Archive for the ‘2018’ Category

My original plan was to review this album alongside the disposable camera I ordered from Mikaela Davis’ web store, but the camera was delayed…and then processing the film took two weeks. (Are there no more one-hour photo shops in this land?) And then…well, I didn’t want to rave about this while damning that. It didn’t seem fair.

Make no mistake: Delivery is a superb set. Echoes of the Day-Glo 1970s can be heard throughout the grooves of the full-length debut of the Rochester, N.Y., singer-songwriter (and harpist!). She stirs a sumptuous sonic stew that, somewhat similar to the Staves-branded brew, is spiced by sounds that are simultaneously retro and modern. Her recipe, however, is a tad more funky than theirs. 

And, like theirs, it’s quite addictive.

The title track is a good example. The opening chords conjure Bill Withers’ “Lean on Me,” but morph into a Dylanesque parable about self-doubt (“I’m not in control/I’m not cut out for this/So I took it back to New York/and cried to my mom, oh/I thought I’d know me by now…”).

I’ve featured it before, of course, along with the propulsive “Get Gone.” In another era, both would be getting played to death on radio.

The deceptively breezy “In My Groove” is another highlight. A strong undertow flows beneath its seemingly gentle current. “I’m not the one who’s gonna change the world/or change the way you want to live.”

Here she is in the Paste Studios performing it:

“All I Do Is Disappear” explores love and self-doubt, of pulling away instead of leaning in to commitment. (“My love is like the setting sun/It doesn’t wait for anyone/But how can I make myself clear when/All I do is disappear?”)

Since I mentioned the Staves up top, I’d be remiss if I didn’t mention that the sisters Staveley-Taylor lend their angelic harmonies to two songs. The stark “Emily” explores what happens when a broken heart leads to a broken mind. The sublime “Pure Divine Love,” which closes the album, features a George Harrison vibe alongside Mikaela’s swirling harp.

In short: Seek out Delivery. I’ve been enjoying it since its July 13th release, and enjoying it more with each listen – always the mark of a strong album.

I am not a film critic, nor do I play one on TV. In fact, these days, I rarely go to the multiplex – the last film I saw in a theater was Jason Bourne (my choice) and before that Love & Friendship (Diane’s choice), and before that Indignation (mine), Spotlight (ours), and whatever the final Harry Potter film (Diane’s) was called. And, at home, despite having an array of options thanks to cable, Netflix and Amazon Prime, I rarely click play on a movie. I don’t care about animation, live-action comic books, or crass comedies, which are pretty much all that the Hollywood studios crank out these days.

In fact, before Here I Am, the last “new” movie I watched was Lady Bird on Amazon Prime, which Diane wanted to see. I found it insightful, poignant and funny, and enjoyed its nuanced, slice-of-life story. 

Written and directed by Cynthia Mort, Here I Am is also a slice-of-life tale, though it’s a music-based drama that includes a layer of metaphysical musings. The plot is straightforward: Successful singer Tommy Gold (Shelby Lynne), who’s been rocked by guilt and self-doubt since a tragic death, deals with the pressures of life while recording a new album and preparing for a tour. In some respects, the film has a cinéma-vérité feel – we’re plopped into the middle of an ongoing story, and it’s left to us to sort certain things out.

As Tommy, Shelby Lynne radiates pain – but also the magnetism that’s made Tommy a star. You believe her in the role. The supporting cast is also strong: Ally Walker plays Walker, who’s either Tommy’s manager or former manager-turned-record company executive, as well as a former lover – aside from Tommy’s internal demons, she’s the main antagonist. Elisabeth Röhm costars as Tommy’s agent, Gail, who defends and explains her boss to those who only see her as a product. Hugo Armstrong plays Colton, a sympathetic record-company man. 

I found it an insightful look at this thing called human existence, and recommend it to anyone interested in adult stories. (And by “adult” I mean “grown-up.”) Don’t get me wrong: Shot on a barebones budget over 15 days, it’s not a perfect film. But the story and performances are compelling enough that you’ll overlook the flaws.

You can buy it and the soundtrack via Shelby Lynne’s web store.

The soundtrack, I should mention, features songs written by Shelby Lynne as well as Shelby and Cynthia Mort. My only criticism: At present, it’s only available on vinyl from Shelby’s store, which means I can only listen when I’m here, at home, and not on the road. Here’s one of the songs, which I’m leaving unlisted on YouTube, as performed at the Ardmore Music Hall a few weeks back:

A few days after the show, Shelby told me via a tweet that the title is “Looking at the Moon/Revolving Broken Heart,” but that doesn’t match any of the songs listed at the end of the DVD or on the film’s website…and our LP, which we picked up along with the Here I Am DVD at the show, doesn’t list titles on the jacket or label. Late tonight (8/12), she said it’s “My Mind’s Riot.” Whatever it’s called, it’s a stirring ode to the downside of love – losing it, or the fear of losing it. It’s the kind of song that lingers in the mind long after the album is over.

And the rest of the soundtrack is as good. Here’s another track, “Off My Mind,” which was released as a single earlier this year.

(To learn more about Here I Am, visit Shelby Lynne’s website.)

 

So, as I’ve noted before, I fell for Mikaela Davis’ music in March 2017, when she opened for the Staves at the World Cafe Live. After the show, I purchased her five-song EP, ripped the songs to my library, and enjoyed them off-and-on over quite a few months. I liked it enough, in fact, that I pre-ordered her new album, Delivery, without a second thought despite having an Apple Music subscription.

Here’s one highlight from the album:

Here’s another: 

And here’s a third:

At her best, she reminds me a bit of Stevie Nicks, as her songs are at once airy and intense. They float like feathers, yet are weighted by way-cool melodies and vocals.

In addition to the album, however, I picked up a “premium” item from her Web store. To quote from said store, “Mikaela will take ten disposable cameras on the road. The camera will be shipped to you, undeveloped. This is your chance to own an exclusive photo set – one of a kind.”

I assumed, as perhaps only I would, that the photos would be as interesting and cool as her music. Maybe shots of a few cities visited, touristy sites seen, venues played, and rehearsal/concert shots, with Mikaela in most of them. But I was wrong. A handful are good and one’s funny, if profane, but most are dreck – a proverbial finger given to whoever dared to purchase the camera.

Live and learn.

Here’s the entire roll (as developed by CVS):

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