NEWS & REVIEWS, including more from NAMM, Feb 2, 2013

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Welcome to the “NEWS & REVIEWS” section, with 10 fresh features; it’s one of THREE parallel editions of the Acoustic Americana Music Guide in our new format…
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They are:
• NEWS & REVIEWS, right here, a new and comprehensive fresh edition…
• LIVE EVENTS, concerts, club gigs, workshops for artists, and more (at a separate click.*)
• MUSIC-ON-TV, the Guide’s “Tuneful TeeVee” edition (at a separate click.*)
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* - available just below or in sidebar at left, depending on where you are reading this…
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The Opening Act: Late-Breaking Miscellanea…
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So, PUNXSUTAWNEY PHIL didn’t see his shadow Saturday morning, on GROUNDHOG DAY – and that means an early spring. At least in Gobbler’s Knob, PA, if you believe the top-hatted, tuxedo-clad “Inner Circle” crew who awaken Phil and yank him from his warm burrow every February 2nd. Of course, last year, Phil did see his shadow, and that caused the prediction of six more weeks of winter, and instead we had the warmest six MONTHS on record.
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There are other prognosticating rodents. Some of them got it right last year. Overall, their record on climate is better than a lot of boneheaded, science-denying politicians…
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Or you could go searching for all those examples of the latest stupid phenomenon: ads for ads. The mega-corporations who air multimillion dollar ads during the Super Bowl are airing “teaser ads” in advance – ads for their upcoming ads. And it seems some people are such "ad-dicts" that they comb the web trying to see them all. We know it will get worse for those folks: so they won’t miss any of the ads, they’ll get up to pee during the game. That will even be measured and reported by the people who run the sewage plants and count and time toilet flushes. Really. They do that. As the saying goes, you can only rent beer. TV advertising has made us all a little A.D.D. Do we have enough chips and salsa for the game? Where’s my padded iPod? Oh. Look, a bird. We live in a multifaceted world.
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If we’re going to be critical, we must offer an alternative. Done. Here it is: the Acoustic Americana Music Guide. You’re reading one of three parts, the NEWS & REVIEWS edition. Together with its two companion editions, EVENTS and TUNEFUL TEEVEE, we hope to enable and facilitate your exploration of live musical experiences, and send you in the door with more knowledge than he average bear of who is performing. And more. There’s news here about big labels cheating (and getting caught!), and other news about the music biz, including our continuing series on hot innovations exhibited at the NAMM Show. There’s a CD review. There are a couple of web radio shows / podcasts you’ll like. There’s a songwriting contest, and a “Mars” song that’s made it to space, and to Hollywood.
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Let’s get started!
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NEWS & REVIEWS in this edition…
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1) Major Labels Fake Popularity of Pop Artists Through Inflated View Counts
2) ATLANTIC STEPS Play Three Southern Cal Shows in Early February
3) The NAMM Show, Through the Eyes of an Exhibitor
4) SONY Introduces Video Series on PRO AUDIOFILES
5) NOWELL SIEGEL at NAMM: “From the Luthier’s Chest”
6) “Mars” Song in Hollywood (& NASA’s) Orbit, a Feature at “FOLKTACULAR,” February 17
7) USA Songwriting Contest Entries now Open
8) ANNE McCUE now Hosting Performance-Interview Podcast Radio Show
9) Into Hawai’ian Music, Bruddah?
10) CD Review: “INFINITE DISTANCE” by BIG WIDE ROOM
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1) MAJOR LABELS FAKE POPULARITY OF ARTISTS THROUGH INFLATED VIEW COUNTS
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It seems that those corrupt major labels are at it again. At the end of December, YouTube canceled billions of video views after finding they had been “faked.” But it was unclear who did it. Were hackers altering total numbers of views, increasing them by orders of magnitude, because they were working for the music industry?
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If you apply the age-old crime-solving criteria of assessing motive and opportunity, the suspects are obvious.
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In YouTube’s purge of bogus counts, major record labels were stripped of more than TWO BILLION video views. The biggest hit was taken by Universal, which, alone, lost more than one billion faked views.
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“This was an enforcement of our viewcount policy,” said YouTube in a statement, following its crackdown on alleged “fake viewers.”
