Scroll down for reviews of the latest from Chris Stamey
Cliff Hillis, Butterfly Boucher, Greg Johnson, Johnny A., The Argument and a Salute to Teenage FanClub

Chris Stamey
Travels In The South

(Yep Roc Records)

Release Date: June 15, 2004

www.chrisstamey.com
www.yeproc.com

Waiting over a decade between studio releases has its pros and cons, particularly if you're talented singer/songwriter/guitarist Chris Stamey. On the negative side, there definitely are less people in the listening audience who actively recall his formative stints in The Sneakers and The dBs, or for that matter, even his solo efforts beyond that (his last official solo studio release was 1991's Fireworks). Sure, he's a pivotal figure in the history of American alternative rock, but how many know his earlier music? (I do, but I'm sure many of my younger counterparts do not).

On the positive side, Stamey has been busy producing and engineering projects for other artists in the intervening years, among them Whiskeytown, Alejandro Escovedo, Le Tigre, Ben Folds Five, Tift Merritt, The Butchies, Amy Ray, Helium, Flat Duo Jets, Caitlin Cary, Thad Cockrell, Yo La Tengo, Mayflies USA and Squirrel Nut Zippers.

With that impressive array of workmates (and it's not like Stamey didn't already have plenty of musical connections), it's easy to assemble a formidable bunch of musical allies for a new release. Without question, this is Stamey's best musical lineup to date.

While Stamey takes on lead guitar and keyboards, he is joined by Brian Dennis (rhythm guitar), Danny Kurtz (electric bass), Superchunk drummer Jon Wurster, ex-Jayhawks keyboardist Jen Gunderman, and Greg Readling of The Carbines (on Hammond, pedal steel and accordion). Guest appearances read like a who's who of the music industry and include Ryan Adams, Caitlin Cary, Thad Cockrell, Peter Holsapple, Wes Lachot, Tift Merritt, Brandon Bush, Ed Butler, Martha Bausch, Greg Decker, Don Dixon, Chris Eubank, Ben Folds, Jeff Hart, Darren Jessee, Brent Lambert, Logan Metheny, Sam Pould, Tyson Rogers, Corey Sims, Julia Stamey and Chris Stephenson.

Stamey credits Ryan Adams with pushing him forward to do this new album. "I'd been on the other side of the glass a bit too long," Stamey admits, "and I was forgetting how hard it is to walk up to a mic and declare your intentions." Stamey wanted to create a musical meditation on the late-'60s generation he was a part of, and was eager to have fun exploring ideas just jamming. The result is Travels In The South, twelve songs that aim to take on the big picture - time, death, religion - and move beyond the romantic relationship/dear diary aspects of most of his past musical creations. As he nears age 50, Stamey wanted to create something that will endure for generations.

While Travels In The South has wonderful moments where Stamey stretches farther musically, some of these songs require several listens to take hold. Stamey knows how to manipulate a hook - he's a veteran of pop songcraft and his chord shifts are subtle. The sweet harmonies are everywhere and his sweet reedy voice remains the same, an old familiar friend who once "asked for Jill" way back when.

"14 Shades Of Green" is a strong opener, a catchy lush wall-of-sound tune that ranks up there with the best Stamey's ever done. It's the story of a high school reunion's chartered bus, hijacked by the guy who never joined the others in leaving their hometown: "Here's where we went to class a hundred hours a day / and here's where we'd smoke grass and laugh our cares away / Here's where we went to church / Here's where we robbed that store / Here's where we fell in love / What are we waiting for?"

Stamey goes for the heavier subject topics in "Kierkegaard" and it's as though the dBs and Brian Wilson were taking on philosophical matters e.g., the existence of God. It's a lovely melody, enhanced by some funk-groove organ, Beach Boys-like harmonies and some great jazzy solos on piano and guitar, stretching over five minutes yet never seeming very long.

"The Sound You Hear" is an astute examination of being at a certain point in life, far from your dreams and once-upon-a-time aspirations: "the sound you hear is the silence of the song you used to be." It opens with some great blues guitar riffs (courtesy of guest Ryan Adams) and works its way slowly to a rich harmonic chorus that reminds how "it's all over now."

When Stamey goes slow, he goes so slow as to seem hesitant, plodding. In "Insomnia," the stammering music effectively reflects the feel of the wee hours, unable to sleep, locked in a place haunted by memories. Stamey says this is about a night when a melancholy traveler glances out the window to find God has thrown a fistful of stars against the black heavens. It's lovely and moody, with accents of pedal steel, piano trills and electronic noises.

"Ride" is a more upbeat vision, extolling the psychedelic glee of traveling through both time and space. Stamey seems a little looser than in previous releases, more willing to jam his way out of a song. He serves up nice lead guitar solos here and lets the piano close out the song.

