Album Review: Knock On The Sky

It’s time for Anniversary Week (which is kind of a lie of a name, since it spanned a little more than a week, if you think about it…) to come to a close, with one final commemorative post (one, that if you’re an eagle-eyed reader, you’ll notice I’ve been planning for a while), one connected to my very first Sketches post, a rumination on my country music-listening heritage. This might end up being a bit stylistically different from my previous album reviews (the fact that it came out 9 years ago is a factor there…), but we’ll see how it turns out once, y’know, it’s all written. Also, a reminder that today is the last day to enter the iTunes gift card givewaway. We’re up to 5 entries, so your chances aren’t as good as earlier in the week when there were just 2, but you could still definitely be our potential winner. I’ll be hopefully doing the drawing tomorrow morning, so don’t miss your chance! Now, to a review of an album I’ve known and loved for years…

Album: Knock On The Sky

Artist: SHeDAISY

Released: June 2002

SHeDAISY has long been one of those groups that’s hard to categorize. Their music resides somewhere in the sweet spot between pop, country, rock, and who knows what else…they’ve gotten play on country radio, for sure, but at the same time their songs don’t quite seem to belong there in a few ways. If anything, the music of SHeDAISY is incredibly accessible…but what is it, exactly?

“Knock On The Sky” doesn’t bring the listener any closer to the bottom of that mystery, but it’s a beautifully crafted, undeniably fun ride nonetheless. One of the group’s notoriously weakest-selling albums, it never got much traction in the country market (and the pop market was never really an option for SHeDAISY to gain a foothold in, since their music is still clearly rooted in country tradition), but it stands out as one of the highest points in their long career. (They’re still making music, though unfortunately their latest album has remained unreleased for the past few years.) It’s full of high-quality songcraft, utterly infectious melodies, passionately delivered emotion, and the trademark sisterly harmonies that have made SHeDAISY a group to return to again and again. It’s hopelessly underrated, and intensely rewarding.

I grew up with this album. I (or rather, probably my parents) bought the CD soon after it came out, transferred it to a tape to play on my personal cassette player (yes, I still used one, even in 2002-2003), and listened to the songs over and over and over again. I’ve probably dived into the music on “Knock On The Sky” so many times now over the years that I could sing you any one of the songs in my sleep. Its appeal hasn’t dimmed in the nearly 10 years since…if anything, it’s evolved and perhaps even grown.

“Knock On The Sky” is in some ways like a concept album, tied together by theatrical touches like rain effects on “I Wish I Were The Rain,” switching to an old-time radio sound on “I’m Lit,” taking a kooky detour into a preacher’s sermon in “Repent,” and having a creepy voice-over at the beginning of “Everybody Wants You,” among other things. (Listening to the album straight through, you’ll notice all the songs are tied together with moments at both the beginning and end of each number.) The album would still be great without these bells and whistles, but they bring it to even greater artistic heights…SHeDAISY wasn’t just throwing together a bunch of songs with “Knock On The Sky”…they were making their own unique statement.

The production is impeccable and even a bit glossy, but it never feels distant or overdone. The instrumentation is intriguing and top-notch, and it feels like with this album, SHeDAISY was able to get things exactly how they wanted them. The vibe of this album is a bit daring and cutting-edge (the group pushes the boundaries of the country-pop mold in endlessly intriguing ways), but it still feels warm and inviting. “Knock On The Sky,” for all its risk-taking and innovating, doesn’t keep the listener at arm’s length…it quickly draws them into the music, and keeps them quite happy there.

Starting off with a gorgeous, addicting ballad like “Mine All Mine,” one would think it would be hard for the rest of the record to keep up, but there’s practically no weak spot to be found. “I’m Lit” finds a new spin on the oft-used “rowdy country” formula, “Man Goin’ Down” is benefited by an understated, insistent rhythm, and “Get Over Yourself” is 3 1/2 minutes of pure, infectious musical candy…but never ends up being too lightweight, thanks in large part to its underlying cleverness. “Rush” brings a surprising degree of subtlety to a power-ballad template, while “I Wish I Were The Rain” marries stunningly intimate verses with a catchy, heartbreaking chorus. “Repent” has the Osborn sisters letting their hair down in such a fun way that you hope they’ll keep things that way.

