Twirl Radio has scoured the country, and sometimes the world, to bring you the finest music from the rock era. It’s fun finding this unlikely stew of sounds which blend so nicely on the radio. But to start off the new year, I didn’t need to travel any farther than my hometown of Sacramento to find the Twirl Radio Artist of the Month for January 2008, Lisa Phenix! Lisa and former Beer Dawg Steve Wall visited me on Twirl Radio with an in-studio live performance on Saturday, January 26th, 2008.

A few years ago, when I was on hiatus from Twirl, I received an unsolicited email from local talent Lisa. The subject line simply stated “Play my music”. In the body of the message, this homegrown talent offered me the chance to receive a copy of her just-released CD Homegrown. I felt a little embarrassed, because I wasn’t currently doing a radio show. But things change, and I started doing my show again in late 2006. And fortunately for me, Lisa’s offer of the disc still stood, so I took her up on it.

Homegrown is an impressive debut. What’s the style of this delightful album? Well, perhaps you could say something like Bonnie Raitt meets John Fogerty, but with the most crystal clear voice you can imagine. That would make her bluesy. But there’s also elements of jazz, folk, and Americana in the music. It all depends upon the song. You might even find a voice like hers on a country music station–if they ever decided to start playing good music again.

The disc leads off with the fun Lazy Daisy May, which showcases Lisa’s crystal-clear voice, and some fine guitar work. This song sounds like it would fit in perfectly with the repertoire of Sacramento’s own Mumbo Gumbo (if you’ve never heard them, they’re sort of a bayou-boogie type band–sort of like the Sacramento River meets the Mississippi River, and winds up in New Orleans). Almost a nursery-rhyme type of song. Then another song in the same vein, but for the grownups, Chocolate=Love. Two can’t-miss songs which succeed in introducing Lisa to the world. And then she goes deep–Losin’ Your Good Woman Blues is a moody, folky performance with wistful vocals and a strong, soulful guitar performance. My favorite song on the album.

Other highlights on the disc include Lisa’s signature song, Silly Little Mama, a rockabilly tune for kids of all ages. (Incidentally, Lisa teaches music and movement to pre-school kids in the Sacramento area, so it’s no surprise that she appeals to all ages.) There’s a run of three blues songs in a row: Good Man, which sounds like it comes straight outta Austin, Texas; and Good Lovin’ Baby, with a similar sound. Then comes Bad Blues, which gets a little grittier, as if she took that pretty ’61 Cadillac on the cover of the CD, and drove it north to Chicago. Peace of Mind and Patience are beautiful folk songs, showing off Lisa’s voice and songwriting. Irie’s Song is a fine Americana piece, which could have fit in nicely with the Jayhawks circa 1995. And the album closes with another swingin’ blues number, Cockadoodle Doo. In just 45 minutes, Lisa Phenix takes us through America’s songbook–using her original songwriting! The most amazing thing is that Lisa has only been performing and recording for the last four years. There’s hope for all of us!

I should also tell you that Lisa just released a kids’ album, Holidays Are For Hugging, over the holidays. It’s a sweet little disc, and furthers her work teaching really little kids. But you know what? It’s a fun listen for adults, too!

Those of us here in Northern California are lucky, because we can see Lisa performing around town. For the rest of you, I’m proud to present her as the Twirl Artist of the Month for January, 2008!

January 1, 2008
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

His music doesn’t kick your butt. Rather, it sweeps over you and stuns you with beautiful melodies, personal lyrics, pristine guitar playing, and distinctively warm baritone vocals. Either way, same effect. You’re still knocked out by how good Stephen Fearing is. And he’s the Twirl Radio Artist of the Month for December 2007!

Born in Vancouver and raised in Ireland, Stephen moved back to North America when he came of age. He spent a couple of years in Minnesota, then finally relocated to Ontario, back in his native Canada. Not surprisingly, a recurring theme in Stephen’s music is that of being on the road.

