Album Review : Michael O’Connor : The Devil Stole The Moon

Sep 10, 2011 Album Reviews

Former Artist of the Month, Michael O’Connor returns with another amazing release. How often are you discussing an artist and something is mentioned about how their early records or debut is really the greatest work they’ve done ? With O’Connor, this is most certainly not the case.

On The Devil Stole the Moon, O’ Connor shows that he’s has continued to grow as a songwriter and performer. The record has a very dark feel, with the seedy characters that you have to love that populated his release with Adam Carroll last year.

With a rhythm section consisting of Rick Richards on drums and Jack Saunders (Bass), O’ Connor fills in the rest of the record by playing everything short of the kitchen sink. The ability to make a record that sounds complete without over production, shows that musically O’ Connor is a force to be reckoned with. Another thing that I noticed while listening to the album is the similarities to Warren Haynes’s vocal style, another singer that I believe to be thought of as a guitar player before a vocalist. In both cases, I believe this to be a great injustice as their vocal qualities are what drew me to both artists.

Michael’s songwriting has always been phenomenal and this release is no exception, as he wrote or co-wrote every song on the album. While I love his work as a sideman especially with Slaid Cleaves (and I’m sure those gigs pay his bills) , The Devil Stole The Moon really hammers home the fact that O’Connor should be doing his own thing full time at this point.

Highlights on this record include a couple co-writes with the aforementioned Carroll, “Raining on the Dark Side” and “Rough Side” which would have felt right at home on Hard Times. The title track rivals “Devil’s Lullaby” as my favorite O’ Connor track to date, with lines such as “…with the courage for the blade, but not for the blood…” this sinister sounding song really showcases his ability with word play.

“Burn”, the story of a tired rock n roller, features some really classic O’ Connor guitar work, where he seems to know exactly what to play and when. The song really captures what I imagine it feels like to continue touring and playing shitty bars long after it has lost its appeal. Following that is the “Homesick Boy” the album’s closing track that is somewhat the singer songwriter companion to “Burn”,  with lyric so good I could quote them all here.

After only one listen of this album, I was convinced it was his best effort to date, and I love his other records.  It is available now on his website and other places that you can purchase music.

Tags: adam carroll, michael o'connor, slaid cleaves

Album Review : Slaid Cleaves : Sorrow and Smoke

Sep 3, 2011 Album Reviews, Uncategorized

It’s been quite a long time since I posted anything on this site, let alone a review that I wrote.  I can think of no greater album to give me a reason to return and the motivation to press forward.

I have to start this review by stating a couple things. First, I love live albums and second I have been eagerly awaiting a live album from Slaid Cleaves.

Sorrow and Smoke : Live at the Horseshoe Lounge, will be officially released this coming Tuesday and no doubt will have a lot of people excited to hear what Slaid has to offer.  The record was recorded at the famous club that Slaid immortalized in song on his album, Brokedown, over two shows in the first half of 2010.

Alongside Slaid on this one is longtime lead guitarist/ backing vocalist, Michael O’Connor and multi-instrumentalist,Oliver Steck.  As always Slaid’s voice is in top form, Michael’s guitar work is spot on and Steck’s contributions really fill out the songs in a live setting. I have never had the pleasure of seeing Cleaves live, but if I do I would be quite happy if this were the lineup as the three of them play well off each other and give the songs a great over all sound.

Now for the songs that appear on this double disc set. The selection of tracks on this record is perfect. They span Slaid’s entire career and include every one of my favorite Cleaves’ originals as well as a couple yodeling Don Walser tracks. If I were to create a setlist for a Slaid show this album would not be far off of what I would write down.

Highlights for me pretty much consist of my favorite Slaid songs, there are great live versions of “Brokedown”, “Drinking Days” and obvious crowd favorite, “Horseshoe Lounge”. The aforementioned Walser Yodeling set is preceded by what Slaid calls a warmup yodeling song, “Horses”.

It was also nice to see that a few of the best tracks from 2009′s studio effort, Everything You Love Will Be Taken Away, are also included on this set. So often when someone releases a live album they avoid songs from their latest release and if that were the case here it would have been highly disappointing. Included here are the Rod Picott co-write “Black T-Shirt”, “Tumbleweed Stew” and another co-write this time with Adam Carroll, ” Hard to Believe” .

