Reviews Written by Joe
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July 10, 2007
An album chalked with talent, variety and fun
Pros: Feels as if the band is in the room with you as you listen to this album
Cons: Wonderful originals here, and some great arrangements of classics too
Thunderin’ Bluegrass is an album chalked with talent, variety and a whole lot of fun. The first thing that I noticed was the really creative way in which this record was produced… because of the fact that there were no overdubs or second takes, it feels as if the band is in the room with you as you listen to this album. It’s a really delightful touch to a delightful project.
As somebody who was born and raised in the southern US, with a father who has always cherished a “story song”, I couldn’t help gaining his love for “story songs” myself over the years. Maybe that’s another reason this album is so endearing to me. It’s packed with a variety of such songs.
The album begins with Joe Ross’ original, “She Has a Gypsy Heart”, a sad but equally danceable little song about lost love. Next is “Those Memories of You”, a melancholy piece on which Susan delivers a very memorable vocal performance. Joe’s spirited arrangement of “Mandolin King Rag” follows, exuding a bit of a ragtime feel and some terrific solos! “Copenhagen, Beechnut and Skoal” is a lot of fun to listen to, and as on every other cut, it sounds like the musicians were having a grand ol’ time recording this one. Next is Joe’s touching “Mother’s Songs”, a beautiful little number that I think many mothers’ children can relate to in some way. Side one ends with “On Down the Line”, a song I’ve always loved, and which, like all the other pieces found here, is given a really delightful treatment by Cold Thunder.
Side two opens with Joe’s lovely original, “My Heart Remembers Yesterday.” This song is one of my favorites on the album. The chord progression and lyrics caught my attention immediately on listening, and the wistful nature of this piece pulls at my heartstrings each time I hear it. The band’s take on “wayfaring Stranger” is beautiful, and the tune “Little Rabbit” is delivered here with tons of energy and talent.
I must give special attention to their cover of Jim Croce’s timeless song “Age.” Again, I must think of my dad when listening to this song, as Croce is one of his heroes, and subsequently became one of mine as well. This is such a nice and different take on a classic song, and I applaud the band for adding this one to the album. But I’m biased. Terrific job with this one!
“Why You Been Gone So Long” has an irresistible chorus that tends to stick in my head and leave me singing it for hours, while “Little Whitewashed Chimney” is likely to bring a tear to the eye. The final cut, “Battle of New Orleans”, is a song I’ve always enjoyed, and this is an entirely unique spin on it. You can distinctly hear the broad smile in Joe’s voice as he delivers the verses. What fun!
To conclude, this is a delightful, very well done and fun-filled album. There are wonderful originals here, and some great arrangements of classics as well. I enjoy listening to it often, and am sure others, whether they are bluegrass fans or not, will as well! Definitely give this one a try! Very highly recommended!
Kim Loftis, Burnsville, NC
Kim ... -
May 28, 2007
New age expressions to create certain moods
Pros: Kater’s piano and synthesizer are nicely blended with some haunting vocal chanting, flute, saxophone, and cello
Cons: Would be nice to see the movie to put the eleven compositions into context
Playing Time – 61:30 -- Zen Master Fa-Yen once asked, “If you meet a wise man and you do not say anything to him nor keep silence, how would you question him?” It’s certainly something to ponder if one were to be granted an hour-long audience with the Dalai Lama. I have not seen the 85-minute film, “10 Questions for the Dalai Lama,” directed by Rick Ray, but I imagine it as an inspiring tale of peace, harmony, kindness, compassion and wisdom. In 2001, Ray was allowed to interview the exiled Tibetan leader in Dharamsala. To accompany the scenic travelogue, multi-Grammy nominated pianist/composer Peter Kater was enlisted to complement the film’s images with a new age music score.