I first caught wind of this major talent eleven years ago, when he opened for one of my favorite musicians, John Wesley Harding. It was a Thanksgiving weekend show in Chicago, and many of us faithful bundled up and came out to see this traveling folk show. I had heard that “Wes” personally handpicked a couple of kindred spirits as opening acts for this tour. Stephen Fearing was one of them, and he did not fail to impress. Armed with nothing more than a guitar, some great songs, and his charisma, he set off some serious acoustic fireworks that night.

Apparently, I’m not the only one impressed with Stephen’s music. He’s been nominated several times for a Juno Award (think Canada’s equivalent of the Grammy), and earned a Juno for his latest release, Yellowjacket.

He has always been known for his songcraft and perfectionism. When he met up with producer Colin Linden several albums ago, his attitude changed. Not that he’s any less meticulous now, but Colin helped him loosen up in the studio. Stephen told me that Colin’s insistence on capturing the music in just a few takes has made making records more fun. Instead of being too self-critical, he now relishes the fact that he’s more accurately captured the soul and spirit of the songs.

Yellowjacket, his most recent solo effort, and first self-production, utilizes a broad palette of instruments and melodies, ranging from mellow ballads to mid-tempo pop, and from “Americana” (or would you call it “Canadiana” in this case?) to symphonic pop sounds.

The title track, Yellowjacket, leads off the album with a mellow tale of a jam band music fan who’s on the road, “following the big beat”. A nice string section and dobro accompaniment turn Stephen’s acoustic playing into a sweeping mission statement. The Man Who Married Music is a bittersweet ballad about a traveling singer/songwriter torn between his music and his wife: “the man who married music and the man who married you”. One Flat Tire is about being on the road, and out of position to help in the crises which befall your loved ones. It’s a full band piece, and despite the desperation in the lyrics, is rather upbeat sounding. This one should be a radio hit. Another radio-friendly track is This Guitar, my personal favorite track on the album, which revels in the life-affirming qualities of making music. There’s also a whimsical little acoustic guitar instrumental called Whoville. Stephen said that this track was written in a failed attempt to fit in on a local charitable holiday compilation album with a theme of “60 second songs”. The inspiration for the song was an imagined meeting between Dr. Seuss and John Philip Sousa. Fortunately for us, he expanded this one to almost three minutes.

I would be remiss if I didn’t mention the other huge part of Stephen’s life: Blackie and the Rodeo Kings, aka “BARK”. He and fellow Rodeo Kings Tom Wilson and the aforementioned Colin Linden have released five albums over the course of the last decade. These three friends share vocals, songwriting, and guitar duties. The feel of their Let’s Frolic album is somewhat akin to that of the Traveling Wilburys, with its loose, rootsy feel, and the presence of superstar musicians who genuinely enjoy each other’s company and musicianship. I tried making that comparison during the interview, and with characteristic humility, Stephen waved off my putting him in the same class with those incredible Wilbury superstars. He did admit that the conditions that produced the Wilburys were similar to those under which BARK operates: three well-known artists, checking their egos at the door, coming together to blend their distinctive styles (blues, folk, rock) into something that they all like. Working in the BARK ensemble is a respite from the usual expectations placed on these guys, and has resulted in a warm, organic album.

If that weren’t enough, several A-List musicians helped out on Let’s Frolic and the follow up, Let’s Frolic Again: Garth Hudson, Daniel Lanois (produced U2’s The Joshua Tree), and Pam Tillis. I told Stephen that the track I Give it Up Everyday sounded to me like something that would happen if the Wilburys ever met up with Al Green in Memphis. I apparently called that one right, because he responded that the horn player was none other than Wayne Jackson of the Memphis Horns, who helped shape the sound for Al Green, Isaac Hayes, and Otis Redding–in fact, they played on nearly every Stax release in the classic Memphis label’s heyday! These musicians had such a good time living and recording together in the famed Bearsville Studios in upstate New York, that they recorded 29 tracks–enough for both Let’s Frolic albums!

