Remember April Smith? If not, you must not have been reading One Note Ahead last autumn! Check out my review of her live EP and the videos I posted of her in last year's ONA Live.
Now, April is trying to make a new studio album. Apparently, I'm in the minority for being a fan who's pleased to have the live versions of "Colors" and "Wow and Flutter" and won't die of musical malnutrition without polished studio versions. So here's the deal: a lot of independent artists these days are turning to their fans for funding. Making a professional quality record is not cheap, and without a label backing the artist, a lack of money often prevents records from being made. Thus, April is asking fans for help. View her own personal plea here:
Whether this convinces you to give her some of your money in these lean times is a different story entirely, but I give her an "A" for effort. Hell, even I pledged some money to this project, picky as I am about how I spend my money. Such is the power of April Smith, I suppose!
She's already more than halfway to her goal. Let's keep up the momentum:
http://www.kickstarter.com/projects/aprilsmithmusic/keep-music-indie-april-smith-makes-a-record
And here's her official website for more info: http://www.aprilsmithmusic.com/
Original text copyright © 2009 S.J. Dibai. All rights reserved.
Monday, July 13, 2009
Sunday, June 28, 2009
One Note Ahead Update #2
The world reels from (and mires itself in controversy over) the sudden death of Michael Jackson while '60s rock fans mourn the loss of The Seeds' Sky Saxon. The Grim Reaper's been on a mass media spree this past week, claiming the lives of Ed McMahon, Farrah Fawcett, and Billy Mays as well. But the Grim Reaper hasn't gotten all of us yet, and so life goes on. Life in this case is bringing much news to the realm of One Note Ahead and, in an eerie parallel to last June, I feel compelled to provide an update.
=> The fast-approaching start date of the XPoNential Music Festival provoked me to re-read my blog about last summer's event, and did I ever notice how much has changed since then! The Redwalls are down to Logan and Justin Baren but are still working on new songs and recordings. Nicole Atkins, formerly backed by a band called The Sea, now has a new backing band called The Black Sea (making a mere historical artifact out of that dirty-cool "Nicole Atkins & The Sea" button Nicole gave me). The Back Door Slam I saw and wrote about last summer are history, and frontman Davy is continuing with supporting musicians as "Davy Knowles & Back Door Slam." To prove that some things remain constant, Ingrid Michaelson has a new album and tour coming up. These are but a few examples of what's up with last year's XPoNential Fest performers!
=> Matt Duke has a forthcoming release called Kingdom Underground. I know I said that last June and that I reviewed a Matt Duke album by that title last September, but let me explain: the full title of this new release is actually Acoustic Kingdom Underground EP. Its title really says it all: an acoustic EP meant to complement the Kingdom Underground album. Whether I'll review it depends on whether I can score a promo copy; either way, the EP comes out this Tuesday, June 30th. Three of its tracks are on Matt's MySpace now.
=> Jake Snider will be releasing a new record next month called The Seven, whose contents are inspired by Harry Potter and the Deathly Hallows. I doubt that I'll be reviewing this collection because I am only vaguely familiar with Harry Potter and I've never felt like those books and movies were up my alley. But it's a Jake Snider record, so I might just like it anyway. He's having a couple of CD release shows in the Philly area; check online for details.
=> Further down the road, Downtown Harvest plan to drop their long-anticipated third album this fall. And since I haven't been their publicist since last May, who knows? I might just feature them on ONA again. Speaking of ONA favorites turned PR clients turned former PR clients, I'm afraid Laura Cheadle joined that group in February. Don't worry, we're still friends. Her new album Live On, which I mentioned in last year's update, came out in February -- yes, around the same time that I stopped being her publicist. You can check out some of the tracks on MySpace if you're curious.
That's quite enough for now! Stay tuned, for you never know what One Note Ahead will bring you next.
Copyright © 2009 S.J. Dibai. All rights reserved.
=> The fast-approaching start date of the XPoNential Music Festival provoked me to re-read my blog about last summer's event, and did I ever notice how much has changed since then! The Redwalls are down to Logan and Justin Baren but are still working on new songs and recordings. Nicole Atkins, formerly backed by a band called The Sea, now has a new backing band called The Black Sea (making a mere historical artifact out of that dirty-cool "Nicole Atkins & The Sea" button Nicole gave me). The Back Door Slam I saw and wrote about last summer are history, and frontman Davy is continuing with supporting musicians as "Davy Knowles & Back Door Slam." To prove that some things remain constant, Ingrid Michaelson has a new album and tour coming up. These are but a few examples of what's up with last year's XPoNential Fest performers!
