, Straker is the type of musician and songwriter who has just the pedigree behind him to attempt such a thing, boasting a teacher-student lineage that literally travels back to Beethoven. Born to a church organist mother and auctioneer father, the artist followed his musical dreams and ambitions to “the Royal Conservatory of Music and received his licentiate diploma in piano performance from Trinity College, London when he was just nineteen.”

Since then, Straker has done just about everything an artist can dream of, boasting a schedule that finds him playing over one hundred shows a year at venues as diverse as intimate house shows to large theater settings such as his recent sold-out show that featured the Regina Symphony Orchestra. In addition, he’s had a music video chart in the top ten on Much More Music Canada and has even toured Africa. Along the way, he’s received nothing but accolades.

And after a few listens to Vagabond, it’s easy to see why.

The first key lies in the steady production hand of fellow Canadian and singer/songwriter, Danny Michel. Michel produces a space for Straker that is sparse and intimate, no doubt recalling the artist’s house shows. In addition, the arrangements are captured in a way that feels live and warm, as though recorded in the round, as opposed to being tracked and then assembled like so many songs these days. It’s a difference that really gives the songs an immediate heart.

But the rest falls to Straker and his performance. From the first thumping drumbeats of the excellent “Birch Bark Canoe” to the final, playful tones of “Foolish,” Straker proves himself time and time again. On ‘Canoe,’ the artist showcases a strong arrangement that features his great piano skills and strong, rich vocals, accented by some additional falsetto notes, and a great chorus that finds him singing, “But if just you and me/Were floatin’ out to sea/In a broken old, birch bark canoe/We’d both find a way/To come back again/Together.” It’s easily one of the brightest tracks on the album.

And while Straker delivers his share of Elton-tinged piano pop, he also plunges into other realms, letting soulful strings carry along the emotive notes of “Rosetta Stone” while “Burn the Boats” takes things into moody waters, dark percussion informing a lyric of loss and searching. “Botanic Gardens” lightens the mood, happy piano undergirding Straker’s hopeful lyric as soulful harmonies and saxophone add to the lightness. It’s a sliver of the old school and its pure nostalgia.

“Sans Souci” is something of a letdown, some of Straker’s additions leaving the upbeat track feeling a little too pushed toward the past despite the artist’s valiant and energetic vocal delivery. Straker quickly returns to form with “Raven,” big percussion paving the way for more great piano and the artist’s solid lyricism as “Cathode Rays” delivers more beautiful string work which interweaves with the artist’s keyboards magically, lifting the track out of obscurity. “Myopia” is the last full-length track here and Straker pulls out all the stops, guitar and piano and drums banging out a fervent cacophony of sound that hits notes old and new before seguing into the aforementioned “Foolish,” a short, piano-driven coda to what is ultimately a rather strong album.

Fans of great piano-pop and solid folk-flavored sounds will find much to enjoy in Jeffrey Straker’s Vagabond. With an earnest vocal delivery and virtuoso skills at the piano, Straker unpacks and album that captures time in a bottle, shakes it up with some of the present, and unleashes it in a new, beautiful form that will no doubt draw plenty of fans.