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The Universal label is home of RIHANNA, NICKI MINAJ and JUSTIN BIEBER, and that label, alone, lost a total of one billion views in the video site's biggest-ever crackdown on artificially inflated figures.
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Sony was second-hardest hit. That label has pop stars ALICIA KEYS, RITA ORA, and LABRINTH. The label and its stars lost more than 850 million views in a single day.
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The dramatic cuts came as YouTube conducted a crackdown on fake views. Music industry sources have a different story, blaming inflated numbers on “housekeeping” related to “the migration” of their videos across different channels.
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Anybody remember DANA CARVEY’s “Church Lady” character: “How conVEEEniet.”
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The unprecedented move left Universal with only five videos remaining on the site -- none of which were music -- and Sony was left with just three.
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“This was not a bug or a security breach. This was an enforcement of our viewcount policy,” said YouTube.
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It marks a huge commercial blow to all the recording artists involved, since YouTube is now the web's most important outlet for music videos.
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Over four billion hours of video are watched by over 800 million unique visitors to the site each month. The dramatic collapse of popularity that never existed is demonstrated by figures compiled by YouTube statistical analysts at SocialBlade. It came after YouTube conducted an audit of its viewing figures aimed at combating “black hat” viewcount-building techniques.
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That is the term used when hackers artificially build up the numbers of views or “likes” on a YouTube video.
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The purpose is to enable them to make clips appear far more popular than they really are and increase their exposure on the site. The number of views logged on YouTube has been regarded as an unofficial worldwide popular music chart.
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While many hackers could probably get into any site they wanted, that doesn’t explain a motive to specifically inflate numbers for major label pop tarts.
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Once it became clear that hits for recording artists on major labels had been inflated, fingers immediately pointed at the record industry. It remains to be seen if anything more will be done about the dishonesty, since its economic dimensions likely trespass into criminal activity.
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2) ATLANTIC STEPS PLAY THREE SOUTHERN CAL SHOWS IN EARLY FEBRUARY
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Ireland’s oldest dance form has arrived in America in thrilling fashion, in the form of the ATLANTIC STEPS. Led by extraordinary 27-year old dancer BRIAN CUNNINGHAM, it’s a cast of 10, bringing “sean-nós” dance to the world stage with a dazzling display of style, skill, and athleticism. He’s from Galway, Ireland, in Connemara County, on the beautiful, rugged Irish coast. The region is home to one of Ireland’s oldest dance forms.
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Cunningham was acclaimed as "The Michael Flatley of sean-nós dance" on RTÉ Television’s “Tonight with Miriam.”
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Atlantic Steps is the inspiring epic story of Ireland’s sean-nós (pronounced shawn-nos, meaning “old style”) dance, portrayed through the vibrant music, song, and dance of the West of Ireland. Centered around Cunningham’s joyful dancing and unbridled energy, the show moves festival and theater audiences to their feet, bringing sean-nós dance to prominence on the world stage.
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One of many forms of Irish dance, sean-nós is an informal and spontaneous art form, traditionally performed solo. Unlike the better known Irish step-dancing, as seen in “Riverdance,” sean-nós is characterized by its "low to the ground" footwork, free movement of the arms, and improvisation. Creating a percussive music of its own, the derivations of sean-nós can be seen in such American forms as clogging, hoofing, and soft-shoe tap dancing.
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Brian’s formidable cast of dancers and musicians includes KIERAN JORDAN, one of Irish-America's hottest talents who began dancing at age five. Kieran has been a major figure in the sean-nós revival in the US. The musicians include some of Ireland's top traditional artists, including the great SÉAMUS BEGLEY of County Kerry on accordion, and OISÍN MAC DIARMADA of the group TEADA, one of Ireland's premiere fiddlers today. All bring energetic eal to the robust, rhythmic, and highly-melodic tunes of Connemara and the West of Ireland.
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The cast is dancers BRIAN CUNNINGHAM, KIERAN JORDAN, KEVIN DOYLE, AYAN HALL, & JACKIE O'RILEY, and musicians SÉAMUS BEGLEY on accordion, OISÍN MAC DIARMADA on fiddle, SEAN GAVIN on pipes and flute, and PAT DOOCEY on guitar.