Opening with a guitar bit that recalls Paul Simon's "I Am A Rock," Stamey tells an amusing story in "Spanish Harlem." Here travelers have come to New York City in a search for the imagined landscape they've conjured out of their Spector records. Kenny Burrell and Hal Blaine and The Shirelles get name-checked, and there are some beautiful harmonies from Tift Merritt.

"And I Love Her" is more of a straight-ahead Chris Stamey love ballad (like something from out of the past). Also like something from the 1960s is the upbeat "Alive" - again featuring a very full wall-of- sound production and a great little guitar lead. Stamey allows some jamming at song's end, but the true funky jam follows in the short next track ("K Jam") for a little over a minute.

The title track recommends one travel south when dreams fall out, while providing assurance of holding on to a real love ("I'm never gonna let you go"). This complex (and slower tempo) song has horns accompanying the middle bridge, and some nice pedal steel as well.

"There's A Love" is a pretty ode to simplicity and a strong yet indescribable love: "There's a love that never dies / a love you can't describe / There's a love that's everywhere / no poet's cage can trap or snare." Again, Stamey surrounds his song with an impressively busy musical arrangement, from flutes to keys to guitars and then some.

The album closes with the instrumental "Leap Of Faith," which opens as an instrument-only treatment of "Kierkegaard" (flute replacing vocals), then after a minute and a half morphs from a dreamy meditation into ever-faster drums that further change into an interestingly moody modern jazz piece. It just hints at the many additional musical facets to Stamey, sides he doesn't often show.

While pleasant enough as an initial listen, the fun part about Stamey's music is how it grows better over time. After several listens, you'll likely hear more accent notes and notice different things about the songs. Obviously, he knows his way around strong songwriting - one of the reasons his place in alternative rock history is deserved.

Travels In The South proves that Chris Stamey hasn't lost anything as a performer in the years spent working behind the board. Perhaps if these dozen songs are well received, he'll serve up several more in short order (much like his Peter Holsapple collaboration Mavericks followed close on the heels of Fireworks). If Stamey's new collection was written as a means of finding a way home after more than a decade away, it's a most welcome homecoming - warm and happy and leaving you wanting more.

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Cliff Hillis
Better Living Through Compression

(Tallboy Records)

Release Date: April 23, 2004

www.cliffhillis.com
www.tallboyrecords.com

Sometimes, subtle is the way to go. It would seem to be the key behind the pleasant pop of Cliff Hillis. At first listen, it seems nice enough. But with repeated listens, the subtle nuances emerge, elevating this music well above the norm. Better Living Through Compression, the impressive sophomore release from the former Starbelly member, finds Hillis in good form, backed by his band of Forward Thinkers (Ken Herblin on guitar, Dave Anthony on drums, Greg Maragos on bass) and a host of guest musicians.

The amiable Hillis (a bona fide nice guy) knows his pop/rock music history well. Indeed, his uncanny covers of songs on various compilations over these past few years have come to be personal favorites (McCartney's "This One," Tommy Roe's "Dizzy" and Teenage Fanclub's "Can't Feel My Soul"). He's so adept at covering various styles and artists, I've often found myself wondering what his next release might sound like.

Better Living Through Compression does not disappoint. Most of these songs are mid-tempo numbers steeped in rock/pop influences from what's gone before, yet they stand out as impressive originals. Each of these eleven tracks is as well put-together as any of those cover songs, a further testament to Hillis' abilities. Those talents are on full display here: you get Hillis as singer/songwriter, guitarist, keyboardist, producer and mixer.

The CD opens with the infectious "So Much To Tell You," the tale of a man tired of hiding behind the charade of being "little more than a good friend." He knows there's a risk involved in confessing all he has to tell, still that risk is better than regret: "you can't prepare for what might have been / it never hurts as much as when you're looking back on the chances that you'll never get again." The harmonies, combined with the affable melody, make this one a winner.

A slightly slower pace suits "Used To Be The Man," a musical reminisce of a man twenty years beyond his prime, still "always looking back" to what now seems like another life, a distant daydream.

The genial love song "Two Of The Same" is another devilishly catchy one, featuring some fine guitar fills that accompany this happy realization: "Back and forth we dream out loud of the future perfect day / Take a number, settle down, there must be another way / But you came along, and what could I say / Now I know for sure, we're two of the same."

Hillis has a gift for subtle emotions that touch just the right note. The sweet melodic shuffle that is "Home" is a simple celebration of independence, even when sometimes feeling "on the outside."

"Madeline," sounding like a classic song from the 1960s, addresses a woman after a failed relationship, seeking to find common footing and friendship even after so much has changed. He notes the inevitability of change, the shame of it, the difficulty of finding meaning in life and more: "It's funny how sometimes the more you try / the more some things in life just pass you by." The Jellybricks lend great harmonic backing vocals.