A few more standouts include the crowd participation heavy, ” Breakfast in Hell”, in which the audience is turned into a logging crew as they assist the hero Sandy Gray break a log jam, before, he, like so many other folk heroes, gives his life for the cause. Also my all-time favorite Cleaves track, “One Good Year” shows up towards the end of the second disc. This song includes the line “I’ve been chasing grace, but grace ain’t so easily found” which has been a favorite line of mine from the first time I heard it and live the song has an even deeper feeling of desperation. Closing out the set is the previously unreleased “Go For The Gold”, a spiritually based song about the one rule we all should follow regardless of religious beliefs.

After just the first listen of this live record, it landed on the short list of my favorite live offerings and definitely one of the best things to be released this year. It only makes me want to check out a Slaid show even more than I already did. My only complaint about the record is that he avoided the cover songs from his album, Unsung. While I understand the reasoning behind not putting a ton of covers on the album, and really wanting to highlight the Cleaves’ songs and co-writes, I do really like some of the songs on that album of covers and would love to have heard some live versions.

With only that small complaint this album is wildly successful in my book and is absolutely a must own. I do believe the release day is this Tuesday so go over to Slaid’s website and order your copy today !

Tags: adam carroll, michael o'connor, Rod Picott, slaid cleaves

Album Review : Roger Marin Band : Silvertown

Nov 16, 2010 Album Reviews

Silvertown shows up on Wikipedia as being part of Niagara Falls, Ontario. I’ve heard Roger introduced as being from the Falls as well as from St. Catherines or Thorold, and if you’ve driven in that area lately you know it’s hard to tell where the individual towns end and another starts. I think that’s called urban sprawl. Roger’s previous two albums had a little more twang to them than this one…there’s still some twang but there’s a lot of rock and roll and an urban feel to it too.

The cover of this CD shows the band standing outside the Silvertown Chinese Theatre and by their attire and courtesy of a couple props they are trying to convey Grauman’s Chinese theatre from Hollywood. There’s even a couple of palm trees in the picture; I don’t know if palm trees grow in southern Ontario. I do know there’s a few in Port Dover, the hometown base of Fred Eaglesmith, in whose band Roger labored as guitarist/pedal steel player/bus mechanic. In Dover they take the palms into a nursery each fall and replant them in the spring. Roger is wearing a Homburg, holding a cane and has unfastened polka dot suspenders, a wide black clip-on tie and handkerchief on a white shirt that gives him a cross between a Charlie Chaplin and a Stan Laurel type look. Bass player Phil Bosley has abandoned his ubiquitous black tee shirt for a white button down shirt and grey sports jacket. Matty Keighan has a black tee but compensates with a sports jacket that can’t cover his ripped knee jeans. New guy guitarist Mike Tuyp peaks over Rogers shoulder and is too hidden for me to convey his sartorial choices.

The Grauman’s theme is continued with chalk outlines of RMB’s members hands (instead of the hands in concrete) on the back cover. It states that the album was recorded and mixed by Matt Kieghan and Roger Marin Band and was mastered by Matt. Kudos on that boys – the production sounds as awesome and better than many big studio efforts I’ve heard.

Track one – You Hate Yourself puts me in mind of rolling around town in a buddy’s car on a weekend night listening to Foghat and Aerosmith on the 8 track. It’s a co-write with Texas co-writing slut Mark Jungers who has also penned songs with Adam Carroll, Scott Nolan, Brock Zeman and probably dozens of other partners. I first heard RMB (there’s no the before RMB) do this song in Bellows Fall Vermont this past June. There’s a key part of the song where they all scream, onstage only Phil did, so when I put the CD on driving home it sounded strange to hear all the voices. It was a hell of a rock and roll scream though…right up there with the one in Won’t Get Fooled Again.