Whether solo or in Blackie and the Rodeo Kings, Stephen Fearing is immersed in an incredible music career. His impeccable music continually earns him critical acclaim, award nominations, and fans on both sides of the border. I’d like to see him become more well-known here in the U.S.; albums like Yellowjacket and Let’s Frolic will help grow his American fan base. I’m proud to honor Stephen Fearing, as the Twirl Artist of the Month for December, 2007!

December 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

Okay, everybody. Throw away your preconceived notions of what you thought Americana music was supposed to sound like. Rich McCulley, the Twirl Radio Artist of the Month for October 2007 has just released Cerro Gordo. And this changes everything. For the better!

About a decade ago, Fresno native Rich was in a band called Sparklejet, (Twirl Artists of the Month back in June). Together, they were cranking out 100% all-American rock throughout the Central Valley of California. As Sparklejet got deeper into hard rock, Rich ultimately left to pursue his rootsier solo career, first in San Francisco, and now in Los Angeles. He even did a brief stint with Sacramento’s beloved Sweet Vine, long since disbanded.

Let me just put it out there: I love Cerro Gordo! This is one of those albums that you put on the car CD player, start driving around, and before you know it, you’re already on track 8. By that time, it’s too late–you’re hooked! Driving around on a warm day with this album playing is as natural as breathing air (smog to us Californians).

Confessional. Familiar. Comfortable. Self-deprecating. Tough, without being nasty. It’s not rockabilly. Nor is it country-rock. Cerro Gordo, Rich’s fourth album, is the new face of Americana music. Much like his influences, Paul Westerberg and Jeff Tweedy, Rich does have a classic Americana raspy voice, and pays close attention to his storytelling. He sweats the details. But the album doesn’t exactly sound like the music created in the genre’s traditional heartland hotspots of Belleville, IL or Minneapolis. Instead, Rich has defined the California strain of Americana.

Sure, there’s some twang on Cerro Gordo, like the low-slung riffs on I Finally Lost. This 3:47 of ear candy sonically ingratiates itself deep into your soul, while speaking of a guy who regrets his youthful arrogance and ruthlessness. There’s some tasteful mandolin licks on Forever California, one of the centerpiece tracks of the album. But there’s a lot more going on than this use of an instrument associated with country music. This upbeat song defines the essence of California as well as any Brian Wilson epic. You can practically feel the warmth of the sun, see the sparkling water, and hear the roar of the Mustang convertible propelling you and your loved one forward along Pacific Coast Highway.

There’s also the Grass Roots-like pure pop bliss of Sad Sound. The leadoff track, Forget It All Again, has a slightly ominous tone as Rich cautiously enters a new relationship, wiser and more careful than before. And the other centerpiece track of the album is the wonderful duet with Amy Farris, I Never Really Loved You, which works well for me on many levels. First of all, Amy’s vocals step to the forefront on this one. And those lyrics–Rich and co-writer Mark Bransfield both summarily dismiss their previous 10-year relationships with their women:

I never really loved you / I just drank too much
Once I got to know you / I couldn’t drink enough…
I must have been high / To stay on that ride…
3,650 days / is all it took to get away

A powerful statement, indeed. Rich’s declaration of independence, more witty than bitter. In fact, this whole album is rather upbeat–more optimistic about relationships than his previous effort, 2005’s Far From My Angel, which he told me was “a concept album, the concept being divorce”.

All in all, Cerro Gordo is an extremely listenable ten song collection. No filler songs here–in fact, Rich doesn’t even know the meaning of “filler song”, because he is literally incapable of creating one! Congratulations to Rich McCulley, for being the Twirl Artist of the Month for October, 2007!