The harder rocking (and relatively short) "Go Go Go" is an anthem to commitment from a philosophic superman: "It's alright if you want to stay / I've been waiting for you every day / There's just one thing you've gotta know / I will never let you go go go / Save it for another life."

Hillis seems to have a knack for infectious melodies, but in "China Heart," he lets fly with his most poetic lyrics: "In the last days of the fall / could you be my China doll / sit inside an open box / whisper slowly / Look to the periphery / Ask the stars to blink for me / Smiling from your China heart / lay beside me / I'll follow you into tomorrow."

What if broken hearts could really kill you? This is the perspective given us in "Six Feet Under," where one thus afflicted is begging for another chance: "I'll be everything you ever want me to / Still we fade into black / Can't sleep, the rain is always falling down on me / Take me back."

The spare piano and chorus of backing vocals by Ritchie Rubini (who co-wrote this song) drive the haunting "All These Memories." This poignant recounting of how memories return like long-lost friends, going on as yesterday becomes today and even tomorrow: "All these memories lay beside me as I go to sleep / Stirring slowly, miles below me, coming back to keep."

Another three-minute gem is the pleasingly jangly "Better Than Myself." Here Hillis recounts the battle of winning the confidence of a reluctant other: "Talk to strangers, get a strange reply / it's so obvious to me / Like the weather, making up your mind is never easy or complete / I would like to know you better than anyone else / I would like to know you better than myself."

The CD closes with "Ribbons & Rain," a ballad of a man tired of the same old runaround: "There's no point in leading me when, it's the same circle we follow again, tied up with ribbons and rain."

There are oblique musical references here that extend from the Fab Four to the Pre-fab Four (my beloved Monkees) and far beyond, yet every song stands on its own as a genuinely catchy Cliff Hillis original.

Cliff Hillis doesn't shout out his many talents from the rooftops. Like his music, Hillis is subtle, graceful, confident and contained. But the talent is real and the proof is in the music. The cordial songs of *Better Living Through Compression* get better with each repeated listen, and in a world often besieged with the blatant, perhaps the time for subtlety is now.

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Butterfly Boucher
Flutterby

(A&M Records)

Release Date: February 24, 2004

www.butterflyboucher.com

Just when I thought I had the fun pop find of the year, Hollywood goes and steals my thunder. If you are one of the millions who've already plunked down their bucks to see Shrek 2, you've heard Australian singer/songwriter Butterfly Boucher (she does a cover of "Changes" accompanied by David Bowie himself). But that little novelty in no way reflects her true musical talents - and believe me, they are immense. The young Ms. Boucher is indeed the real wow.

The middle child among seven daughters, Butterfly had interesting creative types for parents -- her mom a dancer, her dad a struggling musician. After a publishing deal fell through, her father sold the family's possessions and opted instead to tour the Outback in a Toyota Corolla wagon packed with kids. Butterfly was six at the time, learning to read by watching road signs. By age 10, when other kids were playing, she was experimenting with recording multi-instrumental tracks.

At one point, Butterfly joined her older sisters' band (The Mercy Bell) as bassist, but a record label deal went nowhere. When friend and musician Mike Dixon convinced Butterfly to pursue a solo career, she pooled her resources, bought a laptop and moved to the north of England to concentrate entirely on her music. After managing to simplify her songs to the point where they finally seemed inspirational, Dixon hooked her up with the likes of producers Robin Eaton and Brad Jones and Butterfly began to record what would become Flutterby.

Boucher plays almost all the instruments on the record, save some drums on a few tracks (Lindsay Jamieson) and additional cello by David Henry on three tracks. In truth, many of these cuts are actually the original demos Boucher recorded. There are tons of influences abounding throughout, and things never get dull. Boucher manages to elevate herself above the current fray of teen-girl commercial pop divas (Avril Lavigne, Michelle Branch, Vanessa Carlton and more) with her complex and intriguing rhythms and instrumental choices.

While there's not a clunker amid the twelve songs here, I would have perhaps sequenced them differently. The ballads seem weighted toward the end of the album - perhaps it would have been better to mix them in among the more upbeat songs earlier. At any rate, let's get to the magic of the music.

Boucher jumps right out with the melodic "Life Is Short," where the philosophy runs tongue-in-cheek but honestly: "When it doesn't rain, it snores / Yeah the cookie crumbles, but in whose hand? / All things said and all things done / Life is short." Her voice is strong (more like the harder edges of Chrissy Hynde or Aimee Mann than that of whisper pop singers, kind of a Fiona Apple sensibility crossed with Liz Phair energy) and the tune infectious. Boucher likes to load up her tracks with unusual instrumentation that might escape less careful listeners' notice - best to keep the headphones on here.

"Can You See The Lights?"opens with a guitar riff that's a relation to The Stones' "Satisfaction," then launches into an energetic juggernaut of a song about mysterious noises in the night and the knowledge that in the dark "things are brewing."

