{"id":879,"date":"2012-02-28T21:22:44","date_gmt":"2012-02-29T05:22:44","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=879"},"modified":"2012-02-28T21:22:44","modified_gmt":"2012-02-29T05:22:44","slug":"gbu-2004-02","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=879","title":{"rendered":"GBU – 2004 – 02"},"content":{"rendered":"

Stephanie Schneiderman<\/a><\/strong><\/h2>\n

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

Touch Down
\n<\/em><\/strong>Papa J Records<\/strong><\/p>\n

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

A fixture on the local scene for the past five years, Stephanie Schneiderman has made great strides since the release of her sophomore album,\u00a0Unbelievably Unbroken,\u00a0<\/em>in the Summer of 2001. While that album contained a number of real song gems, it also found Stephanie struggling, somewhat, to find her own true voice- at times sounding like a prisoner of the arrangements. Here, with impeccable production from Tim Ellis, and stately engineering from Bob Stark and Dave Friedlander at Kung Fu Bakery, here it sounds as if the arrangements are a result of Stephanie\u2019s songs, and not the other way around.<\/p>\n

Schneiderman has an excellent background to be a professional singer. Having sung in musicals in high school and in the Top 40 band Hi-Fashion after, she honed her stage craft as a vocalist in Body and Soul, before embarking upon her solo career in 1999. With a girlishly reedy voice, Stephanie has the ability to sound a bit like Sheryl Crow, Dolly Parton, Stevie Nicks, Emmylou Harris, Shawn Colvin and Aimee Mann, among many more. But here, with the aid of diverse, yet cohesive arrangements, she seems far more in control of the recording process; singing with a voice much more her own- far less derivative, than in the past.<\/p>\n

The twelve songs (and one short instrumental reprise) offered here display a unity of presentation, without being repetitious. Several songs are aided by sumptuous string arrangements contributed by Dave Mills and deftly executed, with panache, by the Thirdd Angle String Ensemble. Other great local musicians, such as drummer\/producer Gregg Williams, bassist Phil Baker (the rhythm section throughout this project) and guest stars: McKinley, Lara Michell, Linda Hornbuckle, Tony Furtado and Paul Brainard, add their talents to the scintillating production.<\/p>\n

The album kicks off with \u201cBaffled Queen,\u201d which begins with a gentle string introduction, before breaking into a forlorn ballad. Augmented by\u00a0 Jean Pierre Garau\u2019s moody electric piano and her\u00a0 acoustic guitar, Stephanie sings in a child-like manner, reminiscent of the Sundays\u2019 Harriet Wheeler or Edie Brickell, a song about the unsure steps one sometimes takes in interpersonal relationships. A familiarly memorable chorus locks this song into one\u2019s consciousness.<\/p>\n

Stephanie follows that with an up tempo, folk\/country-tinged number, \u201cShadow.\u201d Over acoustic guitar, mandolin and organ accompaniment, along with subtle electric guitar phrasings (and that rock solid rhythm section),\u00a0 Stephanie provides a quivering lead vocal, backed with ghostly harmony vocals, that reaches into her upper register in the choruses. Pretty.<\/p>\n

Pizzicato string arpeggios, a plaintive pedal-steel guitar and the looming suspensions of Baker\u2019s upright bass underpin \u201cYou\u2019re The One,\u201d while Stephanie adds understated acoustic guitar to a introspective, minor-key number.\u00a0 \u201cProfessor Sunshine\u201d heads toward a Fiona Apple sort of arrangement with drum loopy sounding drums, roiling piano and Beatles-esque flourishes, which are perhaps not best suited to Stephanie\u2019s musical strengths, though the song does call for just such production touches and they are executed rather well.<\/p>\n

Better is the title track, which veers closer to a Tori Amos sort of approach, with elegant strings balanced against a delicate piano progression of Bflat-F-Aflat-Eflat (somewhat similar to that of Paul McCartney\u2019s \u201cMaybe I\u2019m Amazed\u201d). The melody to \u201cKid Domino\u201d is borrowed directly from the \u201cShe\u2019s well acquainted with the touch of a velvet hand like a lizard on window pane\u201d section of John Lennon\u2019s \u201cHappiness Is A Warm Gun,\u201d with approximately the same instrumental mood to accompany the poetic sentiment. Again, Fiona Apple comes to mind, as far as the arrangement is concerned, but the smoky ambiance of this take is much better suited to Stephanie\u2019s recorded character.<\/p>\n

\u201cPendulum\u201d is a dry, arid number, sparsely appointed- another Tori Amos-like setting- which neatly captures the sublime ambivalence of Stephanie\u2019s love\/hate lyrics. The laid-back down home feel of \u201cAll Gone\u201d is accentuated by the nearly clich\u00e9 I-vi-IV-V chord progression (a true relic from the \u201850s). Oddly enough, \u201cHappiness Is A Warm Gun\u201d is again evoked, as the chorus of that song contains exactly the same progression. Stephanie\u2019s take is shone in more of a gospel-tinted light. A great slide guitar solo (Brainard? Furtado?) adds a nice touch toward the end of the song.<\/p>\n

