Here is the latest installment in our periodic series highlighting Boston and New England artists. (View the complete series here.)
Mark Erelli (from the Hillbilly Pilgrim Records release Milltowns)
Erelli pays loving tribute to his hero and mentor, the late folk musician Bill Morrissey. With the help of some talented friends — including Peter Mulvey, Kris Delmhorst and many others — Erelli re-visits twelve songs from the Morrissey canon. The selections range from the amusing “Letter From Heaven” (“I bought Robert Johnson a beer / Yeah, I know, everybody’s always surprised to find him here.”) to the sadly moving “These Cold Fingers” (“Everything slips through these cold fingers / Like trying to hold water, trying to hold sand.”)
In addition to the Morrissey songs, Erelli contributes one original composition to the collection. The title track is a touching reflection on his relationship with Morrissey:
I was getting ready to go on / you said “Grasshopper, you sing ‘Birches’ / I’ve been singing it for too long” / So I sang it like I’d written it / though I wished you hadn’t asked / ‘Cause I couldn’t shake the feeling / like something was being passed.
One can hear the admiration in every note. Here, for your listening enjoyment, is “Milltowns.”
Four AM, Josh Buckley (from the self-released Blind Side of the Heart)
Ok, so Buckley moved to Austin a few years ago. I’ll always associate him with Boston, however, where he lived for several years. Heck, this album was even recorded here with local quartet the Blue Ribbons and several other talented Boston musicians providing musical accompaniment.
If Buckley’s last release was a rock record with a Neil Young and Crazy Horse vibe, this collection veers more towards Gram Parsons and Doug Sahm. The songs move along with an ambling feel, accompanied by lyrics that reflect on heartbreak and loss. The combination gives them a distinctive blend of resignation and contentment.
Of course, Buckley still likes to have some fun as he does on this sauntering gem. “Only Warren Zevon calls at 4am that’s why I didn’t pick up.”
Tattooed Man and the Saint, Dan Blakeslee (from the self-released Owed to the Tangled Wind)
Despite the fact that Dan Blakeslee is widely recognized as one of the friendliest, happy-go-lucky musicians in town, his songs often has dark and mystical overtones. All the better I say, as he is a master at using vivid and poetic language to tell ornate musical stories.
Blakeslee travelled to the Columbus Theater in Providence Rhode Island to record Owed to the Tangled Wind. The theater has become something of an artist community, anchored by Ben Knox Miller and Jeff Prystowsky of the Low Anthem. That duo appear (and lend their engineering talent) along with Joe Fletcher and Jonah Tolchin among others. The musicians create a rich musical tapestry that is the perfect setting for Blakeslee’s songs. The results are strikingly beautiful.
World Go Round, Will Dailey (from the Wheelkick Records release National Throat)
Having finally extricated himself from a failed label deal, Dailey set to do things on his own terms. If National Throat is any indication, the newfound freedom suits him well. Dailey creates a sound that is best described as eclectic pop, mixing in bits of everything from reggae to jazz. Hooks abound, with the occasional angular twist to make things interesting.
Wellspring, The Boston Singer’s Project
Songwriter and multi-instrumentalist Andy Santospago has set out to release a song a month in 2014. Although each track features a different singer and a host of other musicians sharing their talents, one can hear the consistent thread of Santospago’s musical pen. So far the songs have ranged from classic Harry Nilsson-esque pop to groove-heavy blues to Americana pop.
Nine months down and three to go. I, for one, am eager to hear what’s coming next.
(Visit the Boston Singers Project site for lyrics and the stories behind each song)
Fort Point Boogie, Tony Savarino (from the self-released Guitarino)
Any guess as to Tony Savarino’s instrument of choice? Savarino puts his guitars to work on this eclectic collection of instrumentals. You’ll hear a bit of blues, some pop and even a standard (a wonderful solo acoustic “As Tears Goes By”), all played with the perfect combination of skill and personality. Here’s the tasty opening work-out.
They’re Gonna Shoot, Abbie Barrett & the Last Date (from the self-released The Triples)
Barrett’s latest, the compilation of a recent ep series, is filled with regal indie pop that is sometimes dark and sometimes dreamy. Well, perhaps more dark than dreamy but brimming with melodic hooks that occasionally veer in unexpected directions.
Flash of White Light, Watts (from the Rum Bar Records single Flash of White Light/The Mess is the Makeup)
Are you ready for some smokin’ stadium rock? This Boston quartet pick right up where they left off with 2011’s On the Dial. Do you like big ol’ hooks and loads of in-your face guitars? If so, this is your jam.
1970’s rock in all it’s glory. If you ain’t playing it loud, you ain’t playing it right.
About the author: Mild-mannered corporate executive by day, excitable Twangville denizen by night.