The first single chosen from the album is the fantastic "I Can't Make Me." This is Boucher at her best - a wonderfully catchy piano hook that intercedes with strong beats and guitars - alongside lyrics that capture perfectly how Mr. Right Now is not Mr. Right. It's obvious the chemistry isn't there: "Paper pen and a piece of your heart / I can read it but where do I start? / What to do, what do I do? / And I am going but I'm gonna come back and maybe then, maybe this, maybe that / Hold me tight but not too tight / It's not a hurry that we're in / There's no problem, that's the thing! / I can't make me love you and you can't make me either."

The second single (and why are they back-to-back on the record) is the urgent "Another White Dash." Another delectably infectious tune, this song (co-written with Joshua Thomson) could be Butterfly's musical autobiography, all about the transient nomadic existence of life on the road and its inherent allure: " There is something exciting about leaving everything behind / There is something deep and pulling leaving everything behind / Something about having everything you think you'll ever need sitting in the seat next to you."

"Soul Back" is a wonderfully endearing song about losing one's soul carelessly in the midst of music and dancing and love. It features a great vocal war whoop of sorts.

Boucher treads into Annie Lennox/Eurythmics territory with the somber "A Walk Outside," asking the musical question: "Which came first - the love or the love song?" and debating its relative importance in the grand scheme of things. Music wins out, of course: "Music's in the things that matter / Hear it in the kiss we hold / Music is a walk outside."

Another track that could conceivably be from the lovely Lennox canon is the piano ballad "Never Leave Your Heart Alone." Here the strong vocals shine, as Boucher struggles to find a solid footing regarding words of advice about love and which point to make. It's a beautiful song, and there's nary a false note in it.

"Busy" is a lighthearted romp through a new experience, foreign yet familiar. Again, there are plenty of instruments competing for your eartime.

Boucher opens with an early XTC-like woo-hoo whoop in "A Beautiful Book." Poetic lyrics describe the way "everything's full of dreams" and a rich aural soundscape drives the song forward, synths and guitars and drums and more.

Acoustic guitar and vocals open the precise strains of "Don't Point, Don't Scare It," soon followed by cello and string accompaniment. This charming examination of love as a gentle entity, carefully hidden, is sung carefully, as if Boucher is afraid her voice itself might startle the fragile creature. It's a pretty piece of whimsy, well executed.

Closer to the fare of other radio goddesses is "Never Let It Go," with its light keyboard accents and sunny background harmonies. Boucher's lyrics begrudge the fact that it's yet another song about love gone right, that her stories are too sweet. Perhaps this is the case, yet she manages to make these songs interesting regardless. Every song has points of interest for listeners, and there's always more going on than you might at first suspect.

The final track, the lovely short acoustic ballad "Drift On" finds Boucher in fine voice again (and kind of Joni Mitchell-like), an ode to a sunny day floating along, sweet and yet never too cloying, a subtle balance achieved.

This very powerful debut marks Boucher as one to watch in days ahead. She's as talented as they come, playing so many instruments, singing well, writing such infectious and complex musical concoctions and in command of it all (heck, she even directed her own video and did the art direction and concept work for the CD). This is hardly the way most arrive on the scene, but Boucher is the exception, and her rare talents make Flutterby a pleasure from start to finish.

Please don't let this one escape your radar. Flutterby is a remarkable showcase of a genuine talent, a fresh musical pop celebration to prove wrong those convinced all exciting talent already has come and gone. Welcome Butterfly Boucher, may your surprising, clever songwriting find favor with a large slice of the public for many years hence.

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Greg Johnson
Here Comes The Caviar

(Capitol Music/EMI)

New Zealand Release Date: April 5, 2004

www.gregjohnsonmusic.com

Revered as a pop star in his native New Zealand, singer/songwriter/pianist/trumpeter Greg Johnson still remains something of a well-kept secret in the United States. After the release of his phenomenal Sea Breeze Motel in 2000 failed to generate big numbers sales-wise, Johnson thought it might be time to move on. Literally. With a new manager and a new independent record label deal lined up (with the man who produced several of Fleetwood Mac's greatest hits), Johnson took the plunge and moved to Los Angeles (along with manager Michelle Bakker and guitarist Ted Brown) about two years ago.

After six months of hard work, both in the studio, playing local clubs and making connections, Johnson was released from the label when it hit a financial downturn. Suddenly it was just three ex-pat New Zealanders in sunny Santa Monica without a means to survive.

But given lemons, the optimist Johnson and company made lemonade. Through their almost record deal, they'd met Dandy Warhols' producer Clark Stiles, who agreed to produce the new album and allowed it to be recorded in his home studio. With the help of Minibar's Sid Jordan on bass and Malcolm Cross on drums, two years of hard work resulted in the reality that became Here Comes The Caviar.