Long before Americana became part of my musical lexicon, I liked Springsteen and John Mellencamp a lot and thought of Bruce as the urban and John as the country side of that coin. The title track of this CD – Silvertown, sounds like a co-write by those two guys. Roger released this song online as a preview to the CD, and it really caught my attention. I would have (and did) buy the album on the strength of this song alone. Thankfully the rest are really good too

Thirteen or fourteen years ago I heard Blackie and the Rodeo Kings’ first album, High or Hurtin’ a tribute to Willie P. Bennett. I immediately had to hear more and see the man himself. I searched on a very new World Wide Web (before Google!) and tracked him down playing in a band with some guy named Fred J. Eaglesmith who turned out to be from the same part of Southern Ontario as I am, and then I went to see the band at a weekend long festival near Port Dover. Roger was brand new in the band then. There’s been hundreds of Fred shows and weekends since then and I started travelling to Vermont, Texas and across Canada to see shows and meet up with friends from all over the world that liked this kind of music. Willie P. died way too young in February of 2008. The Christmas shows in Port Dover in 2007 were Mr. Bennett’s last with Fred’s band. Roger, who had gone off on his own a couple years before, was opening the shows solo and sitting in with Fred’s band that weekend. He told of a late night call from Willie where he’d answered the phone to hear him say “ Roger…write this down – Whiskey take me off the shelf. You’re welcome”, click. The song as presented here is great, and lists Mark, Joy Junger and Adam Carroll as co-writers.

I first saw Adam Carroll (and Hayes Carll and Chris Knight) in Bellows Falls, Vermont, in 2004. Friends thought I was crazy to travel that far to see a bunch of folks they’d never heard of. I made friends and saw music that changed my life that weekend, and when I got to Texas a couple of years later I saw Mark Jungers do a set at Gruene Hall because he had a song on a Fred tribute album. Scott Nolan was there that weekend too and a few years later he said “When I met Roger Marin and made friends with him I immediately became friends with about 200 other people scattered across this continent.’ I know what he means.

The first album is called Roger Marin Jr. The second is High Roads and attributed to Roger Marin. Silvertown is by Roger Marin Band, and it is very much a band album. It Brings Me Down penned and sung by Matt K. is about the road. It’s as bright as his smile and as cool as that beard of his. Phil checks in with Bring It Home which lists the various vagaries of living the life of a travelling musician, but also acknowledges that he loves it. Roger has always been egalitarian in sharing the mic with his bandmates onstage, and it’s cool to see them singing their own songs here. Phil recently made and met a challenge of writing and recording 30 songs in 45 days, I listened to several of them on Facebook and was very impressed. The album closes with How Ya Doin’ Tonight which is a cowrite with Erica Poley and former RMB member Rod Standish. The song switches from Roger’s daughters singing those words spookily over a languid drum beat, to Roger speaking some lyrics to James Standish freestyling rap style and back and forth throughout the song. It’s a cool way to end this excellent album which is available on CD BABY and iTunes. You can find Roger on line here.

Tags: adam carroll, Fred Eaglesmith, Mark Jungers, Roger Marin, Scott Nolan, willie p. bennett

Artist of the Month November, 2010 : Adam Carroll

Nov 3, 2010 Artist of the Month

This month’s artist once again comes from Texas. Carroll for me really stands out among the crowd of extremely talented songwriters from that region.

I’ve always felt that there is two types of songwriters that really make an impression on me. The first writes songs that are just brilliantly literary and poetic, almost untouchable in a way. The second is the songwriters that have a way of coming off as one of us, a common guy who writes songs that we all can easily relate to. Occasionally a songwriter finds a way to enter both of these realms at the same time. Sometimes it’s for a song, or an album and on very rare occasions they permanently reside there. Carroll belongs to the latter group.

His songs have a way of immediately connecting with the listener and at the same time, being completely beyond anything we could have written ourselves. The characters in his songs live in our neighborhoods but they are so elegantly presented within the song that it makes them seem larger than life.

Once you add in Carroll’s fine guitar and harmonica playing and his off kilter vocal delivery, you have an artist that in my opinion can hold his own in any songwriting circle, no matter how high up the ladder you go. Comparisons to John Prine and Townes Van Zandt seem to come at him from all directions and they are absolutely well deserved for once. I would throw others in the mix as well, Guy Clark, John Hiatt, and the list could go on. Basically think of all the writers that get every word right and go ahead and place Carroll in their midst.

