My Amazon Reviews: Dawes “All Your Favorite Bands”

Your New Favorite Band Brings It All Together
4 Out Of 5 Stars

On the new "All Your Favorite Bands," Dawes maintain their infatuation with that 70's California sound. I guess all that time spent on the road with Jackson Browne helped mold the band's shape, but on this album, as on the previous albums, Dawes mine that vein successfully enough that they claim it as their own.

As much as this album harkens back to the LA heydays of yore, leader Taylor Goldsmith roots much of the album in modern heartache. The title song may seem like a fond farewell, but it's really a bitter kiss-off. Same with the opener, "Things Happen." Replace "Things" with a four letter word starting with the letter 'S' and you'll catch my drift. All this lyrical tension is buttressed by the band themselves. The playing has become more organic, and they went to a live in the studio recording method. ("Things Happen" was reported to have been nailed on the first take.) It leads to a few surprises, like the electric guitar solo in "I Can't Think About It Now." Or most obviously on the near 10 minute closer "Now That It's Too Late Maria."

Starting with just a hushed drum and low key bass, Goldsmith sings lightly, "Nothing sadder than a street light/shining on a stretch of empty sidewalk." Builds to a slow burn solo before the final verse, then eases into a jam session that winds up as the song continues. It captures perfectly how much the band's chops and trust in interplay has grown, even with the short span of time between "All Your Favorite Bands" and "Stories Don't End." Credit should be given to producer David Rawlings, who captures the band in their natural element, and to Dawes themselves for the leap in compositional acumen. "All Your Favorite Bands" is modern folk rock of the finest caliber and a contender for the best thing I've heard this year.

     

My Amazon Reviews: James Taylor “Before This World”

Sweet Grown Man James
4 Out Of 5 Stars

Hard to believe we've waited 13 years for new James Taylor songs, but "Before This World" was well worth the wait. His voice, still pure and world-weary has changed little over the decades, even matured a bit, The songs are comfortable, like your old blue jeans. He waxes nostalgic on "Stretch Of The Highway," touches a political nerve on "Far Afghanistan," and lays claim to an oldie for "Wild Mountain Thyme."

This is aural comfort food, impeccably produced with some lush orchestrations and often offering breathing space between the singer and his songs (IMHO a lost art among many current artists). The harmonies are lovely and there's even a drop by from Sting (on the title track). I particularly like "Angels Of Fenway," a tribute both to his Grandmother and a salute to the 2004 World Series winning Boston Red Sox. As a fellow member of Red Sox Nation, I've been wanting to hear the studio version ever since he sang it live at Fenway Park in early May (broadcast on NESN). I was not disappointed.

"Somehow I haven't died," James croons over the opening mellow folksiness of "Today Today Today." "Before the World" often looks back at his life, and to our benefit, James sound confident enough that maybe the next album will come before a 13 year gap occurs. But for now, enjoy "Before This World." Where singer/songwriters are concerned, there just isn't anyone to compare to James Taylor.

     

My Amazon Reviews: The Decemberists “What a Terrible World, What a Wonderful World”

What a Beautiful World We Live In
4 Out Of 5 Stars

After pounding out an R.E.M. sound-alike in 2011 in the form of "The King Is Dead," The Decemberists back up a bit for the more middle of the road "What A Terrible World, What A Wonderful World." There are some subtle changes, like heavier strings and horn charts, which are good. The band that crafted CD long suites now starts off an album with a song where the band apologizes for making a commercial for Axe Shampoo ("The Singer Addresses His Audience"). They know they aren't the same band that cut the masterful "The Crane Wife," and openly admit such.

What they are for "What a Terrible World..." are a crafter of songs. They've found a sweet spot between the ornate structure of those early albums to a sense of pop melody. It makes a love song like "Philomenia" all the more jaunty and "Lake Song" a hip folkie haunter. The band also sound more integrated this time around, where "The King Is Dead" was a showcase for Chris Funk, here, piano dominates many of the songs. Me. I kind of like when they get into that folk vein, as one of my favorites here - Colin Malloy almost making a sea shanty song out of "Better Not Wake The Baby."