All the while, Johnson continues to play clubs, slowly but steadily building a following (he was granted a performance visa that allows him to get paid legally in the U.S.). He and Brown play a regular Sunday night gig at Renne's club and a monthly deal at Hollywood's The Hotel Café. Surviving on brown rice, red wine, tips, dinner and drinks, Johnson's chosen album title is ironic (and like him, ever hopeful).

The good news is that on his sixth album (there's also a "best of" collection that was released in 2001), Johnson's songwriting is as strong as ever. His change of scenery hasn't changed his abilities or his attitude. The good news is that it's the same Greg Johnson we've always known. If anything, the new material shows a bit more maturity and a refreshing streak of hopeful optimism, along with a lyrical penchant for the word "pearl." These ten songs are assured and confident; continuing the affable, offhand intimate storytelling manner Johnson has made his very own.

"It's Been So Long" opens the CD on a positive note, urging a friend to return to form, a reminder to go out and have fun: "It's been so long since you were smiling / You've got to let a little bit of it out / Don't be unsure, just take a step / Don't let yourself get caught up in this desert of doubt / You've got to let it out." This sweet tune will have you smiling, as Johnson assures us that "sometimes it's good to end up on the floor."

"Standing Under Starlight" is one of two songs co-written with guitarist Ted Brown. This pleasant ditty discusses the "city of angels" and the struggle inherent in keeping it all together under those blue skies: "Sometimes I'm nine dollars short of ten / And I lose the run of myself now and then / But I'm hanging on to hope as if she's mine / Even though she fakes it half the time / There must be an angel somewhere in this lonely town / who's not already found." Rami Jaffee (The Wallflowers) guests on piano accordion.

The album's first single, "Save Yourself" is the strongest track by far. This ultra-catchy piano-and organ-driven ballad (featuring some wonderful Hammond organ by Jeff Young) is the creative result of relationship gone sour. Johnson gives us the exploring metaphor for what appears to be his one-sided love: "I'm a great believer in believing in you / But I don't have a compass, no plans for pushing through / I guess I'm pinned down, bad weather's on the way / I need your shelter now but / first you save yourself / then you save the world."

For the uninformed, Greg Johnson prides himself on his strong appetites for food and for women. His lover's persona often exudes a sort of boyish charm - and that's on display in the equally charming "Love In The Air." Here, amidst casually politic statements like "down with the war" and "good luck to the ones who speak out against the guns" is the constant of love. If you don't smile when you hear the contrasting statements "off with the machines / off with your pale blue jeans," you don't get the humor that helps keep Johnson sane in an often crazy town.

Johnson has a gift of casual ease in his storytelling, and his Auckland accent draws you in further. Such is the case in the song "Don't Be The One," where Johnson is looking for a true friend in a world full of traitors, seeking reassurance after "yelling at robots all day." The philosophy is simple enough, and true: "Love is the one thing that stops life from turning to shit."

Another endearing love song is the synth-accented "Kiss Me" (co-written with Brown). Here Johnson is the bad boy, 'fessing up to his drinking and fighting yet still seeking advice and a lover's kiss. The piano ballad "Lose You Girl" captures the feel of a live lounge performance, a sad reminisce about regrets for a relationship already lost. We get a taste of Johnson's trumpet work here.

Piano and vocals are the bare-bones accompaniment to "Handles of Pearl," yet Johnson turns it into a haunting examination of what dueling men have done for the love of a girl: "Where do you run to when you've got no one to believe in? / Have you been dreaming the bullets back into the gun?"

Johnson has a knack for creating sweet melodic love ballads that dwindle between the realms of confession, bragging and apology. Such is the case with the gorgeous "If You Think It's Over," wherein he delivers the wonderful line: "You're in my DNA." This dulcet tune is enhanced by Jeff Young's Hammond and Ted Brown's harmonies, and this lyrical level-headed assessment: "Baby you are crazy if you think it's over / it hasn't been all clover, but it hasn't all been bad."

The closer "No Love Wasted" shows Johnson's philosophical bent. He's all full of questions here, urging us to keep our hearts true and singing this truism: "There is no love wasted on the lonely / There is no love wasted in the sun / If you want me you can always hold me / If you don't then, you can always run."

Johnson serves up ten melodic winners with a wistful yet optimistic attitude, hope amid the troubles that surround him in his adopted home. There is warmth and intimacy abounding, preserved well by Clark Stiles' production work. Johnson and Brown weave keyboards and guitars well, a result of their friendship and experience playing together.

Here Comes The Caviar is a tasty, more mature musical sampler of Johnson's premium songwriting abilities. It expresses ease and charm and confidence, even as he's moved across the world in search of a larger audience.

If you're in the Los Angeles area, go and hear Johnson play live. He's an intelligent man who still believes that love conquers all, and can back up his assertions in captivating melodic songs. You may not know Greg Johnson now - but his accomplished sixth album proves he's going to be around for a long time to come.