I first heard of Carroll through a couple of Hayes Carll bootlegs, where Carll stated that if he could get away with it he would sing Carroll songs for half of his set and claim that he wrote them. This was a high praise from a songwriter that I respected so I thought I would check out some Carroll’s work. I ended up with a gem of a show, that was a song swap with Graham Weber (August’s Artist of the Month). That show sent me on a journey of discovering everything Carroll had to offer and I have yet to be disappointed thus far.

A few years later I got to see him live two nights in a row with Weber here in Ohio. I was not only impressed by the ah shucks stage presence that immediately held the audiences attention but that he was that humble and quiet off the stage. It almost felt as he did not have a grasp on just how great his songwriting is.

I have talked with many musicians and fans who have crossed paths with Carroll throughout the years and everyone agrees that he is one of the most immensely talented guys working today and that just being around him is an intriguing, humbling experience. From all accounts there is not a person out there that cares more about his craft than Carroll.

On stage he is engaging and funny, even though he has a tendency to fumble lyrics occasionally. Mark Jungers, another great Texas musician and producer of Carroll’s 2008 album Old Town Rock n Roll, once told me a story about Carroll opening up for him. He said the venue was packed and Adam came out at messed up the first three songs he tried on the audience. After apologizing and making light of the situation Carroll nailed the next tune and was received with a standing ovation. At the end of the night the merch table that held Adam’s records was almost completely empty. I thought that was a perfect example of how powerful this guy’s music is.

Carroll has a pretty full catalog for someone who has only been releasing material for just over a decade. To date he has four studio albums, two live records and a phenomenal release with another former Artist of the Month, Michael O’ Connor. Every one of these albums is phenomenal and it is very difficult for me to pick out just three to tell you to start with.

His debut record, 1998′s South of Town, made my list of five great debut records , where you can read my thoughts on it in some detail. This is definitely a situation where you can start from the beginning and work forward as Carroll came out of the gates in stride on this release.

His second release came two years later and contains some my favorite Carroll songs ever. Lookin’ Out the Screen Door was produced by Lloyd Maines who worked on Carroll’s first three studio efforts and his first live album. Among the highlights on this record are “Race Car Joe”, which Slaid Cleaves later covered on his album, Unsung, “Errol’s Song”, the story of a hunting partner of Carroll’s father who Adam looked up to all of his life, and “Karaoke Cowboy”, which tells of a failed Nashville singer living a different life of fame as a the karaoke DJ in a small town. My personal favorite on the album is Carroll’s ode to unchanging love, “Blondie and Dagwood”. One other song that is a favorite of other artists to cover and fans to hear is “Girl With the Dirty Hair” which was the first tune of Carroll’s I personally heard.

The next studio album that I want to touch on is Old Town Rock n Roll. Recorded in Mark Jungers garage with the help of Jungers and Canadian musician, Scott Nolan this album found Carroll captured in his relaxed finest. The looseness of this record allows the quirks of Carroll’s vocals shine through the perfectly written lyrics. While Maines always seemed to find a way to present Carroll’s work in a great light this record doesn’t try to mask the scars and marks on the songs and it really is a breath of fresh air.

The standouts are “Oklahoma Gypsy Shuffler”, “Hi-Fi Love, and “Highway Prayer” all songs that make you feel good sometimes smiling and sometimes just nodding your head in agreement. To close the album is a song that makes all older guitar players grin, “Porter Wagoner (AKA the Silvertone Song)”, tells of the gap between generations and the nostalgia that comes from a cheap guitar signed by a legend.

This article would be a failure if I did not mention how much I love both of Carroll’s live albums. Live at Cheatham Street Warehouse was released in 2002 and hits almost all the best songs from the first two records along with some great stories and a few previously unreleased songs. The story and version of “Errol’s Song” on this alone is worth the price of the album.

Earlier this year Carroll released the second live album, Live at Flipnotics. This time Carroll was joined by Scrappy Jud Newcomb on lead guitar and the songs span his entire career, including live versions of “Oklhoma Gypsy Shuffler”, “Home Again”, “The Girl With the Dirty Hair” and “Billy Gibbons’ Beard”, which appeared on he and Michael O’ Connor’s ablum, Hard Times.