October 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

I know what you’re thinking…because I thought it too. I have to admit, when the True Stories I Made Up CD arrived in my mailbox at the radio station, I found it hard to get past the album photos of the lovely Birgit, the Twirl Radio Artist of the Month for July 2007. As a music fan and DJ, I like to think that the music takes precedence over everything. But the first thing you see are the stunning pinup type photos of the Dutch celebrity actress and singer-songwriter. But then I remembered–my friend Art Herman at Zip Records regularly combs the globe for the best pop music available. And since he’s the one who sent this to me, I knew that it would be good, even before it hit my CD player.

Wow–what an album! The first minute of the first song, Tsunami, grabs you, bowls you over, and doesn’t let up. It’s a driving rocker, and it hits you like a, well, a tsunami! This is exactly what I look for in modern rock–driving guitars, a gutsy vocalist, and a guitar riff that sticks to your ribs. If you find yourself playing air guitar to it, then it’s a winner. And yes, I was. Very embarrassing at the traffic lights, but well worth it! My other favorite is track 4, Baby Please. It’s a great midtempo alternative-type pop song. This one also stays with you. I’m calling these two as the hits for American radio–they’re instant Twirl classics.

Birgit has an intriguing persona. She looks like a classic 1950’s pinup girl. Her album photos would have made Marilyn Monroe or Betty Grable proud. She is a bona fide star in the Netherlands–a stage and television actress, a DJ and a voiceover artist. Her part-Asian background is touched upon on True Stories, in Guniang, which seems to be Chinese for “girly girl”, and in the “Breathing Exercise” vignettes. There are also some arrangements which have Asian instrumentation in the mix. And–she’s from the Netherlands, but her songs are all sung in flawless English. (Oh yeah–when you visit her website at http://www.birgitmusic.com, be sure to click on the American flag, unless you understand Dutch.)

There are a lot of contemporary pop songs on the album. Hardrocking Diva and Take A Better Look are graced by a touch of R&B. Sleeping Pill, Not Just Anyone and especially the melodic Bring Me Back would fit on a soft rock station. Take A Better Look and Celebrity Trash are slightly harder, and would be at home on a Gwen Stefani album–they sound like they come right out of Orange County. A tasty cover of Kate Bush’s Wuthering Heights finishes off the album.

True Stories is not Birgit’s debut–she released Few Like Me in 2001. But this may be America’s first real look at her. And speaking of that–aren’t we the lucky ones on the West Coast–she’s touring the U.S. from July 20-28, 2007, playing only dates in California, from San Francisco to San Diego. The closest she’ll come to Sacramento is the Empire Theatre in Stockton on July 27th–but hey–that’s only about 40 miles away. And the great news is that I will be interviewing her on Twirl on Saturday, July 21st, just hours before she hits the stage in San Jose. I’m looking forward to meeting the lady who may just be the next Madonna! Congratulations to Birgit for being the Artist of the Month for July, 2007!

July 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

What do Nirvana, the Pixies, and Sparklejet have in common? They have all worked with legendary Chicago recording engineer Steve Albini! And where does Sparklejet differ from those other two little-known groups? Well, Sparklejet is the Twirl Radio Artist of the Month for June, 2007!

Okay, okay. So maybe you have heard of Nirvana and the Pixies. But I’m here to tell you that you need to hear Sparklejet, as well. Sparklejet hails from the unassuming California Central Valley city of Fresno. This power trio consists of Victor Sotelo on vocals and guitars, Wade “Wade-o Tornado” Krause on drums, and Geoff Anderson on bass. And when they blazed north to mount a triumphant return to Sacramento last month, Victor was nice enough to spend some time with me on Twirl Radio on May 19, 2007.

If I could pick one word to describe this band, I would choose “metamorphosis”. Or “dynamic”. Or “students of rock”. Oops–you caught me. I guess I need to pick only one word. Well, let’s go with the incredible metamorphosis these guys have undergone over the last decade.

