Sara Bareilles - Kaleidoscope Heart

I have angels that hand me music before I know that I need to hear it.

A few nights ago, Betsy (one of my generous music angels) popped the new Sara Bareilles record in my CD player. She gave me her standard adorable disclaimer, "You might hate it...".

From first note, I knew I wasn't going to "hate" it... and by the first full run... I was sure I liked it. Turns out, I'm absolutely in love with it.

A bit on Sara for the less familiar - she's a northern California native who has been active as singer-songwriter since early 2000's. Her launch into mainstream notability came from her 2007 album "Little Voice" - sprung from the single "Love Song".

Quick to judge as I am, I had my initial apprehensions about her (Me? Apprehensive?! Big shocker!). Not her voice or musicianship, not the production - just the emotional depth (or lack thereof) from first listen. "Love Song" made my head nod, but only skimmed my surface.

Sometimes all I need is a simple pop to be satisfied, but the first time I hear a pretty voice and a catchy song on the radio, I can't help but wonder if there's more to the picture. I've felt that way frequently and have been disappointed on several occasions by one-trick ponies or made-up pop stars. Other times that I've invested further in an artist than just that song or initial listen - and I've been impressed by the depth and range. This latter type of realization happened for me with Ingrid Michaelson, and certainly Sara B ("Little Voice" is a moving, well-rounded and respectable record).

Sara is a stealth bomber of a songwriter. She grabs listeners with more basic intellectual or auditory desires with her pop sensibility - but she delivers an incredible blow of musical and inflective sophistication to those who seek further gratification. I love pop by itself. I love when pop has more going on underneath it. Go Sara!

Okay, now I'm ready to reflect on her latest, "Kaleidoscope Heart":

Sara covers a range of subjects and styles under one roof on this record, and she does so seamlessly. She is boisterous and vintage with several tracks - they have a major-key doo-wop feel. What I like is that she deepens them with darker lyrics and subjects when she takes this upbeat approach; it's a fantastic contrast. She has several homey ballads with sweet laments and nostalgia-inducing dynamics. Throughout - Sara places foundational songs that demonstrate her trademark style - stompy, confident and soulful ear candy.

The music is dead-on... it moves the songs along with certainty, it is dynamically appropriate, and blends the unusual and modern (synth sounds, drum programming), with well-executed classic tones and instrumentation.

She always has a solid chorus to seal her deals. A major bonus - the woman has several bridges that compelled me unexpectedly - transforming a standard song structure into a delightful gut punch. I love to be surprised and knocked off my high horse of prediction and judgement.

Sara is fearless with vocal inflection and range, exemplary with harmony and background vocal placement. She is generally safe with lyrical content. Occasionally, she'll place an ironic or abstract line in her songs, but she is always comprehendible and relatable. Had I something to say about how I'd get more out of this record, it would be that she's so sensible with her songwriting, she could get away with being a bit more edgy lyrically. Sometimes she pulls a predictable word or line that borders on seeming lazy to me. Don't get me wrong, however - this is a woman who knows herself well, and knows better than most about how to create badass music.

Personally, I have often cringed when people compare me to other women musicians, because it sometimes feels as though the comparison is only founded on the fact that they are also women. Now here I am, about to say something that could easily be construed as the same generalization:

I hear a lot of well-known women artists shining through as influences on this record. Perhaps not influences to her in particular, but definitely hitting my ear as musical relatives. The first one that stood out to me was Ingrid Michaelson. They have very similar vocal and melodic stylings. (I also heard that the two are friends... which makes sense, at least in my musical mind).

I also hear Joni Mitchell on a few rootsy points. Fiona Apple and Alicia Keys come out in her soulful and sassy piano-prominence. Sarah McLachlan when she is vocally soaring and cutting through with meaning.

There I said it. She sounds like a lot of other women artists.... but now... my justification on why there's more to my insight than just generalization:

Sara B sounds like the best qualities of several other successful women artists, while her originality remains intact. Her recollection of other artists doesn't cheapen her sound or those artists - it honors them, and it makes her all the more brilliant. A musical Wonder Woman hybrid.