=> Matt Duke has a forthcoming release called Kingdom Underground. I know I said that last June and that I reviewed a Matt Duke album by that title last September, but let me explain: the full title of this new release is actually Acoustic Kingdom Underground EP. Its title really says it all: an acoustic EP meant to complement the Kingdom Underground album. Whether I'll review it depends on whether I can score a promo copy; either way, the EP comes out this Tuesday, June 30th. Three of its tracks are on Matt's MySpace now.
=> Jake Snider will be releasing a new record next month called The Seven, whose contents are inspired by Harry Potter and the Deathly Hallows. I doubt that I'll be reviewing this collection because I am only vaguely familiar with Harry Potter and I've never felt like those books and movies were up my alley. But it's a Jake Snider record, so I might just like it anyway. He's having a couple of CD release shows in the Philly area; check online for details.
=> Further down the road, Downtown Harvest plan to drop their long-anticipated third album this fall. And since I haven't been their publicist since last May, who knows? I might just feature them on ONA again. Speaking of ONA favorites turned PR clients turned former PR clients, I'm afraid Laura Cheadle joined that group in February. Don't worry, we're still friends. Her new album Live On, which I mentioned in last year's update, came out in February -- yes, around the same time that I stopped being her publicist. You can check out some of the tracks on MySpace if you're curious.
That's quite enough for now! Stay tuned, for you never know what One Note Ahead will bring you next.
Copyright © 2009 S.J. Dibai. All rights reserved.
Monday, June 15, 2009
One Video Ahead: What the EMF?!?!
If you're a '90s kid like me (that's the 1990's, folks), there's a good chance you remember and love EMF's immortal hit "Unbelievable." And if you have a pulse and like music, you probably have some affinity for Tom Jones -- even if you'd never admit that publicly. Still, the pairing of Tom Jones with EMF?!?! You might say it's......unbelievable.
Original text copyright © 2009 S.J. Dibai. All rights reserved.
Original text copyright © 2009 S.J. Dibai. All rights reserved.
Friday, June 5, 2009
Now Hear This! - Vol. 1
This is a series I've been considering for over two years, and I've finally decided to do it. It's simple: I'm going to recommend a bunch of tracks I'm digging and want more people to know about. If I've already given an artist a full review or feature on One Note Ahead, whatever album or EP I've written about is off limits in the "Now Hear This!" series because it will get (or has gotten) a shout-out in the "Quick Takes" series; unrelated tracks by that artist can be included in "Now Hear This!"
If you've read enough of my work, you know what eras are my favorites, so I'll have some newer tracks (since the 1980s) and some older tracks (before the 1980s) each time I do this. If I can find these selections on iTunes, I'll let you know where to look for them so you can get the whole album or compilation if you want.
Newer
"Breakdown," Tim McGlone (available on Street Sounds)
This likable singer/songwriter is boys with Matt Duke and has had Jake Snider support him at two sold-out shows; I was inevitably going to get hip to this guy. While he runs through a variety of styles on his new album Street Sounds, "Breakdown" is the kind of rock 'n' soul you just don't hear much anymore: a production that's slick but edgy, a captivating arrangement (Tim's own), and a raw voice belting out lyrics most of us can relate to. Tell your friends and maybe it'll be on iPods all around the world.
"No Way Out," Jim Boggia (available on Misadventures In Stereo)
I've only mentioned Jim a couple of times, both in connection with last year's XPN festival, and that's just as well -- there are plenty of writers out there who simply adore him and have demonstrated as much. But I have been remiss in not saying anything about this particular song, a most off-kilter ode to drinking one's life away. There are some killer riffs in the dizzyingly over-the-top arrangement and it would make a hell of a production number for a burlesque show. Intrigued?
