{"id":815,"date":"2012-02-28T19:16:20","date_gmt":"2012-02-29T03:16:20","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=815"},"modified":"2012-02-28T20:30:44","modified_gmt":"2012-02-29T04:30:44","slug":"gbu-2003-10","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=815","title":{"rendered":"GBU – 2003 – 10"},"content":{"rendered":"

Jonah<\/a><\/strong><\/h2>\n

\"\"Safe Distance EP
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

It\u2019s been about a year and a half since we last heard from Jonah, a fine young quartet with a difference; whose tight, intelligent music has garnered attention from prominent quarters across the nation. Last spring, the band inked a management deal with the team of Alan Mintz and Chris Long- who have worked with the likes of Nirvana, Jane\u2019s Addiction, Sheryl Crow, Rage Against The Machine and Queens of the Stone Age, among countless others.<\/p>\n

Mintz and Long are currently shopping the band around to the major labels; and arranged for two August showcase performances at the Knitting Factory in Los Angeles. This EP was created to serve as a promotional tool, giving prospective producers the opportunity to hear what the band sounds like today. Though,\u00a0Save The Swimmer,\u00a0<\/em>the band\u2019s last release, met with widespread critical response, with tracks even finding their way into several episodes of\u00a0Dawson\u2019s Creek<\/em>, it was recorded almost two years ago. The band has tightened considerably in the intervening\u00a0 time.<\/p>\n

If anything, vocalist and chief songwriter Henry Curl\u2019s emotive vocals have become even stronger and more expressive. Sounding like Freddy Mercury fronting\u00a0Bends-<\/em>period Radiohead, Curl imbues \u201cTremor #7\u201d with explosive vocal restraint. Beginning the song with a sort of megaphone effect on his voice (ala Queen), as a marimba-toned keyboard arpeggiates hypnotically atop drummer Jake Endicott\u2019s\u00a0 pulsing kick and snare, Curl breaks free of the vocal constraints in the second section, as bassist Matt Rogers and guitarist Chris Hayes thunder in like all hell is breaking loose. Equal to the task, Curl roils and moils briefly, before returning to his more pensive side, displaying a beautiful falsetto in the process. Hayes springs forth with Edge-like majesty in the uproar of the extended fade. Impressive.<\/p>\n

More like latter-day Bono, Curl wraps his luxuriant voice around a piquant melody on the ballad \u201cSafe Distance.\u201d An instantly memorable chorus chimes in soon enough, coiling around one\u2019s ear like a vine of blood red roses. Hayes launches a magnificent slide guitar solo in the middle, before the band returns to the gorgeous chorus. A hit song, to be sure.<\/p>\n

The melodic essence of Brian Wilson is evoked through the first part of the ghostly ballad, \u201cGood Enough,\u201d as ethereal effects swirl around Curl\u2019s poignant rendering of the lyric. Hayes\u2019 orchestral ministrations on guitar mingle with Curl\u2019s piano-like keyboard phrasings to create a shimmering aural collage. A beautiful little fugue ends the song on a high note. \u201cJames Was Here\u201d could easily refer to the band James (as that is one of Jonah\u2019s stated influences), a breathless up tempo ballad, with angelic three-part vocal harmonies hovering in the verses, while an array of guitars, electric and acoustic, six and twelve-strings, flutter like electric butterflies throughout the mix.<\/p>\n

\u201cAll That Remains\u201d could easily be from\u00a0Bends<\/em>-era Radiohead as well, with Henry doing his very best Thom Yorke impersonation. Over arching piano chords, he swoops and soars operatically, with deep emotional conviction and expansive vocal opulence, as Hayes adds mandolin-like guitar accompaniment. Another finely crafted number.<\/p>\n

The verdict in these pages a year and a half ago, was that Jonah had a little bit of work to do in the songwriting department. Whatever shortcomings perceived in their last outing, have been impressively shorn up. There is not a bad song, nor a bad measure or even a bad note on this submission.<\/p>\n

