Music

From the Bottom Up

Brownstone Epic

Brownstone is Nicci Gilbert, Maxee Maxwell, and Mimi Doby. Their brand of black-pop/urban contemporary music is rich, engaging to a mass audience and dripping with gospel soul. The harmonies and arrangements come straight from the church, but the production is all uptown. The result is a first-rate example of music which is the flip side of rap: soothing, melodic, conventional yet interesting, and accessible to a broad audience.

The twelve cuts on this recording are produced by ten different production teams. Two production teams stand out: "Jam" Hall on "Grapevyne" and Troy Taylor and Charles Farrar on the Eagles classic, "I Can't Tell You Why." "Grapevyne" is about as soulful and gospel as contemporary secular music gets. The tight harmonies are straight from the choir loft, driving the silky sway of Nicci Gilbert's sultry voice.

All the county twang underlying the Eagles' cover is transposed in Brownstone's rendition. Instead of a country lament, "I Can't Tell You Why" becomes more intimate, sounding more like a private conversation than a public proclamation. Coupled with extraordinary harmonies, its soul conversion, from a relatively modest tune to a much more compelling and convincing number, shows the power and appeal of Brownstone. They could probably make The National Anthem sound great. This is an exceptional recording.

Where the River Meets The Bay

Stewart Francke

Schoolkids' Records

On "Where the RIver Meets the Bay," Stewart Franke repeatedly blends mature melodies and strong musical arrangements with exquisite poetic imagery. Through his poetry Francke shows us places important to him-a Zilwaukee road, a Union Town, "in the Saginaw Valley," "where the river meets the road"-exactly as he wants us to see them-in detail, full of interpretive perspective yet clear and obvious. By turning a phrase, changing meter, or altering a line, Francke's lyrical images make us linger just enough, with just the right amount of subtle emphasis, that through these remarkable eleven story-songs, we become more and more familiar with Franke's world and closer to the themes and situations he finds important and wants to communicate. The result is one of the strongest recordings on the Schoolkids' label.

For instance, when Francke tells us that "an Elvis song whips through the window like a child gone wrong" (Days of Hope and Glory) the reference connecting this holy-terror with the raucous energy of Elvis music is clear. When Francke reveals that "I've got blood on my hands, an ancient/lie on my lips. I'm gonna shed my skin tonight, gonna burn my fingerprints. Fool that I am, hit by the lightning of desire:/waited on the rain, but lightning's often/before fire," (Union Town) the angst and anxiety is obvious. And when "The weeds bend west: Lizzie's barefoot,/ walking slowly 'cross her bedroom floor./ Her thirty years and all she counted on/fall like dust on her slatted blinds," (The Gypsum Fair) Lizzie's lost hopes are ours. This recording is great listening.

Rock This Joint: The Original Essex Recording 1951-1954 Bill Haley and The Comets Schoolkids' Records

Elvis may be the King of Rock and Roll, but there is a certainly a case for Bill Haley being the Father of Rock and Roll. Before Haley became internationally famous in 1956 with the Decca recording label classic "Rock Around the Clock," her recorded almost exclusively for the small Philadelphia Essex label. Here is where Haley blended country elements (steel pedal guitar, thumping honky-tonky two-step rhythms) with accessible city dance music to form the sound that would grab both kids and adults: Rock and Roll. This record is hot. Out of 24 tracks, there's not a bad cut on it. Even the cornball numbers-"Dance With a Dolly (With a Hole in Her Stocking)," "Ten Little Indians," "Chattanoogo Choo Choo"--tempo is driving, the production is surprisingly clear, and the energy is up front. It's great Rock and Roll! This recording is a must and should be in everyone's collection!

Loaded Dice

Loaded Dice

Schoolkid's Records

This blues combo from East Providence, RI sound like they lived a lot of years with the blues. They're sweaty, funky, low-down and dirty. Featuring bob Soitist on drums and vocals: and guest Matt McCabe on keyboard, these guys dish up some infectious East Coast jams. "Riding the Rails," "Taxi Driver," "Fire Blues" and "Buzz Bomb" are particularly strong tunes. Each shows a tight group of musicians with a shared aesthetic playing music they clearly love. Add this to you blues collection.