Born in Germany, Peter Kater has lived in New Jersey, Colorado and California since his move to the U.S. at age four. Emphasizing improvisation and spontaneity, Kater released his first album of piano solos (“Spirit”) in 1983. That project and his subsequent forty albums with jazz, world and Native American flavorings have opened many opportunistic doors for him in the realm of scoring for theater and film. Kater’s piano and synthesizer are nicely blended with some haunting vocal chanting, flute, saxophone, and cello. Worldy musical sensibilities are fused when Tibetans Tulku Orgyen and Nawang Khechog join Native American flutist R. Carlos Nakai and others including Richard Hardy, Shawn Darius, Beth Fitchet Wood, David Darling, and Mark Miller. The vocals imparted to “Buddha Search” and “Seeking the Dalai Lama” impart an adventurer’s sense of discovery. Three additional pieces with Nawang Khechog’s chanting (A Fresh Wind, Ocean of Long Life, Call of Compassion) are particularly enticing.
The Dalai Lama has stated “I am no one special … I am just a simple human being.” In a similar and corresponding way, the music on this album is at times understated, thoughtful, delicate, and intimate. However, it is special in that Kater carefully cultivates musical expressions to create certain moods, emotions, sentiments and feelings. Without also seeing the movie to put the eleven compositions into context, I am left pondering the wisdom of enlightenment in the music itself. Such wisdom is inherent is each of us, but many fail to recognize it. Thus, one should experience this score with the essence of an open mind and a goal of seeking freedom and liberation. The journey is certainly not linear, and the human consciousness created by Kater’s music is both a spiritual allegory and insightful metaphor. The 13-minute “Call of Compassion” may be the best example of how to free oneself from ego-illusion, awaken inner wisdom, and meditate about roots of justice, sympathy, impartial love, humanity, mercy …. real measures of all things. I don’t believe that Kater would want this work to result in simple declarations about his musical greatness and wisdom. For, as Zen Master Gempo Yamamoto so profoundly stated, “If you are seen as great or wise by others, you have not yet reached maturity.” Peter Kater is a journeyman seeker on that path. (Joe Ross)
SONGS - 1. 10 Questions for the Dalai Lama (Main Theme), 2. Fire Walk, 3. Surrender, 4. A Fresh Wind, 5. Buddha Search, 6. Lighting the Flame, 7. Seeking the Dalai Lama, 8. Ocean of Long Life, 9. Last Request, 10. Call of Compassion, 11. 10 Questions for the Dalai Lama (Closing Theme) ... -
May 27, 2007
Music cultivated with strong personal belief
1 of 1 Yahoo! Users found this review helpfulPros: Thoughtful, intimate and personal lyrics
Cons: None apparent
Playing Time – 40:28 -- It’s been over six years since all-around musician Ron Block released his debut solo album, “Faraway Land.” Besides focusing on family, the talented guy’s been so busy clocking road miles with Alison Krauss & Union Station that doing another solo project was down a ways on his priority list. Like on “Faraway Land,” his compelling self-penned songs on “DoorWay” are arranged with all-star casting, dynamics, and varied tempos. His big musical vision taps inspiration and gains strength from various genres. Dan Tyminski, Stuart Duncan, Jerry Douglas, Alison Krauss are back again to lend their able support. Others in the lineup include Barry Bales, Adam Steffey, Viktor Krauss, Suzanne Cox, Sidney Cox, Andy Hubbard, and the Forbes Family.
The cornerstone of Block’s music is his thoughtful, intimate and personal lyrics. He’s said that his songs come quickly and easily or else they sound contrived. Most make reference to his faith-based beliefs, and others offer new perspectives on his updated take on the world and where to find direction and guidance. Ron proclaims that Jesus Christ is the center of his being and answer to his needs. As a gospel songwriter, Ron says, “my first order of business is making sure I am abiding in Christ - meaning that I am resting in him, knowing he lives in me, and is living through me to others.” He understands that he can comfort others with the comfort he’s received from God. Alison Krauss once said, “Ron has had the ability to change lives with his words.” What more could a songwriter hope for! A new website with lyrics and commentary for DoorWay is in the works and should be up and running soon.
