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Amy Wadge - Woj
Hatman 2014 Reviewed by DD
Amy Wadge originally caught my attention with her opening set on Eric Bibb's tour a year or so ago. She won me 'round immediately, delivering a set that whilst it was less slick, was in many ways much more enjoyable than the headline act. I bought her EP The Famous Hour at this gig and have enjoyed it since. Having gained significant attention in her native Wales (Female Artist of the Year and a best album nominee at the Welsh Music Awards), this is her first full-blown CD. The first thing that grabs you is her voice. With a raw edge to it, she retains a femininity and range of expression that draws you straight in. Just listen to 'Anywhere' where she conveys a heartfelt longing with a gutsiness in her delivery that is totally captivating, and if numbers like the upbeat 'Paris' complete with accordion (but naturally), don't bring a smile to your face 'there's no hope' as they say in South Wales. This is a strong collection throughout and it'd be a tough job to select a favourite track although 'Prophet' raises its head over the parapet for me. Well recorded with a wide, deep soundstage and Amy's voice and guitar solidly centre stage, this album is so much more real, heartfelt and enjoyable than a barrel full of Shankar offspring. Strongly recommended.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Steely Dan - Gaucho
MCA B0000868-36 Reviewed by AS
Normally, re-masters are produced to replicate the original as closely as possible. This time, the engineers worked from the original master tapes to cut an entirely new mix for this release. This is both a good thing because it frees 1970s music from the Quadraphonic mindset, and a bad thing because hardcore Dan-ists will want to burn someone at the stake for such heresy. The jury remains very definitely out with regard to this recording. There are elements that have been untouched (the Rhodes sound, the drums) and the added detail only serves to improve the performance considerably. This must be tempered by the sloppy sub-bass and sheer lack of air and reverberation, especially on vocals, which may give a dusty, arid quality to "those Santa Ana winds" but seems to bring the "distant lights from across the bay" far to close to the microphone. That said, this does make the laid-back Californian sound of the 1970s a more exciting 21st Century experience. Whether this venture into dry lyrics will be well received by all, remains to be seen. Musically, though, this is the Dan at their smoooooooothest and (arguably) finest; tracks like 'Hey Ninteen' and 'Babylon Sisters' are true classics and anyone with the slightest Dan-ist tendencies will have this in at least one format. With the new re-mix, don't throw away the older copies… yet.

ZZ Top - Mescarlero
RCA 82876 51654-2 Reviewed by SG
Back in 1983 I was rocking to the rhythms of 'Sharp Dressed Man' and 'Gimmie All Your Lovin'', egged on by those hot girls in the videos, and now nearly twenty years later ZZ Top are back. Actually they never went away, releasing an album every year or two, but most of us have been missing something. On tracks like 'Two Ways To Pay', with its great power-chord progression and weightier drums than anywhere in the past two decades, they really rock but with poetic lyrics. 'Buck Nekkid' is reduced to a rudimentary form of syncopated blues, but with added ferocity. Okay, so it may not be the most P.C. album in the world - "Twenty-six chicks all tied in a knot / Ain't all good, but it's all we got / So get nekkid" - but this is so much more fun than most stuff kids listen to today - The Darkness can only dream of producing an album like this. Then they surprise us with tunes like 'Que Lastima', a great Mexican waltz that just makes you want to open a bottle of Bud, or a fantastic version of Lowell Fulsom's 'Tramp'. In the end you'll feel twenty years younger, so give it a listen.

The Buffs - 1914
Transcopic Records TRANCD 026 Reviewed by RP
The Buffs (named after the Buff Medway breed of chicken) are an anarchic three-piece band fronted by wild Billy Childish (vocals & guitar). Their music (following a modern trend) is rhythmically driven through the Johnny Barker bass playing and drumming of Wolf Howard. An opening 'Unable To See The Good' is a raucous and punk inspired thrash as guitars and drum set collide behind mike chewing vocals. A little later 'Sonya Fagg', a mantra like love song that is indebted to the feel of Sixties rock music with its borrowed Ray Davies guitar work, bolts on punk attitude to repetitive backing harmonies that belong in that previous era. Another romantically inclined song, 'Just 15' continues much in the same vein as they again graft an aggressive vocal thread (and of course that questionable theme) on to rock solid musical foundations. Their irreverence, sheer dynamism and angst of this rapid fire vocal delivery reverts to a more classic punk stance in the wittily penned 'Barbara Wire'and Billy Childish's tirade against rock stars, celebrity, mortgages and small dogs in 'You Are All Phonies'. Going over the top with the Buffs is a lot of fun but I wouldn't be too surprised if you return to your own lines shell-shocked.