The second half of a country (or country-pop) album is where acts usually place their more forgettable songs, but that’s not quite the case with this album. “Everybody Wants You” is deliciously twisted, but also refreshingly grounded. “Now” is a heartwarming, but never cloying, ode to days gone by. “All Over You” is beautifully sophisticated, and “The First To Let Go” (the only cut on the album penned solely by the group’s own Kristyn Osborn, who co-writes every song on the record) is a powerful statement of heartbreak and acceptance. “Turn Me On” actually used to be one of my least favorite songs on the album, but its relentless pop-infused flavor has since totally grown on me. The album closes on two interesting notes…the lovely ballad “Keep Me,” and a no-holds-barred hidden track, titled after the album. The girls of SHeDAISY are almost rap-singing on the latter, and it’s an enjoyable, wacky way to end a certainly unconventional album.

“Knock On The Sky” may not have experienced great commercial success, but it remains an enduring musical masterpiece nearly a decade after its release. It shows that the marriage of country and pop (and everything in between) can be more than just lightweight and forgettable. It can be beautifully accessible music that’s fun and exciting, but also wonderfully and lovingly crafted as well.

Album Review: Hu Hu Hu

New album review coming right up, without further ado.

Album: Hu Hu Hu

Artist: Natalia LaFourcade

Released: May 2009

Latin music can be a minefield for the English-speaking listener. There are a mountain of stereotypes; the language is foreign; the styles potentially hard to navigate. That’s not to say it’s difficult for someone who doesn’t speak Spanish to love Latin music…but the language and culture barrier can sometimes loom large.

There are, however, artists and albums in the Latin music world with fresh, original approaches that transcend differences between country and tongue. The kind of music that’s universal, new, and exciting. Natalia LaFourcade is one of those artists, and her most recent studio effort, “Hu Hu Hu,” is one of those albums. Bursting with life, exploding with individuality, and full of quality and beauty, “Hu Hu Hu” is an incredibly enjoyable recording, for any listener.

Natalia explores an interesting array of sonic textures in the album, all while demonstrating a firm grasp of who she is as an artist. Armed with a subtly quirky production and unique yet warm arrangements, she doesn’t go wrong anywhere in the record’s 13 tracks. “Cursis melodias,” with a driving, cheerful swing, starts the record off right. It’s full of joy and happiness, but also features enough quirky chord progressions and clever instrumentation (the piano particularly helps set it apart; this is a theme that pops up the whole album) to keep things from getting anywhere near sugary. “No Viniste” is subtle, sneaky, and assured, and “Siempre Prisa” builds from a soft, casual beginning to a beautifully cacophonous latter third. “Tiempo al viento” pulls a switch-up…it starts off as a lilting acoustically-driven ballad, and ends up as a refreshing piece of electro-folk. “Let’s Get Out,” one of the three English songs on the album, is one of the most energetic and fun cuts on the record (and Natalia’s highly endearing accent only adds to its appeal). Natalia and Latin ingenue Julieta Venegas share the mic on the title track, and the result is an alluring, subtle trip-hop-influenced treat full of close, delicious harmonies.  ”Ella Es Bonita,” the track that follows it, is a bouncy, confident, poppy joy ride.

Rather than coast during the latter half of the album, Natalia ramps things up even more creatively and musically. The gorgeous piano-driven “Nino Hojas” is both breathtakingly simple and quietly complex, building to a climactic chant-fueled chorus that practically explodes with life and cheer. “Running Too Fast,” the second English track on “Hu Hu Hu,” is a haunting yet endearing ballad featuring only Natalia’s beautifully fragile vocals, and an utterly lovely acoustic guitar line. “Azul” is sonically adventurous yet also focused and completely enjoyable, and “Hora de compartir” stands out as one of the best tracks on the whole album, thanks to some truly stunning unexpected chord changes and a cool vibe that keep it both grounded and exciting. The quiet piano and guitar lines that drive “Un Lugar Para Renacer” forward also make it a standout track, along with the beautiful choir of voices that help make the chorus come truly alive. Natalia closes the album off with another duet, this time with Mexican singer Juan Son on the joyous “Look Outside.”

Joy, happiness, love…these are three qualities that define “Hu Hu Hu,” but they do anything but hold it down. They bring it alive and make it sing…cliches, to be sure, but phrases that describe the album very accurately. “Hu Hu Hu” is a delightful listen, and one that should be put on repeat. It’s devastatingly intriguing, incredibly enjoyable, and uniquely uplifting. Whether the listener speaks English, Spanish, or another language entirely…Natalia LaFourcade is certainly an artist to cherish.

Album Review: Once, Or Twice

OK, now I can talk about the free stuff. Actually, not yet. First, a little background. This is a review of the newest album by a terrific artist named Julia Barry. She was the SoundClouder of the Day on SoundCloud a month or two ago (where SoundCloud spotlights various users & artists for a day), and after checking the songs she had up on her profile, I was completely hooked. So here’s the review of “Once, Or Twice”…stay tuned right afterwards for details on how you can win some free stuff. And some other cool items of business.