“DoorWay” is also a musical treat for the senses because Block explores images, textures, and colors that are both bright and sedate. With calmness and composure, intimate singer/songwriter settings typify “The Kind of Love,” “The Blackness of the Need,” “Secret of the Woods,” and “Someone.” There’s the intense soulful loveliness and devout tone of “Things Aren’t Always As They Seem.” Uplifting bluegrass gospel rousers include “Along the Way” and “Be Assured.” Smooth and evocative, “Love’s Living Through Me When I Do” is folk-pop with a dreamy delivery. The title cut, “DoorWay,” provides a beautifully reflective moment at the middle of the set. Like the rest of the conceptual album, Ron wants us to think about whether we’ll keep on stumbling through the desert or whether we’ll make the leap of faith and see with God’s vision. “I See Thee Nevermore” is a sweetly wistful instrumental. Block shakes things up with his gritty alt-country groove on “Above the Line.” “Flame” takes us on a journey into his Effortland. “I know the flame of the burning tree / is the flame that burns in the deep of me / The love of the Father.”
Sturdy and self-confident, Ron Block carefully cultivates his music with a strong personal belief in its depth and meaning. “DoorWay” shows that his inner fire burns with the conviction of his soul. Block has discovered what he stands for in life and what he has to do with his music. As a result, Ron’s songs exhibit radiance, truth and power.
The message of inner reliance on Christ is fundamental to what Ron Block is doing. He plans to continue expanding these ideas through music and books. (Joe Ross, staff writer, Bluegrass Now rossjoe at hotmail dot com) ... -
May 2, 2007
Vibrant, colorful and sincere messages and stories
Pros: Material drawn material from many influences
Cons: None, a thoughtful and eclectic set of well-arranged songs that beats with the rhythm of her country heart and tender soul
Playing Time – 44:52 -- Born in 1957, the daughter of country music singer Mel Tillis first appeared at the Ryman Auditorium when she was just eight years old. Now she’s on the list of top female country singers of all time. Drawing material from many influences, Pam’s always been known for incorporating pop, rock, bluegrass, folk and other influences into her country. For example, acoustic stringsters like Bryan Sutton, Sam Bush, Aubrey Haynie, Steven Sheehan and Jonathan Yudkin add a few tasty bluegrass flavorings to the mix that primarily emphasizes electric guitar, bass, piano, organ and drums. Pam’s own composition, “Life Has Sure Changed Us Around” is a tongue-in-cheek statement sung with John Anderson in one of the more acoustic arrangements.
For a Texas rockabilly beat with some understated banjo, John Armenti’s “Down by the Water” is just the ticket. Jim Hoke’s clarinet and harmonica impart an old-time jazz sensibility to “Crazy By Myself.” The talking blues storyline of “Bettin’ Money on Love” evolves into a cautionary tale about taking chances, making choices, winding up hurting, and spending a little fortune on love. Anyone who’s ever played or partied in the country honky-tonks will be able to relate to the story of Red, Louise and Tommy in “Band in the Window.” Drawn to trouble and courting disaster, Pam’s own self-penned “The Hard Way” is an expressive statement as she sings “I love to play with matches ‘tho I have to walk through fire.” Bluegrass and Celtic instrumental flavorings of banjo, mandolin and pennywhistle close the set in “Over My Head.”
It’s been a few years since Pam released her “Thunder and Roses” and “It’s All Relative” projects. “Rhinestoned” is a thoughtful and eclectic set of well-arranged songs that beats with the rhythm of her country heart and tender soul. Her traditional sensitivity comes through front and center. The result is a creative and impressionable set of reality music. It’s refreshing to hear songs arranged, with stellar musicianship, around vibrant, colorful and sincere messages and stories. Right on, Pam! (Joe Ross) ... -
May 2, 2007
Singularly impressive all-around talent
Pros: Randy was producer, songwriter, instrumentalist, vocalist, and engineer
Cons: His exciting stylistic presentation is full of both tang and twang
Playing Time – 46:39 -- Well-known Nashville musician Randy Kohrs’ fifth solo album project since 2001 also marks his debut as one of the “new tradition” on the Rural Rhythm label. It’s a noble nod to one of the masters of the acoustic music scene, and “Old Photograph” is a brilliant testimonial to Kohrs’ artistic craftsmanship. Randy’s work continues to showcase his singularly impressive talents as producer, songwriter, instrumentalist, vocalist, and engineer. If there were an award for “Best All-Around Musician,” Randy would get my vote!