Peter Bruntnell - Camelot in Smithereens
Almo Sounds ALMLP14 Reviewed by RP
Peter Bruntnell is an unsung guitar hero and accomplished singer songwriter who has gone through the rough and tumble of busking on Kingston's South London streets to being that first name on the list of supporting musicians when Wilco start a tour. He is a talented wordsmith who, like Neil Young, can convey an enviable degree of emotional intensity in the delivery of tightly written vocal lines but without that same gnawing nasal tone. However, outside of a small circle of fans and fellow performers he is probably destined to remain an unknown quantity. This eleven-track album from 1997 draws much strength from its compact three and four minute songs and is typical of his work in general, ranging from an intimate, closely miked acoustic opener, 'Panelbeater,' to the synthesiser and smeared guitar sound of a romantically inclined 'Have You Seen That Girl Again'. Bruntnell consistently snags you with that catchy melody or attractive hook and then gives you plenty to think about with his sharp observations and passive metaphors. An intriguing and exceptionally satisfying departure from mainstream rock that is not diminished by either the production values or quality of pressing.
Supplier: www.diverserecords.com Tel: 01633 263526

Adrian Sherwood - Never Trust A Hippy
Realworld / Diverse Records LPRW 110 Reviewed by RP
Adrian Sherwood is best known for his production skills and that pioneering and innovative work with the fusion of rock, reggae and dance grooves. Here, the purposeful fat lip beats jut out with their stripped back snares and low synth bass lines on tracks like 'Dead Man Smoking' and 'No Dog Jazz' which have a real hip-hop feel about them. Plenty of solid dubs with dogs barking and some old school reverb, echo and delay to freshen up this scene as it develops into an urban contemporary slant through Sherwood's understanding of that need for some uncluttered stagecraft. He delivers a pared back and skeletal series of arrangements (despite a cast of thousands) and you will appreciate this breathing space in a medium that can in less capable hands sound quite messy and congested. Shara Nelson's vocal version of 'Hari Up Hari' is definitely an entertainment high point and poses the question, "why don't we hear more from her or other singers?" It would certainly have broadened the album's appeal. Still, with the witty title Never Trust A Hippy (too right!) there is certainly a dry humorous message behind this largely instrumental façade.
Supplier: www.diverserecords.com Tel: 01633 263526

The Police - Outlandos d'Amour
A&M 0694936022 Reviewed by AS
The Police were the ultimate New Wave band, with spiky-punky haircuts, sparse recordings and clever lyrics about nothing too dangerously political. This was a time before Sting became a mild irritant, and he's ably backed by Andy Summers on guitar and Stewart Copeland on percussion. Most tracks share a raw edge that was never repeated in later works; which means you run the full gamut from the truly brilliant (Roxanne, Can't Stand Losing You) through the bland (Peanuts) to terrifying insights into Sting's later song-crimes (Born in the Fifties). The recording quality from 1979 is sharp and aggressive, but in the SACD mix it shows just how good a set of musicians this trio were. It's also terrific stereo and sounds as if there was little or no processing in the recording chain. A&M haven't attempted to make a 5.1 mix because it would detract from the energy of the recording, which is a good thing. This is very much a warts 'n' all sound, although outtakes and studio chat are not included. SACD's treble zing is slightly amplified by gratuitous use of the chorus pedal on 'Roxanne', but for the most part this does exactly what a good reissue should - it acts as a time machine, zapping the listener back to the time of O-Levels and Rock Against Racism.

