New young country diva Katie Armiger certainly has the image of a nice girl, but on her new album Confessions of A Nice Girl, it is clear that Armiger is a nice girl who has been hurt and is becoming tough. Even the sunny opening track “Best Song Ever” has an ambiguity between whether it is to be taken at face value or sarcastically, and songs that follow like “Nice Girl”, “Cry Cry Cry”, “Ain’t Gonna Happen”, “Scream” and “Ain’t So Sweet” are all about a girl who might have once been “sweet and nice” but who has been hurt to the point of fierce resistance. Perhaps the saddest song of the album is “Leaving Home”, in which Armiger explains to her mother that she has to leave to pursue her dreams of country stardom. Ultimately, with Confessions of a Nice Girl, Katie Armiger has burst onto the country scene with an album of stark originality and conviction.
Month: October 2011
With a foothold in Chicago blues and traditional jazz, Delmark Records could have stayed in their comfort zone, but as Chicago became a center of avant-garde jazz experimentation, Delmark decided to chronicle the new music, despite its controversy and lack of a mass following. Even more to their credit, Delmark has continued to support experimental jazz from the 1960’s until now. Rob Mazurek’s Exploding Star Orchestra is merely the latest group of experimenters on the label. On their debut album Stars Have Shapes, the fourteen musicians proceed through snatches of melody set against stark and bizarre backdrops of percussion and “found materials”, from recordings of electric eels, tone generators and feedback. The resulting shimmering landscapes are occasionally beautiful, often bewildering, but never without interest. The final “Impression #1” is the only tune to inhabit a familiar location, having been based off of the jazz standard “Footprints”. But like everything else on Stars Have Shapes, the well-known bassline and chord progressions have been distorted and transcended into something completely new and unpredictable. With Stars Have Shapes, Rob Mazurek has challenged the boundaries of jazz.
With a foothold in Chicago blues and traditional jazz, Delmark Records could have stayed in their comfort zone, but as Chicago became a center of avant-garde jazz experimentation, Delmark decided to chronicle the new music, despite its controversy and lack of a mass following. Even more to their credit, Delmark has continued to support experimental jazz from the 1960’s until now. Rob Mazurek’s Exploding Star Orchestra is merely the latest group of experimenters on the label. On their debut album Stars Have Shapes, the fourteen musicians proceed through snatches of melody set against stark and bizarre backdrops of percussion and “found materials”, from recordings of electric eels, tone generators and feedback. The resulting shimmering landscapes are occasionally beautiful, often bewildering, but never without interest. The final “Impression #1” is the only tune to inhabit a familiar location, having been based off of the jazz standard “Footprints”. But like everything else on Stars Have Shapes, the well-known bassline and chord progressions have been distorted and transcended into something completely new and unpredictable. With Stars Have Shapes, Rob Mazurek has challenged the boundaries of jazz.
With a foothold in Chicago blues and traditional jazz, Delmark Records could have stayed in their comfort zone, but as Chicago became a center of avant-garde jazz experimentation, Delmark decided to chronicle the new music, despite its controversy and lack of a mass following. Even more to their credit, Delmark has continued to support experimental jazz from the 1960’s until now. Rob Mazurek’s Exploding Star Orchestra is merely the latest group of experimenters on the label. On their debut album Stars Have Shapes, the fourteen musicians proceed through snatches of melody set against stark and bizarre backdrops of percussion and “found materials”, from recordings of electric eels, tone generators and feedback. The resulting shimmering landscapes are occasionally beautiful, often bewildering, but never without interest. The final “Impression #1” is the only tune to inhabit a familiar location, having been based off of the jazz standard “Footprints”. But like everything else on Stars Have Shapes, the well-known bassline and chord progressions have been distorted and transcended into something completely new and unpredictable. With Stars Have Shapes, Rob Mazurek has challenged the boundaries of jazz.
Bobby Charles, born Robert Charles Guidry, first came to prominence in the 1950’s with a smash R & B hit called “See You Later Alligator.” Years of hits and releases followed, until 2010, when Charles began working on an album with Louisiana legends Dr. John and Sonny Landreth. Sadly, Charles would not live to see the release of the album, which has appropriately been named Timeless. Framed by holiday anthems celebrating Fats Domino’s birthday and Halloween, the album features Charles’ trademark songwriting skills across a number of topics. “Where Did All The Love Go” and “When Love Turns to Hate” deal with failing relationships, while “Clash of Cultures” and “Take Back My Country” are patriotic. “nobody’s Fault But My Own” is a New Orleans piano romp that wouldn’t sound out of place on Dr. John’s 1972 album Gumbo, and “Rollin’ Round Heaven” seems oddly prophetic. Bobby Charles’ album Timeless is a fitting bookend to a man whose career spanned 60 years of music in Louisiana, an artist who truly deserves the sobriquet “timeless”.