The five-songs the band offer here are simply perfect. Jonah are a band that have officially outgrown Portland and Oregon. Their sound is world class and deserves to be heard by the whole world and not by just the pitiful few people around here who care anymore about such things as a great band in their midst. For, this is truly a great band!<\/p>\n

Little Sue & Lynn Conover<\/strong><\/h2>\n

\"\"I<\/em><\/strong>\u2019ll Be Your Mirror<\/em><\/strong><\/p>\n

Self-Produced<\/strong><\/p>\n

Susannah \u201cLittle Sue\u201d Weaver and Lynn Conover have been staples on the local scene for over a decade each. Weaver first came to prominence as a member the Crackpots in the early \u201890s, quickly forging a successful solo career for herself. She has recorded three solo albums over the past six or seven years. Her most recent release,\u00a0The Long Goodbye<\/em>, was reviewed in these pages last November.<\/p>\n

Lynn Conover has been a fixture on the local folk circuit for nearly twenty years; playing with the Welfare Ranch Rodeo, Billy Kennedy, and the Lynn Conover Trio, among countless others; releasing numerous recordings over the years.<\/p>\n

For several years now, Weaver and Conover have filled the Monday night slot at the White Eagle; which has showcased their unique interplay, both vocally and instrumentally. This recording (produced by Gavin Pursinger at red Carpet Recording) is a similar venture, recorded pretty much live (with a few overdubs), utilizing acoustic guitars, mandolin and a little banjo here and there.<\/p>\n

It appears that Conover takes the lead vocal role in most cases, although it\u2019s extremely hard to tell, as both women have very similar voices, reedy and girlish, lending themselves to wonderful harmonies across the fourteen tracks presented on this advance pressing (accompanied by no information other than track titles and times).<\/p>\n

The songs appear to be a variegated mix of original songs and cover tunes. Most likely, as with their live performances, this material is drawn from numerous local and universal sources. Both Conover and Weaver are accomplished songwriters, as well. Only Bob Dylan\u2019s \u201cBuckets Of Rain\u201d is readily identifiable, although several of blues numbers, as well as a few Appalachian folk songs and a couple of country tunes as well, are either culled from the public domain, or secured from remotely obscure sources, to be sure.<\/p>\n

It\u2019s an interesting and entertaining blend of country, folk and blues that the girls throw down- fun, unpretentious, slightly mannered (with a little, hick guh-hyuck accent floatin\u2019 \u2018neath the sir-fuss), most likely in a wry attempt at authenticity. Whatever the case, their music\u00a0sounds\u00a0pretty authentic, so apparently they have succeeded.<\/p>\n

\u201cThe L&N,\u201d written by Kentucky folk music legend Jean Ritchie, is a simple, forthright chunk of bluegrass coal, forged into a diamond through the child-like delivery of the vocals and the forlorn contours of\u00a0 the harmonies. The familiar plaintive country blues of \u201cNew River Blues\u201d features guitar and banjo accompaniment, with a fine single string banjo solo in the middle. Very nice.<\/p>\n

Probably an original tune (though whose, we can\u2019t be entirely sure), \u201cLiving In The Clouds\u201d is kind of a McGarrigle sisters sort of song, with chiming mandolin playing against a throaty acoustic guitars. An odd little song. \u201cShe better shake it off soon\/That old monkey moon\/Well she\u2019s in a trance, called the monkey dance\/and it\u2019s keeping her awake in the light of day.\u201d Hmmm.<\/p>\n

Playing off of a highly recognizable D major to D minor chord turn, \u201cSweet & Tender\u201d is a simple song with banjo, guitar and mandolin backing. \u201cBullfrog Blues\u201d is actually a variation of \u201cMobile Line\u201d a traditional blues number (the proper title of which, according to Peter Stampfel, is: “Mobile Line Gonna Carry Me Away from the Curse of the Bullfrog Blues.”), popularized by the Holy Modal Rounders (for one) around 1968. \u201cSing It Again\u201d is a gently lilting little waltz with further child-like vocals and sweet harmonies. \u201cWords\u201d is a touching country-flavored ballad, with a pretty melody, reminiscent of Mary McCaslin.<\/p>\n