The Strokes - Room on fire
Rough Trade Records RTRADECD130 Reviewed by MC
So The Strokes return, as shabby and rough-hewn as ever. Room on fire follows on from their 2001 debut album and they have stuck with a formula they know will work. But whilst Is this it sounded stunningly fresh and unique, The Strokes blend of broken amps and analogue warmth now comes as standard with most new rock bands. This record is in fact substantially better than their last. Having been eclipsed in the media for a while by the White Stripes (and others) the band have been given a well deserved bit of space to produce an album which manages to not feel rushed. The jangly guitars remain but are backed up by retro keyboards allowing the band to slow some songs down and develop otherwise unattainable themes. The filler of their debut has been replaced by album tracks in their own right. Whilst the singles shine out the remainder takes a chance to be more laid back, more stylish, and making the album much stronger. The record never quite captures the abandon of their debut, never quite letting loose, but the improved arrangements go a long way to compensating for this. However the vocals are shockingly far down in the mix, a crying shame as Julian's voice is wonderfully rough and captured well with the analogue treatment. Altogether a more solid album than their first, and a clear promise of great things to come.

Joan Baez - Dark Chords on a Big Guitar
Sanctuary SANCD218 Reviewed by AH
Joan Baez has been putting her own slant on other artists compositions for over 5 decades now. She is best remembered for her contribution to the 60's 'Protest Folk-Era' when she recorded songs by the likes of Dylan (later to become her lover) and the criminally underrated Phil Ochs. It would be wrong to pigeonhole her as just a protest singer though; she's recorded albums ranging from Classical to Country to Celtic and her choice of material remains as impeccable today as it did when she first burst onto the music scene all those years ago. Dark Chords On A Big Guitar features compositions by some of the most respected songwriters working today. Greg Brown contributes two of the best in 'Sleeper' and 'Rexroth's Daughter', the latters lyrics supplying the idea for the albums title. Baez versions are good but lack the earthiness of the originals and that is generally a criticism that runs throughout the 10 tracks. If you are an interpreter of other artists' songs you need to take them to the next level or at least add something new - and therein lies the problem. Dark Chords… has moments of brilliance and when it works well, as it does on 'Christmas In Washington', it's a joy…. trouble is, it doesn't work well that often.

Lyle Lovett - My Baby Don't Tolerate
CURB 986083-3 Reviewed by AH
Lyle Lovett stands tall and proud amongst the giants of country music. For almost two decades he's handed us a plethora of exquisite albums - Lyle Lovett, Pontiac, Joshua Judges Ruth, Step Inside This House, The Road To Ensenada - every one rammed with great songs and tight playing and infused with Lovett's bittersweet, world weary voice. Lovett has never been a straight country singer though; he dips his toe into Blues, Folk, Jazz, Gospel, and Swing on a regular basis, and he repeats the formula with My Baby Don't Tolerate. Opener 'Cute As A Bug' is a rollicking country boogie with a killer chorus and honking lead guitar, the title track has a hip swinging smokey groove and is one of the bluesiest songs Lovett has ever recorded and the lovely, mid-paced ballad 'In My Own Mind' floats along on a sea of fiddles, acoustic guitar and pedal steel. 'You Were Always There' creates a sultry, jazzy mood with brushed drums and lightly plucked bass and a repeated guitar line which is naggingly familiar (any readers like to tell me where he stole it from?). The album reaches its conclusion with two strong gospel numbers, 'I'm going to the place' and 'I'm going to wait', leaving us in no doubt that for the last 56 minutes we have been in the company of a truly divine talent.

Muse - Absolution
Taste Media 5050466-8587-2-6 Reviewed by MC
When Muse released their debut album they were, rightly, compared to Radiohead. Albeit flattering, the undertone was that Muse were simply trying to tread the same ground. Since then Radiohead have turned away from their original sound, leaving guitars for something less tangible. And Muse, in turn, have created their own path, carving their own niche. For me, that comparison is possibly the most powerful: Muse have now turned into the emotional force that Radiohead could have been. It may be that there are some people who have not heard a Muse track, but there can't be many. Absolution follows on from their last album: having taken the step to producing vast progressive landscapes of sound, they have developed this further, and produced a correspondingly stronger record. Absolution is harder and darker than Origin of Symmetry befitting its more difficult subject matter. This is another album tainted by the dark cloud of last year's war, barely concealing its political connections. But Absolution also has the stronger tunes, better guitar lines and more powerful orchestration to shore this up. If Muse's theatrical tendencies have previously dissuaded you from buying their records, I would advise you to think again, this is a solid album by any measure. With all things said and done, it's hard to imagine how they could have done it better.