The record is impressively delectable all the way through. The first and last songs send me on my way in and out... and everything in between is meaningful; though I certainly have my favorites:

"Hold My Heart", "King of Anything", "Let the Rain" and "Breathe Again".

I'd give "Kaleidoscope Heart" 9.5 out 10 (lacking .5 because of those tiny lyrical weaknesses). She would have me sold all the way live, I know it. Acquire this record. And hug your local neighborhood Betsy Adams. (If you don't have one, find a photo of her online and kiss the screen. No one will think you're a creepshow, I promise).

Saturday the 14th - About the Lyrics

I hope this post finds my gentle readers well. I've been living in SF for a bit over a month now, and I am settling in to my wonderful new routine. I'm filling my life and heart with new experiences and enjoying an abundance of music. I look forward to get back into the swing of telling you all more about what's happening in the thriving SF music scene.

For now - I'd like to finish up the lyrical content of our EP:

SATURDAY THE 14th:

Pulled from my sleep 

with the sands of my life's hourglass in my sheets

About a quarter of a century in -

what has been reached?

It's been long enough to fight with my vices - quit -

and then fall in love with them again

back to the same old never-changing - ever-changing world

Location, Location - am I on top or is it crushing down?

who's holding who up?

*Do I - will I - walk my talk?

All the necessary stops - The crucial pause.

We die some - then we move on

Our times they come -

metaphorical, spiritual, actual, physical -

all of it and none of it at all.

And...she's back with the coming of age lamenting! But really - doesn't the bed seem a little smaller as you sleep with what you've collected over the years? Trials, tribulations. Little particles of life, exfoliating tender skin - we struggle to tuck ourselves in the way we used to be - or the way we wished to be. Maybe the way it was in the movies. Sweet kisses to the forehead. Soft lips drying over time - hardened and heavy - sweet bricks of reality to the forehead. What?! (Okaay... this is getting dramatic. I just need to spend some time writing for fun, I think. I'll spare my tangents as much as possible...)

Sudden awareness brings the potential for action. Harsh as it can be to realize we are in bed with some grating elements - what if we didn't take notice- what if miss the things that I really better for us, holding on to things that aren't? 

There is not a lot of words in the song - but each line is a container for further substance, and it covers a broad spectrum of human reflection:

The verses address a dance with ego. Sometimes we set up boundaries, only to break them after a stint of struggle. Vices - substances, habits, relationships - our all-consuming consumptions. We deem them bad the moment we lose control of ourselves. At my most empathetic and objective, however, I see some good reasons for our indulgences; I consider the deprivation of our basic needs and instincts to fit in better to our social roles. Our egos - the conflict of what has us hoping to fit in, and yet hoping to be significant - the very nature of that has us spinning - breaking apart, and then trying to tie it back together. I also touch on the dynamic of privilege and responsibility. 

In the chorus - I ponder diligence in action and also the wisdom of patience and remembering to temper impulsiveness.

The last part of this song deals with aspects of death and rebirth - and makes a connection between tangible and intangible: The mind, the body, the spirit. Ideas vs. the things we can confirm with the senses. Though it gets easy to think of these elements as incompatible, people are the beautiful reason these things can coexist. 

xo.

-Ash

Member Highlight - About the Ash

My friend Karla asked me when I would post my next blog - so I assigned her to determine the context of my own member highlight. I've had a format for the other members, but I thought this would be more interesting... it's always fun to learn about what others want to know. (I encourage any of you to email us with questions you have about specific members... it'd be fun.) Some of these questions are pretty intense - I'll do my best to give honest and concise answers. Thanks, Karla. :) 

1) What is your worst moment/experience? Big question. I had to really think here. I was at work once (at a cafe), and a friend I hadn't seen in a long time walked in. I almost took a quick break to come around and give him a hug - but decided I was too busy and I'd catch him next time. He ended up leaving the cafe that day and got in accident and was killed. Obviously, not my fault. But I should have taken just a minute to acknowledge him. I had another couple of moments like that around the same time with other people. Ugh. I lost 16 friends/family members in about a year period... weird time.

