http://www.americanaroots.com/reviews/detail/ Each week our contributing writers from AmericanaRoots.com publish album reviews. en jwwrob@aol.com Copyright 2008 2008-07-19T16:36:49-06:00 http://www.americanaroots.com/reviews/detail/donna_the_buffalo_silverlined/ http://www.americanaroots.com/reviews/detail/donna_the_buffalo_silverlined/#When:16:36:49Z Celebrating an achievement of 20 years in music, Donna The Buffalo have made an album that captures why they are one of the best live bands touring the festival circuits today.  The “Herd” as their loyal followers are called, will surely recognize a few of the 13 songs here. Included are some fan favorites which the band has been playing live, but have never recorded in studio. Even so, they have taken on a new life here, plus some other new additions are enough to keep both the dedicated and new listeners quite happy. Originally formed from the love of old time Appalachian fiddle music, Donna The Buffalo has continued to evolve by incorporating elements of rock, reggae, and even zydeco into their songs. They continue evolving here by adding some quality musical guests on almost every track. These guests include Bela Fleck on banjo, Clara Lynch, David Andersen, and David Hidalgo along with others helping out on background vocals. Duo lead singer/songwriters Tara Nevins and Jeb Puryear alternate songs, beginning with Nevins bouncy “Temporary Misery.” Fellow band member Kathy Ziegler carries this one on keyboards, perfectly complimenting the strong vocals by Nevins. Puryear takes over next with the mellow groove of “Tomorrow Still Knows,” supported aptly by bass player Bill Reynolds. Tom Gilbert on drums also contributes nicely here as well. Nevins returns once again with the upbeat “Locket and Key.” It is easy to see why Nevins stands out as such an accomplished singer here. Puryear steps up again next with “Garden of Eden.” This exchanging of songs between the two adds to their strength as a band, displaying the continuity of diverse talents throughout the CD. Highlighting the CD are two songs penned by Puryear, the humorous “Biggie K,” and a bluesy “Blue Eyes.” Each capture the depth of Puryear’s talents, with his ability to draw the listener in and entertain very well. This CD will be welcomed by avid followers, but is also a good introduction to a very diverse band. 2008-07-19T16:36:49-06:00 http://www.americanaroots.com/reviews/detail/jakob_dylan_seeing_things/ http://www.americanaroots.com/reviews/detail/jakob_dylan_seeing_things/#When:16:54:38Z Jakob Dylan has accomplished much thus far in his young music career. The lead singer for The Wallflowers has legitimately established his own fan base, separate from the enormous following of his famous father, Bob Dylan. So you may ask why venture away from his normal rock music, and enlist the help of Rick Rubin to produce a bare boned acoustic CD?  The answer is because he can. Seeing Things” captures another side of this talented artist very well. Rick Rubin is well known for producing the Johnny Cash American Recording releases, and his patented sparse acoustic arrangements that allow the artists passion to carry the songs. While Jakob’s lyrical content may not be equal yet with his fathers, and whose truly is, the depth is certainly there. The production by Rubin has added to the quality, letting Jakob’s strong vocals convey the melancholy atmosphere. Kicking off the CD with the dark “Evil Is Alive and Well” sets the somber tone of the CD. Dylan’s bleak look into the life around us paints an alarming picture that many do not care to see. His solemn vocals, accompanied by a lone guitar, are mesmerizing. Dylan’s songs preach much of sorrow and woe, sometimes subtly phrasing his lyrics as if to question everything, leaving no stone unturned. “Everybody Pays As They Go” states exactly that. His deep expression of despair is vividly up front here. One of the few more uplifting numbers on the CD is “On Up The Mountain.” Dylan states, “There’s a light making its way, on up the mountain night and day, you’ll get tired and you’ll get weak, but you won’t surrender your masterpiece.” The positive flow here is touchingly strong. Dylan lands firmly in his famous father’s shoes with three songs in particular. His lyrical genius, winding seamlessly to and fro, accompanied adeptly by his guitar, will surely bring back memories of his father for some. “Valley of The Low Sun” is a virtual lyrical canyon, with so much depth one wonders his true intentions. Dylan