The duo\u2019s rendition of Dylan\u2019s \u201cBuckets Of rain\u201d is fairly faithful, but emphasizes the country aspects of the song. The title track, with acoustic guitar and ringing mandolin, calls to mind the Roche sisters in its slightly off-kilter poignancy. Their take on Freakwater\u2019s 1992 nugget \u201cOld Drunk Friend\u201d is faithful, but sparser. \u201cFootprints\u201d has a certain spry hymnal quality about it that leads one to the alter of gospel music. Their version of Wanda Jackson\u2019s \u201cThis Gun Don\u2019t Care,\u201d is far more down home than the original, with mandolin and jangling guitar.<\/p>\n

This is all\u00a0O Brother Where Art Thou?<\/em>\u00a0sort of stuff, played in a style reminiscent of\u00a0 long ago days that probably never existed. But there it is. Lynn Conover and Little Sue Weaver bring a sense of energetic playfulness to their repertoire that elevates it above the mundane to the level of a live performance. This is an eclectic set, which shines with uncluttered, unfettered delight.<\/p>\n

Dylan Thomas Vance<\/a><\/strong><\/h2>\n

\"\"Bittersweet
\n<\/em><\/strong>Triple M Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

This guy Dylan Thomas Vance is a quick study. In February, his record\u00a0Cowboy Soul And Country Blues Vol. 1,\u00a0<\/em>was reviewed in these pages- sounding like a young Kelly Joe Phelps. Here, he has burst from his embryonic shell, fully formed, as a musical monster completely unto himself; the depth and complexity of which have only slightly been touched upon thus far.<\/p>\n

Vance served his apprentice years in the local scene in the early \u201890s, with the phenomenal grunge jazz band, Tao Jones, a group which also featured the sterling vocal gymnastics of Leah Welch. Subsequently, an encounter with the Leroy Vinegar Quartet, led Dylan to pursue an interest in Jazz. He majored in music at PSU; studying with some masterful players, including Jerry Hahn, Darrel Grant and John Stowell. At the same time, he played guitar with the Sweet Honey Dijon Bad Ass Jazz Quartet, which frequently appeared at Club 1201 and Jimmy Mak\u2019s. Later he performed in the jazz fusion band, Groove Revelation.<\/p>\n

But, having a guitar slide specially made for him piqued Vance\u2019s curiosity in a variety of blues styles. Soon he was singing western swing and country blues numbers, his set list including songs by Hank Williams, Otis Redding and Robert Johnson, hence his release last February, a solo venture for which he intends to one day record a sequel.<\/p>\n

For this outing however, Vance enlisted the\u00a0 services of a small coterie of side players to help fill out the sound; including one Griz Bear (owner of the Bear\u2019s Den Studio, who also acted as engineer) on violin, Matt Rotchford on upright bass and David Lipkind on harmonica- all of whom add texture and color to the eleven songs (five are originals) presented here. Still, what is most noticeable is Vance\u2019s huge strides as an individual performer.<\/p>\n

While eight months ago he seemed to be sitting in Kelly Jo Phelps\u2019 shadow, musically speaking; today Dylan is a true rising star in his own right, rapidly developing with astounding brevity and concision, his own highly individualized guitar style and unique vocal delivery, evidence of which is everywhere to be found here.<\/p>\n

A strange lyric, \u201cSilence\u201d is a social commentary type of song disguised as a \u201cwandering boy\u201d ballad. Vance\u2019s nimble finger picking and Bear\u2019s rapturous fiddle work add depth to the performance. \u201cGeorge & Sarah\u201d is a straight-forward narrative somewhat akin to John Mellancamp\u2019s \u201cJack and Suzanne,\u201d (without the latter\u2019s strong chorus) played over a repetitive motif, reminiscent of a portion of Paul McCartney\u2018s \u201cBlackbird.\u201d<\/p>\n