2) What is your best moment/experience? I have had a lot! Almost always when I'm playing music - especially with other people that are into it also. Seeing people that I love do well/get recognition. And... romantic that I am... I've had some incredible first kisses...

3) What is your favorite movie and why?  I'd have to say Punch Drunk Love is one of my favorite movies. It captures human vulnerability, charming impulsiveness, the need for love, expression, and understanding - all in this sweet, abstract story. I love it more every time I watch it. I do have a lot of other favorites too.

4) What do you eat for breakfast? Usually, a smoothie - banana, strawberry, mango, pineapple - orange and cranberry juice - and protein powder. Once a week I like a greasy-ass big breakfast. Always have to have coffee in the morning!

5) How do you rate Karla on a scale of five where five is the highest? Haha. Well...just for having this question in there...I'd give her a 6.

6) What will you do if you had a time machine? I'd travel all over to the most thriving times for cultures all over the world. Sometimes I'd travel back just to find where I left my damn car keys...

And, when I'd finally had enough of this life, I'd like to travel to the middle of what is now the US - maybe late 1700's... and live with a Lakota tribe... and there I'd stay. (I'm totally weird. I am aware of this.) My reasoning for my eventual escape- not to sound like a hippie - but I like the idea of slow and sustainable, social role valorization, connectivity to environment, and a holistic existence. It's possible to achieve this in the present somewhat, but I'd rather it be less of an option.

7) What is your worst habit/quality? Procrastination. Trying to do many things at once. Distractibility.

8) What is your best habit/quality? I'm intuitive about others and their needs. I can turn my feelings to words well. I'm adaptable.

9) Which super power would you like to have and why? The ability to fly. I'd go see my family, friends, and the world. Plus, I'd beat the afternoon commute. And I could save people from burning buildings and stuff.

 

Next time around, I'll answer the standard questions that I posed to my other band mates. On another note - I've made the move to SF - I'm loving it so far! I'm sure there will be some songs and reflections on the way about my experiences there. 

Oh, and one last thing - thank you to everyone who's been reading this and showing interest in this band, the music, and my rants. It's an honor to document.

xo -

Ash

Hanalei - "One Big Night"

photo by Mitchell Wojcik 

Back in 1999, my awkward 16-year-old ass had just formed my first legit rock band. It was also the time that I started getting into a local music scene. One of the first shows I remember - was partaking in the poppy/punk outfit The Wunder Years in Cotati at the Inn of the Beginning. Here were these guys  - not much older than I was - so flippin energetic and talented. The audience was engaged, and every movement and note was an epiphany. There I was, front of the crowd, eyes wide - soaking in the dynamics and the charisma of lead singer, Brian Moss. This kid - flailing voice -had conviction. He and his guitar lurched toward the mic with every inflection - a sermon. Amidst my indulgence, I was knocked forward into the stage - my forehead kissing the headstock of Brian's guitar.

I left that show with a swollen forehead, a Wunder Years shirt, a copy of their album "Pitstops on the Road Less Travelled", and a permanent impression. That show, and that record, were fundamental in what propelled me forward into my own music career.

I followed The Wunder Years (through two records and a lineup change) up to their demise in 2001. I continued to follow Brian's projects thereafter - he moved to Chicago for a while with his much heavier band The Ghost. They had much-deserved success with a record, touring and recognition. (During his time in Chicago, he began working on some quieter material - which would inspired various versions of his Hanalei project.) Brian returned to California about three years ago. Since then he formed the heavy outfit Olehole, and he also spent more time working on Hanalei, this time as a solo endeavor.

After years without a formal release - Brian emerges as perfectly himself, by himself - with the release of Hanalei's "One Big Night" (Brick Gun Records/Big Scary Monsters). He recorded this full length over the course of two years - impressively, with the pinhole mic in his laptop computer. This is certainly not a polished a mastered release - but it is certainly tangible.

Each of the ten songs is its own animal - varying in recording approach, subject matter, and even genre - but the soul of Brian Moss lies consistently at each song's center, creating cohesion. Brian's strengths lie in his narrative lyrics - and his tasteful guitar approach allows for memorable hooks without the music getting in the way of his stories. This album seems to be a examination of the concepts of home, love, and community - most of which come across as personal. His voice is dynamic - and through talk-like melody to gritty cries, he successfully gets his points across with humanness and honesty.