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Brian Cunningham is one of the most exciting sean-nós dancers to have emerged from Ireland in years. He has won all the major dance competitions in Ireland. What began as a pastime for him and his siblings was handed down by their grandparents as a tradition from the days of house dances. He is playing a hugely important role in reviving one of Ireland's oldest dance forms and transforming it into a wonderful display of dance style, skill and athleticism.
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Atlantic Steps is an international touring adaptation of the phenomenally successful Irish show “Fuaim Chonamara,” which featured Brian and his siblings. Having performed alongside Irish greats including DÉ DANANN, THE CHIEFTAINS, SHARON SHANNON, ALTAN, DERVISH & TÉADA, Brian brought his dancing talents to headline the high profile “Volvo Ocean Race” spectacular in Galway during 2009. When 20,000 people danced the night away at Galway’s docklands within striking distance of the Atlantic Ocean, Brian was convinced of the worldwide potential of the sean-nós (old style) dance.
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“Brian's enthusiasm, exuberance and good nature exudes in his refreshing performance which should be enjoyed by all.” -- Matt Malloy, The Chieftains.
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Southern Californians have two more opportunities to enjoy them:
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Saturday, February 2, they’re at Caltech’s Beckman Auditorium in Pasadena at 8 pm; info, www.caltech.edu/content/public-events
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Friday, February 8, they play the Performing Arts Center at College of the Canyons in Santa Clarita; info, www.canyons.edu/Offices/PIO/CanyonsPAC
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They played Friday, February 1, at the Torrance Cultural Arts Center; info at www.torrancearts.org/atlantic-steps
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You can watch videos of their performances and read more at www.jrafinearts.com/atlantic-steps. There’s more on the troupe’s own site at www.atlanticsteps.com.
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3) THE NAMM SHOW, THROUGH THE EYES OF AN EXHIBITOR
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We met WILL CORNELL at NAMM a year ago. He is with music products and instruments supplier AMV Sales & Consultation LLC in Dallas, Texas; www.amvsales.com; 800-283-1146. We found him knowledgeable and on the lookout for innovations he could stock to offer his customers. And he markets to performers, retailers and overseas distributors.
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This year, he is excited about many new things he exhibited or found at NAMM. One he calls a “Work in Progress” is the Hurricrate™ developed by journeyman blues performer ROGER "HURRICANE" WILSON. Will says, “It’s a handy solution for the solo gigging musician (which seems to be most common these days) who can't afford to hire a full time roadie, tech, or those massive cases from Calzone or Anvil.”
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There's more to this than is readily obvious. As Will says, it’s “A vintage milk crate modified with casters and a power-strip. It will store your cables, cords, pedals, etc. and roll your amp or PA easily onto the stage for quick starts to your set or show. Use a second crate on top of the first for more height if desired. Your tear-down after the gig is easier too, and the Hurricrate (or -crates) store easily in trunk or pickup bed.”
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Will adds, “We got a lot of useful feedback at the show and hope to evolve this into something exciting by this year's Summer NAMM in Nashville. If you're interesting in buying these now, as is,” you can, by contacting Will Cornell (email and phone below). Ever the salesman, he adds, “You might just wind up with a collector's item!”
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He’s interested in working with artists to enable them (you) to make them money at gigs, as well. Displaying Pickbandz and Roxo at NAMM (we’ll explain those in a moment) he says, “Performers: you don't have to be U2 or the Stones to make some extra buck$ with a swag table at your shows. The wife of one of the members of a world famous metal band is already a Pickbandz customer. She inserts that band's logo-ed picks into our product and turns a measley $1-$2 sale into a $10 sale! I advised a teen performer to do this and her manager mother scolded her into listening and learning. Your merch and swag are, as Krusty the Klown on the Simpsons once put it, "The Ripest Plum of ALL!". And remember, Pickbandz, Roxo (and hopefully some forthcoming lines), can be customized very easily.” •
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Pickbandz® are cool pick holders that double as other things. Will’s booth gave out several hundred samples, and he says it was “simply because we were ‘liked’ on Facebook.” They include a new key ring and other new products in many colors and sizes. Check them out in the Pickbandz 2013 order form at www.amvsales.com.
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Coming soon, Pickbandz Pro® will hold up to 5 picks with easy in-and-out action, and retail for around $9.99. Will says, “We had many inquiries on this item and a lot of anticipation for its release.”