Jeff Buckley - Live At Sin-é
Big Cat Records ABB61X Reviewed by RP
Jeff Buckley's coffee house debut from 1993 is a tentative but essential four-track twenty five minute mini album which hints at the expressive vocal range, interpretative brilliance and compositional skills that were to be fully revealed a year later on an astonishing and critically acclaimed Grace. Here, Jeff, who had been playing on the New York club circuit at the time, just plugs his guitar into the amp and works a mike in this pared back to nothing performances of his own 'Mojo Pin' and a questioning 'Eternal Life'. On its flip side there are two covers in 'Je N'en Connais Pas La Fin' (a song that will forever be associated with Edith Piaf) and the Van Morrison penned 'The Way Young Lovers Do'. Both dramatically show the way in which he developed the evocative style and brought an emotional grip to the performance of other people's music. 'The Way Young Lover's Do', especially, is a breathtaking ten minute vocal showcase packed with scats, clever and often quite subtle shifts in tone, weight and volume that draws out intriguing insights packed full of meaning. You're never worried by the fact that it's just him and a guitar. Touching, vulnerable, poetic and melodic.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

New black - New black
Thick Records THK-097 Reviewed by MC
New black are a punky four-piece from somewhere in America, I suspect exactly where is not important, as it will always be New York in my head. Sounding like nothing less than a bizarre cross-breed of the Yeah Yeah Yeahs with the B52s they might well qualify for the damning summary of "trying too hard". If, that is, they weren't actually quite good. First of all though, there are some truly terrible lyrics, badly scanning and with more than a little art school pretension. Back that up with a distinctly unsettled (and unsettling) feeling of a band yet to gain the confidence to relax, and that sums up the record's main problems. But then, coming through this, are some fine tracks, backed up with clipped guitar lines and spiky production. When New black actually give themselves a track with more space, they can create a much more intimate sound. On these tracks they leave behind easy comparisons to Sleater Kinney and manage instead to capture a little of the feel of The Talking Heads, or even late Fleetwood Mac, which is no small achievement. New black have some pretty good hooks, and some pretty good ideas, which make this album worth taking a chance on. But whilst this record has a lot to offer, I suspect it may be nothing compared to those yet to come.

