Tom Wilk, July 2014
Colleen Rennison ★★★1/2
See the Sky About to Rain
Black Hen Music
Colleen Rennison, lead singer of the Vancouver-based rock band No Sinner, takes a different approach with her first solo album. On See the Sky About to Rain, named for the song by fellow Canadian Neil Young, Rennison displays some impressive vocal abilities in this collection of a dozen songs by other artists. Vocally, the 26-year-old Rennison, who also works as a TV and film actress, projects both intimacy and rawness. She provides a bluesy edge to Tom Russell’s “Blue Wing,” a tale of an inmate’s life beyond prison and captures an edgy sense of freedom on a country-fueled version of Townes Van Zandt’s “White Freightliner.” On Joni Mitchell’s “Coyote,” Rennison and producer Steve Dawson go for a jazzy reading that emphasizes the romantic restlessness of the lyrics. Rennison performs two songs written by Robbie Robertson of The Band. “Stage Fright” plays up the tune’s rhythm-and-blues roots, while “All La Glory” a gentle celebration of a newborn child. Rennison shows her country side on “The Fool is the Last One to Know,” recalling the heartbreak songs of Patsy Cline. While the version of Bobbie Gentry’s “Fancy” falls short of the original, Rennison reveals herself to be a fearless interpreter. 12 songs 49 minutes
John Mayall ★★★
A Special Life
Thirty Below Records
It’s no stretch to call John Mayall the godfather of the British blues scene. Over the last half century, Mayall’s band has helped to launch the career of such musicians as Eric Clapton, Jack Bruce, Mick Taylor and Mick Fleetwood. At 80, Mayall is showing no signs of slowing down with A Special Life, his first studio album in four years. Mayall’s musical foundation remains rooted in the blues but he continues to branch out. “Why Did You Go Last Night,” the album opener, adds a zesty Zydeco flavor to the mix, thanks to the accordion work and vocals of C.J. Chenier.
Mayall continues to have a good ear for contemporary blues material to spotlight his backing band. Lead guitarist Rocky Athas takes center stage on a smoking rendition of Sonny Landreth’s “Speak of the Devil.” Mayall himself handles lead guitar on Albert King’s “Floodin’ in California,” one of his earliest blues influences. “World Gone Crazy,” one of five original songs by Mayall, offers his take on contemporary society. “Heartache” and “Just a Memory” mine familiar themes of lost love. While A Special Life may not break new ground, Mayall remains a staunch blues disciple still intent on spreading the word to anyone with ears to listen. 12 songs 48 minutes
Willie Nelson ★★★★
Band of Brothers
Legacy
On Band of Brothers, his latest studio album, Willie Nelson gets back to one of his strengths—songwriting. The 81-year-old singer/songwriter, who penned such classics as “Crazy” and “Funny How Time Slips Away,” co-wrote nine of the CD’s 14 songs with producer Buddy Cannon to give the album a unified feel. Nelson’s songs confront the aging process on “The Wall” and “Bring It On.” On the latter, Nelson sings: “They say there’s no gain without pain/So I must be gaining a lot.” He playfully addresses romantic relationships on “Used to Her” and “Wives and Girlfriends.” Other songs—“Guitar in the Corner” and “I’ve Got a Lot of Traveling to Do”—use music as a metaphor for life. The latter serves as a sequel of sorts to “On the Road Again,” Nelson’s ode to life as a traveling musician.
Band of Brothers also features Nelson covering five songs of his contemporaries, including two by Billy Joe Shaver. “The Git-Go” is a bluesy lament on the state of the world, performed as a duet with Jamey Johnson. On “Hard to Be an Outlaw” he sings about the changes in country music and what’s missing in today’s performers. Nelson continues to show he has the right stuff as a writer and performer. 14 songs 47 minutes
Hannah Aldridge ★★★1/2
Razor Wire
Trodden Black
“I’ve been a little too long on love’s front lines,” Hannah Aldridge defiantly declares on “You Ain’t Worth the Fight,” the opening song on Razor Wire. It’s a lyrically direct admission on an emotionally charged album about love and loss, pain and regret.
Aldridge, the daughter of country songwriter Walt Aldridge, calls the songs on Razor Wire “Dark Americana.” It’s a label that fits for such tunes as the romantic noir of “Old Ghost” and “Howlin’ Bones.” Other songs, including “Parchman,” sung in the voice of a prisoner recalling a crime of passion, and the bittersweet “Lie Like You Love Me” find Aldridge baring her soul. The title track, heard in a full-band version and a stripped-down acoustic demo as a hidden track at the end of the album, is a haunting deconstruction of a crumbling marriage. As an album, Razor Wire recalls John Lennon’s Plastic Ono Band in its stark analysis of personal relationships. Aldridge’s compelling vocals ensure that it is not an album for casual listening. 11 songs 47 minutes.
Eli “Paperboy” Reeds ★★★1/2
Nights Like This
Warner Brothers
Nights Like This represents a sonic transformation for Eli “Paperboy” Reed. The singer/guitarist has taken his love of Southern soul and rhythm and blues and given it a 21st century pop sheen with synthesizers and electronic instrumentation added to the mix. Call it Eli “Paperboy” Reed 2.0.
“Sit back, relax and enjoy the ride, or you’ll never be satisfied,” Reed sings on “Well, Alright Now,” an invitation to the listener on the opening track. “Grown Up” employs a stop-and-start rhythm and serves as an invitation to the dance floor. On the exuberant “Voodoo,” Reed and co-producer Ryan Spraker utilize a hip-hop groove to power the song. The title track is a celebration of the evening, while the joyful “Shock to the System,” one of 11 songs co-written by Reed, has overtones of classic 1960’s Motown updated for contemporary times. Reed slows down the proceedings for “Ain’t Worth It (Goodbye)” for a soul ballad. Nights Like This is a fast-paced album that should serve Reed well as a launching pad for the next phase of his career. 11 songs 35 minutes.