writes, “We bow down and worship these bandits and cowboys unable to hold their own guns. I know that soldiers are not paid to think, but something is making us sick. Onward and steady, able and young, in the valley of the low low sun.” One may think this is an anti-war song, but he continues “My dreams are humble, lean as arrows, streetwise ready and fair. As we bum rush the ages, tied to the rails, on high seas not fit to be sailed. Whatever we’ve taken, does feel like heaven, but baby we just look like hell. Act like you mean it where paradise was, in the valley of the low low sun.” Now the song takes on a different meaning. Perhaps. Only Jakob truly knows at this point, but its beauty is astounding. “All Day and All Night,” even with far less lyrical depth makes a poignant statement. Dylan’s upbeat guitar picking accentuates the strength he is attempting to portray in this song. He writes “Give what you’ve got, return what you use. Tell me young man, whose dog are you? Got bigger secrets than you do, all day and all night like a mule.” One can envision the stance of a proud stubborn man throughout this song. “This End of the Telescope” closes out the CD in grand fashion. This is a dark portrayal of a man who has reached his final limits. Dylan paints a picture of a man looking bitterly at the world through the telescope of perhaps a gun. He writes “Down the valley, deeper still it goes. Got my weapons out, laying low. On this end of the telescope.” He continues “Slow and easy you let your paddle go. Down at the bottom there is more hell to row. I see clear at last. I love. I loathe. On this end of the telescope.” The sober vocals by Dylan sell this very well. While the tone of Dylan’s initial solo release is somewhat dreary, it is definitely well done. His writing and vocal talents are on full display here. The true test of a musician is if you can listen to his music and come away feeling anything. Dylan drives this one straight through the heart. 2008-07-16T16:54:38-06:00 http://www.americanaroots.com/reviews/detail/heybale_the_last_country_album/ http://www.americanaroots.com/reviews/detail/heybale_the_last_country_album/#When:17:16:46Z Inevitably when two or more country music fans gather together in conversation, the talk quickly turns to a lament for “real country music, not the crap they play on the radio.” Presumably, they are referring to the music of artists like Merle Haggard and Johnny Cash; Music with popping guitar runs and sinewy steel guitar lines. I can sympathize, but now, it is time to put their money where their mouth is. After two live albums recorded at their Sunday home of Austin’s Continental Club, Heybale gives us their first studio album, The Last Country Album. And it is everything those that miss “real country music” demand. Made up of veteran musicians Earl Poole Ball (piano and vocals), Redd Volkaert (guitar and vocals), Tom Lewis (drums), Kevin Smith (stand-up bass) and Gary Claxton (the relative newcomer in the group on vocals), Heybale takes you through the great styles in country music from Western Swing to honky-tonk, while still producing a cohesive and tight set. The Last Country Album draws a few songs from the country music catalog including Willie Nelson’s “Mr. Record Man,” Tom T. Hall’s “That’s How I Got To Memphis, “Hang Your Head In Shame,” covered most famously by Red Foley and Bob Wills, and “Step Aside,” the Ray Griff penned, Faron Young crooned lament. It’s not surprising that a band that has had an eight-year standing gig at a place like the Continental Club would be adept at covering the classics, but their versions breath new life into the well-worn tunes. But the biggest treat, aside from Volkaert’s tasty and tasteful Tele pickin’, is the originals on the album. Ball, who has spent time behind the piano with Merle Haggard and Johnny Cash and behind the production boards with artists like Stoney Edwards (never heard of him? Look him up, you’ll thank me), contributes four songs to the mix. The bouncy “Livin’ In A Cheap Motel” sounds like a lost classic track from country’s ‘70s era Nashville as the singer laments where his life has taken him, but reminds himself not to judge himself by the company he keeps. Two of Ball’s songs on the album are co-writes, one with Deion Lay, “Everything…About Drinkin’,” the other with Claxton, “Let’s Go To Mexico.” “Mexico,” is to me the weakest track on the record, but on a record this strong, that’s not too bad. Claxton’s songwriting is strong and an undiscovered