Overlooked Gems

Katie Love's Ready Or Not from 2015 is a pure pop/soul gem. According to her Facebook page, it was pressed on vinyl. It's really fine, along the lines of a Canadian Duffy, with less bombast. Every song is a winner. There were some country singles that predate this record by Katie Love Hess that I think are the same person. 

Another lesser-known but solid record is Boomtown (1986) from David + David, who were David Baerwald and David Rickets. The record is full of well-crafted classic rock ala Springsteen, examining hard times, isolation and urban decay. The record reached 39 on the Billboard charts. Both Davids later contributed to Cheryl Crow's Tuesday Night Music Club (1993), with Baerwald one of the primary guitarists.

Splinter were a power pop duo who's debut, The Place I Love (1974) was the first release from George Harrison's dark Horse Records. Harrison produced, played guitar, and brought in an all-star supporting cast to make a lovely Badfinger-like beauty.  They went on to record at least four more records, and two of them are available for streaming in addition to this knockout.

April Smith and the Great Picture Show released Songs For A Sinking Ship in 2010. Highlights include Colors, Terrible Things, and Can't Say No, but the whole record is big fun. Several songs were used on TV shows. Colors was used in a memorable commercial for Valspar paint. Smith has a big brassy voice, the band is talented, and they put on a great show, which I was fortunate enough to see. Sort of old-timey, vaudevillian window dressing on some quality pop songs.

Christian Cuff's Chalkboard (2010) is just one of the best folk/rock singer-songwriter records you haven't heard. His first record was a simple guitar and voice affair, but they went all out for the follow-up (both are available streaming). Keyboards, bass, guitar, drums, harmonica, woodwinds, trumpet, baritone horn, and string quartet are all used generously to broaden the palette and make this record special. The arrangements are top notch. Not to be missed. 

Any one of these will make you happy to find a lost gem. Five very different records, you're almost bound to love at least one of them.

April Smith and the Great Picture Show Songs For A Sinking Ship 2010

I had the good pleasure of seeing April Smith and band live a few weeks ago in Elyria. They put on a fun show.  This, her debut release, is much better put together than you might guess going in. The arrangements keep things interesting, and April, her voice, her lyrics, her tunes- all are operating at a very high level.

The sound is cabaret-styled much of the time, but she does it superbly. Her songs range from sweet ballads to pounding rockers. The writing is good, and the arrangements make the most of every song. Drummer Elliot Jacobson and guitarist Marty O'Kane are particularly key to the sound, and the band is tight. 

April Smith has a big voice. A little coquettish when she's not belting it out, it's crystal clear and powerful. Not a subtle instrument, but it sure works for her songs, which seem to have a unique style that nobody else is doing right now. Nellie McKay is about the only comparison I can think of, and that's only a reference here and there. Some of the songs have a show tune quality, some a little old-time sounding, maybe a touch of ragtime or 40's big band (without the big band, but there is a bit of trumpet on a few). And all dressed up as hook-heavy pop.

The record opens with the 1-2 punch of the quick pop-rock of Movie Loves A Screen followed by Terrible Things, with its cabaret/march verses and big hooky rock chorus. Other highlights include Colors (stomping pop-rock with a crazy and fun "crowd" chorus), The One That Got Away (big rocker backed by a carnival organ sound), Beloved (ballad with string quartet adding depth), Wow And Flutter (quick tempo cabaret style again) and Stop Wondering (cute kiss-off song with a fun lyrical twist).

Occasionally, with so many songs having a punch line, the lyrical comedy can get old. But these are fun songs, not novelty songs. April can write a good lyrical twist and turn, and it does keep things entertaining. Her more somber moments (Beloved, What'll I Do) are strong numbers, and balance the frivolity. 

Go see her live if she comes your way. She did a spectacular cover of You Don't Own Me the night I saw her. Until then, this CD might be just what you need.