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Roxo® also attracted a lot of attention at Will’s booth, not only from retail, but he says, “from schools that might want to reward students for their progress on their instrument. These charms can be added to silicone rubber wristbands” (there are 30 different colors) that Roxo provides. He says, “You can customize ‘rocx’ with your own photos so long as they don't mess with trademarks or copyrights.”
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The guy looks at all the angles. “Schools, Practice Studios, Private Instructors: as rewards, gifts, incentives, these lines are affordable, popular and will easily set you apart from your competition. Who else gives out such neat stuff after a lesson plan is completed? A friend of mine gives piano lessons to kids and a Coke at the end of each session. She turns away business because other ladies teaching piano part with the kid admonishing them to practice. Consider keeping some of the items for sale in your foyer or lobby, too. Like performers, you will generate a little extra income doing so.”
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Now, does it surprise you to learn that he’s written a book on this?
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Check out Will’s book "The Independent Sales Rep" for $15.99 in paperback or $9.99 on Kindle. It’s at Amazon.com, at www.amazon.com/Independent-Sales-Rep-Successful-Successfully/dp/1439224153/ref=sr_1_3? ie=UTF8&s=books&qid=1238792309&sr=1-3
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You can contact Will Cornell at wbcornell@earthlink.net, or wbcornell@amvsales.com
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Will has a blog at http://theindependentsalesrep.blogspot.com.
You can check out his original music at www.indabamusic.com/people/wbcornell and at www.livebluesworld.com/profile/WillCornell
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4) SONY INTRODUCES VIDEO SERIES ON PRO AUDIOFILES
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The spinoffs of the NAMM Show are continuous.
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Here’s a new way to learn what's new and what's hot in the world of Sony Pro Audio. In this video series, ANDY MUNITZ, National Training Manager for the Professional Solutions Division is your guide to Sony's latest audio products, starting with the affordable DWZ Digital Wireless Series.
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You can tune-in regularly for new episodes, as Andy takes in-depth looks at the features and benefits of quality audio equipment that, as he says, “sets standards and sets Sony apart from the competition.” (What, you think they would turn you on to what the competition has?)
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Future episodes will include behind-the-scenes user testimonials with the top-of-the line DWX Digital Wireless systems for live performance and ENG.
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The Sony Pro AudioFiles video series gives you an opportunity to watch and learn about the wide range of professional audio equipment from Sony. Start with Episode I - a quick recap of Sony's more than 30-year history of wireless microphone innovation and an introduction to the newest, affordable DWZ Digital Wireless Series.
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It’s at http://pro.sony.com/bbsc/video/related-home_page_featured/video-pro_audiofiles_episode_one/?XID=E:ProAudio_ProAudioVideoThumb:ProAudioFilesVideoSeries
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It includes links to connect with Sony Pro AudioFiles on Facebook®, Twitter™, or Google+™ to be notified when new episodes are available for viewing and to send feedback on what Pro Audio products you'd like to see in the series.
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Learn more about Sony's Professional Audio Products at http://pro.sony.com/bbsc/ssr/micro-proaudiosite/?XID=E:ProAudio_ClickHereLearnMoreProAudio:proaudiosite
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5) NOWELL SIEGEL at NAMM: “From the Luthier's Chest”
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by Nowell Siegel
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[Nowell is a professional luthier – an instrument maker – and a musician. He brought his expertise for the Guide’s readers to an exploration of the NAMM Show, the music industry’s biggest trade show, held for four days through last weekend at the Anaheim Convention Center complex. This is more in his continuing series.]
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At NAMM, days come early and end late. For the singer, songwriter, recording artist and engineer, equipment was our focus for much of one day before the evening concerts. Here’s a bit of what we found intriguing.
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GRAPH TECH gave a demo of their new tuners, Tusq picks, and "Chops." Their new tuners are unique. Each string has a different gear ratio, 39:1 for the low, progressing to 12:1 for the high string. This eliminates that "sensitive" roll, into the "G" and "B" strings.
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Their picks are made of the same Tusq material used in string instrument bridges and nuts. They come in bright white, medium yellow and deep gray.