Randy’s participation as a session musician on over 500 albums has emphasized his expert virtuosity. He’s also toured with the likes of
Hank Williams III, Tom T. Hall, Holly Dunn, Hal Ketchum, Hank Thompson, Continental Divide, John Cowan Band, and Dolly Parton. His talent helped him find comfortable niches with country, bluegrass and even some folk acts. And his presentation on “Old Photograph” demonstrates his continuing affinity for many genres. While the Iowa native who relocated to Tennessee in 1994 can play all the bluegrass instruments if he wants to, Kohrs’ international fame is primarily due to his fine resophonic guitar work. For the other exceptional instrumental work on “Old Photograph” he enlists support from buds like Scott Vestal (banjo), Tim Crouch (fiddle), Jim Hurst (guitar), Jesse Cobb (mandolin), Jay Weaver (bass), and many others. In 2006, Randy formed his own band, “The Lites.” Three cuts early in this set (Rockwell’s Gold, Lena Mae, Two Boys From Kentucky) are most representative of his band’s sound with the inclusion, to varying degree, of his young bandmates Scott Haas (banjo), Andrew Crawford (guitar), Ashley Brown (fiddle), and Aaron Ramsey (mandolin, bass).
Whether singing country, bluegrass or gospel, Randy gives us a distinctive, brawny delivery throughout his considerable range. For a softer edge, he’s more lyrical than vigorous with “Don’t Let Your Wounded Heart Come Between Us” (sung as a duet with Rhonda Vincent), “White Ring” (straight-ahead acoustic country), and “Shallow Grave” (sung and played solo to close the album). There are some interesting guests who make minor appearances in the mix. Melinda Doolittle, an American Idol contestant, sings high harmony on “Can You Give Me A Drink.” A member of MuzikMafia, Shannon Lawson co-penned “Who’s Goin’ With Me” with Del Gray, and she sings tenor on that song. Chris Wood’s percussion appears on three tracks. Many other guests like Clay Hess, Carl Jackson, Stephen Mougin, Darrin Vincent, and Don Rigsby stopped by Randy’s Slackkey Studios to provide a vocal or instrumental track or two.
I’ve already gone on record as saying that the consummate Randy Kohrs is a deserving member of the contemporary bluegrass elite. His exciting stylistic presentation is full of both tang and twang. His songs have thoughtful substance and gripping delivery. Whether racing or reflective, Kohrs’ music on “Old Photograph” will stand as another triumphant milestone and superlative effort for one of the most happening musicians in Nashville. (Joe Ross) ... -
May 2, 2007
Smartly-played account of his musical heritage
1 of 1 Yahoo! Users found this review helpfulPros: It's a genial and uplifting statement of his own individuality and creativity
Cons: Steve only plays guitar on two of the songs
Playing Time – 42:22 -- Bluegrass runs in the family. Until hearing this album, I never realized that Grasstowne guitarist Steve Gulley is the son of Don Gulley, an original member of the Pinnacle Mountain Boys in the 1960s and early 1970s. An exceptional band that featured twin fiddles and fine singing, they reformed as the Pinnacle Boys after some personnel changes. “Sounds Like Home” includes a father and son rendition (along with one of his former employers, Doyle Lawson) of a favorite hymn, “Nearer My God To Thee.” The set also includes two numbers from the Pinnacle Mountain Boys, “Little So & So” and “Cheater of the Year.” The latter appeared on the band’s 1974 Rounder LP.