I am impressed at Brian's ability to be so familiar and fluid with genre. He goes from songs with sweet folk elements to anthemic americana - simple, flailing punk to heavier blues moments. I appreciate his ability to sonically pay homage to more traditional solo acoustic approach, and also to modernize with drum programming and a use of vocal layering that at no time takes away from the integrity of the song's foundation. This is a man I can tell that really listens to music, and answers back to his influences.

I've had the pleasure of knowing of Brian over the years and more recently, sharing a few shows with him. It's very easy to get into his music and support him because he is the real deal; Sincere, accessible, and genuine. 

My favorites on this album: "Keep Digging", "Moth to the Flame", "Neverending Cigarette", and "Into the Black".

My only criticism: A few of the songs could have used a boost in vocal volume. I get the whole indie low-volume thing, but his words are so good, I felt slightly inconvenienced to work so hard to hear them.

You need to own this record. Thanks Brian, this is one of my favorite records of the year.

Loquat/Hot Toddies/The Frail/Lindy LaFontaine - The Rickshaw Stop, SF

Kylee Swenson, Chip Cosby, and Anthony Gordon of Loquat

I concluded an absolutely delicious summer day this past Saturday (6/5) with a show at the Rickshaw Stop in SF.
The show was in celebration of the Hot Toddies' new CD, "Get Your Heart On".

Opening up the show was Lindy LaFontaine. (Niki, Betsy, and I shared a stage with her for Songwriters Sunday at Yoshi's recently.) Lindy was accompanied by her trumpet player Derek Alvarez and their new guitarist Nino Fernandez. Lindy has that jazzy, sooty, ethereal thing happening. I definitely heard some Tori Amos and Cocteau Twins. The trio worked very well together - and they were wisely accompanied by drum sequencer, which added to the sultry triphop elements. It was a fine way to start the show - I was happy to have my feet up on the balcony, get my initial beer buzz, and take in the atmosphere.

Electropop group The Frail were second at bat. This trio is SF based - and I've been hearing a bit of a buzz about them... it turns out for good reason - they are the epitome of a good time! Vocalist Daniel Lannon effectively crooned and fretted overtop of a fashionable frenzy of programming (executed by the cool, calm, and collected Kevin Xiu). Daniel was a sweaty, melodic dreamboat - unpretentious and sincere. Icing on the cake was drummer Tim Sams - who locked tight with the digital accompaniment - adding human enthusiasm with mechanical accuracy. He was rocking so hard he kept moving his drum kit across the floor. It took a big bouncer guy and several sandbags just to keep it still! The gentlemen of The Frail soaked the crowd with energy and accessibility. My shy ass was front and center, dancing like I could care less!

Next up - The Hot Toddies (vocalist/bassist Heidi, vocalist/guitarist Erin, keyboard/vocalist Jessica, and drummer Sylvia) - a four piece of adorable women playing sweet, harmony-laden indie pop. They struck me with an unassuming, amateur approach - young musicians with a basic grasp on how to play their instruments - but it was charmingly ironic. They are successfully pulling off classy doo-wop and incorporating grunge and punk elements.
I certainly get decades of heartstrings plucked listening to them- super early days of the Beach Boys - teenage days listening to the Donnas. They sing about being young, drunk, and naughty. Timeless stuff. I'll be honest that I wasn't blown away by their stage energy or musicianship - but the Hot Toddies work as a team and have something totally badass going for them. Their new record, "Get Your Heart On" is certainly worth having when you feel like bobbing your head to some sugary lo-fi rock n roll.

I was more than excited to see Loquat take the stage to finish out the evening. I first fell in love with the rich voice and clever lyrics of Kylee Swenson when she did a remix of the song "Comrades and Friends" for From Monument to Masses. Soon after, I found that Betsy shared my enthusiasm - and she shared with me the magic of Loquat's two albums - 2005's "It's Yours to Keep" and 2008's "Secrets of the Sea". Both records are awesome - and the latter is one of the most prominent in the soundtrack of my life.