Bobby Charles, born Robert Charles Guidry, first came to prominence in the 1950’s with a smash R & B hit called “See You Later Alligator.” Years of hits and releases followed, until 2010, when Charles began working on an album with Louisiana legends Dr. John and Sonny Landreth. Sadly, Charles would not live to see the release of the album, which has appropriately been named Timeless. Framed by holiday anthems celebrating Fats Domino’s birthday and Halloween, the album features Charles’ trademark songwriting skills across a number of topics. “Where Did All The Love Go” and “When Love Turns to Hate” deal with failing relationships, while “Clash of Cultures” and “Take Back My Country” are patriotic. “nobody’s Fault But My Own” is a New Orleans piano romp that wouldn’t sound out of place on Dr. John’s 1972 album Gumbo, and “Rollin’ Round Heaven” seems oddly prophetic. Bobby Charles’ album Timeless is a fitting bookend to a man whose career spanned 60 years of music in Louisiana, an artist who truly deserves the sobriquet “timeless”.
Bobby Charles, born Robert Charles Guidry, first came to prominence in the 1950’s with a smash R & B hit called “See You Later Alligator.” Years of hits and releases followed, until 2010, when Charles began working on an album with Louisiana legends Dr. John and Sonny Landreth. Sadly, Charles would not live to see the release of the album, which has appropriately been named Timeless. Framed by holiday anthems celebrating Fats Domino’s birthday and Halloween, the album features Charles’ trademark songwriting skills across a number of topics. “Where Did All The Love Go” and “When Love Turns to Hate” deal with failing relationships, while “Clash of Cultures” and “Take Back My Country” are patriotic. “nobody’s Fault But My Own” is a New Orleans piano romp that wouldn’t sound out of place on Dr. John’s 1972 album Gumbo, and “Rollin’ Round Heaven” seems oddly prophetic. Bobby Charles’ album Timeless is a fitting bookend to a man whose career spanned 60 years of music in Louisiana, an artist who truly deserves the sobriquet “timeless”.
Texas artist Rich O’Toole finally comes to national prominence with the release of his new album Kiss Of A Liar. The album features 11 tracks that seamlessly blend country, pop and rock elements, linked by thoughtful lyrics. There are songs about love, like the duet with Josh Abbott “Ay Dios Mio”, songs about loss (“The Cricket Song”, “Kiss Of A Liar”), songs about gambling (“Casino Queen”) and good times (“Marijuana & Jalapenos”). Perhaps the deepest and most heartfelt song is “Banks of the Mississippi” a seemingly-autobiographical account of a young man running away from poverty to seek a career in music. Like all Average Joe releases, Kiss Of A Liar is fun, tuneful and exquisitely produced. A masterful release from an artist that is only beginning to hit his stride.
Texas artist Rich O’Toole finally comes to national prominence with the release of his new album Kiss Of A Liar. The album features 11 tracks that seamlessly blend country, pop and rock elements, linked by thoughtful lyrics. There are songs about love, like the duet with Josh Abbott “Ay Dios Mio”, songs about loss (“The Cricket Song”, “Kiss Of A Liar”), songs about gambling (“Casino Queen”) and good times (“Marijuana & Jalapenos”). Perhaps the deepest and most heartfelt song is “Banks of the Mississippi” a seemingly-autobiographical account of a young man running away from poverty to seek a career in music. Like all Average Joe releases, Kiss Of A Liar is fun, tuneful and exquisitely produced. A masterful release from an artist that is only beginning to hit his stride.
Texas artist Rich O’Toole finally comes to national prominence with the release of his new album Kiss Of A Liar. The album features 11 tracks that seamlessly blend country, pop and rock elements, linked by thoughtful lyrics. There are songs about love, like the duet with Josh Abbott “Ay Dios Mio”, songs about loss (“The Cricket Song”, “Kiss Of A Liar”), songs about gambling (“Casino Queen”) and good times (“Marijuana & Jalapenos”). Perhaps the deepest and most heartfelt song is “Banks of the Mississippi” a seemingly-autobiographical account of a young man running away from poverty to seek a career in music. Like all Average Joe releases, Kiss Of A Liar is fun, tuneful and exquisitely produced. A masterful release from an artist that is only beginning to hit his stride.