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"Chops" is a ph-balanced, non-greasy lotion, applied to your hands before you pick up your instrument. This product claims to reduce "squeaking" and that green oxidation that builds-up after playing. Of course, you should still wipe down your instrument after play. No excuses.
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CLAYTON was another booth we visited. They make custom picks with your graphic design on them. They had a 25% off coupon, and we got some samples to check out. (Also see “The NAMM Show, Through the Eyes of an Exhibitor,” in this edition.)
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MICROPHONES can consume a lot of shopping time, since the esoterics matter so much. Annette and I looked at them together. She was looking for a mic that would complement her Mezzo-soprano voice. Most of the manufacturers were at NAMM, so we took advantage.
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First, we looked at BLUE MICROPHONES. On the web, we had seen a lot of impressive performances on their equipment. They have mics from China ranging from $400 to $2000. Their best mics, however, are in the $4-6,000 range.
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One drawback at NAMM: it is quite noisy on the floor. But you could hear the differences. Their Blue Bottle comes with 1 capsule, but can be changed, with 6-7 other tuned varieties. They offer tube and solid state models. Annette liked the one with the tube better. Based in Westlake Village, they have a quiet studio there to compare, for those really interested before making an investment in a new mic.
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Annette and I passed by the SHURE exhibit. Having performed with their SM58's, SM7's and others, we were familiar with their line. They are still the "go to" mic for many places.
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AUDIO TECHNICA had a vocal booth with several mics side by side. A set of buttons on each mic would select it. This was probably the best way to go to compare mics easily and effectively. Their new mic is theAT5040, and it retails for $3000. It has 4 elements and for a condenser mic, it is very directional. Trying-out 9 different mics, Annette liked the AT4060. It’s $1499.
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TC HELICON displayed the MP-75. This mic lets the singer add effects in real time from the mic. I think there is a "stomp box" inline before the pre-amp. That’s VoiceLive, and the one we tried is $169. The voicelive boxes start at $139 and go up.
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There is a lot of ground to cover at NAMM. The same day, to various extents, I went to check out LR Baggs, Fishman pickups, and as a luthier, several wood suppliers.
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More in the next edition.
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6) “MARS” SONG IN HOLLYWOOD (& NASA’S) ORBIT,
A FEATURE AT “FOLKTACULAR,” FEBRUARY 17
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ROBERT MORGAN FISHER’s song “Don’t You Wanna Go to Mars?” won the “Best Folk / Acoustic” category at the prestigious 2012 “Hollywood Music In Media Awards” (HMMA) in December. The song, from Robert’s new album “Notes for a Novel,” is available on the disc and in digital format from CDBaby.com. It features JANIS IAN lending harmony.
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But that’s not all. It has been added to NASA’s rotation of songs used to wake-up astronauts aboard the International Space Station.
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The star-studded HMMA ceremony, complete with a red-carpet, took place at the Henry Fonda Theater in Hollywood. Robert says, “Winning this award is widely acknowledged to be a major career milestone for a music artist as well as a possible precursor for Grammy consideration.”
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Earlier in 2012, “Don’t You Wanna Go to Mars?” placed in the Top 6 “Folk Songs of the Year” in the “Song of the Year Competition.”
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You’ll have a chance to hear Robert play the song live at the upcoming “FOLKTACULAR” on Sunday, February 17, in Santa Monica. The semi-annual event is an indoor mini-festival with lots of performers, hosted and produced by Robert, at Writer's Boot Camp in the Bergamont Arts Complex in Santa Monica. It runs from 2 pm-midnight. You can reserve early (recommended), via PayPal. It’s $20 to robert@robertmorganfisher.com. If you don't use PayPal, email Robert and he can tell you where to send your check.
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7) USA SONGWRITING CONTEST ENTRIES NOW OPEN
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Entries are now being accepted for the 18th Annual “USA Songwriting Competition.” Together with bragging rights if your song is chosen, winning songs receive airplay on the nationally-syndicated radio program “Acoustic Café” and on Sirius XM Satellite Radio shows. There’s plenty of info, including a complete list of previous winners, at http://songwriting.net.
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8) ANNE McCUE NOW HOSTING PERFORMANCE-INTERVIEW PODCAST RADIO SHOW
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Award-winning Folk-Americana singer-songwriter and Australian expatriate Anne McCue has a new podcast radio show, doing performance-interviews with other musicians.