The gospel flavor continues, with even more of an emphasis, on \u201cSalty Blues.\u201d Garau adds tasty piano and organ layers, while a full-fledged vocal chorus backs Stephanie across difficult and foreign vocal terrain. She holds her own, giving it her all, while pushing herself to the extremes of her somewhat limited projective vocal power. \u201cDebutainted\u201d returns to more familiar territory, with a more relaxed vocal delivery over a hip-hoppish beat and solitary electric piano punctuations ala Dido. Nicely done.<\/p>\n

The string section returns on the restless, quietly turbulent \u201cHow Happy.\u201d Over fragile piano ornamentation, which recalls the backing to Patti Smith\u2019s \u201cBecause The Night,\u201d Stephanie lyrically bares her soul for perhaps the first time on this album, as she inspects her feelings toward an ex-lover whose life seems to be going well. Harriet Weaver again comes to mind on the ethereal \u201cGypsy Soul.\u201d Another intimate song, that again speaks more deeply to Stephanie\u2019s true heart, a vitally held sentiment that easily could be a big hit at weddings. Gaurau\u2019s hypnotic electric piano embellishments add to the haunting quality of this lovely song.<\/p>\n

Stephanie Schneiderman along with her fellow musicians, the engineers and the producer have created a lovely album, full of stellar musicianship and superb taste. As a songwriter and vocalist, it is true that she is still finding her way. But the cohesiveness and dedication displayed here can only serve to guide Stephanie in precisely the right direction. For this was a project very well done, indeed.<\/p>\n

\n

Jasmine Ash<\/a><\/strong><\/h2>\n

\"\"From Grey To Blue
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

out of print<\/strong><\/em><\/p>\n

Perhaps the brightest female singer\/songwriter prospect to appear on the local scene in the past decade, twenty-three year old Jasmine Ash has all the tools necessary for a long and successful career in the business of music. She has a voice and style all her own. She is already a vital songwriter, despite the fact that she only began learning to play guitar a little over two years ago, writing her first song six months later. She did not even sing before that- having been tossed out of middle school choir, for lack of vocal chops. Yet, she has recorded two albums in the past two years (this is her sophomore effort) and has her sights set on a third.<\/p>\n

But beyond all that, Jasmine has the smarts and the heart to make it in the music world- and those are things that can neither be learned, nor taught. Her determination wouldn\u2019t mean much if Jasmine weren\u2019t talented, but she\u2019s got that covered too. Her voice has the demure quality of early Jewel, the youthful intimacy of early Kate Bush (Hounds Of Love<\/em>-period); and the sweetness and purity of Bjork. Here, she is aided in her efforts by co-producers Dean Norton and the peripatetic Ezra Holbrook.<\/p>\n

Subtly utilizing elements of electronica in the production of each number, the co-producers color each song carefully, allowing natural colors and contours to rise to the fore. Jasmine\u2019s thoughtful songs deal primarily with interpersonal relationships. Free of cloying sentimentality, instead, Jasmine\u2019s songs traverse similar territory found in works by Sarah McLachlan and Tori Amos.<\/p>\n

Jasmine, who plays acoustic guitar for this outing, is joined by a backing band comprised of Holbrook on drums, Aaron Masonek on bass and Jason Henry on guitar. Holbrook and Norton add occasional keyboards, as well as various loops and electronic frills. The accompaniment is succinct, not flashy, but effective- adding understated detail and nuance, without cluttering up the sonic scenery.<\/p>\n

The album begins with \u201cThe Ride,\u201d a winsome number, which finds Jasmine singing softly, reminiscent of Bjork (or maybe Lisa Loeb a little bit) a pretty melody- which dances its way directly into the brain. While an insistent drum beat propels the rhythm section, Henry deftly layers various guitar passages. A great introduction to Jasmine Ash\u2019s music.<\/p>\n

A whirring beat loop, and vague guitar, wash beneath Jasmine\u2019s fragile soprano vocal on\u00a0 \u201cNo One Came,\u201d as she harmonizes with herself in the pretty chorus. When the band finally kicks in for the second verse, it is with a great deal force, dramatically upping the emotional ante of the song. Here\u2019s another memorable winner!<\/p>\n

\u201cFall\u201d hinges upon Masonek\u2019s elegant bass fulcrum, Jasmine\u2019s chirping acoustic guitar, and a haunting electric piano phrase. The drums finally enter in the lovely chorus, powering the tune home on an engramatic level.\u00a0 Another hit song. \u201cBy Accident\u201d is a cheerful sounding ditty about breakup and betrayal, with an abrupt ending.<\/p>\n

