Casey Abrams was born in Austin, Texas and eventually made his way to Idyllwild, California. This multi-instrumentalist initially made a name for himself on the 10th season of American Idol – he finished in sixth place – and judging by his 2018 album PUT A SPELL ON YOU, he’s certainly learned a lot during his long and exciting journey. Unlike many other artists who are content to find a niche or genre they feel comfortable in, Abrams mixes and matches genres as he sees fit. This is not a former American Idol contestant that is going to fall in line and churn out a variation on today’s Top 40. Nope. Casey Adams is going to do whatever he damn well pleases!
This compilation offers a fascinating peek into the Japanese Folk and Rock movement of the late ‘60s and early ‘70s. Though influenced by Western music, the music contained on EVEN A TREE CAN SHED TEARS: JAPANESE FOLK & ROCK 1969-1973 is undeniably infused with a deep connection to their very own Japanese culture.
BONE ON BONE is the highly anticipated 2017 album from Canadian singer/songwriter Bruce Cockburn. The album is his first in six years and is the follow-up to 2011’s SMALL SOURCE OF COMFORT. His 25th studio album overall, BONE ON BONE finds Bruce Cockburn at ease as a musician but ill at ease with the world. For those familiar with Cockburn’s work over the years, this may seem like nothing new. However, BONE ON BONE finds Bruce at the top of his game. And for an artist that has been releasing albums for nearly 50 years, this is quite a feat. Mixing Folk and Blues, the album is warm, intimate and filled with songs that are destined to become Cockburn classics. Amongst the Folk Blues stomp of songs like “States I’m In” (the first single) and “Café Society” is “Forty Years In The Wilderness”, one of the loveliest songs he’s ever written.
Singer/songwriter Charlie Parr has returned with an album that mixes his Folk roots with plenty of heart and soul. Although he may sometimes write as an observer, his songs put him square in the eye of the storm. Parr writes songs that are extremely personal yet universal at the same time. Listening to DOG, you’ll stumble across people that you feel that you already know, places that you are sure you’ve been and feelings that you most definitely have experienced. This is a world where both feet are firmly planted on the ground. You can feel the heat of the sun and smell the beer-soaked floorboards. This is an album that pulls no punches. Life is hard and then you die but in between, there is light in the darkness. However, that light may be only fleeting at times. But that is understandable because Charlie experienced some truly dark moments before making the album.
Judy Collins is an American treasure. From her early Folk recordings – her debut album was released in 1961 – up through her brush with the Pop charts in the latter half of the ‘60s and into the ‘70s, she has possessed one of the most beautiful voices in Pop music. With hits like “Both Sides Now,” “Chelsea Morning” (both penned by Joni Mitchell) and Stephen Sondheim’s “Send In The Clowns,” Collins has built up a catalog of remarkably timeless recordings that never seem to age – much like the singer herself. Her gentle, moving performances have inspired generations of performers spanning all genres. Whether she is performing a song she composed or interpreting someone else’s musical creation, the song becomes Judy and Judy becomes the song. And fifty-six years after she made her recorded debut, Judy’s voice sounds better than ever. If you have ever fallen under the spell of Judy Collins, I’m fairly certain you are still hypnotized by her talent.
DAVE RAYBURN: The new album is titled WESLEY STACE’S JOHN WESLEY HARDING, and is your second record under your given name that you’ve reverted back to. I understand that, among several factors involved in choosing the title, there was a bit of a nod to Jeff Lynne in the mix. Can you elaborate?
WESLEY STACE: I can. My last album, SELF-TITLED, was the first released under my real name, Wesley Stace, but I felt the word didn’t quite get out, so I thought it was worth clarifying. Secondly, I happened to see the new version of ELO. For whatever legal reason, they are billed as “Jeff Lynne’s ELO”, presumably partly to differentiate it from any other rogue version of ELO. This reminded me that, though I had, in a sense, broken up John Wesley Harding, I didn’t want any interlopers touring under that name, playing my songs and pretending to be me, when I was elsewhere being me too, playing those same songs (better). With WESLEY STACE’S JOHN WESLEY HARDING, I am reminding you that this version of John Wesley Harding is the only version that counts. And finally, I wanted to differentiate myself, once and for all, from the Bob Dylan album of the same name. I have many times been mistaken for this album, due to a certain similarities between the name of this artifact, an LP from 1967 made of vinyl and cardboard, JOHN WESLEY HARDING, and my erstwhile performing name, John Wesley Harding. Obviously, it’s a ridiculous mistake, but still. So this isn’t Bob Dylan’s JOHN WESLEY HARDING; it’s Wesley Stace’s JOHN WESLEY HARDING.
STEPHEN SPAZ SCHNEE: STITCH OF THE WORLD is just about to be released. How are you feeling about the album and the journey you took to make it?
TIFT MERRITT: I’m feeling really proud of this writing, these performances. I feel really, really lucky to have worked with this cast of characters. Marc Ribot is my favorite musician and one of my favorite human beings. He’s plugged into the sun. And I am forever grateful to Sam Beam for his input and generosity. To be in conversation with him about songwriting gave me a new eye on lyrics, on what to look for in third verses, on countermelody. But honestly, I don’t know that I ever truly have perspective on my work. I just have the sense of having had a creative experience that hopefully opened me more and will inform my next creative experience. I think that is what it is all about.