Jim Boggia and a huge supporting cast do "No Way Out" live:
"Plenty Good Reasons," Pete and J (available on Plenty Good Reasons)
Okay, you caught me: there's a connection here, namely that Pete and J played as a band with Jim Boggia at a recent show which kicked so much ass that they should all be arrested if they never do it again. "Plenty Good Reasons" is a proud slab of all-American folk-rock, marrying the great American folk song tradition to the driving rhythms of early rock 'n' roll. This is a rare offering that reminds us of this country's grand musical history while sounding fresh enough to light up today's radio playlists. (Recent experiences with various friends compel me to add that Pete and J are not the same act as my PR clients The Josh and Pete Band!)
Older
"You're My Girl," The Everly Brothers (available on Walk Right Back: The Everly Brothers On Warner Bros. 1960-1969)
The Everly Brothers might have been known for their sweet harmonies and clean-cut appearances, but some of their mid-1960s work was downright badass. Don and Phil with fuzz guitar, choppy drumming, and lyrics like "When I close my eyes and I think of you/You wouldn't believe what comes in view"? It's all here. This didn't become a hit. Maybe it wasn't commercial enough. Maybe Americans just didn't care about the Everlys in 1965. Too bad. This rocks.
"The World Through A Tear," Neil Sedaka (available on Sedaka Sings The Hits)
Also from 1965, by which time Neil Sedaka could no longer "down-doo-be-doo-down-down" and "doo-ba-bop-bop-o-doo-bop-she-down-down" his way to the top of the charts. But wait! Easy Listening was a still a viable market in 1965. And that was the field in which Sedaka made his comeback.......but in 1974, not 1965. Too bad, for "The World Through A Tear" is fabulous: a somber yet breezy ballad with a Latin beat and an unusually reserved vocal from the normally flamboyant singer. It made the charts at least, but it probably left Sedaka's loyal fans confused because -- it sounds nothing like a Neil Sedaka record! And he didn't write it, no matter what he might imply in this clip:
"I Can't Tell The Bottom From The Top," The Hollies (available on Epic Anthology)
I remember when I raided my sizable collection of Hollies CDs to load a bunch of their tracks onto my iTunes library. I wasn't quite sure why I included this one, but I'm glad I did because I've come to realize how beautiful it really is. The Hollies scored two of their biggest US hits with "He Ain't Heavy, He's My Brother" in late 1969/early 1970 and "Long Cool Woman (In A Black Dress)" in 1972. Nestled between those records was this gem, a deliciously-harmonized love song with a spacious arrangement. A pre-stardom Elton John played piano on this track, which did quite well in the UK but barely registered in in the US.
I'm not going to post volumes in this series with any regularity, just whenever I can and feel like doing so. But stay tuned all the same!
Text copyright © 2009 S.J. Dibai. All rights reserved.
If you've read enough of my work, you know what eras are my favorites, so I'll have some newer tracks (since the 1980s) and some older tracks (before the 1980s) each time I do this. If I can find these selections on iTunes, I'll let you know where to look for them so you can get the whole album or compilation if you want.
Newer
"Breakdown," Tim McGlone (available on Street Sounds)
This likable singer/songwriter is boys with Matt Duke and has had Jake Snider support him at two sold-out shows; I was inevitably going to get hip to this guy. While he runs through a variety of styles on his new album Street Sounds, "Breakdown" is the kind of rock 'n' soul you just don't hear much anymore: a production that's slick but edgy, a captivating arrangement (Tim's own), and a raw voice belting out lyrics most of us can relate to. Tell your friends and maybe it'll be on iPods all around the world.
"No Way Out," Jim Boggia (available on Misadventures In Stereo)
I've only mentioned Jim a couple of times, both in connection with last year's XPN festival, and that's just as well -- there are plenty of writers out there who simply adore him and have demonstrated as much. But I have been remiss in not saying anything about this particular song, a most off-kilter ode to drinking one's life away. There are some killer riffs in the dizzyingly over-the-top arrangement and it would make a hell of a production number for a burlesque show. Intrigued?
Jim Boggia and a huge supporting cast do "No Way Out" live:
"Plenty Good Reasons," Pete and J (available on Plenty Good Reasons)
Okay, you caught me: there's a connection here, namely that Pete and J played as a band with Jim Boggia at a recent show which kicked so much ass that they should all be arrested if they never do it again. "Plenty Good Reasons" is a proud slab of all-American folk-rock, marrying the great American folk song tradition to the driving rhythms of early rock 'n' roll. This is a rare offering that reminds us of this country's grand musical history while sounding fresh enough to light up today's radio playlists. (Recent experiences with various friends compel me to add that Pete and J are not the same act as my PR clients The Josh and Pete Band!)
