Music Review: light at eventide – Erika Chambers

Hi again!

Occasionally I’m approached by an artist directly to do a review. But only rarely do I listen to the first 10 seconds of a song and immediately reply to say I’ll review a CD.

In mid-August, Erika Chambers dropped me an e-mail and asked me to take a listen to her new album light at eventide. What she actually said, which peaked my curiosity, was that if I liked Crooked Still (and I love them), I just might like her album. She was right. I know it’s cliche, but in this case I’m convinced that she has a voice like an angel.

She describes herself as an indie Americana artist out of Nashville, whose songs are always private and personal, written in the quiet of her mind. Inspiration comes from hymns, mountain songs, family, people she meets, a news story, or the experience of her own life. In her bio on her website she writes that her songs aren’t fancy – recorded wherever she can find equipment and time. And quite honestly, I think that gives her music a “real” quality that’s sometimes tough to find in soundproofed professional studios.

It’s obvious that she has numerous folks in her corner. She days – “Often, I paid my producer by taking him out for Mexican food. He literally worked for beans.” But I think all the support from family, friends, fellow vocalists and instrumentalists has paid off. Though it took Erika nearly four years to complete light at eventide, there are some simply stunning songs on it that she and all of her collaborators should be proud of.

As I said earlier on, I was captured by the first few seconds of the first song on the album – “freedom song/birmingham” – which deals with some of the darker history and violence of the civil rights movement of the 1960s. It opens with her voice singing gospel-style, which simply gives me chills every time I hear it. “I stand on ashes where once there stood a home / here lived my family but now I stand alone / you told my papa to move us out of town / but he was a stubborn man who always stood his ground…” The rise and fall of her voice tells me she believes in what she’s singing as she tells the story of a woman who forgives the man who killed her family. And that’s just the start of the album. Powerful music, amazing voice, and a story that evokes raw emotion is a great way to kick things off.

“footprints” is another song that left a mark on me. Telling the story of a family stuck in the snow in Colorado and the brave act of a husband and father trying to save them. And though he didn’t make it to get help, his footprints led searchers back to where the family was and they were saved. “My true love did what only true love does / my children know the man their daddy was / and I pray someday my sons will choose to step into their fathers’ shoes / and they may stumble and they may fall / but his footprints will deliver us…”

The arrangement for “footprints” takes a powerful tale and pairs it with electric guitars, a driving beat like deliberate footsteps in the snow, and some harmonies that simply have to be heard to believe. There’s a power there that builds like the power that builds each time a tale of heroism is told, kicking this tune into overdrive. Erika is joined by Blue Mother Tupelo on this track, which adds layers of experience to the tale and her own expressive voice.

The last song of the eleven on the album I’ll talk about is “light at eventide”, which features Eric Paslay in a duet. Talk about quiet power. A single guitar with a simple melody meets a string bass, a drum beat, and strong harmonies that never once threaten to overwhelm the message of the song. And the words… “twilight sun through the trees / bowing low on its knees / diamond stars one by one cease to hide / burdens weigh on my breast / I will lay them now to rest here in the light at eventide…” It’s a prayer to know she’s not alone. “Chase the shadow from my soul / fill the sky with rays of hope / so I know I’m not alone…”

I’m not a religious person, but there’s a purity of spirit that echoes through these songs telling stories with hope. We all can probably use a bit more of that in our lives.

But don’t let me steer you wrong here. The rest of the album is amazing as well merging bluegrass, hymns, folk, and blues in ways you might find surprising. There’s humor, hope, and humility here in the rhythms, melodies, and words. In some ways, her talents remind me of Eva Cassidy – as though she has an old soul and can use her connection to that to tell stories that transcend her own experience.

For a sampling of some of her tunes, check this out:


I definitely encourage you to check out light at eventide when you get a chance. It’s an amazing album I’ll be listening to while I wait to see what else Erika can throw at us next. Give her a listen at the album’s website where you can stream it for free and check out her webiste at

This article first appeared at here.


p.s. Please check out her website and stream the album. Erika deserves all the support we can give her!

