Charming Axe-Gathering Days

Comprised of musicians affiliated with Chicago's Old Town School of Folk Music, Charming Axe (vocalists Eugenia Elliott and Hannah Hill and vocalist/guitarist Rob Newhouse) delivers Gathering Days, a fine addition to the folk music canon.

Gathering Days, a mix of originals and covers, kicks off with a take on James Taylor's "Close Your Eyes"; breathtaking three-part harmonies and church organ hook the listener immediately. The Newhouse original "Beyond the Blue" follows suit splendidly; contemporary bluegrass with lovely mandolin courtesy of album producer Rich Rankin.

Other highlights include an update of the Dolly Parton/Porter Wagoner country chestnut "The Pain of Loving You," Eugenia Elliot's original "Supper Song," "All Through the Night" (written by Jules Shear; a hit for Cyndi Lauper; arranged here as a folk lullaby), Chris Hillman's "Price I Pay" and "One Day I Walk," a Bruce Cockburn composition and one of the moodier pieces collected here.

Gathering Days collects songs (some borrowed, some blue, all terrific) and delivers the goods; this is grown-up folk music made by some of Chicago's best singers and players.

Whales - Size & Scale

The album Size and Scale, by Chicago band, Whales, stitches together nine tracks’ worth of 90s nostalgia (say THAT five times fast!) - a decade whose trademark sounds have been documented on some very memorable records. Unfortunately, Whales’ familiarity with the songs of that era is so transparent, and the songwriting so flimsy, that I was often unable to distinguish the band’s own creative voice from the flood of its influences.  Take for instance, the distracting “Tonight Tonight” (Smashing Pumpkins) aping on “Seafaring,” or on the next track, “On the Floor,” which could have been excellent, if it wasn't for all of the obvious nods to Radiohead.  These were only two of the many examples where instead of thinking about the song as I listened, another group’s instantly came to mind.  Another element working against them is drummer Randall Murphy’s eschewing of additional texture and dynamics for bombastic, bread-and-butter timekeeping.  His playing, while serviceable, squanders the opportunity to differentiate these songs from the bands that they were obviously modeled after.

Easily the best aspect of this collection is singer Maigin Blank’s gorgeous, melancholy vocals.  reminiscent of Sasha Bell from The Essex Green, the control, fragility, and warmth that Blank’s voice projects is Whales’ secret weapon.  A close second in Size and Scale’s “pros” column, are the album’s two instrumentals: “Level,” the polite piano-guitar-cymbals opener, and “Faithless,” a brooding cacophony that explodes upon impact.   Unless I’m missing something, both of these songs prove that Whales are capable of creating better music that isn't entirely hinged on the sounds of another band.  I don’t understand how the combination of its two best components can result in a good portion of the record being less than the sum of its parts - but here we are.  

There’s nothing wrong homage and influence, but without much else as a fulcrum, these songs provide little reason keep revisiting this album.  Bands like Yuck, Silversun Pickups, and Doves prove that you can mimic another group’s sound, and still write memorable music.  Whales should focus on their strengths, hone their song craft, and figure out what makes them unique.  Size and Scale isn't a terrible record, but one that elicits little more than a shoulder shrug,  Stream it. - DC

Vintage Blue-No Going Back

That Chicago's Vintage Blue can draw respectable numbers headlining Metro and chart an EP on Triple A radio without the benefit of a label is a testament to the band's hard work, their attention to song-craft and, most importantly, the accessibility of the music that the 6-piece group creates.

The radio-friendly EP in question, No Going Back, kicks off with "Let Go," and it is apparent from the opening notes that VB is (perhaps with some irony) not trying to re-invent the wheel or even keep up with current trends. The song simply charts a course that was first mapped out in the laid-back California goldmine of 70's rock (Eagles, Jackson Brown, Fleetwood Mac, et al) and nods a bit to the 1980s (dig the Men at Work-style sax) and 90's AOR (Vintage Blue has supported Sister Hazel and lists Vertical Horizon as an influence).

The title track is even more concise in its song-craft: heartfelt, lyrical verses; big, hooky choruses; some smartly downplayed synth to give the song color. "Remember" is a bit more artful with its toy vibraphone, beautiful vocal harmonies, trains a' comin' percussion, etc.

"Alone (I Can Hear)" is the closest thing to a modern rock hit; not as arch or Anglo as The Killers but definitely in the ballpark. "Carolina" turns back to the 70's but, again, the attention to detail is there: nice female backing vocals; country-rock and lite-funk influences (think Little Feat) and sterling production. No Going Back closes with "The Enemy," the most outwardly "rock" song on the EP, which shows some late-period Yes and even a bit of U2 in the band's DNA.

The Safes - Record Heat

The Safes' latest album, Record Heat, is exactly what I needed from them – an entire full-length LP of lean, quality rock. Their music is like a modern take on the classic 60's garage sound, but with a depth, and flavor that is uniquely theirs. This band was made for fans of The Ramones, The Kinks, and The Zombies to squeal over. The production on these ten tracks makes every spin a pleasure to listen to, and thanks to The Safes' uncanny knack for tasteful song arrangements, multiple listens will keep the headphone geeks coming back for more. The only negative criticism I have against it, is that I may have liked it SLIGHTLY more had the band switched the order of the last two tracks...but that's what iTunes is for, right? I really can't get enough of this. I'd gladly buy it again if I had to. Get it. - DC

Akasha-Joy Song album review

Chicago’s Akasha occupies a unique place in the city’s reggae/ska scene. Unlike older reggae outfits, the band does not play to tourists at the Wild Hare. They also have yet to find a foothold at The Cobra Lounge and other punk-friendly venues that typically book ska bands like The Crombies, Deals Gone Bad and other groups indebted to the 80’s 2-Tone scene. Instead, Akasha hosts a popular residency at Double Door, has opened for nationally touring reggae and ska bands at The Shrine, Lincoln Hall and Subterranean, and recently held a record release party at The Hideout with support from the jazz-fusion trio Spare Parts.

Akasha has not only etched out a niche in Chicago’s reggae/ska scene, but the band is unique on record, as well: the new, self-released Joy Song sounds different from anything that currently passes for either reggae or ska these days. You will not hear frat boy nods to pop punk or mainstream rap; you will not be distracted by auto tune or Latin-inflected Reggaeton. Instead, Joy Song trades in various sub-genres of real reggae music, with shades of neo-soul and a even a bit of indie rock.

The album kicks off with the sweet “Recipe for Love” and the remaining eleven cuts are all winners. Highlights include a cover of PM Dawn’s “I’d Die Without You” that features guest vocals from JC Brooks; “Warrior” is a politically charged anthem with some great toasting courtesy of Illuminati Congo; “Lil’ Black Dress” is sleek, sexy and as modern as anything passing for adventurous, Pitchfork-endorsed R&B these days; “Warm My Bones” goes back further than the dawn of either ska or reggae to take inspiration from American gospel music and doo-wop.

The musicians responsible for the terrific sounds on Joy Song are:

Cosmos Ray-Vox
Doug Bistrow-Bass,Vox
Scott Moss-Guitar,Vox
John Barbush–Drums
Shane Jonas-Keys, Trumpet,Vox

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