Older
"You're My Girl," The Everly Brothers (available on Walk Right Back: The Everly Brothers On Warner Bros. 1960-1969)
The Everly Brothers might have been known for their sweet harmonies and clean-cut appearances, but some of their mid-1960s work was downright badass. Don and Phil with fuzz guitar, choppy drumming, and lyrics like "When I close my eyes and I think of you/You wouldn't believe what comes in view"? It's all here. This didn't become a hit. Maybe it wasn't commercial enough. Maybe Americans just didn't care about the Everlys in 1965. Too bad. This rocks.
"The World Through A Tear," Neil Sedaka (available on Sedaka Sings The Hits)
Also from 1965, by which time Neil Sedaka could no longer "down-doo-be-doo-down-down" and "doo-ba-bop-bop-o-doo-bop-she-down-down" his way to the top of the charts. But wait! Easy Listening was a still a viable market in 1965. And that was the field in which Sedaka made his comeback.......but in 1974, not 1965. Too bad, for "The World Through A Tear" is fabulous: a somber yet breezy ballad with a Latin beat and an unusually reserved vocal from the normally flamboyant singer. It made the charts at least, but it probably left Sedaka's loyal fans confused because -- it sounds nothing like a Neil Sedaka record! And he didn't write it, no matter what he might imply in this clip:
"I Can't Tell The Bottom From The Top," The Hollies (available on Epic Anthology)
I remember when I raided my sizable collection of Hollies CDs to load a bunch of their tracks onto my iTunes library. I wasn't quite sure why I included this one, but I'm glad I did because I've come to realize how beautiful it really is. The Hollies scored two of their biggest US hits with "He Ain't Heavy, He's My Brother" in late 1969/early 1970 and "Long Cool Woman (In A Black Dress)" in 1972. Nestled between those records was this gem, a deliciously-harmonized love song with a spacious arrangement. A pre-stardom Elton John played piano on this track, which did quite well in the UK but barely registered in in the US.
I'm not going to post volumes in this series with any regularity, just whenever I can and feel like doing so. But stay tuned all the same!
Text copyright © 2009 S.J. Dibai. All rights reserved.
Tuesday, May 26, 2009
Album Review: Chasing A Butterfly
MISSING: Intelligent, exquisitely-crafted pop album. Answers to the name Scary Fragile. Neglected by record company since January, 2006. Several songs heard on MySpace. "A Bitter Song" heard on TV series Grey's Anatomy, released as a single in 2007. Album's whereabouts of great concern to Butterfly Boucher fans. If found, please notify.
If what you just read leaves you puzzled, a little background is in order. Butterfly Boucher (pronounced like "voucher") is an Australian singer/songwriter, producer, arranger, and multi-instrumentalist currently based in Nashville. She signed to a major label for her debut album, 2004's Flutterby, but the label could not figure out how to market her. No wonder Flutterby didn't become a huge success. No wonder the follow-up, Scary Fragile, collected dust even as the placement of "A Bitter Song" in an episode of Grey's Anatomy drummed up demand. And no wonder Butterfly and her label went through a lengthy divorce, Butterfly emerging from her cocoon (sorry, couldn't help it) to release SF independently.
"I've been there and I've done that/I've got the photos and I've got the scars to prove it/I'm so tired and I'm so glad for what I have." (from "They Say You Grow")
What she has in Scary Fragile is a consistently engaging, thought-provoking, and entertaining collection which sounds as fresh as the spring flowers even though it's been sitting on the shelf for over three years. And let's not mince words here: Butterfly knew she was under pressure to deliver a hit while she was creating SF. For an album made under that kind of pressure, with hot-shot producer David Kahne to boot, SF rarely comes off as a deliberate attempt to make Butterfly sound ultra-commercial. If anything, the material on SF is more challenging than the material on Flutterby, lacking the lighthearted and sometimes off-the-wall lyrical elements of her first album and making greater use of tempo changes and mood shifts. She's much more serious and sophisticated here, as well she should be.