Enhanced by Zemanta

Music Review: The Book of Aylene – Goodbye Picasso

Hi again…

When a passionate, talented artist finds another and things click, it’s kismet. That good fortune over the last three years has led songwriter Chris Dreyer and guitarist Scott Taylor to create some amazing music as the band Goodbye Picasso in New York City a few years ago. The band’s first album is The Book of Aylene (TBoE), which releases August 24, 2010.

TBoE tells the story about a musician who gets the girl, gets a great gig, and starts the downward spiral of drugs, relationships, and finally – losing the gig. Thankfully I was told this isn’t autobiographical in nature, which is awesome. In an age of overly engineered albums, it’s nice to find a concept album that is simply that… a concept seen through the arc of a series of tracks.

I’m positive there are many influences on the record, but as I listened I was reminded of groups from the 1970s, like Van Morrison and Simon & Garfunkle. The country influences aren’t far behind either, especially in the last song – “The Devil, The Bottle, and Me.” The hand of a storyteller was hard at work throughout the album, with a simplicity and honesty in words and melody providing a deep landscape upon which to layer some sweet instrumentals.

Though I love the faster, more upbeat or bluesy tunes on the album more than the ballads, the mixture meant styles changed across the album to reflect the tone of particular songs through the story arc. Everything from a rockin’ blues tune to acoustic strings and almost a wild west sounding piano can be heard as the tales progress and he falls further down the rabbit hole…

My favorite song on the entire album is the nearly drunken blues song “I Don’t Want Nothin'” with some riffs between saxophones and lead electric guitar that just sell the lyrics that much more. The musician is losing his girl, and he knows it. “Don’t call me superstitious when I catch you watching her / With your dirty little secrets of the places that you were / And you can play it cool / Or act the fool / It all looks well rehearsed / You’ve been talking me in circles, as if somehow I’ve not heard…”

But songs like “Lick the Thumb, Turn the Page” really define the struggling artist’s goal to find a way to be discovered playing gigs in some small town. “My drummer’s friend’s in A&R / He seems to think we could go far / It’s much harder than it sounds / Being no one in this town…” Playing to and for people through those initial years, “All these evenings that I’ve spent / with all these people I’ll forget…” The virtual blur of names, faces, places, and gigs has to wear on a musician’s soul.

[amazon-product align=”right”]B003V5C6SA[/amazon-product]And “The Song That Says Goodbye” tells the story when the musician really figures out that he’s losing it as things start falling apart. This is a ballad, almost. But it sounds more like he’s making excuses for himself until the end of the song, when he realizes he’s slipped too far and maybe his girl should keep her distance… “I kept on accusing everyone else / For these consistent bruises I gave myself / Is it real when you realize no wealth? / And you were best off losing with someone else…”

I could go on all day writing about these songs and the words therein. The tales embedded capture the manic cycle and downfall of a musician losing his battle with fame and fortune. When you add the beautiful musical compositions and soulful vocals, TBoE reaches a whole new level of introspection and sorrow as the musician hits rock bottom.

If you are looking for something new – something truly artistic and enjoyable from a group we should all get to know better – be sure to check out Goodbye Picaso’s The Book of Aylene when it’s released on August 24, 2010. It’s going to be a hard album to follow up after the invevitable national and world tours that will follow. I only hope that the band doesn’t read their own lyrics and start down this path of self destruction!

For more information about the band, their touring schedule, and lyrics for The Book of Aylene, be sure to check out

This article first appeared at here.


Enhanced by Zemanta

Music Review: Safe Upon the Shore – Great Big Sea

Hi again!

Sometimes I get clubbed on the side of the head when I least expect it. Though I’d heard of Great Big Sea when I reviewed Séan McCann’s Lullabies for Bloodshot Eyes a few months ago, I really didn’t know much about this band from Newfoundland, Canada. I listened to Fortune’s Favour and it was good, but didn’t wow me. But when I heard Safe Upon the Shore it was definitely a wake-up call.

This is the 10th album from Great Big Sea, a band that’s been together for 17 years. Safe Upon the Shore was recorded over the space of six months in New Orleans, St. John’s in Newfoundland, and anywhere inspiration happened to strike – including buses and dressing rooms while on tour. Evidently a good portion of the album was recorded on band member (and one of the founders) Alan Doyle’s laptop, which provided a mobile recording studio just about anywhere they happened to be.