Returning to more familiar turf, \u201cSomehow\u201d is a gentle ballad, forlorn electric piano chords and a worried organ tone, along with Jasmine\u2018s acoustic guitar, anchored by a mechanical drum loop. Another piquant chorus follows, so sweet could\u00a0 it could charm stone. Another strong chorus drives \u201cDissatisfied,\u201d an uptempo rockish tune, worthy of Dido or Sarah McLachlan. Radio friendly, to be sure, this song too could easily be a hit at college radio, memorable and meaningful.<\/p>\n

The intense waltz \u201cReplacing,\u201d a song about cathartic growth and self-empowerment, melodically echoes old English folk ballads and singers such as Sandy Denny of Fairport Convention and Maddy Prior of Steeleye Span. But Jasmine\u2019s erudite introspection is like no one else\u2019s: \u201cToday I felt sun in the shadows\/Those shadows used to eat at me\/And I’ve surrendered to everything I want to be\/I’m everything I want to be\/You may be gone\/but I’m still hanging on\/I will lay my head to rest\/I’m standing strong\/I know it won’t be too long\/I don’t know myself in this mess.\u201d She follows that with an even more telling verse: \u201cEverything works out\/Everything falls right into place\/The moment I found the world\/is the moment you were replaced.\u201d<\/p>\n

\u201cMy Thick Skin,\u201d another waltz, seems like an appropriate coda to the preceding piece. The peculiar flute-like keyboard tone found in Kate Bush\u2019s \u201cMother\u201d on her\u00a0Hounds Of Love\u00a0<\/em>album, is perfectly reproduced on \u201dNo Cause For Regret.\u201d Over a rattling closed hi-hat and smoky hand drum loops, occasional waves of guitar sweep by, as Jasmine outlines the domain of her exile and pain, determined to forge a new and better life.<\/p>\n

Another up tempo number, \u201cDear Christopher,\u201d is a dizzy dance in three, with a familiarly unforgettable chorus, again worthy of radio airplay- in a just universe. Jason Henry\u2019s smoldering guitars and an array of swirling keyboard loops add to the sense of a maelstrom in the process of reaching subsidence. Jasmine\u2019s mature world view and grounded emotional center (hard won, it would seem, to be sure) is contradicted by her ingenuously youthful voice- a paradox which greatly adds to her allure as an artist and a musician.<\/p>\n

It is her profound inner wisdom, in the face of\u00a0 personal upheaval, which is most evident in Jasmine Ash. Her unique voice and solid songwriting skills are beyond reproach and beyond the need to appraise or criticize. With the help of Holbrook and Norton and the other musicians who contributed to this album, she has sculpted a tribute to her heartfelt pain, erecting a true testament to her inner strength and sense personal vision.<\/p>\n

It is rumored that Howard Rosen, the man who discovered Blondie, has taken an interest in Jasmine. He is not the first, nor will he be the last music industry magnate to hear promise in her work. She fairly exudes raw talent. With her pensively brilliant reflections and a vibrantly intuitive knowledge of her craft, Jasmine Ash is a true star in the making- someone who very soon is going to make a real impact in the music world.<\/p>\n

\n

John \u201cLenny\u201d Rancher<\/strong><\/h2>\n

\"\"Emotional Stew
\n<\/em><\/strong>JLR Records<\/strong><\/p>\n

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

Lenny Rancher has been an integral part of the Portland music community for twenty five years. His first band was the Malchicks, formed with his brother Billy, a rowdy, raucous quintet who were known as much for their snotty behavior as they were for their music. Billy went on to forge the Unreal Gods, garnering massive critical attention, before he died of lymphoma in December of 1986. Somewhat overshadowed by his brother\u2019s success, Lenny went a different, less visible route, quietly amassing a musical legacy of his own with an assortment of bands.<\/p>\n

Just as important, has been Lenny\u2019s activism. Involved with environmental issues for the past decade, especially the fate of our forests (Eagle Creek), he has been at the vanguard of the protest movement. Lenny (as is a family trait) walks the walk and talks the talk. This ambitious, 2-disc, twenty-eight song canon contains many insights into Lenny\u2019s political views and experiences- as well as giving a fine aural portrait of his psyche. This is a very personal album, while being politically aware at the same time. Very few artists are as skilled at balancing between those two poles. The most successful would be Bruce Springsteen. Lenny is no slouch either.<\/p>\n

Besides writing and singing all the songs, Lenny plays all the guitars, as well as some bass and keyboards. He is occasionally joined by former bandmates, bassist Franklin Stewart and drummer Pete Jorguson. In addition, the ubiquitous Mel Kubik on keys and sax and vocalist Emily Dahmen make several appearances- as well as other contributions from several other musicians. Greg Paul engineered the project at his Herbert House Studios.<\/p>\n