A former member of Mountain Heart, Steve Gulley gives us a very solid set of bluegrass with a traditional underpinning. In keeping with his solo album’s title, “Sounds Like Home” has handpicked songs that reflect his musical upbringing, heritage and heart. Besides the nods to his father’s keystone repertoire, Gulley selected four gospel numbers from the old “Red Book” Baptist hymnal. Vic Graves provides spiritually-infused reverence in the lead vocalizing on “No Not One.” Arranged as a vocal quartet, “Prepare To Meet Thy God” also features a cameo appearance by J.D. Crowe and is one of two songs on the disc with Dale Ann Bradley’s vocal harmony. A featured vocalist at Renfro Valley Barn Dance, Steve’s wife Debbie provides another silky smooth feminine touch to the album on the country duet, “My Elusive Dreams.” Other secular offerings include “The Grand Tour” (a hit for George Jones), “Another Day” (a Reno & Smiley nugget), and Steve’s self-penned “Mountain Heart” (about a love of his east Tennessee mountain home). The latter has all of his former Mountain Heart bandmates in the mix. In classic brother duet style, Steve sings a tenor to Barry Abernathy’s lead on “All Alone” to close the album with a vintage 1930s sound of two voices accompanied only by guitar and mandolin.
Whether Steve’s bluegrass thread is hereditary or more recently sewn, his supporting musicians also sound like extended family of old friends and close relatives. To obtain a cohesive, balanced overall sound on the album, Gulley enlisted a core group of stellar guests including Tim Stafford (guitar), Adam Steffey (mandolin), Ron Stewart (banjo), Randy Kohrs (Dobro), Tim Crouch (fiddle), and Jason Moore (bass). Russell Moore sings tenor on “Cheater of the Year,” Jeff Parker sings tenor on “Livin’ It Down,” and Shawn Lane sings tenor on three cuts.
While we’re looking forward to an album from Steve’s new band, “Sounds Like Home” is a genial and uplifting statement of his own individuality and creativity. Making a solo album can be a challenge. Most of the leading, directing and decision-making fall on one’s own shoulders. An artist has few boundaries unless they are self-imposed. Steve only plays guitar on two of the songs so this CD is mostly a smartly-played account of his musical heritage, warm voice and easy-going, avuncular style. (Joe Ross) ... -
March 23, 2007
Joe is a talent to be reckoned with
Pros: Fine line up musicians; new original songs
Cons: Theres a lot to like
Theres a lot to like about this latest effort from Joe Ross. Eleven new original songs cover everything from stirring Gospel, to songs about logging, Mom, Oregon (where Joe calls home), love, even fowl, and, as the title implies, Charles Lindberghs epic flight across the Atlantic.
Al Brinkerhoffs melodious resophonic guitar kicks things off very appealingly on the lively The Loggers Song, vividly illustrating the life of an Oregon woodsman. The River In Oregon is a tribute to the rivers and tributaries, the lifeblood of the landplease take care of them, Joe writes in the liner notes. One Legged Turkey, a clever, upbeat instrumental, was written in memory of an actual wild turkey that hung around for a while on the roof of Joes home. Mothers Songs is quite emotive; a beautiful piece that Joe says always choked him up as he sang it. Recorded with the fine Missouri band Cedar Hill, the cut features Mel Besher in a first-rate bluegrass tenor lead vocal backed by Lisa Ray on harmony vocal. The one traditional in the collection, St. Annes Reel, is lovely with Joe on hammered dulcimer and mandolin, Bryan Bowers on autoharp, and Radim Zenkl on pennywhistle. The Church Bell No One Hears and His Hand Is Divine are two very well-crafted Gospel pieces, the latter featuring some excellent fiddle work by Ronnie Stewart.
Again Joe composes in a nice array of stylesthe very bluesy Streamliner, Calypso on The River In Oregon, and driving bluegrass. And as usual, hes assembled a fine line up musicians quite equal to the task; the likes of Randy Kohrs, James King, Adam Haynes, Kevin Prater, Tim Crouch, and Scott Vestal contribute masterfully on various cuts.