Speaking of Hard Times, it may well be my favorite record released this year and if not it is damn close. An album with a theme of Gulf Coast losers it really is a great collaborations. Carroll and O’Connor take turns singing the lead parts on the songs, and co-wrote most of the material on the record. “Billy Gibbons’ Beard” is my favorite song that Carroll sings on it. It is sad and funny all at the same time, which is a common thread on the album. The other Carroll standout is the title track which is kind of self explanatory.

Overall Carroll’s career is already amazing and shows no signs of slowing down. I would really suggest buying everything in his catalog because there is not a bad one among them. Also do yourself a favor and go see this guy live if he ever comes near you. You can learn more about Carroll on his site here.

Tags: adam carroll, Graham Weber, Guy Clark, Hayes Carll, john prine, Mark Jungers, michael o'connor, slaid cleaves

Artist of the Month, August 2010 : Graham Weber

Aug 1, 2010 Artist of the Month

I have read or heard Weber compared to the likes of John Prine, a young Bob Dylan, Todd Snider, and an early Wilco era Jeff Tweedy. All of those comparisons are fair enough but they really fall short of accurately describing Weber. All that needs to be said about Graham is that he is a great songwriter who has digested the catalogs of all the greats and came through with a voice and a sound all of his own.

Weber began his musical journey in his native Ohio early in this decade. Starting out a little later in life than some, he cut his teeth in various bands in the area before embarking on his solo career. After recording and releasing the mostly acoustic, Naive Melodies in 2003, Graham decided to make a bold move and departed Ohio for the overcrowded songwriting scene of Austin, Texas.

When I asked him a few years later why he decided to make this move at a time when he had begun to develop quite the following in Ohio, Weber replied, “I could have stayed and made enough money in Ohio as a medium sized fish in a small pond (I would argue that most of Ohio’s music scene is just a mud puddle, unfortunately), but I wanted to see if I could make an impact in the ocean that is Austin.” Quite the undertaking indeed, it did not take long for Austin to begin noticing that this guy was not just another wanna be Prine.

The Texas community seems to have embraced Weber and rightfully so. Long time Austin resident, Slaid Cleaves almost immediately took Graham under his wing and has served as a mentor since his arrival . Graham quickly made his move up to playing all of the best venues in the Austin area both as an opener for greats like, Snider, Guy Clark, Ellis Paul etc. and as a headliner.

I personally got turned on to Weber’s music on accident. I received a song swap that Graham had played shortly after the move to Texas with Adam Carroll and was completely floored by the depth of the songwriting that was coming from this unknown artist. After a little research, I was disappointed that he had come from Ohio and that I had never had the chance to see him here. At the time Naive Melodies was his only release so I bought it to see if this one live recording was a fluke or if this was the real deal.

I got the disc in the mail and put it in my car stereo that day, there it stayed for a solid two weeks. Although Weber himself is now disappointed in his debut, I to this day feel that it is one of my favorite records perhaps of all time. The emotional honesty that flows out of all the songs on this record serves as a great introduction to the seemingly complex simplicity that Weber has a way of portraying in almost all of his works.

Naive Melodies displays the heartache that Weber was feeling after a failed relationship, the insecurities of starting a new relationship and his biting sense of humor.This ability to channel such contrasting emotions is the thing that makes Weber stand out among his peers and makes a live show a must see appointment.

“Tight Rope Walking” is still one of my favorite songs in his catalog. “I know your nose caught the smell of whiskey, and I know I came in seven hours late, I can’t believe that you even missed me, tight rope walking that thin line between love and hate”, he sings in this song chronicling the difficulty of finding balance in a relationship.

Inspired by the late Johnny Cash and rapper Snoop Dogg (trust me it works just listen), “Late Show Someday” captures that animosity towards someone who has scorned you and infuses the anger with a sensational amount of humor. This song is completely over the top and that is exactly where it should reside.

I don’t think you can talk about this album and not mention “Oh Roberta” the song that so impressed Slaid Cleaves that he included it on his Unsung release, an album of covers written by his favorite unknown writers. Weber’s song holds its own against a collection of songs from really great songwriters. “Do you still see my silhouette when your lashes start to close, I’d like to know oh Roberta where have you gone?” is my favorite line in this song, sang to the one who got away.