Sparklejet started in Fresno in April of 1997. They had a rootsy, bar band sound, which ranged close to Americana music. They put out an album called “Soap”, and played in Sacramento. A lot. They were considered an extension of the flourishing local scene here (Fresno’s only 180 miles away down California’s mother road, Highway 99).

The scene changed here in Sacramento, and for Sparklejet as well. Some of the rootsier local acts (Grub Dog, Natalie Cortez and the Ultraviolets, Sex 66) broke up or moved on. And Sparklejet underwent some personnel changes. Original members Victor and Wade teamed up with bassist Geoff Anderson, and beefed up the sound. The sound became harder, and more focused.

In 2006, the guys released their most recent disc, Beyond the Beyond. They decided to take it to the next level, and worked with renowned engineer Steve Albini. They arrived in Chicago, well-rehearsed and prepared to lay down seven of the album’s eleven tracks at Albini’s Electrical Audio studios. Of the three Sparklejet albums I have heard, this is by far the best sounding one. Victor’s voice is powerful and clear. Wade’s drums snap and thump with immediacy, propelling the songs forward. The guitars are fairly incendiary. And most important to me, you can hear Geoff’s bass loud and clear on every track. To me, that is the mark of a great recording, and Albini captured the bass extremely well. At times, such as on the explosive leadoff track Message to My Ear, the bass actually sounds like a lead guitarist, in perfect lockstep with the drums. The Comeback reminds me of AC/DC at their greatest, with a tense riff played by both Victor on guitar and Geoff on bass. This frees Victor up to take his solo, with Geoff playing lead on bass.

Other standout tracks include Let’s Behind This Place, with its infectious pop hookiness. This one sounds quirky enough to be my favorite track to play on Twirl Radio. Clever Personality is a straight-ahead rocker; Bomb The Maze rocks hard and intelligently; and Knock ‘Em Around veers dangerously close to punk rock territory, with its brisk energy and 1:50 length. Wade told me, “Sparklejet is a bit more bombastic now than we were on Soap”. And Victor used the word “angular” quite a bit to describe the newer songs. Indeed–they went from a folksier rock sound to something that sounds more challenging, confident and important.

The most stunning metamorphosis is Victor’s voice and singing style. In the interview, towards the beginning, we hear Rock and Roll is Sleeping off of Soap, and then we compare it with The Comeback from Beyond The Beyond. Victor sounds like two different singers, and the band sounds like two different bands. Listen to it, and you’ll see what I mean. They now sound like they could fill an arena, and Victor could easily lead the charge.

Among their career highlights, Sparklejet has been featured in Billboard Magazine’s Best New Artist Spotlight, their music was used in ESPN’s Extreme Games, and they performed their own rendition of The Who’s Tommy in 2002. Not bad for the self-proclaimed “Second Best Band in Fresno”!

The guys are planning an East Coast tour for this summer or fall, so that when all those great bands from back east come here, we Californians can return the favor with pride and share Sparklejet. Congratulations to Victor, Wade, and Geoff of Sparklejet for being the Artist of the Month for June, 2007!

June 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

Each month, Twirl Radio scours the country (and sometimes the globe) to bring the finest musical talent to the airwaves. As you might recall, last month we landed in Knoxville, Tennessee. Well, this month, for the first time, we just stay put–and keep ourselves parked in Knoxville–because we are celebrating Jeff Heiskell, and his new band Heiskell, as the Artist of the Month for May, 2007.

Back in the early 1990s, Jeff was the leader of the Judybats. I cannot overstate how innovative and creative they were. Their Native Son debut came roaring out of Knoxville. This landmark CD provided a showcase for Jeff’s inventive songwriting, his versatile vocals (which ranged from Stan Ridgway-like quirkiness to pure crooning), and the group’s ensemble musicianship, led by Peggy Hambright’s stellar keyboards. You could say that their sound represented the fun side of alternative music. Gosh, we really liked that band! They were rewarded with a fair amount of fame. Alternative radio airplay, and MTV and VH1 video exposure followed. Unfortunately, after a few more albums, and mishandling by their record label, they were overshadowed by the louder (and grungier) music coming out of Seattle (Nirvana, anyone?)