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Johnny A.
Get Inside

(Favored Nations)

Release Date: February 24, 2004

www.johnnya.com

If you love guitar, you'll love Johnny A. It's really that simple. The man takes six strings and turns them loose in ways that transcend musical genre, challenging himself to take on different styles in making his Gibson sing. Though primarily a blues guitarist, his love of music outside that realm is made obvious in this current collection. His debut CD, Sometime Tuesday Morning, was first sold out of the trunk of his car after concerts (back in 1999). That CD developed a groundswell of support and became a success when re-issued on Steve Vai's Favored Nations label in 2001.

Now, after years of touring, Johnny A. has returned to the studio at long last. So how do you follow up a phenomenal guitar record? For one thing, you keep doing the things you do well. Like the first record, Get Inside is instrumental, showcasing Johnny's virtuoso performances on both original and cover tunes. Secondly, you assemble a superbly tight and talented band to accompany you.

Johnny has done that with Ken Clark on Hammond B3, Henly Douglas Jr. on saxophone, Rick O'Neal on electric bass, Garret Savluk on trumpet and Ron Stewart on drums and percussion. These musicians all are excellent, and while they defer to Johnny A.'s guitar performances here, they still shine.

What Johnny does well on this sophomore release is cover a wide swath of music. Unlike other blues guitar "snobs," he's unafraid to venture outside that world into other guitar ghettos - jazz, rockabilly, fusion, big band, world beat, rock, western swing and more. Johnny's love of the instrument goes beyond stylistic limitations, and his seemingly effortless command of the guitar inspires envy and admiration.

Opening with the spicy Latin rhythm flavors of "Hip Bone," Johnny seems comfortable enough playing along to the percussion (in a very Santana way), then explodes into a fantastic blues leads in the middle bridge, before returning to the song. Johnny shows a real feel for the music (it's not about speed, so much as expression) and makes his guitar an emotive narrator.

The jaunty upbeat chorus of "I Had To Laugh" has a jazzy full band swing to it, complete with horns. It's a fun sort of road tune (think of the SNL band in its heyday) and again the highlight is always what Johnny's guitar does, unpredictable in his flashy leads and changes. This is more than good music, it's also great fun.

One Johnny covers another in Johnny Rivers' ballad "Poor Side of Town" (co-written with Lou Adler). This 1966 hit is recreated faithfully, with clean tones of guitar taking on each nuance. Johnny A.'s generous spacing between guitar lines allows the song great emotional shadings.

"Sing Singin'" is a straight ahead jazz-blues shuffle, in which the guitar sings generously and impressively, both in chords and in notes.

The title track takes a sweet blues progression groove and lets that hollow-bodied electric guitar take over with a host of different tones and lead lines (the song goes over the six-minute mark, and to its credit, never seems lengthy or over-extended).

"Bundle of Joy" sounds like something from the Chet Atkins canon, a three plus minutes bundle of pure country-picking joy indeed. It's amazing to me just how well Johnny A. covers this particular style of music, exhibiting humor, flair, dexterity, and grace.

The moody "Krea Gata" takes us into a deeper jazz realm, hushed gentle tones on a dark night. This song builds slowly, but ignites into a maelstrom of furious blues in a solo that will leave the listener agape before returning back to the tender and mysterious blackness of night. This is a mini-masterpiece of mood, and recalls the style of Wes Montgomery some.

When Johnny A. takes on a cover, he's not afraid to go after a sacred cow. Such is the case with the Jimi Hendrix' favorite "The Wind Cries Mary." Not only does Johnny A. take on that sacred cow, he slices it up and serves delicious steak to his listeners. He deconstructs it with an upbeat jazzy rhythm and chords, but shows about a minute or so into the song that he can handle the Hendrix riffs with aplomb. Then we get a wonderful sort of Miles Davis' funk trumpet take on the song (courtesy of Garret Savluk), before returning to the recognizable Hendrix verse structures. Believe it or not, it works and works well - and you know that Hendrix himself would likely be honored by this unusual version.

Johnny A. goes romping in rockabilly territory with "Ignorance Is Bliss," a high-energy romp rich in bends and fluid chords. Fans of Dave Edmunds and Scotty Moore and other great rockabilly guitarists will love this one.

"Sway A Little" is another exotic rhythmic offering, a sweet mid-tempo melody that calls to mind visions of romantic interludes, slow dancing at some sultry after-hours clubs. Being a word-man, I'm prone to wonder what words might fit this melody (I'm guessing it would be something about love, guaranteed).

From out of an explosion of sounds, the song "Stimulation" is born. It comes at you fast and furious, sporting a world beat and entirely rhythm-driven. Johnny A. mixes styles in this one (including some jazz fusion) and spins lovely guitar lines out of a catchy melody.

The CD closes with the haunting "Another Life." Out of backward guitar tones that hover in the background comes a dreamy dulcet melody as mellifluous and fluid as light rain, but refreshing as a breeze on a hot summer's day. This is soothing music, clean astral tones that relax.