Shortly after settling in Austin, Graham set out to record his first Texas album. With a lot more instrumentation, a great studio band and some impressive guest musicians the result was Beggar’s Blues. Hitting the streets in 2006, this release shows the growth Weber’s song crafting had undergone in just a short time and further established his ability to conduct the emotional roller coaster that is his albums.

Starting off the album is the fast paced, lyric filled “After All”. This song really represents Weber’s mastery of word play. “Self proclaimed soothsayers say they know what no one else knows” , it’s lines like that make this song memorable.

“Love and Money” once again shows Weber’s sense of humor in this song about the impossibility of mixing the two things we need most in life. Along with Weber’s strumming on the acoustic this song features a killer horn section almost giving it a Vaudeville feel. It’s a departure from what he normally does and man does it work.

Inspired by his first Texas Independence Day, Weber wrote the amusing tale of trying to make it in the music business, “Stars and Circles”. While the narrator may not have what it takes to “make it” he is happy enough eking by in the Texas sun.

Perhaps my favorite track on the album is “Avenue A”. The story of a road weary musician trying to find a drink on a Sunday morning in Lower Manhattan. Weber’s vocals in this one really give the lyrics their depth and meaning. He almost sounds like this was recorded after a day like which is described in the song. “They won’t serve Bloody Mary’s til twelve hours til Monday, so I’m shaking and waiting on Avenue A” , the chorus pretty much sums up the song.

2008 saw the release of Weber’s most recent album release, with his most ambitious recording project yet, Door to the Morning. The production value on this one really ratcheted up the quality of the record. Employing more of a pop sensibility and a little bit of Rock n Roll feel, this album is Weber’s best yet. It’s always nice when a great songwriter begins to really find his way in the studio without losing what made him great in the first place and that is what Door to the Morning accomplished for Graham.

The opening track, “Snow in July” is the prime example of the improvement in the recording. Backed by a full band with great piano and organ parts, Weber is able to maintain the lyrical mastery while really delivering an upbeat rockin’ number. “Sometimes your friends turn to foes and it snows in the dead of  July” is just one of the great lines that Weber drapes over the musical backdrop the studio band lays down.

Following the upbeat feel of the opener, comes the piano and slide guitar ballad, “Candle So Close”. Included in this song are very good backing vocals by Graham’s wife, Michelle Keffer. You can tell those two have spent many a night singing together, because her voice beautifully compliments his tired drawl in this one.

My favorite song on this one is the acoustic and pedal steel based, “Bite Your Tongue”. This one finds Weber at his lyrical best in a song of a lover leaving.

In addition to the three studio albums I have discussed, Weber has released two live samplers that feature unreleased material and the in between song banter that makes his live performances so much more than just a guy with an acoustic guitar.

What amazes me about seeing Graham live is that he is constantly writing songs. Some writer’s see the process of writing a song as work and with Weber they just seem to fall out on the paper. He is consistently writing better stuff that he has already released. He is one of those guys you wish lived in the studio, because he forgets so many of the great songs he has written. One of my favorite things to do is request a song I have heard him play prior and see if he remembers it. If you go see him anytime in the future ask him to play “The Hooker and the Hitman” , an eight minute song of an unlikely love, and tell him Adam told you to do it.

Perhaps the most telling thing I can say about how great I think Weber is, is that I have had to purchase all of his records at least twice each because I have given them away to share them with others.  I found out that he is currently working on the follow up to Door to the Morning. Tentatively titled, Women, it is going to feature a mostly female backing band and harmony vocals in addition to a co-write with Slaid Cleaves. I know I am looking forward to this release which will hopefully come later this year.

Weber will making his first trip back to Ohio in two years in a couple months and I hope to catch a show or two and have him on the podcast. In the meantime you can visit his website www.grahamweber.com and find links to buy his records and such. Later this week I will post a live Weber show to download.

Here is a video of Weber playing “I’ll Take Texas” an ode to his adopted home:

Tags: adam carroll, Artist of the Month, bob dylan, Graham Weber, john prine, slaid cleaves, todd snider

Artist of the Month, June 2010: Michael O’Connor

Jun 3, 2010 Artist of the Month

Like many people before me, I first discovered Michael O’Connor as a guitarist.

I was listening to some live Slaid Cleaves shows and found myself drawn to the extremely tasty lead guitar licks I was hearing.