Fast forward to 2007. Jeff teamed up with the last incarnation of the Judybats (Doug Hairrell, guitars; Mike Hairrell, drums; Rob Bell, bass) and formed Heiskell. As Jeff told me, it was the rest of the band’s idea to use the name Heiskell. And it’s not just Jeff’s band–it’s a very democratically run band, with all four musicians contributing and making decisions.

After having gotten somewhat burned by the ravages of the music industry, Jeff is a little older and a little wiser. Life happened. But his songwriting instincts are sharper than ever, and they form the foundation for the debut album from Heiskell, Soundtrack for an Aneurism.

I know what you’re thinking: “does Heiskell the group sound like the Judybats”? Well–yes and no. There are some moments where Aneurism reminds me of the now-legendary opening five song salvo on Native Son, or the great songs on Pain Makes You Beautiful. But this new band introduces some new sonic textures as well. Let’s explore the album.

The opening track, Your Touch, is completely radio-ready–out of the box. Just press “play”. If this album has a hit, this is it. It’s an upbeat-sounding pop song, equal to anything Jeff did under the Judybats brand. A love song with edgy lyrics–a nervous start to a relationship. Who hasn’t been there before? Another song that sounds great from the first listen is The Death of Knoxville Cool. Again, great pop sounds–but with troubling lyrics, based on a real life observation, turned into a storytelling tour de force. And unlike the typical Judybats/Heiskell sound, there’s a guitar solo by Doug Hairrell at the end–very tasty. I wish the solo could have gone on for another minute or so.

A third instant standout–Farewell, Green Eyes–sounds like something R.E.M. might have recorded on their late 1980’s album Green–you know, the one where Michael Stipe finally started enunciating the lyrics clearly, and you realized what you had suspected all along–that the lyrics really were profound. The vocals sound ominous, and the mandolin and acoustic guitar are prominent in the mix. Jeff said that this one originally had a drum, but it annoyed Mike Hairrell (the drummer!), so they just turned off that track, and wound up with this quiet but intense song, written for a band associate who committed suicide.

I’ve already played those three compelling songs on my radio show, but everything else is standing up well to repeated listening. Songs like Beneath the Garden, Like A Vampire, and Love Again all have a good mid tempo alternative rock sound. Gasoline has a really rootsy feel, with dark lyrics. There’s a cover of the Lindsey Buckingham Trouble, with intimate, whispery vocals–Jeff tells me his intent was for the song to sound “creepy”. Actually, the vocals are fairly prominent throughout the disc–more so than in Judybats albums. All in all, there are about 7 or 8 songs off this album that I’ll be playing on my show. It’s really a strong collection.

It was so interesting talking to Jeff about his songwriting. Many of his songs start out based on real-life experiences and observations, then become an exercise in storytelling. I was amazed to find out that my favorite Judybats song, Convalescing in Spain, off of Native Son, was actually a true story. I’ve always been impressed with the clever way in which the main character dealt with the heartbreak of a failed relationship. Little did I know that Jeff was the main character, and he really did go to Spain!

All in all, Soundtrack for an Aneurism is a magnificent start to this phase of Jeff Heiskell’s career. He and the band have crafted a fine album, which should please Judybats fans, garner some new ones, and at the same time reassure us that brilliant songwriting and musicianship are alive and well. I wish Jeff well in this first post-Judybats effort, and am honored and pleased to have him hold forth over Twirl Radio as Artist of the Month for May, 2007!

May 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

I recently discovered a time machine! This fabulous device can take you back to when music used to sound good. It can also take you back to the battlefields of the Civil War, or across Appalachia on an Amtrak train as recently as last year. The time machine has a name–it’s called Scott Miller and the Commonwealth, and Scott is our Artist of the Month for April, 2007!

