Beware Fashionable Women and Wrenn

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Beware Fashionable Women “Bird Park”

Beware Fashionable Women is the musical outlet of Barak Shpiez, who writes, records, and plays every note on the new album “Bird Park.” This sophomore release has a bit more indie rocker feel to it, starting with a freestyle guitar riff on the opener “How To Induce Animals.” The bigger guitar sound is also featured on “New Mexico.” Recently Shpiez has worked with Rivers Cuomo (Weezer) and this track shows off that influence.

Stylistically the album gets more sophisticated as we move forward, “When The World Begins Again” has a really good chorus with a descending chord structure. “Some Mirrors Look Better Than Others” is another memorable song that reminded me of the band Field Music. However the best song here is the rich anthem “The Devil’s Smile” with just enough guitar crunch and light airy harmonies throughout. Highly Recommended.

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Wrenn

Wrenn “Hi”

Wrenn is a female vocalist from Athens, Georgia who self-funded this LP with Kickstarter.  I wasn’t sure what to make of of the spacey opener “The Day Atlas Dropped The Ball,” that goes goofy with jazz horns. Wrenn’s vocal plays off the keys, brass and occasional acoustic guitar. “Laundromat” is a sparse arrangement that shows off her melodic and soulful vocal. Think Adele-lite meets McCartney’s first solo album.

“Summer Wind” has a smoldering arrangement with its brass and piano details. The quirky “Almond Eyes” keeps things from getting to serious with its fun reggae beat that creeps up on you. Some vocal experimentation on “Wild Card” is the type of thing that keeps you listening, and the melodic tune “Lucy Boy” is the big payoff. It’s a highlight, almost a show tune and worth the wait. I look forward to more from Wrenn.
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Latvian Radio and Red Jacket Mine

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Latvian Radio “For Love and Spite”

After a decent start on their debut, this New York band  takes a big leap forward on For Love and Spite. Upbeat from the start “To Find You There” sets the easy going pace, with its jangling guitar strum and organ chords. Next “On Display” is a great single with a catchy melody, beat and killer bridge, its one of my favorites here. The seamless composition follows on the wintery themed “North of The Keys” that will appeal to fans of REM, The Shins, and Brendan Benson.

The guitar is joined by hand claps and synth on the infectious title track, another memorable gem. Then “Growing Pains” adds a little Kinks-styled rock influence (a bit like “Father Christmas”) with the oldster lecturing you to “Wake Up Kid!” The tempo does ease up toward the albums end with “Stand Clear of the Closing Doors” about being left behind as life passes by. Overall a terrific album without a wasted track. Congrats to singer/songwriter Patric Westoo, and his band for giving us an early holiday present.
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Red Jacket Mine

Red Jacket Mine “Pure Delight” EP

Seattle singer/songwriter Lincoln Barr returns with his soul infused power pop, a direct follow up to last year’s Someone Elses Cake. Produced and assisted again by Johnny Sangster from The Tripwires, this EP features Barr’s pub rock influences on the toe tapping title track. Barr then gives us some soul-pop on “I Want You To Worship Me” and goes gospel on “Crow,” a duet with Nashville songwriter Shane Tutmarc.  The bouncing piano of “Nearly Marjorie” is very much in the mold of NRBQ and the soft rock of “AM” certainly give us a variety of styles. It all ends on the fun blues riff “Get Paid” about the common musicians lament. Very much a sweet diversion from all that hard charging power pop, this sonically cleans your palette nicely.
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Magic Eight Ball and Kris Rodgers

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Magic Eight Ball

Magic Eight Ball “Last Of The Old Romantics”

It’s been a while, but Baz Francis returns with Magic Eight Ball’s sophomore album. Baz was a big fan of British actor Rik Mayall (The Young Ones) and he starts the first track with a light poem that slowly rises to a dramatic speech right before the stadium sized guitars hit on “See You Next Tuesday.” A good description of Baz’s sound would be Andy Sturmer playing with Nuno Bettencourt. That sounds about right and fans of both Extreme and Jellyfish will love this LP. You’ll also hear the influence of Donnie Vie (from their last collaboration) sprinkled throughout.

The catchy, “Come Get Your Kicks” is definitely a melodic highlight. The fuzz guitar is a bit heavy on “Yeah, I’m Serious,” but Baz really belts it out on “Wait Here A Second.” Another gem here is “Good For Nothing Good” which contrasts the wall-of-guitars with Baz’s earnest lyric. While not as immediate as the debut album, it holds up fine with repeat listens. Highly Recommended. (Sadly, Mr. Mayall passed away June 2014.)
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Chris Rogers and the dirty gems

Kris Rogers and The Dirty Gems “Headlines”

Kris Rogers bursts forth with the title track, a sonic assault that recalls the  late 70’s power pop of  Joe Jackson. It’s no surprise he’s got an amazing band supporting him including Kurt Baker on bass, Geoff Palmer (The Connection) on guitar and mixed by Wyatt Funderburk. With that pedigree he doesn’t disappoint – “Waiting Fool” is what it would sound like if Bruce Springsteen did power pop.

Rogers has a soulful R&B influenced vocal, and his great keyboard performance makes him the closest thing I’ve heard to Billy Joel on “Up From the Ashes.” The strong composition continues on “No Complaints,” and the band rocks hard on a rare cover of proto-punk band Death’s “Keep On Knocking.” Next,”Leaving Town” is another winner,  and a bit of Elton John’s influence is heard on “Borrowed Time.” Rogers is an amazing talent further buoyed by this band, it’s a shame it’s only eight tracks. Another highly recommended artist you need to hear.
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Dwight Twilley and Ward White

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Dwight Twilley “Always”

Twilley’s first album since the loss of long-time guitarist Bill Pitcock IV wasn’t easy, but he’s soldiered on for a fan base that is energized every time he takes the stage. He continues the thick production style of 2011’s Soundtrack and his nod to the fans starts off with the title track, a reference to his classic “I’m on Fire.”

“A Million Miles Wide” recalls Tom Petty’s guitar on the intro, and the brilliant “Into The Flame” proves Twilley will always be able to write a power pop gem. The slow piano chords drive “Everyone’s Crazy,” which reminds me of Jeff Lynne a bit, with its background strings. Twilley’s defiant Texas bar-room rant “Til The Jukebox Dies” is another rocker that screams “No Surrender” followed by the 12-string melody of “We Were Scared.” The songs are well constructed (though I wish Twilley’s vocals were less obscured by production fuzz) and this is a fine addition to the Twilley discography.
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Dwight Twilley

Ward White “Ward White is The Matador”

Ward White is a brilliant vocalist and arranger, proven by his last LP Bob, but this time he’s surrounded himself with added talent to make The Matador extra special. Bryan Scary does keyboard and Graham Norwood adds his guitar and you’ve got something that needs to be experienced. White’s delicate tenor are equal parts Colin Blunstone, and young David Bowie as he drifts through each narrative.

The synth beat on “Sabbath” leads to a a rich atmospheric chorus, where he’s tripping out with a wild textured pyche-beat crescendo. “Alphabet Of Pain” is a light baroque pop treat about “pain that is almost guaranteed.” The 60’s lounge styled “Balloon” has an great chorus full of soaring harmonies and “Chiquita” is another richly developed gem that is most like Bowie. It takes a few detours by mid album, but really becomes a full art-pop performance on the 20 minute “The Olde Days.” If your tastes run left-of-center, this will just absorb you.
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