Johnny A. has done it again. His clean production (those guitar tones are wonderful, and each note stands out) and fine accompanying band assure a fine listening experience overall. Get Inside is a shining example of how the guitar can sing with emotions and give voice to a range of complex moods.

If you enjoy the instrument beyond any single musical style, then Johnny A. is your man. His talents are driven by quality - and as such, he delivers yet another fine collection for discerning listeners.

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The Argument
Recess Serenade

(self-produced)

Release Date: March 26, 2004

www.theargument.net

It's not very often one comes across a highly melodic power pop record chock full of solid radio-ready material that's this solid from beginning to end. Recess Serenade, the sophomore release from The Argument, is a rare treat indeed. With clean production courtesy of Ted Comerford (mixed by Paul David Hager and Mitch Easter), these songs all succeed, mixing a number of familiar elements into something refreshing and new.

Keyboardist Scott Simons (who prides himself as the only Jew in West Virginia) is the creative force behind this foursome. He's supported in vocal harmonies by guitarist Matt Warder, bassist Brent Bunner and drummer Chris Russell. These guys know their music history and excel in delivering tight rock/pop songs with lots of sunny harmonies (it's no wonder they've won several "best band" competitions). A real group of superb musicians putting out well-produced tuneful pastiches that trade on clever lyrics and have a host of hooks abounding - it's a wondrous thing.

Musically, Simons and company recall a number of others, both old and new - there are hints of Queen, Jellyfish, The Tories, Fountains of Wayne, Ben Folds Five, Weezer, Bleu and then some (pretty much the standard comparison references one finds these days).

The CD opens with "Song One" (appropriately enough), a charming and realistic recounting of getting his first guitar and subsequently writing that first song for his eighth grade love, letting his heart "roll right off my sleeve, and onto an empty sheet of looseleaf." It's completely on target (if memory serves), and ends with a twist that is honest and perfect.

While those prone to auto accidents on Long Island write tunes about moving out, Simons and The Argument offer "Movin' In," a coming to terms with the inevitable realization that she's about to share the territory: "She's thrown out your best magazines / Your CD's doubled in size / Laid out in stacks of 15, completely alphabetized / And you swear it's just for now (not quite) / Picture frames and candles say otherwise." The music here is reminiscent of the sort of radio hits you'd hear from Foreigner/Toto/Asia and that ilk way back when (and that's not a bad thing).

The Argument go all Jellyfish in "Speak My Mind," a love song with a rather unique viewpoint - that from a cat to its owner. Musically, there are lush multi-part harmonies and a great Brian May-type harmonic guitar lead. The lyrics are full of clever feline insights from one tired of being taken for granted: "I could just sleep all day, Just to stay up at night and keep you awake / If I could speak my mind / I'd go out on a limb / And say with a sigh "I'm the only one who sees you when you think you're by yourself.""

"Soaked" is more like something you'd typically hear on the radio (probably why it's had some limited radio play, as well as being added to an XM channel's playlist). It's a pleasant mid-tempo examination of being inundated with thoughts of a certain someone - soaked, in fact.

Simons and company take aim at the hype and marketing that pollute our daily lives in "Everyone's Selling Something." Everyone is someone's key demographic somewhere: "A horizon of billboards, a landscape of signs / Complete with bright colors and crafty sales pitch lines / On the side of each building on every inch of this town / Logos and dollar signs are all that count." There are some catchy "Casio" tones that work well as song accents.

One of my favorites is the infectious "Call In Sick," wherein a romantic interlude is suggested in lieu of work: "Pull the blinds and don't take any calls, the machine can get them all / Today we don't exist / You can fake a cold, I'll fake a cough and we'll call the whole day off / I doubt that we'll be missed."

Also great is the anthem to frustration "Act My Age." Sounding like something Bleu might have written (ironically Simons and Bleu have written material together), the singer is reluctant to get his act together, faced with real life he'd rather return to younger days when you could call for a "do-over."

"Practice Smiling" looks at a problematic relationship, one partner too busy for the other: "Just tell me how long I should keep waiting up for you? / I know you're tired but you've got some catching up to do / So what did you expect? A ticker tape parade? / I'll stand behind you 'cause I don't want to get in the way / It's alright, I'm fine, just keep pushing me aside." The track features more great harmonies behind Simons' distinctive vocals and fine guitar and bass work as well.

"Incognito" is another clever track, a man keeping a low profile (chased by even more great harmonies). "My Dumb Luck" is a piano-driven ballad about a guy who has had great luck up to now, but wonders if his streak is about to end in a big collapse. Here, Simons lets loose with vocals that are big and emotional.

With songs this good and engaging, The Argument certainly deserve a wider audience and commercial success, but thus far it has eluded them. In spite of all that, Recess Serenade is a quality collection -- ten songs that will have you singing along, wishing Simons and The Argument a chance to live out their rock star dreams.