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Each episode of her new show, "THE EAST NASHVILLE SOUND," is now available as a podcast. Anne's guest in the edition she wrote us about is KEVIN GORDON, whose lyric writing, says Anne, "follows in the footsteps of such Southern literary greats as FLANNERY O’CONNOR and CARSON McCULLERS. Kevin’s choice of other artists includes LUELLA & THE SUN, JON BYRD and THE ALTERED STATESMAN." Anne adds this episode has "Some new music for you!" You can find it on itunes or at www.annemccue.com/theeastnashvillesound.htm
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"Meanwhile," says Anne, "I’ve been writing more and more songs both on my lonesome and with some good friends here, and I’m lovin’ the whole process. I had a great trip through the Midwest and came back with a new Hanson guitar. It is really beautiful and I plan to play it as much as possible over the next few months. I want to be in liquid form when I go to L.A. in February to record the new record."
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Here at the Guide, we fondly remember when Anne was a performing guest being interviewed with guitar wiz JANET ROBIN on the old “Tied to the Tracks” radio show. The two collaborated on Django Reinhardt’s “Minor Swing” and the Appalachian mountain classic, “Grey Eagle Hornpipe,” as well as originals by each. Now she’s on the other side of the mixing console. And still performing, of course. See you when you get back here to the left coast, Anne.
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9) INTO HAWAI’IAN MUSIC, BRUDDAH?
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If winter on the Mainland has your lei in a bunch, check out the new Internet radio station, “THE SANDWICH ISLANDS NETWORK RADIO,” at www.V93FM.com, where “Aloha Happens!” Renowned Hawai’ian musician / storyteller KAMAKA BROWN enthusiastically told us about it. No doubt that’s in part because he is celebrating spins there of his new CD. (More on him at www.kamakabrown.com).
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10) CD REVIEW: “INFINITE DISTANCE” by BIG WIDE ROOM
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Independently released in January 2013
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by Larry Wines, for the
Acoustic Americana Music Guide
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They’re called BIG WIDE ROOM. If that seems like an overly expansive moniker for an acoustic trio, well, when accomplished talents collaborate, and when they are individual artists with plenty of awards and recognitions, it’s worthy of taking notice. One had the “Album of the Decade” in the Los Angeles Times; another runs an acclaimed globe-spanning International Songwriters Retreat series; and the third got his start as music director of the NEW CHRISTY MINSTRELS, before enjoying individual success.
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Together, the three have just made an album, “Infinite Distance.” It’s something special. Some of these appealing, evocative songs will get used in film soundtracks.
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Plenty of CDs and even more artists court the elusive characterization of “eclectic” (however nebulous that turns out to be) in hopes of crossover airplay and broader exposure to listeners. It’s always a quest for music that resonates across divides of genre and generations; this album achieves that. It’s fresh, as young listeners like, and rich with well-developed melody lines and smart arrangements that more experienced listeners demand. Fans of nu-folk, acoustic renaissance music, and acoustic-based pop will find a gem here, and if radio supports it, music fans will go for it in a big way.
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First, if the group’s name is new to you – Big Wide Room – chances are, the artists are not. The trio of Mark Davis, Brett Perkins, and David Zink have toured Europe and the U.S. West Coast as “edited” (one of those lower-case names peculiar to music). That trio’s name, was, in turn, derived from a bigger collaborative of the early double-’aughts called Everything Divine, this trio plus two international award-winning filmmakers who are also musicians. (Yes, they exploited the “E.D.” abbreviation for all it was worth, while Bob Dole was hawking hard-on pills on TV.)
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Big Wide Room is now an evolved trio of artists, a fine-tuned collaborative ensemble of singer-songwriters, each bringing his diverse individual achievements and musical sensibilities. And the sum is greater than the parts. Since their individual paths have conjoined many times, there is a harmony of spirit evident here, akin to the best band-mate collaborations.