Doyle, Bob Hallett, and McCann were the driving songwriters on the album, but it also included some co-writers you might not expect – like Russell Crowe and Canadian singer-songwriters Randy Bachman, Jeremy Fisher, and Joel Plaskett. With the New Orleans vibe and additional influx of influences, the group managed to push their usual sound to something I found to be truly inspired.

With a mix of styles, from folk and Bluegrass to rock I’d be happy to hear in any pub, this group of five musicians – Doyle, Hallett, McCann, Murray Foster and Kris MacFarlane – provides a full bodied sound that uses damn near everything that isn’t nailed down… Guitars, bouzouki, mandolin, banjo, piano, accordion, concertina, whistle, harmonica, fiddle, pipes, bodhran, drums, keyboards, and lord knows what else. If it has strings or keys, I bet these folks can probably pick it up.

But on this album it was the mix of deeper, haunting tracks with those imbued by humor that really caught my attention. For me, albums are made or broken by the way they’re constructed. The “landscape” of music that allows a comfortable mix from highs to lows and everything in between. Safe Upon the Shore provides a landscape as rich as the pictures of Newfoundland I’ve seen… from shores to hills, ice to sky.

The other thing you’ll immediately notice if you listen to the lyrics is the sadness buried in the cheerful melodies. It’s that irony that works for songs like “Good People” touting the fact that we’ll always have good people even when things are at their worst… “We’re running out of trees and we’re running out of space, but we’ll never run out of Good People…” And in “Over the Hills” they describe the life of a soldier – “Safe at home we’d rather stay / watch our children grow and play / we owe the Crown so now we’ll pay – over the hills and far away.” But it’s duty that leads good and men away from their families when their leaders call.

There’s too much on the album I absolutely loved, so I’ll just focus on a few tracks.

“Yankee Sailor” manages to be both cheery and sad describing a love that’s not to be with a beautiful acoustic guitar driving the tune. “We were poor / but I was satisfied / and I thought that you were too / You were pure / and I was terrified / I wasn’t good enough for you…” And when that lass met the Yankee Sailor that led her across the waves he knew he’d lost her. “America is beautiful / and I sure hope you’re right / if I could see you across the water / I’d say America is beautiful tonight…” The whistle in the background, with some amazingly simple but gorgeous harmonies adds emotional depth to this story of love lost.

In “Hit the Ground and Run” we hear the story of a shotgun wedding with some amazing Bluegrass… “You better lock the church door tight ’cause at the slightest crack of light that boy is gonna run…” This song hits the ground running and doesn’t let up to the end with it’s driving banjo riffs and hilarious story sung with humor.

It was “Safe Upon the Shore” that really drove this album home for me. A haunting ballad sung a cappella, the tale unfolds of a woman waiting for her “darling sailor boy” to come home. The lyrics alone are heartbreaking, but the slow reveal and Séan McCann’s emotion-laden voice that really drove this track home. “Now fisherman they cast their nets like miners pan for gold / and sailors push off from the docks and pray the gales will hold / the sea just sits silently / but sometimes she does more / and someone weeps as her love sleeps safe upon the shore…” It reminded me of the poetry of Gordon Lightfoot‘s “The Wreck of the Edmund Fitzgerald” which has haunted my musical memory for 30 years.

But in “Road to Ruin” with its “You can take the sunshine / I can take the moonshine / You can take the high road / I can take the low / though later in the evening / the one thing I believe in / I’m on the road to ruin / it’s the only way to go” I found my wife and I described… Again, the humor of accepting the lives we lead and relationships we keep manages to merge amazingly cheerful music and ironic lyrics into a tune that made even me want to dance.

Where Fortune’s Favour didn’t really capture my soul, Safe Upon the Shore managed to do that quickly and never let me go. I’ll be listening to this album for quite a while and shouting far and wide that I too am on the “Road to Ruin” and happy to be there!

Be sure to check out Safe Upon the Shore when it’s released on July 13, 2010. For more information about the band, check out

This article first appeared on here.


p.s. Pick up this and other great Great Big Sea albums below!

Enhanced by Zemanta