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Various Artists
What A Concept!: A Salute to Teenage Fanclub

(Not Lame)

Release Date: April 6, 2004

www.notlame.com

In fifteen years, and some seven albums (to say nothing of their many collaborations), Glasgow's own Teenage Fanclub produced a lot of great music (and they continue to record, with a new album in the works scheduled for release later this year). While there were three top-notch songwriters within the band (the majority written by either Norman Blake, Gerard Love or Raymond McGinley), the standard elements of any Teenage Fanclub song always seems to be layers of jangly guitar drenched in rich multi-part vocal harmonies forming some insanely catchy melody.

In spite of having written so many wonderful songs, the band remains unknown to most of the general public. Commercial success has eluded them, so outside of devoted fans, their legacy could always use an extra promotional push. First along these lines was 2003's packaging of TFC's greatest hits (Four Thousand Seven Hundred and Sixty Seconds: A Short Cut to Teenage Fanclub) and now a year later comes this extensive tribute CD, executive produced and mastered by Ken West.

While the greatest hits featured 21 select TFC cuts, this generous tribute actually features 24 (and runs a healthy 79:34 minutes). It's hard to pick out favorites here -- there are so many energetic and loving performances - and I'm really biased toward the songs I liked in the first place. That said, this is a most impressive collection from start to end.

The Shazam do a fairly traditional version of "The Concept" to lead things off, and Redd Kross follow up with their raucous harmonica-laced "Everything Flows." On of my personal TFC favorites is "Sparky's Dream" and John Faye and IKE do it sweet justice, harmonies and all. Michael Carpenter keeps the harmonies flowing with his fantastic version of the delectable classic "Neil Jung."

Receiver makes "What You Do To Me" sound like their own, and Superdrag do a caffeinated version of "Radio." Rick Gallego and his Cloud Eleven provide a dulcet cover of another of my favorites "Ain't That Enough." The Gigolo Aunts get close to the mic in their intimate version of "Alcoholiday" (so be careful with those headphones on).

It's notable how well these indie bands manage to deliver delicious harmonies. Splitsville, in my opinion, actually improve on the spare acoustic feel of the original "Tears Are Cool." Similarly Chewy Marble cleverly update and sonically improve upon "Metal Baby." The Andersons make "Fear of Flying" their own, giving it more beat and harmonies (and selling the delivery of that F word).

Ooh - so many favorites, so little time. Bronco Bullfrog keep fairly close to the jangle-drenched original with their version of the marvelous "I'll Make It Clear." The Mockers add guitar heft to the start of "Hang On," then launch into a wonderful harmony-rich rendition that recalls what They Might Be Giants and Fountains of Wayne might sound like if they ever covered TFC. The ever-talented Cliff Hillis masters the unusual rhythmic twists and turns of "Can't Feel My Soul" in a phenomenal cover.

Jet Lag add a piano riff and some interesting synth sounds to their version of "The Cabbage." Mike Simmons, Susan West and Sparklejets*UK do a truly superb "I Don't Want Control of You" (talk about scrumptious harmonies). Florida's Barely Pink (always great with cover songs) check in with a solid old-fashioned rocking "Don't Look Back." Marykate O'Neil wrests the B-side winner "Traffic Jam" from relative obscurity with her lovely voice.

Michael Shelley (who teamed with TFC sometime songwriter Francis McDonald in the duo Cheeky Monkey) does a fine job with another of my favorites "Mellow Doubt." A most pleasant version of "Winter" is provided by Crash Into June. Walter Clevenger and The Dairy Kings are fine practitioners of the multi-part harmony - the proof here is their splendid southern rock-accented "About You."

Captain Soul does a fairly straightforward cover of "Your Love Is The Place I Come From," with pedal steel accents and yet more delicious harmonies. Tam Johnstone's The General Store clocks in with a semi-psychedelic version of "120 Minutes," which expands upon the soft original, but remains true to the song's intentions. Finally, Joyride offers an upbeat slighty-more-electronic rendition of "Near You" (off 2000's Howdy).

All told, this is a LOT of music, perhaps more than should be covered in one sitting. It's a fine reminder of all the great music that Teenage Fanclub has brought our way thus far (indeed it had me running to my old copies of their records for contrast and comparison, as well as to hear even more of my favorites - hey 24 tracks doesn't cover it all).

What A Concept!: A Salute To Teenage Fanclub is a long-running winner of a CD (and a great value when you consider running time and the amount of tracks). I only wish there was more to the CD booklet (perhaps allowing each band to give their reasons behind the choice of song and their particular version of it).

Ken West and the bands here have done a great job in assembling a loving tribute to some of the richest harmonic pop music we've ever had. Give it a listen and find out for yourself just how good and joyful that Teenage Fanclub music really is.

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