Album: Once, Or Twice

Album Artist: Julia Barry

Released: July 2010

There are few things reviewers tend to use more than comparisons. Perhaps it’s a way to make music look more competitive…or to make a tangible connection to the reader as to what avenue the artist being reviewed is taking…or just a way to throw around names for kicks and giggles. Heck, sometimes even the musicians themselves end up using comparisons, in order to draw people with similar tastes to their craft. Whatever the reason, it’s hard for a musician to escape comparisons (whatever they may be) in today’s music world, and for female singer/songwriters, it’s often been vogue for one singular name to pop up over and over again…that of Joni Mitchell. If a woman plays piano and/or guitar, sings, and writes something anywhere near introspective, she must be the second coming of Joni Mitchell. Sometimes, these comparisons are slightly misplaced…the artist in question may be outstanding, but they may have little to do with the legendary Canadian singer/songwriter. The essence of Joni is sometimes hard to place, and all too often it ends up misplaced when used in reference to contemporary female artists.

Which makes it all the more interesting that the first name that came to mind when I sat down and listened to Julia Barry’s new album “Once, Or Twice” was…Joni Mitchell. Sonically, the two women aren’t quite the same…Julia brings a much more jazz-fueled, at times blues-tinged aesthetic to her music, while the jazz influences in Mitchell’s music have mostly remained either incredibly subtle or readily apparent. But there’s something about Julia Barry’s music that finds a kindred spirit in what Joni Mitchell has become so well-known and beloved for. “Once, Or Twice” is a lush, rich record full of beautiful, haunting music, sung by a voice that’s all at once pure, flexible, and expressive. What’s more, Julia Barry has a unique gift for songwriting and storytelling. Her songs paint a picture…often mysterious, sometimes unclear, almost always open to interpretation by the listener…but vivid and gorgeous all the same. She draws the listener in with warm, deeply personal songcraft, but at the same time stays enigmatic, revealing something new upon each listen.

The record starts off with “But Sweet,” a softly playful tune (with some terrific guitar work) that begins with the boldly adventurous line, “She was a sexy thing, and he liked that she secretly wore zebra underpants.” This is the kind of smoky, sultry number that could easily go wrong…but Julia keeps it grounded with an assured, lovely delivery, and an intriguing tonal shift in the latter part of the song. “Yet I Do” and “For Example” are both absolutely gorgeous ballads that practically radiate depth and beauty. (Barry’s crystal-clear upper register is used to devastating effect in the latter’s chorus.) “What Else” drives and flows with a unique urgency, and “Both Sides of the Moon” uses a quick, majestic piano intro to segue into a beautifully dark, textured swing.

Things keep getting better and better as the record goes on. “Everything Is Perfect,” where Julia is accompanied by only a guitar, is, well, pretty close to perfect. Arguably the best cut on the record, “Tell Me” is a subtly haunting bossa nova full of beautifully expressed heartfelt and loneliness. It practically begs for repeat listening. “Reverse” is also one of the album’s standouts, with some interesting slight rhythmic shifts, great lyrics, and a deeply melodic sensibility. “What If Love,” backed by luscious strings and piano, almost plays like a tone poem (think Joni Mitchell with “Paprika Plains”). “Canyon” is excellently soft and meandering, much like the barren desert landscapes it draws its imagery from. Finally, the album closer, “Homeward,” is strikingly written in a minor key, but makes a haunting balance between the light and the dark.

All in all, this is an outstanding album, full of life, spirit, and deep emotion. It’s beautifully sung, beautifully written, and beautifully performed, and isn’t just good for frequent listening…it deserves nothing less. Decades ago, Joni Mitchell made waves across the landscape of music with her haunting songcraft, and became an icon of the singer/songwriter genre. If there is any good in the world, Julia Barry will find the same success. With “Once, Or Twice,” she has certainly earned it.

 

*So now that you’ve read the review, you’re probably wondering how you can get this album. Or how you can find out more about Julia Barry. Guess what…you can! In about a week’s time, I’ll be posting an interview with Julia on this very blog. There are two contests that will be running in conjunction with the interview. First, you can win a free swag bag full of goodies from Julia (including “Once, Or Twice”). How? Just share the link to this very review on Twitter or Facebook. (You’re welcome to post it on both, but your entry will only be counted once.) The deadline for entry is Friday (though feel free to share Julia’s music, and this blog, long after that). In order for us to be able to find it easily, make sure to include the hashtags #harmonyavenue and #juliabarrymusic (whichever site you post it on). Here’s an example that you can feel free to copy and paste:

” Check out this review of  ”Once, Or Twice” & RT to win goodies + CD! http://wp.me/p19uKQ-V #harmonyavenue #juliabarrymusic “

Also, you can become a guest interviewer! Sort of. Submit your question for Julia via the comments. I’ll pick the best one for use in the interview.