SF also has a tendency to present familiar motifs in unexpected ways. "Keeping Warm" is not a particularly Beatlesque song, but its arrangement sure points to the late-period Fab Four, while "To Feel Love" sounds like the theme from a Western movie before revealing itself as a straightforward singer/songwriter tune. "Bright Red" contains a similar rhythm to Kelly Clarkson's "Gone," but it's a diatribe against the very shallowness which American Idol alumni like Clarkson have both benefited from and battled. Most refreshingly, "For The Love of Love" avoids being just another "peace and love" plea with its out-of-left-field lyrics: "Take all the ones you fear and take all the ones you hate/Cook a hearty stew, flash a smile and fill their plates."
Flutterby was a diamond in the rough, representing a hopeful (albeit somewhat confused) dreamer. Scary Fragile sees that dreamer coming to terms with reality, learning the ropes of love and self-actualization, taking full command of her voice and arranging skills and using them to greater effect and advantage than ever before. Flutterby demonstrated that Butterfly Boucher had her brilliant moments, but with Scary Fragile, she has made an album both worthy and reflective of her brilliance.
Scary Fragile is not supposed to be released to the general public until June 2nd. But it's on iTunes now. Yes it is. Seriously, I am telling you, I have my iTunes Store open and it's on sale now and people have already reviewed it. The album is also available in physical form at her shows.
For more information: http://www.butterflyboucher.com/
Copyright © 2009 S.J. Dibai. All rights reserved.
If what you just read leaves you puzzled, a little background is in order. Butterfly Boucher (pronounced like "voucher") is an Australian singer/songwriter, producer, arranger, and multi-instrumentalist currently based in Nashville. She signed to a major label for her debut album, 2004's Flutterby, but the label could not figure out how to market her. No wonder Flutterby didn't become a huge success. No wonder the follow-up, Scary Fragile, collected dust even as the placement of "A Bitter Song" in an episode of Grey's Anatomy drummed up demand. And no wonder Butterfly and her label went through a lengthy divorce, Butterfly emerging from her cocoon (sorry, couldn't help it) to release SF independently.
"I've been there and I've done that/I've got the photos and I've got the scars to prove it/I'm so tired and I'm so glad for what I have." (from "They Say You Grow")
What she has in Scary Fragile is a consistently engaging, thought-provoking, and entertaining collection which sounds as fresh as the spring flowers even though it's been sitting on the shelf for over three years. And let's not mince words here: Butterfly knew she was under pressure to deliver a hit while she was creating SF. For an album made under that kind of pressure, with hot-shot producer David Kahne to boot, SF rarely comes off as a deliberate attempt to make Butterfly sound ultra-commercial. If anything, the material on SF is more challenging than the material on Flutterby, lacking the lighthearted and sometimes off-the-wall lyrical elements of her first album and making greater use of tempo changes and mood shifts. She's much more serious and sophisticated here, as well she should be.
SF also has a tendency to present familiar motifs in unexpected ways. "Keeping Warm" is not a particularly Beatlesque song, but its arrangement sure points to the late-period Fab Four, while "To Feel Love" sounds like the theme from a Western movie before revealing itself as a straightforward singer/songwriter tune. "Bright Red" contains a similar rhythm to Kelly Clarkson's "Gone," but it's a diatribe against the very shallowness which American Idol alumni like Clarkson have both benefited from and battled. Most refreshingly, "For The Love of Love" avoids being just another "peace and love" plea with its out-of-left-field lyrics: "Take all the ones you fear and take all the ones you hate/Cook a hearty stew, flash a smile and fill their plates."
Flutterby was a diamond in the rough, representing a hopeful (albeit somewhat confused) dreamer. Scary Fragile sees that dreamer coming to terms with reality, learning the ropes of love and self-actualization, taking full command of her voice and arranging skills and using them to greater effect and advantage than ever before. Flutterby demonstrated that Butterfly Boucher had her brilliant moments, but with Scary Fragile, she has made an album both worthy and reflective of her brilliance.
Scary Fragile is not supposed to be released to the general public until June 2nd. But it's on iTunes now. Yes it is. Seriously, I am telling you, I have my iTunes Store open and it's on sale now and people have already reviewed it. The album is also available in physical form at her shows.
For more information: http://www.butterflyboucher.com/
Copyright © 2009 S.J. Dibai. All rights reserved.
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