On his previous album, Dylan proved himself an exceptional interpreter of Robert Johnson\u2019s material, and his rendition of \u201cCome On In My Kitchen\u201d here is no exception. Tasty acoustic slide guitar runs are augmented by Lipkind\u2019s soulful harmonica interjections (and fine solo), which compliment the arrangement rather than intruding upon it: as so many harp players are wont to do. Vance\u2019s version of Bob Dylan\u2019s \u201cBuckets Of Rain\u201d (perhaps a requisite in order to join some secret local folk society?) is more subdued, less raucous than the original, with Lipkind adding organ-like double reed harp to the production.<\/p>\n

Griz Bear\u2019s hearty fiddle is the support on the jaunty \u201cFine Spring Day,\u201d with Dylan\u2019s slide gliding ever so softly on the guitar strings, as an overdubbed choir of harmony vocals hovers above the scene. The final 30 seconds, a sloppily whistled circus tune with beer-bottle calliope accompaniment is a magical fragment to behold!<\/p>\n

Vance and Bear pair again on a variation of the gospel spiritual \u201cI Shall Not Be Moved,\u201d written by Homer Morris, with additional lyrics supplied by Vance. It\u2019s a fast moving version, propelled by Dylan\u2019s seemingly effortless slide guitar work. Bassist Rotchford joins Bear and Vance on the rousing original spiritual entitled \u201cRat Race,\u201d which eventually evolves into \u201cRollin\u2019 In My Sweet Baby\u2019s Arms,\u201d from which the former had been derived in the first place. Lipkind rejoins Dylan for the gentle \u201cWhere Are You Going,\u201d lending a crisp solo.<\/p>\n

Vance\u2019s fingers dance upon the guitar strings on the traditional \u201cThe Wreck Of No.9,\u201d with Lipkind jumping in for the occasional solo. \u201cDid You Ever\u201d is the kind of lonesome old ballad Jerry Jeff Walker or Townes Van Zandt might sing. Vance\u2019s stellar guitar work adds decorous filigree to the sparse arrangement.<\/p>\n

Dylan Thomas Vance has found his own musical identity in very short order, receiving critical and public acclaim, which will only grow with the release of this album. Here he displays magnificent control of his medium, and with the aid of Lipkind and Bear, has put together a more cohesive program than with his first release. The sky is the limit for\u00a0 this talented young singer\/guitarist. As fast he is growing these days, he is sure to become a musical giant very soon.<\/p>\n

Tim Otto and Chris Charles<\/strong><\/h2>\n

\"\"<\/a>The Road Of Life –\u00a0<\/em><\/strong>Chris Charles<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

a<\/span><\/p>\n

a<\/span><\/p>\n

a<\/span><\/p>\n

\"\"<\/a>Three Songs –\u00a0<\/em><\/strong>Tim Otto & The Peacemakers
\n<\/strong>out of print<\/strong><\/em><\/p>\n

a<\/span><\/p>\n

a<\/span><\/p>\n

a
\na\u00a0<\/span><\/p>\n

\"\"<\/a>The Storyteller<\/em><\/strong>\u00a0– Tim Otto w\/ Chris Charles
\n<\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Tim Otto and Chris Charles worked together in the early \u201880s, joining forces in the seminal local new wave band, the Surf Cowboys. But when the band broke up later in the decade, the pair stopped working together. Only recently have they resumed their partnership, recording music (separately and) together as though they had never parted ways.<\/p>\n

It\u2019s obvious, that the Cowboy still lives in both performers, although the Cowboy ain\u2019t surfin\u2019 much anymore. Charles leans toward laidback country rock fare (he plays all the instruments and sings all the parts on his album), while Otto tends toward more serious, singer\/songwriter, poetic excursions (Charles engineered Tim\u2019s songs and played all the instruments on it that Tim didn\u2018t, while former Surf Cowboy drummer Brad Pharis laid down the beat on the Peacemakers tracks).<\/p>\n