A downhome, slightly sloppy, Stonesy groove informs \u201cRebirth,\u201d with Lenny\u2019s Keith-like guitar interjections, playing off jangling acoustic guitar and comfortable vocals. \u201cI\u2019m Alright\u201d combines a John Lennon-like sensibility with a Doobie Brothers sort of drive.<\/p>\n

Lennon again comes to mind\u00a0 with the pretty ballad \u201cFlowers In The Meadow,\u201d and in spirit anyway, on the very cool \u201c3:30.\u201d Over a restlessly sad and slightly woozy chord progression, Lenny delivers a wry perspective: \u201cShe sees me, and she wants a piece for free\/\/A piece for free\/I\u2019ll let her run the roughshod over me\/Over me.\u201d A fiery solo at the end of the song locks it in as one of the best of the first disc.<\/p>\n

A faint reggae feel invests the insightful \u201cTrue American,\u201d a song which (unfortunately) really has the basic American lifestyle pegged. And it ain\u2019t very pretty. Sax backing from Kubik and fine drum work from guest Danny Knudsen, not to mention Lenny\u2019s own sure-handed contributions on bass and guitar. Another strong song. \u201cEmma Goldman\u201d is a slinky rave-up rocker whose subject surely would have loved the suitably unusual treatment. A rabble rouser!<\/p>\n

Guest Aaron Lowe\u2019s fluid harmonica fills decorate the lonely , country inflected song, Tom Pettyish \u201cShe\u2019s Not Coming Back.\u201d Dylan is the obvious influence in the conception and delivery of\u00a0 the apocalyptic \u201cMachines And Streets.\u201d \u201cScarecrow\u201d stylistically falls somewhere between the two.<\/p>\n

Another bluesy rocker, \u201cF.B.I. Blues\u201d speaks to the state of live one acquires when one chooses to make waves in society.. \u201cPistol To My Face,\u201d though more subdued, speaks to the same paranoia. Tasty guitar work and nice piano phrasings frame \u201cWaterfall\u201d subtly espouses a political viewpoint that is well in the minority in our culture- as pertinent as it may be.<\/p>\n

\u201cFreddy Fired At Me,\u201d is a searing slide guitar rocker with a similar anti-establishment political stance. Lenny\u2019s guitar playing is simply superlative though out the track. The true reggae number \u201cBelly Of The Beast\u201d speaks directly to the problem: \u201cI drove through the belly, the belly of the beast\/Once was forest, but now there were no trees.\u201d A very heavy song. The title cut is a vibrant piece of modal magic.<\/p>\n

Disc Two, a softer more stripped down acoustic set,\u00a0 opens with the pretty little country flavored ballad \u201cFor The Dreams Of John And Mary.\u201d Lenny adds very nice acoustic slide guitar to the mix. \u201cSunburnt\u201d is a tribute to those oddly heroic characters who choose to climb up old growth trees in order to prevent them from being cut down. \u201cSacred Place\u201d is a solemn prayer of a song with a Mark Knopfler feel to Lenny\u2019s well-executed solo. \u201cThis Town Alone\u201d is a somber paean to the loss of the American Dream. \u201cI\u2019m A Lover\u201d is a simple declaration of peace.<\/p>\n

Dahmen\u2019s evocative close harmony vocals bring out the pathos in \u201cForest Canyon.\u201d Her vocal blend with Lenny on \u201cFreedom\u201d is seamless and sublime, creating an unique sound for an exquisite little gem of a tune. Finally, \u201cHow Come You\u2019re In My Dreams\u201d is a simple song with a Zen-like philosophy playing within the lyric.<\/p>\n

Now working in his fourth decade in the local music scene, John \u201cLenny\u201d Rancher proves himself to be a consummate musician and a talented songwriter. With nearly three albums worth of material here, it is hard to do justice to the breadth and scope of Lenny\u2019s material. He cares about people and he cares about the land we live upon and he has acquired the means to express his opinions with forthrightness and intelligence.<\/p>\n","protected":false},"excerpt":{"rendered":"

Stephanie Schneiderman Touch Down Papa J Records BUY A fixture on the local scene for the past five years, Stephanie Schneiderman has made great strides since the release of her sophomore album,\u00a0Unbelievably Unbroken,\u00a0in the Summer of 2001. While that album … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1150,"featured_media":0,"parent":46,"menu_order":8,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2004 - 02 - 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=879\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2004 - 02 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Stephanie Schneiderman Touch Down Papa J Records BUY A fixture on the local scene for the past five years, Stephanie Schneiderman has made great strides since the release of her sophomore album,\u00a0Unbelievably Unbroken,\u00a0in the Summer of 2001. 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