The word sure seems to have gotten out among his peers that Joe is a talent to be reckoned with; its more than about time this notion catches on with the listening public and bluegrass radio. (Joe Falletta, Bluegrass Now magazine) ... -
February 24, 2007
Ross is a prolific composer of bluegrass
Pros: Other bluegrass musicians will clamor to record the compositions of Joe Ross
Cons: None
BLUEGRASS UNLIMITED
JOE ROSSFESTIVAL TIME AGAIN [November 2006 issue]
Zephyr Records 0429
Many readers will recognize Joe Ross for his numerous articles penned for bluegrass publications. This latest CD release clearly establishes him as one of the more prolific composers in contemporary bluegrass music. Accompanying himself on guitar, bass, and mandolin, he is joined by several guest musicians including Randy Kohrs (resonator guitar and vocals), Ron Stewart (banjo and fiddle), and Bryan Bowers (autoharp). With the exception of "My Home In Old Virginia" (sung by James King), Joe sings lead on the seven other vocals featured in this collection. The title song captures the ambiance and spirit of a typical bluegrass festival. Some of the eleven other numbers are "Good Deeds," "Philosophy," and "Blood Red Roses," dedicated to America's armed forces. One of the more emotional moments occurs on "Pitch Black By The Ton," which is about the recent Sago Mine disaster in West Virginia. Anyone who encounters "Festival Time Again," should not be surprised when other bluegrass musicians clamor to record the compositions of Joe Ross. (Zephyr Records, Roseburg, OR 97470.) ... -
February 23, 2007
A musical diary of thoughts & happenings
Pros: Some novel interpretive tales and twists to emotional attachment, sensitive feelings, and even controversial political issues
Cons: With similar tempos and melodies, Mitchells contemplative songs require astute listening and comprehension skills.
Playing Time 39:37
From Vermont, Anas Mitchell is a singer-songwriter with a precociously girlish voice. A winner of the New Folk competition at the Kerrville, Tx. Folk Festival, shes only in her 20s but has already released three albums since 2002. The Brightness is a debut on Ani DiFranco's Righteous Babe record label. With similar tempos and melodies, Mitchells contemplative songs require astute listening and comprehension skills. Her lyrics need your focus and undivided attention. Your Fonder Heart demonstrates her wide vocal range as she sings way over yonder Im waiting and wondering, whether your fonder heart lies. The albums title is derived from the second track, Of a Friday Night, a ballad that is full of nostalgic imagery as it paints a picture of a time-worn town with its old poet that once knew fullness in the quarter out in the brightness of a Friday night. Carrying her own poetic and literary torch, Mitchell seems willing to assume various roles in the song as good time gambler, restless wife, or midnight writer if she can help revive that Friday night luster that once was. Her enthusiasm and optimism glow.
Embellished with Michael Chorneys melancholic saxophone, Namesake makes an exclamatory statement everybody knows you, nobody knows you, everybody knows you, I want to know you. I view the song as a search for identity among both oneself as well as another with whom your name is shared. Shenandoah, one of the few tracks featuring Ben Campbells banjo and background vocals, relates a tale of love lost, a reckless daughter of the rolling water. Accepting loss and pain can be stressful and demanding. We cope in different ways, and Changer seems to just ask for a little reconciliation and understanding: I know love is a stranger, I know that changes come, I know love is a changer. While Anais mainly plays guitar and sings, this song is the only one with her piano in the mix. Other instrumentation on the project includes some understated lap steel, bass, sax, organ, drums, viola, banjo and cello. Besides three songs with background vocals by Ben Campbell, some are also sung by Miriam Bernardo.
