We get into the real stories behind the songs, how Stevensonville came together, and why this album hits differently from anything he’s done before. If you’re into artists who care more about great songs than trends, this conversation is for you.
👉 Album review here!
What happens when artists get older? Some keep chasing the same rush, like Cheap Trick still plugging in and turning it up. Others slow things down and focus on life’s little details, like George Usher with his latest release, “Stevensonville.”
This is a concept album built around a small-town landscape, filled with sharply drawn characters. From “Reverend Thomas Pardee,” warning his congregation about creeping dangers, to “Judge John Bailey,” consumed by suspicion, Usher paints a series of interconnected portraits. His worn-in vocal delivery fits the material, giving each story a grounded, lived-in feel. “Mitch Kunkel” has a strong melodic hook and the country-leaning ballads, especially “Mary Beth Merriwether,” show off Usher’s songwriting depth. “Benny Weed” closes things out on a more optimistic note. It is about taking a risk and leaving the past behind, which gives the record a sense of resolution without wrapping everything up neatly.
This is not a quick-hit power pop record. If you connect with the characters and see pieces of real life in them, it will stick with you. And like Benny figures out, there is always a way to move on when it is time.
Northern California indie pop outfit The Corner Laughers return after a five-year gap, with Karla Kane steering the ship as usual. The opening track “Terra Mia” kicks things off with bright ukulele and a melody that sticks right away, a clear reminder of Kane’s strength as a songwriter.
You get the breezy, laid-back feel of “Dusking,” then a heavier, more sugary pull on “Larkspur Landing.” That mix of light and weight has always been part of their identity, and it still works here, even when the softer moments seem overly sweet. Songs like “Rainbow Cardigan” and “Dark Matter,” which showcase their positive and energetic attitude with a hint of environmental advocacy, are highlights here. The sunshine pop of “Crumb Clean” and “Universe Point” are also underrated gems. Overall a great album, and it’s highly recommended.
Described by the Village Voice as “one of New York’s best pop craftsmen,” singer-songwriter George Usher has a long, storied history that is expertly curated in this multi-disc retrospective The End And The Beginning. While it doesn’t have everything, its pretty thorough collecting tracks from across Usher’s career. The set starts with the bands House of Usher (1990) and George Usher’s Lazy Gentlemen (1991) where he develops a solid rep doing jangle pop with a baroque style.
When we hit the single “Not The Tremblin’ Kind” from Miracle School (1997), its melodic magic with a strong Beatle vibe that we’re used to. Great songs like “Begging For Rain” and “Days Of Plenty” make you question why Mr. Usher wasn’t a bigger star, but his talent as a songwriter and performer is beyond question. The ballads become more prominent later on, like the pastoral “Love By Any Other Name.” Since much of his earlier work is out-of-print and in some cases hard to find, this collection is essential for power pop fans. Get it directly from George on his website.
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Playing tough, swaggering ’70s-styled rock & roll influenced by the Small Faces, Eagles and the Rolling Stones, Vancouver’s Lions in the Street are a band that persevered in spite of years of record company interference. The album “The Years” (named after the band’s original moniker) was held up in lawsuits. Recorded for TVT Records(Lil’ Jon, Pitbull) in New York City with Grammy-nominated producer Dave Cobb (Jamey Johnson, Jason Isbell), a legal dispute with the label put the band in debt and stalled any career progress.
Fortunately, this is now finally released and is a pleasant surprise that still holds up. The gentle harmonies and muscular guitars start on “Someday” are almost like a mix of Badfinger and The Faces. The soulful vocals of Chris Kinnon on “Still The Same” and “Carolina” compare well with Mick Jagger. The country harmonies on “Can You Hear The Sea” strongly contrast with the heavy rock riffs of “In Cold Blood” and “I Know You Wanna” is almost AC/DC-like. Strong songwriting and performances sustain all 11 tracks. A lost gem that’s finally uncovered and highly recommended.
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George Usher is a veteran unsung rocker who was dealt a near fatal illness that sapped his strength and ability to even play a few years ago. Using his time to write songs, he was met by friend Lisa Burns and eventually they decided to collaborate on this album. Aided by a top notch studio team; guitarist Dave Schramm (The Schramms), bassist Sal Maida (Sparks), producer Pau Naumann, and engineer Eric Ambel (Del Lords, Nils Lofgren, solo) both George and Lisa pour out their collective hearts here.
“Wake Me When Tomorrow’s Here” has that fantastic Usher jangle and although Lisa’s gentle vocal dominates most of the compositions, George is content doing the backing vocal. “Depression Glass” continues to set the mood, almost like a country ballad, about the fleeting time we all have. “Lost In Translation” features Lisa’s soulful croon similar to a Stevie Nicks, with its melancholy folk pop. Next we get a big standout in “My Precious Wisdom,” George sounds a lot like Stephen Stills here with a wonderful piano melody played by Dylan Maida. “The Ferryman’s Name” is another standout, with jangling goodness and one of the better duets on the LP. The subject of mortality is common in music, but here Usher sings from the first hand experience that’s sure to resonate with listeners. After a long cold winter, this is a perfect document by two talented musicians.