Both musicians seem rooted in the first three Eagles albums (Eagles, Desperado<\/em>\u00a0and\u00a0On The Border<\/em>) of the early to mid \u201870s, evoking a sort of quasi-old west outlaw (more at John Ford\u2019s or Sergio Leone\u2019s old west than the real thing) perspective in a folk\/country-rock setting. A little anachronistic. But, in rock music, no trend is ever out of fashion forever; the whole alt.country renaissance has proven that, in this instance. For Charles, the Eagles, the Byrds, Warren Zevon, John Stewart, Mark Knopfler (vocally)\u00a0 and Neil Young appear to be influences. In Otto\u2019s material, you can hear Young and the Eagles, Stewart, Zevon, John Prine, Kris Kristofferson and maybe even Jerry Jeff Walker and Merle Haggard as influences.<\/p>\n

For Charles, \u201cThe Road Of Life\u201d is a latter-day Byrdsian sort of number, that maintains a jaunty atmosphere, while singing \u201cRollin\u2019, down the road of life\/Missing my exits, breaking down at night\/Rollin\u2019 down the road of life\/Stuck behind a truck with no passing lane in sight.\u201d Similarly, \u201cAt The Bottom Again\u201d takes a good-natured look at being bad off. \u201cI got blisters on my hands from working\u2019 so hard\/down at the stupid ass factory job\/Pay is too low, I can\u2019t afford to get high\/Don\u2019t think I\u2019ll ever get a piece of the pie.\u201d Other songs, such as \u201cDeranged\u201d and \u201cJefferson\u2019s Ghost\u201d maintain that sort of dark frivolity over up-tempo country tinged rock arrangements.<\/p>\n

Otto\u2019s\u00a0Storyteller<\/em>\u00a0album is a collection of mostly depressing ballads, generally acoustic guitar and harmonica stuff. These are stories of people on the edge, looking at the dark side of life. \u201cShe Got the Best Of Me\u201d and \u201cA Sadness In Your Soul\u201d are standout examples of the ten-song collection. The three songs with the Peacekeepers (Otto, Charles and Pharis) are more upbeat. Though the subject matter is still a bit morose, there is a bit of humor behind the depression.<\/p>\n

Over whistling jet noises and intercepted tower communications, and with its spirit in \u201cHonky Tonk Women\u201d territory, the snappy, up tempo rocker \u201cOne Way Ticket To Amsterdam\u201d posits \u201cWhere the love ain\u2019t free, but the drugs are good\/ I got a one way ticket to Amsterdam\/Saying goodbye to Uncle Sam\/I don\u2019t care if I come back in a box of wood.\u201d<\/p>\n

\u201cThe Man With No Name\u201d is a spaghetti western type number, with moaning harmonica and minor key melodrama with gunfight sound effects in the intro- musically somewhat similar to the Eagles\u2019 \u201cOutlaw Man.\u201d The chorus spells out the whole dynamic: \u201cSuicide\u2019s my game\/ A six shot revolver is to blame\/Coz I\u2019m the man with no name.\u201d A bullwhip cracking at the end of\u00a0 that line would be absolutely perfect.<\/p>\n

Chris Charles and Tim Otto display wryly black senses of humor in some of their songs; which really helps when singing about the darker aspects of life, with topics such as love lost and its residual enduring hardships, depression and self-destruction, etc. When things turn serious, the stark reality is hard to listen to, hard to hear, real though it may very well be.<\/p>\n

But, be that as it may, both of these guys are very capable songwriters, musicians and performers. It would appear that the pair will be producing more recordings together in the near future. So, we shall soon see what pearls the renewal of that partnership will educe.<\/p>\n","protected":false},"excerpt":{"rendered":"

Jonah Safe Distance EP Self-Produced BUY It\u2019s been about a year and a half since we last heard from Jonah, a fine young quartet with a difference; whose tight, intelligent music has garnered attention from prominent quarters across the nation. … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":48,"menu_order":3,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2003 - 10 - spclarke.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/spclarke.com\/?page_id=815\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2003 - 10 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Jonah Safe Distance EP Self-Produced BUY It\u2019s been about a year and a half since we last heard from Jonah, a fine young quartet with a difference; 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