Song of the Magi, a song awash in emotion, is set in a welcoming west bank town that, because of war, evolves into a town of hope. Santa Fe Dream is ambient and austere in the shadows, but Mitchell conveys a pleasurable sentiment if it should happen, if you should turn to see, the way that moon sheds her light, on your love where she sleeps, go lay down beside her, and wonder again, that such a small window, lets so much light in. I can sense that Anais loves to travel, and some of her inspiration comes from discoveries along her journeys. Hobo's Lullaby continues the albums sleepy, lulling atmosphere, and if theres one complaint, it might have been nice to orchestrate the set with a few moderately-tempoed pieces for some pick-me-ups. Old-Fashioned Hat is about not needing much to enjoy life and love, but the song ends on a pessimistic note that, following marriage, there will be fighting, drinking and forgetfulness. Inspired by Greek mythology, Hades & Persephone is presented as a conversation between the King and Queen of the Underworld. Hades obtained his queen through trickery, but Persephone seems astute enough to ask what does he care for the logic of kings? the laws of your underworld? it is only for love that he sings! he sings for the love of a girl. Set in New Orleans, I interpret Out of Pawn as a tale written from Uncle Louies heart and experience during the flood when it was realized that the girl and the city were one and the same, and last call never came.
In lean, rawboned singer/songwriter fashion, Anais Mitchells alluring feminine voice is the radiant and resplendent beam in each piece. With a buoyant and feathery presentation, the troubadour provides some novel interpretive tales and twists to emotional attachm ...
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Nicely varied set w/ plenty of emotional radiance
Pros: Lenore’s affable, calibrated vocals draw a listener right into the messages; the instrumental support of some excellent musicians
Cons: Missed hearing vocal harmonies; A few more catchy hooks might make her songs even more memorable.
Playing Time – 47:02 -- A small card insert that came inside the lyrics-filled CD jacket with “Another Life” makes life simple for deejays and reviewers alike. On her third album, Canadian singer/songwriter/guitarist Lenore has succinctly outlined and categorized her thirteen new songs by tempo, mood and topic. There are about equal offerings of slow, moderate and upbeat songs, as well as a ballad (The Bully) and a bluesy shuffle (Take My Lovin’ Seriously). There really aren’t that many that I would call up-tempo, but upbeat accurately describes songs like “The Pirate,” “The Hippie Song,” and “I’ll Make You Smile” that convey intelligent and relevant lyrics that are easily embraced and understood.
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The card also categorizes her thirteen songs into moods ranging from playful to introspective. It’s helpful info for deejays to have as “Another Life” is a very nicely varied set with plenty of emotional radiance. As far as the topics she covers, Lenore addresses key stepping stones of human life and existence -- childhood, attraction, passion, marriage, loving, aging and death. As a folksinger, Lenore also makes touching statements about politics, poverty and war (The Hippie Song, Just One More, Crowded Sidewalks). The former recently won third place in the political category of the prestigious 2007 Unisong International Songwriting Contest. Lenore’s affable, calibrated vocals draw a listener right into the messages, and one can’t help but chuckle at a line like “We’re just two little tiny islands in the ocean of life / We never really wanted to be husband and wife / Just gonna be little friendly toys…” (from “Happy Anniversary”). She has a low-key, earthy style, but I did miss hearing a few vocal harmonies in Lenore’s music. She writes and sings with a conversational and personable flair that should have broad, universal appeal. You’ll no doubt find yourself relating to some messages more than others. A few more catchy hooks might make her songs even more memorable.
This CD features the instrumental support of some excellent musicians -- Paul Mills (guitar, mandolin, percussion), Dennis Pendrith (bass), David Woodhead (electric bass), Tom Leighton (piano, organ, accordion), Rick Whitelaw (slide guitar). They all come across as talented and creative veterans with much aptitude for studio work. After releasing her self-titled debut 1997, Lenore’s “Summer Dancing” album came out in 2002. “Another Life” is another big milestone as her legion of fans continues to grow. With another sweet set of interesting songs, it’s easy to see why Lenore was nominated as “Best Folk Artist” at the 2006 Toronto Independent Music Awards. (Joe Ross, Roseburg, OR.)