Terry Radigan "The Breakdown of a Breakup," 2011
The end of a relationship makes for great art - think Dylan's "Blood On The Tracks," Everything But The Girl -
"Amplified Heart," and Elliot Smith's "XO." Enter Terry Radigan, an accomplished singer, composer (Faith Hill, Trisha
Yearwood, Pam Tillis, among others) who, by some strange simple twist of fate, has not been granted the commercial
success afforded far lesser talents (just pick up the latest copy of Entertainment Weekly's music issue…go figure).
Regardless of the shallow musical times we live in, if you seek out artists of substance, make sure Radigan is on
your shopping list (especially her self-titled Vanguard debut). Akin to the latter day work of Daniel Lanois and
post-Band Robbie Robertson, rootsy Radigan and her able crew opt for sparse, atmospheric arrangements which afford
her seductive melodies lots of space to breathe - especially on such stellar cuts as "Not Giving Up on Love"
(abetted nicely by Gerard Menke's cinematic steel guitar). Few artists can bare their souls with so many catchy
hooks and witty lyrics - as evidenced in "I Don't Wanna Feel Like That" and the quirky, campy jug-band romp
"Mistake." Much like the above reference artists, Radigan waxes timeless records - which is why most of us
fell in love with music to begin with!
©
Tom Semioli
Philip Hemmo "The 20th Century Guitar," 2012
In his first CD "Romantic Works for Classical Guitar" (2010) Philip Hemmo focused on some of the most important
works from 19th century and early 20th centuries. In his second disc "The 20th Century Guitar", he has turned
his attention to several of the most notable composers of the modern era. He again brings his experience as a
performer, teacher, and scholar to his interpretations of the works. His performance practice has changed
significantly from his earlier disc, in which he deliberately took 'Romantic' liberties with phrasing and
rhythm. This disc on the other hand is heavily entrenched in the modern style, emphasizing detailed and
accurate delivery of every instruction provided by the composers. As with his last recording, the music
benefits greatly from his superb attention to tone production and technique. For any listener interested
in exploring a tasteful cross-section of the guitar repertoire throughout the past two hundred years, I
recommend picking up both of Philip Hemmo's CDs.
©
Timothy Smith
Andrew Deevey "While My (Acoustic) Guitar Gently Weeps," 2011
It's risky business to tackle the Beatles, but Andrew Deevey, who also hails from Liverpool, takes an assured,
direct approach in this stripped down, unembellished tribute to 14 of the group's best-loved songs. Over the
course of his debut collection, Deevey uses a varied toolkit of acoustic fingerstyle techniques. He leads with
a forceful rendition of "Eleanor Rigby," using a nicely contrasting bass line, thorny chords, and punchy
melody lines. "Hey Jude" relies on an interplay between melody line and alternating bass line, while "You've
Got to Hide Your Love Away," employs a jangly repeated chord for emphasis. All the arrangements are
pleasingly complex, although they suffer from a bit of sameness in dynamics and tempo. The regular tempo
works well with the peppy "When I'm Sixty Four" and "Norwegian Wood," with its spiky cluster of chords,
but for some, like "Michelle," the sturdy meter seems a bit forced and it also robs some of the mystery
from "Nowhere Man." Still, Deevey is a talented arranger and impressive player who clearly has deep
regard for the Beatles' catalogue, as his gentle "Yesterday," which closes the CD, amply shows.
©
Céline Keating
Russell Howard "City Heart," 2011
At Minor7th, worthy acoustic guitar - not a pop staple - is what we require. "City Heart," though a pop record with
more hooks than Uncle Fred's fishing vest, qualifies. Russell Howard's guitar appears early in - and propels - every
cut. Typical is the opener, "Under the Weight," with Howard's syncopated verse picking interacting nicely with
percussion that supplies the four. In "Home Sweet Home" the guitar is appropriately melancholy. "You Me and
Someday" turns the rhythmic tables with Howard often hitting all four beats and percussion working around them.
But, there's more. Howard's outlook is so romantic and his Christopher Cross-like tenor so sincere that even his
double entendres sound sweet. Readers of Minor7th will find enough six-string to appreciate in "City Heart."
They may also find themselves drawn in, like fish on the line, by the hooks.
©
David Kleiner
Charlie Hill "The Landing," 2011
"Dogs in Paradise", the opening tune on Charlie Hill's debut CD "The Landing," is a relatively slow melodic and
rhythmic tune. The alternating bass pulsing and sparkling treble notes actually brought to mind a couple of
dogs playfully and lazily playing on a sun drenched front porch. Hill works his way through a handful of
original compositions that are complex enough to intrigue and simple enough to please. Crisp technique, and
warm tone are present throughout, but really shine on the title cut, "Surreal McCoy" and "Love Letters from
Arabia", the later performed on harp guitar. The sonic palette offered is consistent, even considering Hill's
vocal on the next last track, which surprisingly seems right at home on this first CD.
©
James Filkins
"Nathan Griffin" 2011
At times he sounds like something that should be coming out of an old Victrola, at other times a more current
roots/alt country hybrid with a touch of New Orleans and sly, sometimes humorous lyrics. His Everyman voice
leads a band of acoustic guitar, tuba, accordion, keyboards, banjo and simple drums (perhaps just a snare and
kick drum). "Everything" has thoughtful lyrics and pleasant harmonies. In "Upon the Wind" he sings "I risk life
and limb to be out in the wind / Pull anchor and set sail again," all to a laconic tempo that could be a
contemplative ballad or a dirge, depending on the listener’s mood. "Thirty Five" is more light hearted,
about an "old man with a little kid inside" and features a tuba. Highlight is "Same Old Story," performed
simply with two acoustic guitars and a couple of voices. In it he sings "It ends where it starts, starts where
it ends." It’s an intriguing and kind of mysterious piece, much like most of this disc.
©
Jamie Anderson
David Youngman "Alive," 2011
There's certainly lots of young guitar players across America who are trying to showcase their chops and expand
their aural boundaries. David Youngman is one of those guitarists, and on this CD, "Alive," Youngman lets us
hear the woodshedding he's been putting in. It's a mix of 6 and 12-string guitar, with fingerpicking, tapping,
and wide use of harmonics to create a palette of colors and hues. The playing is pretty good for an initial
effort, though the audio quality could use some help to avoid sounding too thin at times. The title cut,
"Alive" opens the CD with strong percussive elements, and a jangly melody. "Starry Night" is a lovely,
flowing tune played with multiple guitar parts, the sweet gem of the record. Youngman includes a cover of
the great Billy McLaughlin's dancing, hyperbolic "Fingerdance," and it's a passable nod to McLaughlin, though
at times the tempo meanders just a bit. Stephen Foster's Americana classic "Oh Susanna" features a rollicking
feel, almost a groove, that adds freshness to a song played by thousands of guitarists over the years. "Jesus
Loves Me" brings out Youngman's playful, funky side. The 12-string lends an air of reverence to "Communion,"
while "Island Jam" on 6-string is a mix of chordal figures and single note melodic lines. The CD ends with
"Lullaby," a delicate flower of tapping and harmonics that form a bell-like closure to the day and the disk.
©
Kirk Albrecht
Rupert Wates - At the Loser's Motel
Rich Osborn - Giving Voice
Eric Congdon
Lara Herscovitch - Four Wise Monkeys
Travis Nevels - The Gentle Art of Agression
Christine Santelli
Jenn Lindsay - Prospect Hearts
James Clay - Breaking the Spell
Jess Klein - Behind a Veil