The winner of the giveaway will be announced next week when I post the interview. Go forth and share! Feel free to share Harmony Avenue, or Julia’s music, in general as well.

Happy entering! And do you want to try before you buy/win? Listen to “Once, Or Twice” here:  http://juliabarry.com/album.html.

Album Review: Scratch My Back

I promised to debut a new feature here today, and here it is…the album review. You can find reviews of music practically anywhere…and I can’t say for sure that mine will be radically different. However, that doesn’t mean I can’t try. First off, I’ll probably end up mostly reviewing albums & songs I love (after all, why would I want to give an album I hate a post of its own?), unless I have something special to say about a disappointing recording of some sort. Second, some new releases  might pop up now and then, but for the most part it’ll be stuff that I’ve come to know and love (or loathe). Third, there will be no star ratings or letter grades. I’ve never been that great at physically rating music (I usually just slap 5 stars on the stuff I put on my iPod), and I’ve noticed that sometimes reviews can be more effective without an “A-” or “3/4 stars” or something. (Example: The BBC’s absolutely outstanding music reviews, the link to which you can find in my blogroll.) And finally, I want to hear your opinion. Do you violently disagree with me? Did you like a sentence I wrote? Do you have another take? Do you have an entire review of the album you’d like to give? I’d love to hear your viewpoints on whatever albums I review, so by all means fill up the comments with your thoughts. And without any further ado, Harmony Avenue’s inaugural album review.

Album Name: Scratch My Back

Album Artist: Peter Gabriel

Released: February-March 2010

There are few things more prevalent in the music world than a cover. Who doesn’t love the chance to take on someone else’s song? There have certainly been covers albums that have been lazy (I won’t name names…), and those that have been incredibly ambitious, and there have been even more of them in between, but even among a great deal of varied company, Peter Gabriel’s “Scratch My Back” stands virtually alone. Rather than taking on treasured jazz standards, classic rock, or classical repertoire, Gabriel has chosen to cover songs largely from the past decade. With a full orchestra (minus drums). It seems crazy, cerebral, indulgent on paper to have the former lead singer of Genesis singing the likes of Arcade Fire, Elbow, and Regina Spektor with a bunch of strings and brass…and when you think about it, it kind of is. But it works. In fact, it does more than work…it breathes. It lives. In short…it’s incredible.

There are two clear elements that elevate “Scratch My Back” to be worthy of this kind of acclaim–the absolutely gorgeous arrangements, and Gabriel’s own emotional, vocal commitment to the songs. John Metcalfe’s orchestrations move and flow with the different songs, and at many instances throughout the album, they’re simply and utterly stunning. “Mirrorball” builds from a soft, subtle dissonance into an astounding, rousing climax. “My Body Is A Cage” lets all hell loose, then calms down into a beautiful fade-out with a heavenly chorus of voices. “Flume” quietly smolders and burns with beautifully restrained energy. And so it goes throughout the disc…the textures, the instrumentation, everything seems to come together to perfectly complement Peter Gabriel’s vocals. It isn’t just background on this album, it’s an equal partner in the musical journey.

As for the vocals…Peter Gabriel can still wail and shout and cry out. His voice is older, but it’s still remarkably expressive, and he finds just the right balance between gravitas and heart. They’re breathtaking, heartbreaking, full of release, and world-weary…usually all in the same song. His emotional commitment lifts “Scratch My Back” from the level of ‘nice idea’ to ‘brilliantly executed labor of love.’ He puts his heart and soul into these songs, and despite the fact that many of them are less than a decade old, his careful, elegant delivery makes them feel like old friends.

Only two songs fall a bit flat here…in a rare misstep, nothing new is really added to “I Think It’s Going To Rain Today” (it’s an absolutely beautiful song, but has been covered more originally and effectively by many other artists), and “Street Spirit (Fade Out)” gets a little bit too bogged down in trying to create its own atmosphere. Otherwise, this is an outstanding record…one that offers new and exciting aural pathways on each listen, one that both uplifts and acts as a sort of catharsis, and above all, is some dang great music. It takes a bit to get used to, and it doesn’t give away everything on the first listen…but over time, the listener will discover that it’s an amazing treasure of music, and arguably one of the most engaging, rich cover albums that’s ever been recorded.

(Want to take a listen to this album for free? You can, here:  http://www.guardian.co.uk/music/musicblog/2010/feb/04/peter-gabriel-scratch-back )