Jaco Pastorius Big Band - Word Of Mouth Revisited
Heads Up Husa 9078 Reviewed by DD
No he hasn't returned from the other side, but this is an outstanding tribute to the genius that was Jaco Pastorius. Involving a whole, whatever the collective word for bass players is… 'pluck', 'gut', 'rumble', 'double stop' …of different bassists, including Jimmy Haslip, Victor Woolen, Gerald Veasley, Richard Bona, Jeff Carswell, Christian McBride, Marcus Miller and even Jaco's nephew David Pastorius. The man himself is even involved, via a live recording of his bass part around which the band perform. The joy of this recording comes from hearing different interpretations of familiar numbers like Jaco's 'Teen Town', so familiar in its Weather Report guise but taking on new life in this weighty, extended big band treatment. '(Used to be a) Cha Cha', originally from Jaco's debut album, features some lightning fast playing from Victor Bailey and great piano from Mike Levine. Herbie Hancock's 'Wiggle Waggle' featuring Jaco himself, fits seamlessly into the mix and really allows the horns to stretch out. The recording does it full justice too with appropriately weighty yet fleet bass notes, fat, fat brass and plenty of punch. Buy with confidence. Oh, and your neighbours may hate you but this is definitely one to play loud!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Tommy Turrentine - Tommy Turrentine
Audio Fidelity AFZ 007 Reviewed by DD
Much less well known than Stanley, his saxophonist brother and severely under-represented when it comes to recordings, this set recorded in New York in 1960 was Tommy's debut. Accompanied by his brother, Horace Parlan on piano, Julian Priester on trombone and the great Max Roach on drums, Turrentine contributes no less than five of the album's seven tracks. From the opening 'Gunga Din' the strength of the playing here is immediately obvious. Stanley takes the first solo and his confident Hawkin's inspired playing dominates his brother's trumpet. The frentically paced 'Webb City' sees a great solo from Priester followed by a crisp, fluid solo from Tommy. Roach is his usual excellent best, powering the band ahead. And whilst it could be argued that Tommy is somewhat outshone by his more illustrious stable mates, he contributes some superb playing throughout. During his own composition 'Two, Three, One, Oh!' he delivers his best solo of the set: Fast, beautifully controlled and superbly expressed. This is a tight band powering through some great tunes and their enjoyment is clear in every note. The recording in no way betrays its age: warm, spaciously staged and solidly threedimensional. This is an unpretentious and highly entertaining set guaranteed to warm the cockles of any jazz lovers heart.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Carol Kidd - Nice Work
Linn AKD 229 Reviewed by DD
This is one of a batch of Carol Kidd re-issues from Linn, and not only is it a multi-channel SACD, but also features HDCD in the red book layer, pretty neatly covering all the bases bar DVD audio. Technology aside, the main point here is the music and fortunately it merits the attention lavished on it by Linn. Carol Kidd, although she's gained increasing recognition over the years including an MBE in '98, still deserves greater international recognition. She's blessed with a wonderful voice, crystal clear, expressive and with great phrasing. This is my favourite of the three re-issues so far. Kidd, superbly accompanied by Sandy Taylor on piano, Alex Moore on bass, and Murray Smith drums, along with a crisp and punchy horn section, is in great form as she storms through a selection of standards. Standout examples include a delicate rendition of the Ellington/Strayhorn/ Latouche classic 'Daydream', where she so perfectly captures the number that the Duke would be proud. There's also a perfect rendition of 'Mean To Me' but to highlight particular tracks from this set is unnecessary. It's all equally strong. The recording quality is excellent, clearly setting out every nuance of Kidd's fine voice and giving full reign to the punch of the brass and percussion.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Iain Ballamy with Stian Carstensen - The Little Radio
SoundCd1005 Reviewed by DD
Readers with particularly keen memories may recall my raving about the previous release featuring these two (Pepper Street Interludes ASFA 102), which I still dearly love. This time they've dispensed with the band and it's just the duo. What is so remarkable is the range of sound and emotion they can trigger from such apparently ill-matched instruments as tenor sax and button accordion. If anything the launching pad for their musical journey is even more eclectic than last time around. 'Body and Soul' anyone? Fine, well how about 'Windmills of Your Mind', 'Saving all my Love for You', or even 'Teddy Bears Picnic'? All these and more are taken on, turned inside out, upside down and every last drop of emotion, nostalgia, whatever each piece can evoke is wrung to the last drop. The set culminates in a version of that hoary old chestnut 'Danny Boy' that will bring tears (of joy) to any soul that has an ounce of sensitivity. By now I guess you'll have gathered that I like this album. Wrong, I love it! It's a perfect companion to Pepper Street and like that album is set fair for regular playing chez Davies for years to come. The recording is fine; you can all but see Carstensen's fingers flying over the buttons of his accordion. Recommended is too weak a word!