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Their smart, spare songwriting proves you don’t need sappy love songs to achieve universality. Each listener will find their own esoteric and personal meaning in these tracks. The coherent arrangements, inspired phrasing and instrumentation, and superb production, combine in a first-rate album that no big label could surpass. Recorded in Copenhagen, where Perkins’ connections assembled an “A” team, the album is proof of plenty of good decisions at all levels, showcasing the talent, musicianship, and crisp, natural-sounding studio production. Record production was completed in Chico, California and Portland, Oregon. It’s not a case of too many cooks; every aspect of this album sings.
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Let’s explore the album’s tracks. If only nine songs sounds minimalistic, this is all good stuff, and one song runs eight minutes. Here’s a track-by-track:
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#1 “Don’t Know How to Get Through” brings Davis with a fine lead vocal. Driving rhythm makes it a good focus track for pop radio (provided the station isn’t addicted to electro-altered robotic fakery). There’s especially nice cello late in the track, through to the outro.
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#2 “Elemental” is superior three-part interwoven vocals with just enough harmony to assure durable freshness. This will be a favorite with fans of late ’60s-early’70s jaunty melody groups, but don’t make that comparison for anyone younger—they’ll believe they’ve discovered something quite new here.
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#3 “I Can’t Hate You Now” makes us ask, “Can a song be dark without being a downer?” (Answer: yes.) Plaintively delivered by all three voices, this is the post-breakup song for after you decide not to put ground glass in your ex’s sugar bowl. A superior recording, fine instrumentation, perfectly arranged for the song’s tension giving way to grudging redemption.
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#4 “”Where Are You Goin’” brings Zink on lead vocal. There are tasty guitar riffs in this rather haunting song that deals with the uncertainty of a lot of relationships in a universal way. Anyone from 16 to 106 can identify with what’s expressed. The interesting ending, with a lot of la-lal-la’s, brings catharsis and redemption.
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#5 “Never Naked Enough” is all three on vocals. Cozy erotic on the surface, and enjoyable at any level. But really listen to this song and you’ll discover you’ve stepped outside your comfortable self, looking back in through the window of the soul at who and what you may be accepting without the introspection necessary for deep happiness. Cello imparts splendid touches.
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#6 “Looking Back” is really about being poised for what’s coming next, with hope and assurance, all based on what you’ve experienced – and ultimately, what that’s taught you. Zink on lead vocal, among his best ever, with perfect vocal accompaniment by Perkins and Davis. Guest Dana Cooper’s harmonica is thoroughly delightful. Take down the top and head up 101 to Santa Barbara.
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#7 “Common Ground” is what Crosby, Stills & Nash would be singing if they had gotten together now. If the stellar harmonies here sound like an overt homage to that famous trio, that’s okay, too. This is fun and substantial. This song can go places.
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#8 “Triptych” is the album’s “way-too-long-for-radio” track, at eight minutes. It interweaves voices in a gentle exploration and ultimately, a validation, of the choices we make to be where we are, with those we choose to be with. The strings and percussion are as much nouveau classical as folk, with a Beatles-esque touch, conjuring images of clouds appearing, the storm bringing its rains, then the promise of clear skies tomorrow. This will be on lots of iPods.
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#9 “Infinite Distance” opens wholly in the mold of classic Lennon-McCartney, with Davis-Perkins harmonies and melodic motifs. Zink’s vocal counterpoints depart from that, while working wonderfully in the fine arrangement. This track makes you think about how many prominent others have tried to build on the magic sound of the Beatles from their heyday, without succeeding nearly so well as these guys.
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In summation, there are tunes here with brilliantly-crafted hooks that stay with you, whether you see this trio live or enjoy the more lushly instrumented versions of these recorded tracks. Days later, you’re trying to sing sections of “Don’t Know How to Get Through,” and laughing because you don’t yet know enough words to get through a shower rendition.
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Buy the CD instead of the download and you can enjoy the booklet of lyrics and the package art. The covers make one big pen and ink drawing of a ’40s woody panel van in a Monument Valley-esque landscape, and the threesome walking off into the distance, carrying their guitar cases.
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So many others waste package art. This one is perfect imagery for the title, “Infinite Distance,” both overt and subtle, musically alluding to the journey within each of us and how these songs inform that, from day trip to odyssey. These are not ham-handed love songs, though most are about relationships, enabling esoteric meaning for each listener, from gentle caress to the sigh of separation to the quest through mystery and meaning. Here, it’s a truly satisfying ride.
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