This Virginia-raised Americana singer-songwriter, who makes Knoxville, TN his home, has a history of being “discovered”. After college, he moved to Tennessee, where his live performances with the V-Roys quickly earned him a contract to make records with Steve Earle on his E-Squared label. After the demise of the V-Roys, rootsy Sugar Hill Records grabbed him quickly. Good idea–because he then got discovered by Jeff Foxworthy for the popular WB “Blue Collar TV” program. He and the Commonwealth were the house band for the show during its entire two year run. And if that’s not enough, his music has been produced by such notables as Jim Dickinson (Aretha Franklin, Rolling Stones, Big Star) and R. S. Field (Webb Wilder, Sonny Landreth). Whew! As Scott might say during one of his performances, “are you with me”?

I recently had the opportunity to chat with Scott when he came to Sacramento, touring in advance of his live album Reconstruction, coming out on April 10. I found him to have two personas–intellectual historian, and outgoing, fiery live performer. Both were present that evening.

Reconstruction was recorded during a 10° cold snap at the Down Home, in Johnson City, TN. Scott tells me that the Down Home is one of the best live music clubs in the country–but they don’t turn the heat on until showtime. 200 hardy fans came in and helped him heat up that room, and the results are evident on the album.

Scott’s music, a mix of rockers and ballads, seems to hit two themes again and again–personal songs about himself and his friends, often utilizing self-deprecating humor, and respectful songs about his forebears. The songs are almost always personal–he brings his characters to life. Sometimes, he’s the character. Some of the uptempo rockers are I Made a Mess of This Town, Goddamn the Sun (which are the two hardest-rocking songs in the set), It Didn’t Take Too Long, and Jody. Jody has an unlikely companion piece, the ballad Dear Sarah. Jody is a first-person tale of an average guy who joins the military, ends up fighting “over there” while his best friend moves in on his wife, watches his TV, drinks his beer, and plays his guitar. My favorite line is “he’s eating sugar while I’m eating sand!” Dear Sarah comes directly from his great-great-grandfather’s letters home from the Civil War battlefields. Scott told me that most Virginians, with their sense of history, have letters like this somewhere. The tone of the letters was always that of a man who felt very small, who was forced by others to fight in what he termed “the calamity”. Never anything about “Northern aggression”–he just missed his family. Scott really brings the man to life. Both songs give us a sense that war is really terrible, and that it’s regular people like you and me who are forced to fight.

Last year, Scott and the band toured by Amtrak train, and a couple of songs relate to that trip–Amtrak Crescent and Still People are Moving. As he said in his introduction to Amtrak Crescent when I saw him at the Blue Lamp, he refers to a lot of places that people west of the Mississippi just don’t care about. But the Amtrak Crescent is a legendary train route which goes from New Orleans to New York (interestingly, it’s also the subject of R.E.M.’s Driver 8). Unfortunately, he’s right–people in our country really don’t know or care much about history or geography, two of Scott’s strengths. The guy who played the first set that night even referred to Scott as being “from Texas”! I’m sorry to hear that from a fellow Sacramentan. Texas and Tennessee both begin with “T”, but are in fact, different states. If you look at a map, they’re even shaped differently! Incidentally, on Scott’s most recent studio album, Citation, he reconciles that difference with a song about Sam Houston (called Say Ho), who hailed from Tennessee and was pretty much the founding father of Texas.

A humorous ode to big cars, Eight Miles Per Gallon, Stephen King’s favorite drinking song, Drunk All Around This Town (really!), a cover of Neil Young’s Hawks and Doves, and a singalong of Miller’s gospel prayer Is There Room on the Cross? are some of the other standouts. Scott utilizes humorous between-song patter, and even references an obscure comment from Steve Martin’s comedy album Let’s Get Small. He definitely engages his audience.