"What a Terrible World..." will probably polarize fans who can't get over the fact that the band hit an early peak and then decided to try other things. As for me, I can respect that The Decemberists are not content to stay in one place for every album. Maybe they still aspire to be R.E.M. or even 10,000 Maniacs (some of the poetic lyrics recall the Maniacs'). What ever direction they travel, I am happy to follow as long as the music is this good.

     

My Amazon Reviews: James Lee Stanley "The Apocaloptimist"

Look on The Bright Side
4 Out Of 5 Stars

As a long time fan of James Lee Stanley, I am always excited when he settles in and records a new CD of original songs. He has also kept himself busy, recording duet albums in the "All Wood And..." series, so far mining The Doors and Rolling Stones for source material, Yet it is his solo CD's that I wait for with the greatest hunger. On the new "The Apocaloptimist," he weaves the magic again.

Combining the word apocalypse with the word optimist, he expects the worst and hopes for the best. The character he introduces in the first song is one who lives and sleeps, rises and falls and falls again while "Living The Party Life." Our up and coming yuppie parties when he wins, parties when he loses, and no matter what the result, is ready to party away. PBR in hand, he's probably the best dressed and most annoying person in the room, but James still sings with some sympathy for the guy. Later he hangs out at a bar and sweetly dreams of being rescued at "Last Call."

The character's not a complete yay-hoo. After all, how could he be if he likes Beatles' songs? Coming from the same respectful background as the "All Wood And..." series, "Drive My Car" gives a folk rock makeover to a classic, complete with a tasty harmonica courtesy of Corky Siegel. Or, for that matter, would such a bad man surround himself with great players like Little Feat's Paul Barrere (on slide guitar for "Gypsies In The Hallway")? James' hero may be searching for the best, and this being a story with a happy ending, lets the lead actor fumble his way to understanding with nothing but the best musicianship lighting the way. He comes to a realization about family on "Here We Have My Father," and figures out that maybe it's time to treat his life as something more precious on the strolling "When You Get Right To It."

Coming to terms with when life deals you a decent hand, James' hero ain't such a bad guy in the end. He finds true love during "Any Other Way" and learns the deepest love when singing a "Lullaby for Chloe." James takes our "Apocaloptimist" guy from annoying chump to adoring father in less than an hour, James Lee Stanley is the kind of storyteller who can do this narrative masterfully, and I love when stories have happy endings. Especially when set to music this good.

One more thing: The album's artwork. "The Apocaloptimist's" cover art is poster worthy. It harkens back to the days when the amount of thought given to the entire album package covered the music and how the artwork related to the songs within.

     

My Amazon Reviews: R.E.M. "Unplugged: The Complete Sessions"

In their element
4 Out Of 5 Stars

Given that, even in their earliest days, R.E.M. depended heavily on acoustic coloring for their finest material, it's not a surprise that MTV Unplugged would fit them like a glove. These two Unplugged Sessions, which include 11 performances not featured on either of the original broadcasts, offer both empirical evidence that - in both of their decades - R.E.M. could evoke all that was good about indie bands in the 80's on.

Split between a 1991 show behind "Out Of Time" and a 2001 show behind "Reveal," they augmented their sound with guests like Peter Holsapple (the 1991 set in particular) and Scott McCaughey (who played in the pick-up band The Minus Five with Peter Buck). It also showcases how important Mike Mills' harmony vocals were with Michael Stipe's idiosyncratic leads. Given the time between the two sets (long enough to include the R.E.M. post Bill Berry), there's a lot of ground to cover. It actually makes the 2001 disc a more satisfying listen, as they include favorites like "South Central Rain," "The One That I Love" and the oddness of "Country Feedback" sitting next to songs like "Imitation Of Life" and "Sad Professor," which are improved in this setting. They also went for the lesser known songs, like "Belong" and "Rotary Eleven" at the expense of some more obvious selections ("Radio Free Europe" doesn't show up on either disc, although "Losing My Religion" made both shows).