Bill Evans Trio - Portrait In Jazz
Alto/Riverside RLP-1162/ AA-022 Reviewed by DD
This 1959 session dates from the same year as Everybody Digs Bill Evans although here Evans is accompanied by Scott LaFaro and Paul Motion rather than Sam Jones and Philly Joe Jones. Of course with musicians of this quality it's unduly nitpicking to compare one with the other and whilst this set doesn't stay in the mind quite as much EDBE it's still pretty damn fine. Taking in a clutch of standards from the likes of Cole Porter and Rodgers and Hart, the set also features Evan's own 'Peri's Scope' and the wonderful Davis/ Evans number 'Blue In Green' from that year's groundbreaking Kind of Blue. The mood is immediately set by the opening 'Come Rain or Come Shine' with a fluid, walking bass line from LaFaro offsetting Evan's staccato runs. Better yet the following 'Autumn Leaves' sees Evans really flying and the band relaxing into the groove. The quality of music making throughout is superb but the real standout tracks for me are the oh so gentle version of 'When I Fall In Love' with Evans notes falling like gentle summer rain, the fast paced 'Peri's Scope', and 'Blue In Green' mainly because I just love the tune. Exemplary pressing from alto, and a splendid cover shot of a grumpy looking Evans. Strongly recommended.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Gary Burton, Chick Corea, Pat Metheny, Roy Haynes, Dave Holland - Like Minds
Pure Audiophile Recordings PA 003 Reviewed by DD
Like the companion release, Ray Brown's Soular Energy, this double set is pressed on near transparent and intensely blue vinyl. I doubt that there's an audiophile reason for this aside from proving the purity of the vinyl, but it sure looks pretty. In every other respect though the audiophile credentials are 100%: Recorded by James Farber, mastered by Greg Kalbi at Masterdisk, half-speed mastered by Stan Ricker and superbly pressed, the musicians are given their best opportunity to shine here and shine they do. Immediately evident is that this is a class recording: nothing overtly 'hi-fi' or showy about it but a very natural acoustic, with just the right level of detail and presence coupled with dynamic punch to make it a convincing experience. Always telling, the cymbals sound entirely natural, no hi-fi 'tizz' here just the tangible sound of stick or brush on metal. All the numbers are strong - with players of this calibre I'd be surprised if they weren't - but stand-out tracks for me are Burton's 'Like Minds', the sly bass-driven take on 'Country Roads', Corea and Metheny's playing on 'Tears of Rain', and the bands joyful romp through 'Bag's Groove'. Like the Ray Brown release, this is a limited edition set. I suggest you get your order in fast!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Damien Rice - O
Reviewed by MM
Whether you are a Norah Jones fan or not, it would be difficult to argue against the formulaic core of her success; honest music, no glam, no gimmicks just the artist and the instruments. The unexpected response to her Come Away With Me record may have opened the doors for many talented singer/songwriters whose mission it is to share their music with the masses but could not find label representation to aid them in their quest. Being musicians without the "hit" and hard bodied dancing prowess that much of the record buying public had come to expect, it was difficult to get label's ears. In addition, these so-called pop sensations had been making it increasingly difficult to break through the cookie cutter top 20 without a true show to offer ticket buyers. Thank you Ms. Jones (and of course producer extraordinaire Arif Mardin) for proving once again that the music speaks for itself. O, the debut album from the Irish born Damien Rice, follows the same principles (while differing greatly in style of course): honesty through music. Rice poured his heart into this album. The musical themes jump from full bodied, deeply contemplative works to emotionally uplifting ballads. 'Delicate' is an instant introduction to Rice's vulnerability. The chorus, seemingly aimed at a lost partner, ponders manipulation and treachery with simple words. This is most effective as it conveys hurt without self-loathing. 'Cold Water' turns inward. Metaphorically charged, this song, while short, manages to create beautiful images through effortless vocal melodies, sweeping strings, and timid piano chord progressions. There is a universal thread throughout 'Older Chests'. This track meanders through many aspects of everyday life; our preoccupation with time (past and present), a need for a loved one, commercialism and a fathers woes. Rice soars through these everpresent thoughts without losing himself. Albums like O, simplistic in nature, lend themselves to an easy connection with the listener. Sonics are essential in delivering the emotive quality behind an album as self reflective as this, and Rice, along with his production team have delivered the goods here. Vocal textures are lucid and vibrant. Guitar strings are tightly articulated while retaining warmth and presence. The piano possesses a real sense of surrounding space. The albums tonal quality is superbly balanced and the breadth of the soundstage is staggering, considering the sparseness of the music itself (delightfully sparse I might add). The encapsulating intimacy of this record makes it one of the most pleasurable listens of the last few years.

