Though it is incredibly wrenching, the documentary I’ll Be Me is such an important film. By allowing filmmaker James Keach unbridled access to himself and his family, Glen Campbell’s battle with Alzheimer’s disease is starkly delineated, from diagnosis to decline. It’s intimate and human and so hard to watch.
Monk Parker’s solo debut album How The Spark Loves The Tinder could be filed under alt-Americana, but what it really brings to mind is if an alien recorded an Americana album. Everything is there: harmonicas, strings, horns, guitar, hushed husky vocals, but it’s all a little… off. It’s brilliant. It’s alien Americana.
Noah Gundersen is a seeker. On his follow up to the much-lauded Ledges, Carry The Ghost, he looks inward, questioning the nature and existence of God, of Gundersen’s own chosen means of expression and career, and exploring loneliness and love. It’s a heavy, introspective album.
It’s also startlingly quiet; there are moments that are so deeply felt by Gundersen that his voice, already hushed, trails off to a strangled choke, phrases ending on a breath. Coupled with Gundersen’s tendency toward acoustic guitar and piano, it becomes a journey in which the listener sometimes wonders just what was sung and perhaps one might need one of those fancy ear horns (but mercifully, Carry The Ghost on CD comes with a lyric booklet that is mighty handy, and a fine way to join Gundersen in existential questioning).
Jackie Greene has quite the pedigree. He’s toured with The Black Crowes and Phil Lesh and Friends, played with Levon Helm, and was in an acoustic trio with Chris Robinson and Bob Weir, called WRG. An enormously talented multi-instrumentalist, Greene aspires to be the whole package; musician, songwriter, singer, and on his latest, Back To Birth, he nails it.
Damn, that Grace Potter can sing. In stepping away from her band the Nocturnals to make her first solo album Midnight, Potter stretches her poppier wings, making an album that features dance beats and thumpers. The focus, though, is Grace Potter’s soulful, incredible voice.
The newest Mynabirds album, Lovers Know, has an intoxicating quality. Featuring shimmering synths, electronic drums, and reverbed guitars, there’s a hint of ‘80s electronica, as well as a shoegazey dreaminess, but there’s also a vitality that could only be borne of today. Frontwoman Laura Berhenn’s splendid vocals are by turns touching and exhilarating, and always beautifully intimate.
Is there a more perfect marriage of image and sound than Peanuts and Vince Guaraldi’s music? Guaraldi’s loose, jazzy scores brought a rich dimension to Charles Schultz’s gang of cartoon kids, elevating the Peanuts TV specials beyond simple cartoons. They were fine art.
Daniel Romano’s new album, If I’ve Only One Time Askin’, is the best kind of time machine. It shares both DNA and feeling with country classics (Romano covers George Jones’s “Learning To Do Without Me” and does it with an panache that’s admirable) but there’s a modern edge to it as well. The songs bleed into each other, sometimes using a plucked bass line, a hum of neon. a chorus quietly fading, or a lo-fi version of the track that just played. This adds a rich dimension to the album, making it cohesive and fascinating, and keeping If I’ve Only One Time Askin’ from feeling like a self-consciously retro pastiche.
The Dustbowl Revival is the kind of band that isn’t easily classified. Are they bluegrass? Are they a brass band that uses mandolins? Are they a cabaret act? Whatever they are, it is easily brilliant.
After his confessional, revelatory Southeastern from 2013, it would be forgivable for Jason Isbell to coast. Southeastern was huge: deeply personal, immediate, and gripping, not to mention successful. Isbell won Album of the Year, Song of the Year (for “Cover Me Up”), and Artist of the Year at the Americana awards. With his incredible new album, Something More Than Free, it’s clear Isbell isn’t going to take it easy.