Inevitably, on all of the recordings Slaid would introduce O’Connor as the guitar player.

From there I went on to find out that over the last couple of decades O’Connor has lent his talents to many Americana legends including, Cleaves, Ray Wylie Hubbard, Susan Gibson, Adam Carroll and others. It became clear that if you were anywhere near Texas and needed a guitar player to add class and dignity to your record or live show you sought out O’Connor.

Interestingly enough my first looks into who O’Connor was did not unearth his solo work. Thank the heavens for Slaid Cleaves’ 2006 release Unsung, an album of cover songs that featured two tracks by Mr. O’Connor. On an album filled with finely crafted songs, O’Connor’s “Devil’s Lullaby” stands out in my opinion as the best song.

So now I had to know what else was out there from this guy. I found his website (yeah I know how difficult right?) and saw that he was about to release a new album, his second. I went ahead and bought his first release, Green and Blue (2000) that was produced by Ray Wylie Hubbard.This record was very bluesy and rough. The highlight for me is “West Memphis Blues”, a pretty straight forward blues tune.

After that, I kind of forgot about O’Connor for awhile. Green and Blue got lost amongst the records that I hadn’t listened to enough and then I downloaded a live show featuring O’Connor in a song swap with Adam Carroll. Finally I got to hear O’Connor sing the songs from Unsung along with a ton of other tunes that I had never heard before. O’Connor’s songs once again stood up against a great songwriter’s. On this show there are acoustic versions of songs from Green and Blue as well as most of the songs from his second release Giants From a  Sleepy Town (2007).

Well, I began obsessively listening to this show, especially the O’Connor songs on it. I contacted his wife who does his booking and attempted to have him come up here to do a show, which unfortunately did not work out. A couple of years passed and Carroll and O’Connor released the best album of the 2010, Hard Times.

With the new record being released, I had to get my copy of Sleepy Town finally as well as Hard Times. There was 7 years between the release dates of Green and Blue and Giants From a Sleepy Town and in that time, it seems that O’Connor found his voice in the studio. The songs on this album are phenomenal and the sound is great. I do not mean to disrespect the efforts of his first record, but this second release is amazing.

Among the highlights on this release are the aforementioned “Devil’s Lullaby” which features some of the greatest imagery I’ve ever heard in a song. “The sirens wail and the church bells chime, Sounds like the Devil’s Lullaby”, sings O’Connor in this one. Another absolutely stunning song on this record is the Tom Waitsish, “Trampoline”, which details the struggles of a working musician in a graphic nature.

I can’t sing the praises of this album enough, the songwriting is superior and it’s always refreshing when an artist is recorded in a manner that lends itself to the songs. It definitely seems that O’Connor grew into his own in the time between albums.

After I  listened to O’Connor’s second solo effort a few times, I moved on in an excited manner to Hard Times (2010). Here was an album that could not disappoint, two excellent songwriters collaborating on a collection of new songs with a common theme, gulf coast losers.

I was right this album is great, by far the best thing released so far this year. Once again, O’Connor’s skills stand out. He and Carroll co-wrote 9 of 11 songs on the record with the remaining two songs featuring one of them singing a cut from the others previous record.

The two of them take turns singing lead on the record, and in my opinion O’Connor drew the high card when he sang, “Bernandine” the story of a gambler praying to the patron saint of gamblers and addicts. O’Connor once again channel’s late 70′s Waits on the track “Throw a Nickel” which is also one of the better tracks on a great album. O’Connor also does a great job on the Adam Carroll penned “Highway Prayer” from Carroll’s release Old Town Rock and Roll.

Over the years O’Connor has solidified his spot amid the Texas music scene first with his superior guitar playing and more recently with his excellent solo work. While I am happy that it seems he will continue to appear as a sideman, I  hope that he focuses more of his time on his songwriting career. Whatever he does be sure that I will always pick up any album with his name anywhere on it.

You can learn more about Michael O’Connor and buy all three of his releases on his website, www.michaeloconnormusic.com.

As a bonus here is a download of the song swap I mentioned earlier in the post: Michael O’Connor and Adam Carroll 03-20-2007 . Just right click save link as.