Fans made distraught by the band's break-up can now content themselves with vintage material such as "Unplugged: The Complete Sessions" and the online clear-out of B-Sides and outtakes for the real devout. However, as dual snapshots in the R.E.M. timeline, "Unplugged: The Complete Sessions" is a feast in a drought. I am willing to bet that there's still more in the vaults that will arrive over time. One can only hope.

     

My Amazon Reviews: Jethro Tull "Songs From The Wood"

Roots Rocking of a Different Kind
4 Out Of 5 Stars

Ian Anderson always had a minstrel's soul, yet in all of Jethro Tull's discography, it wasn't laid bare until "Songs From The Wood." Martin Barre's electric guitar is turned off or down with the exception of one song, while Anderson conducts the ceremonies with his ever present lilting flute and eclectic lyrics.

"Let me bring you songs from the wood,
to make you feel much better than you could know."

Calling listeners into a quite countryside with this a Capella couplet, and then sing wistfully about getting back to the countryside. Come with them and visit such characters as "Jack In The Green," they cheerfully beckon. Follow "The Whistler," who might was well be Anderson himself, as he plays his fife while strolling through the fields. Join in the sense of medieval England, with songs that are as far away from the proggy world of "Thick as a Brick" or the rocking semi-autobiographical "Too Old To Rock And Roll, Too Young To Die!" as possible. The band sounds looser and less yoked in than they have since the earlier albums sported their side-long spunky epics.

The one time that the electric guitar rings out is on "Pibroch (Cap In Hand)," which begins and ends with Barre's echo-laden guitars before Anderson assumes control with his flute. It's also "Songs From the Wood's" longest song and most reminiscent of past work, slipping in and out of folk, jazzy passages and the rock of Barre and Anderson's dueling solos. It's a little out of place, but hardly a misstep. That honor goes to "Ring Out Solstice Bells," which stumbles over its lightweight lyrics. Oddly enough, this song became an unlikely hit in the UK.

Those songs not withstanding, "Songs From The Wood" is a delightful mix of fields and forest, and one of Tull's most enjoyable albums. They must have thought so as well, as the follow-up "Heavy Horses" and much of "Storm Watch" would stay on the same pathway.

     

My Amazon Reviews: James Lee Stanley and John Batdorf "All Wood and Stones II"

There's More Than One Way to Roll a Stone
5 Out Of 5 Stars

For the third CD in their "All Wood And..." series, singer songwriter James Lee Stanley teams up with past collaborator John Batdorf and takes another dip in the deep well of Mick Jagger/Keith Richards compositions. The previous effort, "All Wood and Doors" (James with Cliff Eberhardt) was so well conceived that Doors members John Densmore and Robby Krieger pitched in on the effort, and while Keith and Mick didn't join in the proceedings, "All Wood and Stones II" is done with the same amount of respect as James and John did on the previous effort.

What happens here is that James and John take songs you've heard a million times over and turn them inside out, folk-wise. That's not to say that you'll never recognize what songs are here, but you will notice some angles that you may not have before. "Get Off Of My Cloud" still has the playful call and response Hey! You! hook, but it still sports a neatly strummed arrangement. "Honky Tonk Woman" sounds more like an actual honky-tonk song. These are sung primarily by John, whose rough hewn voice nicely compliments James' clearer sound. It makes for some terrific harmonizing ("Time is On My Side").

My favorite is when they do a total reconstruction on the 1978 disco thumper, "Miss You." Slowed down and minus the dance beat, "Miss You" becomes a bluesier lament for an absent lover. Interestingly enough, the other song arrangement that I enjoy also comes from "Some Girls," Richards' personal recounting of his drug misadventures with the law, "Before They Make Me Run." In my opinion, it's the biggest surprise on "All Wood and Stones II." It's worth making it a two-pack with 2005's "All Wood and Stones."