I recently read a blog post by one of Scott’s fans back in Tennessee, and she was hoping that us folks on the West Coast would “get” Scott and his music. We do get it! He may be “regional”, but his themes are universal. And what does regional mean, anyway? Everybody comes from somewhere. The music and stories are good, and that’s all that counts. Congratulations to Scott Miller for reigning over Twirl Radio as Artist of the Month for April, 2007!

April 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment

Winzenried–the band, and the singer/songwriter (Eric Winzenried)–is the Featured Artist of the Month for March, 2007, as announced on Twirl Saturday, March 3. What does that mean? Well, it means we’re going to be featuring a whole lot of their great music on the show this month. It also means that I got to do an on-air interview with Eric himself on Saturday, March 17th. Congratulations to Eric, guitarist/co-producer Lloyd Stuart Casson, keyboardist Paul Sandberg, bassist Carl West, and drummer Sebastian Sheehan.

This L.A.-based quintet released their debut, Hooray, back in 2003. There was something instantly familiar and comforting about this potent stew of rap, metal, alternative, and straight-ahead rock. What was it? Twirl Radio doesn’t really play a lot of rap or metal music (less than 0.001 ppm, as verified by an outside auditing service). So what did I find so appealing? In short, everything! Specifically, the singing, songwriting, guitar work, keyboard work, and wry humor.

Eric Winzenried has a strong voice, much like you’d hear from some of the better-known metal singers. But–he uses his powers for good, not evil. He doesn’t wail and flail, but uses his voice very nimbly. He’s a very able rapper. And his sense of songcraft is incomparable. There’s a lot of attitude in these songs, but there’s a lot of heart, too. The sound is equal parts Ugly Kid Joe and Freedy Johnston. No, really!

On Hooray, the track Ohio is probably the most representative example of the Winzenried sound. Each verse starts with a rap, then Lloyd’s crunchy power chords kick in. As the band dives over the edge into the chorus, Eric sings “here I am, once again with…you”. Listen to the way he powers through the word “with”. This one word showcases the guy’s hard rock roots coming through! Looking Backwards is an uplifting rocker. Smarter One and Soul Is Mine, both keyboard-driven, are also positive, the former is an exercise in humility, the latter, a reminder of our worth as individuals. But the ones that really crack me up are Can’t Stay At My Apartment and Punchline. Anyone who’s an adult has been the victim of freeloaders and bad relationships. Eric fights back with his music, while making us laugh. THAT is what I find comforting and familiar. These songs remind me of getting together with my best buddy over drinks, or at the game, and commiserating about the rough parts of my life. That’s what many of these Winzenried songs are about. And you do feel better at day’s end.

Swell continues the theme. The songs remain positive and funny. Carried over from the first album are the references to the unappreciative, low-tipping customers from his days as a pizza delivery guy. And the secret weapon of the band, as on the first album, is massively talented guitarist Lloyd Stuart Casson. He plays everything from funk to alternative to hard rock, and is the single most important element of the Winzenried sound. Without him, this would be a different band. Songs like That Age and Getting Young acknowledge that we’re growing up, getting older (and better), and that others are now depending upon us (such as his newborn). Wake You addresses being the oldest guy at the party. Sort of a modern take on Jethro Tull’s Too Old to Rock ‘N Roll, Too Young to Die. And there’s a delightful cover of the Sesame Street theme song. It never occurred to me to cover a song like this, but the Winzenried treatment reminds me of what a great song this is. It’s fun hearing it performed by a bunch of adults! There’s definitely some personal and musical growth on this album, and Eric’s vocals get more sophisticated, reflecting his life changes.

So grab your copies of the two Winzenried albums, and put them on after a long day. On those days where you start to ask yourself, “am I crazy, or…”–Eric’s your bud–he understands, because he’s been there too. And I’m proud to have him and his band as the Artist of the Month for March.

March 1, 2007
Categories: Reviews . . Author: The Lids . Comments: Leave a comment