Teitur - Poetry and Aeroplanes
Reviewed by MM
The life of singer/songwriters can be daunting at times. Endless city tours, airplane food, and the long hours on the road between gigs can detract from the artists' creative process. In Teiturs case however, traveling and cramming to find time to write helped formulate a vision that yielded the wonderfully crafted Poetry and Aeroplanes. Aptly titled, the album chronicles his life reflections while on the road, hoping from room to room while trying to find some sense of contentment. The record's mood, while melancholic, manages to maintain hopefulness through lighthearted ballads like 'Let's Go Dancing' and 'One and Only'. Songs born out of longing for companionship, their choruses sing of carefree times, togetherness, and subtle challenges presented by finding yourself in a partnership. 'Rough Around the Edges' is poetry. "It's ok, I'm alright, I'm just a little rough around the edges of this life. Play it cool, you can always follow breadcrumbs in a line when you are lost." Beautiful prose aimed at reassuring the listener after a long day caught in the rat race. This track, while set amongst pensive and sometimes saddening music, is smart and uplifting without being contrite. One theme that is consistent through Poetry is loneliness. From the first lines of 'Sleeping With the Lights On' to the closing 'To Meet You' Teitur contemplates a relationship lost, a word misspoken, or how simply chance dictates the very path we choose. Memorable records can provide us with this temporary escape from the harsh reality that is the world around us, while addressing the very issues that we face while truly living. Additionally, sparse recordings such as this enable the listener to share the experience as if it were being performed there in the hi-fi system (providing the quality of the recording is intact). Many pop recordings of late are lost in a sea of digitally enhanced effects and workstation tricks. They simply lose their believability, and thus the connection with the intended audience. Teitur's vocals are the main instrument here and they are concisely represented, without being too far back in the mix or in your face. This allows for the instrumentation to shine through as well. Guitar licks and strings float, creating a gorgeous soundscape while bass notes pound with the backbeat. All sounds are present and lend themselves to the overall rhythm of this record. Poetry is an impressive combination of well constructed songs and sonic coherence. Perhaps a few of these so-called hip hop artists and pop icons should try writing a song with some merit without the meaningless tales of Crystal, jewelry, and body curvature, or maybe there just isn't enough soul there to begin with. After all, we're living in the age of the almighty dollar. Classifications abound, yet it is difficult to categorize the style of music that Teitur creates, and a solid singer/songwriter with a touch of folk may just do it. Fans of Rufus Wainwright should enjoy this album.

Dar Williams - Out There Live
Label: Razor & Tie Reviewed by MM
The electricity of live performances can be tricky to capture. There are those artists that simply shine in the studio (thanks to those brilliant producers and evolving technology, pitch correction aside) but when faced with the spot lights and a crowd their abilities s eem to dissipate into the craziness that is, in essence, a form of show business. We can not begrudge those talents for this phenomenon. It is a difficult and downright terrifying experience to share your chosen medium with an audience full of strangers. Dar Williams however, seems to thrive off the energy in Out There Live. While a wonderful singer/songwriter (if that term is not oversaturated enough, sorry) she is also a magnetic entertainer and guitar player. She draws the concert-goers into her little world with ease, and keeps them there through all her humorous and playful journeys. Songs like 'When I Was A Boy' and 'The Babysitter's Here' ring with joyful storytelling enthusiasm. Williams' ability to paint a musical image with so few words is staggering. She writes with a sense of wonder and excitement about the world that is match by only a privileged few in the folk world these days. The intro to 'I Won't Be Your Yoko Ono' where Dar explains her experiences in college with people possessed by this amazing desire to connect with the Avant Garde is hilarious. The lyrical content of the song is powerful in spite of its playful nature. She toes this line very well. It would be difficult to be offended by her words due to the way in which she delivers them. Her connection to the crowd during 'Iowa' is communicated through the tremendous unsolicited sing-along that takes place during the chorus (with some notes that I would be embarrassed to attempt in a public venue I might add). The people are having a genuine good time, and with ticket prices soaring these days it's magnificent to hear it. Pretension has no home in this concert space. 'February' is a pretty number to relax to with your significant other. Her soft, subtle style is beautifully expressed through her wispy verses and silky guitar chords. The noise level is surprisingly low for a live CD. Williams's vocals are textural and clean. Her guitar is cozily reproduced with a coherence that mimics some well produced studio albums. In all the soundstage is dynamic and vast. Those who read this column know of my concerns about the airy-like quality that is present at venues in real time and space, but is often lost in recordings. The engineers caught it here, and did so (seemingly) without too many tricks. Considering this is a compilation of live tracks, and not one concert, I have to say hats off to Greg Calbi at Sterling Sound NYC. There is a certain fluidity to this album that creates an illusion of "oneness" (yes, I'm creating words as I go along). Out There Live is worth every penny.

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