What I like about this band - they are dimensional. They have a deep sound and consistent identity that incorporates some of the best qualities of rock and pop - raw talent and well-rounded tone, real instrumentation and inflection - with smart digital embellishments.
This was my first time getting to see Loquat live - and I sometimes get anxious that a band that I'm so attached to on recording might not up to their reputation live. I am pleased to say - my love for this band was reiterated upon seeing them in the flesh. Front and center, I welcomed them in as they sonically rose and bounded into me like a giant wave.

Kylee is a commanding storyteller with a smoky and confident voice, and she fearlessly approaches melody. She was poised and accurate live - while remaining fetching and sincere in inflection. Her band worked with her to execute these gems. Chris Lautz (drums) and Anthony Gordon (bass) are an authentic heartbeat of a rhythm section - providing a solid, honest and appropriately danceable foundation. Keyboardist Chris Cooper makes sensible statements with a combination of witty synth lines and moments of graceful piano. My favorite part was the guitar work - Kylee diligently keeping the driving rhythm parts - and new guitarist Chip Cosby - investing genuine energy and atmosphere to the songs. (He played with respectful homage to the recently retired Loquat founding guitarist - the percussive, melodically brilliant and commanding Earl Otsuka.) Chip also demonstrated his valid role and place at home with the band on several new songs they played that night.
Great songs, great tone. I was moved and convinced. Well done, Loquat.

I had a great night overall, and found something I truly appreciated about each of the acts.
The Rickshaw Stop was a great venue for this show - intimate and simple. The sound system had its ups and downs, but I felt like each band came across. I liked the balcony too - and appreciated that they had an artist working live as the show was happening. I liked the DJ between sets. I think I'll definitely see more shows there.
(Becah, Keely, Sam and Micah - thanks for being such awesome dates - you made my night).

ROSA - about the lyrics

Making my way through the "Look Up Now EP"...

"Rosa" is a song about leaving. The character - Rosa - is the personification of the city in which I live - and often a reference to the community I have here. At the time I wrote it, its meaning was more abstract for me. On its second way around (almost exactly a year later), I examine it in a much more literal sense, as I prepare to move to San Francisco. Music is so badass in the way that it puts a soundtrack to our moments - even as circumstances change, the meaning is still fitting. (I'm stating that last part with humility - it's certainly not just my music, but the fantastic malleability of music in general.) I'll share the lyrics and then elaborate on its many applications.

ROSA

I packed up all my things, took all my chance and integrity -

no way to predict near future, no one along to keep me company.

Too long a drive to hold my breath the entire time -

a few sweet gasps, I freed myself, bound for another life.

*Rosa, you've become the one, to hold my gaze a little too long

My days, my ways - a little too safe -

my heart has settled, hairs have grayed

(And the though I love you just as much,

the world is calling me to touch outside your walls,

the strains and falls that cause another layer to form.)*

Will the next thing - next phase - look anything the same?

Will I drink from a similar stream or get caught up in the wrong scene?

Webs to ravel, seeds to sow - will the intuition flow?

Will I stop referring to you to you as home?

The original intent of the song - it served two purposes: My good friend Selena was moving away from Santa Rosa a year ago. I spent much time with her during her process and final decision to leave. During this same time, I was struggling with a relationship and the final decision to leave it.

Our commonalities - the comfort. The safety of a situation we knew - that knew us. There are, however, in this reliability - ghosts of what-ifs that plant seeds in the back of our minds; Is this the me that I want to know? Am I solidifying before I really have been shaped the way I want to be?

When we build relationships with a community - it gets difficult to tell if our dynamics with them are supporting or hindering us. When we get so close - how do we maintain our personal identity and accountability? Sometimes we have to separate from what we are tied to in order to determine what defines us.

This process of disconnection has the risk of leaving us less fulfilled as well - the last verse of the song entertains the idea that it might just be left with our own deficits once we go. Our own issues will follow us to the next phase... the next relationship, the next city. We may subject ourselves to trials of relationship and lifestyle that leave us worse off. It's part of the romance, that risk.