Tags: adam carroll, Artist of the Month, michael o'connor, ray wylie hubbard, slaid cleaves, susan gibson

Lists : Five Debut Albums That I Love

May 24, 2010 Lists

This list is in no way comprehensive nor is it in any order. These may not be the best debut albums of all time or even my favorite ones if I gave it a lot more thought. They are however five debuts that blow me away every time I hear them. Sometimes an artist or band just gets it right the first time around.

1. Steve Earle : Guitar Town (1986)

Earle comes out of the gate with an instant classic, Guitar Town, what’s crazy is that he was already 31 when this record was released. This record was over ten years in the making as Earle honed his songwriting chops hanging out with Townes Van Zandt and Guy Clark.

Before this album, Earle worked in Nashville writing songs for other as so many writers do and had recorded another album that was not released. However, when it finally hit the shelves it helped make Steve the next big thing as it rose to number one on the country album charts.

Within its ten tracks are so many great songs. Highlights for me are the title track, “My Old Friend The Blues”, and “Daddy’s Little Rock n Roller”.

2. Todd Snider : Songs From the Daily Planet (1994)

I am so conflicted with this album. I love every song on this record, even the songs that have become the cliche Snider songs to like. While some of the album versions of the songs are great a lot of them leave something to be desired. I think the record company people tried to make Todd sound entirely too pretty and that would be a theme on a few of his albums and they don’t capture the raw energy of Todd with his then band the Wrecks or the emotion he plays with solo.

Having said all of that, this is still a great record to listen to. The songs that are nailed here are phenomenal and the ones that could have been recorded differently are still great songs. Snider is one of the best writers working today in my opinion and he let that shine through right from the beginning.

Of the songs that are great on the record, my favorites are “Turn it Up” (because sometimes you just have to rock out), “Somebody’s Coming”, and “Spoke Like a Child”.

3. John Prine : John Prine (1971)

Got to love when one of the “Next Bob Dylans” becomes the first John Prine. I’m not sure if there is another debut album that contains so many classic songs. With his unconventional delivery, Prine released what I feel are some of his best songs on the first go round. Many of these songs would go on to be covered by everyone under the moon and to me the best versions can still be found on this gem of an album.

As for favorites on the album, how can you go wrong when you have “Angel From Montgomery”, “Sam Stone”, “Far From Me”, “Illegal Smile” and “Paradise” and that only makes up half the record?

4. The Counting Crows : August and Everything After (1993)

This record may not seem to fit among the others, but I love it just as much. Ever since its release I have been listening to it on a regular basis and it never gets old. Unfortunately they have never released a record as good as this one again. I have liked just about all of their albums, but they seemed to get progressively worse the farther away from August they got. Their newest release however did break that pattern slightly.

Back to August and Everything After though. From top to bottom the songs on this release are pretty depressing but, extremely well written and they sound incredible. It’s one of those records where I never skip a single song while listening and that is rare even from good ones.

My favorite tracks follow each other back to back in the middle of the album. “Perfect Blue Buildings”, “Anna Begins”, and “Time and Time Again” make for a great three song run.

5. Adam Carroll : South of Town (1998)

The most recent release of this list, South of Town is the first look into what is becoming a great career for Adam Carroll. I love this guy’s writing and his style. He has a way of writing things that sound really poetic and at the same time common. The way he strings words together is beautiful and then he delivers the songs with an aw shucks sound that is often times behind the beat and just comes off sounding amazing.

There is definitely a reason that he is becoming one of the most covered artists to come out of the Texas music scene recently and that reason is prominently displayed on this record. A lot of these songs appear again on his live records as well, but you get a great feeling from the down home recordings found on the studio versions.

Listening to this again last night, I  decided my favorite tracks on it were “Smokey Mountain Taxi”, “Cane River Blues”, and “Home Again”. If you are not familiar with Carroll go and buy this and all of his other records immediately.

That’s it for this list, while most of you probably own these records or at least know of them, hopefully you will revisit them after reading this. This list was fun, I think I will continue it some other time, feel free to comment with some of you favorite debuts if you feel the urge.

On another note, look for the first edition of the Broken Jukebox podcast early this week. It has been recorded and will be up soon.

Tags: adam carroll, counting crows, john prine, Lists, Steve Earle, todd snider