I think this present society lacks good facilitation of rights of passage. That's not to say we aren't experiencing things that are changing us and making us grow - but not always by choice. When things happen to us - we don't always assume the role from its consequences. There is something powerful about willingly going through change. It finalizes a responsibility for who we are once we have gone through it. Many of us create these self -induced metamorphoses... and I think for most of us this is inevitable - be it through conscious and diligent planning, or combustion and sabotage.

I have lived in Sonoma County for a almost a decade - and Santa Rosa for most of that time; This city and the community I have here have been incredible for fostering growth, success, and a good life. I know already that this place and the people will never be far from my attention and affection. San Francisco seemed a million miles away not long ago... and it certainly never seemed a place for me to live. I have always been one to play it safe - in location, action, and relationship. But suddenly - I'm in love with a new place, the hope to more fully realize some of my personal goals, and the opportunity to grow past my constraints and current ideals. Honestly, this past year is the first year that I have thrown myself so much into the unknown... its leaps worth their risk. I am doing my best to use both my heart and my head with this move - as not to destroy all of my identity, and certainly not my relationships. I'm sure to get some more songs out of the impending adventures - and I look forward to sharing them.

Member Highlight - About the Betsy

There would be no Kindness and Lies without Betsy Adams. And with no Kindness and Lies, there would be no need for this particular blog. Luckily, there is a Betsy Adams, a Kindness and Lies, and thus, a blog for me to ramble upon. It's time to share a bit more about the elusive character known as, well...Betsy Adams:

I met Betsy (through my dear friend Tracy) in 2006. She heard my last band No More Stereo and liked it enough to express interest in playing guitar for the next chapter in musical adventures - the short-lived Djuna (2007). Three things I knew immediately about this girl: she knew her way around a guitar, she was business-minded and brilliant, and she was very much her own powerful entity. Three things I learned soon thereafter: she knew how to make my songs come to life, how to add substance to my flightiness, and that I had found someone who I was connected to very deeply - with and without words. (It was a no-brainer to seek her out as a partner in crime for this latest project).

It is not an exaggeration when I say that there would be no Kindness and Lies without her. Betsy steers the business of this band. She is organized, articulate and efficient. She is truly an artist of a musician as well - tasteful, broad, and with fantastic chops and melodic sensibilities; her guitar work allows for cohesion (no matter how random I get with my initial approach). She constantly is thinking and working to make this band better. She has been a genuine and generous facilitator for my growth and success as a musician and a person.
...And come on - charming, mysterious, hilarious, gorgeous, and capable of singing third harmony? How can any of us resist, really?! I love, respect, and appreciate her fiercely.

Full name: Elizabeth Carswell Adams (AKA Dr. Calvin Boss, and many variations thereof)

Astro sign: Scorpio

Past notable music projects: A couple of college rock bands, then a few singer-songwriters and other random projects. Djuna.

Hometown: She was born in Atlanta, went to high school in Berkeley, so she calls that her hometown.

How long she has been playing guitar: Since she was 14.

How she got into playing: Her dad came home from work one day with an electric guitar. It sat there for a while before she picked it up. She then spent a lot of her high school years locked up in her room trying to play that thing.

Major musical influences: Betsy chooses to keep most of her influences to herself... but Jennifer Turner is her all-time favorite lead guitarist - who just happens to be female as well. (Turner toured with Natalie Merchant for awhile and then sort of disappeared. Betsy recommends you listen to "Wonder" off of Natalie Merchant's first solo album... you'll hear what she's talking about. She could play that lead guitar part in her sleep).

What she is listening to lately: William Fitzsimmons, Lucinda Williams, Ingrid Michelson, mix cds from Ash Scheiding (heaven help her with that). John Mayer (yep.) Patty Griffin. But Betsy listens mostly to local bands...she is an avid supporter of local music.

What she wanted to be when she grew up: A button pusher that works in a button factory...or a veterinarian.

Hobbies: She likes it all. If there is liquor involved.

How Betsy would describe herself and her bandmates each in three words:

Brian: "Doesn't speak English"

Ash: "One and only"

Niki: "Get it girl"

Robert: "Eyelashes, dimples, amusing"

Betsy: "I don't know"