gem. Starting off with “Guess Where I’ll Be This Morning,” Claxton introduces us to both his strong songwriting and his versatile pure country voice. If you are sold on this record by the time you hit the third song, “California Wine,” a co-write between Claxton and Volkaert, you might as well give up on calling yourself a country music fan. The songwriting on “Wine” is full of subtlety and Claxton’s nuanced vocal performance punctuated by Volkaert’s spot on accents put this song on the top of the country heap. Singing about life as a rambler, taking after the father he rarely saw, Claxton, and the character, sounds like he could be the lost son of Merle Haggard. On “House of Secrets” Claxton croons with the best of them on this tale of cheating that twists with emotion and hidden feeling. For The Last Country Album Heybale also recruits help from Cindy Cashdollar and Tommy Detamore on pedal steel and Elana James and Erik Hokkanen on fiddles. With such musicianship, the group had to include an honest-to-God real life country instrumental, something you don’t hear too much of these days and “Heybalin’” is made for dancing. The bottom line is this: if all of the people who like to sit around and lament the loss of real country would turn off the mainstream radio and lay down their money for The Last Country Album, it would be a million seller. As it should be. 2008-07-14T17:16:46-06:00 http://www.americanaroots.com/reviews/detail/bill_monroe_father_of_bluegrass_music/ http://www.americanaroots.com/reviews/detail/bill_monroe_father_of_bluegrass_music/#When:13:14:04Z In the early 1990s filmmaker Steve Gebhardt turned his lens to Bill Monroe, the Father of bluegrass music to document the history of both the man and the music for a special that would run on both PBS and the then vibrant TNN. The film was released commercially on VHS and DVD in 1999, but has since been out of print. Until now, as MVD Visual has re-released the film on DVD. The film is a fantastic document allowing Mr. Monroe to tell his own story in a series of front porch interviews with John Hartford. Hartford, being a musician and bit of historian himself knew the right questions to get the responses we wanted to know. Seeing these two departed icons on screen together talking and playing is nearly reason enough to get the DVD. But there is more, of course. There are interviews with Emmylou Harris, Marty Stuart, Ricky Skaggs, Jerry Garcia and others, including Roy Acuff in one of his last appearances. All of these artists talk in-depth about Mr. Monroe and his influence on not only their music, but personally. Footage of Mr. Monroe and Skaggs sitting around a camp fire talking casually and picking “Uncle Pen” on fiddle and mandolin give a glimpse into the special relationship they shared. In a solo interview Skaggs recounts the first time he met Mr. Monroe, as a six year-old kid at a show near his hometown. Also interviewed in the film are several former Blue Grass Boys including Del McCoury, Bill Keith, Chubby Wise, Kenny Baker, Bobby Hicks, Doug Green and James Monroe. Each of them talks about meeting Mr. Monroe and how they came to be a Blue Grass Boy. Although only 90 minutes long, the film serves as an introduction to Mr. Monroe and his music. For someone new to bluegrass, this film would serve as an excellent primer on Mr. Monroe’s career and what it meant to the larger music culture. Filled with many excellent performance clips, from Mr. Monroe shows at Bean Blossom to appearances on shows with Dolly Parton and others, the viewer is afforded the opportunity to see varying configurations of Blue Grass Boys, some of which did not last very long. Gebhardt shot many hours of footage of Mr. Monroe, from around the house to the tour bus to back stage at various concerts. According to the excellent “The Music of Bill Monroe” by Neil V. Rosenberg and Charles Wolfe, Gerhardt also recorded 130 songs in live performance, a few of which were released in 2002 on CD as Bill Monroe and the Blue Grass Boys Live, Vol. 1. Rosenberg and Wolfe note that a second volume was scrapped in 2004 due to “difficulties in obtaining permissions from some artists involved.” Hopefully, some time in the future, we might be able to see not only more volumes of the recorded work, but an expanded edition of this wonderful documentary. Until then, this DVD is an excellent addition to the bluegrass lovers video library. 2008-07-11T13:14:04-06:00 http://www.americanaroots.com/reviews/detail/mannish_boys_lowdown_feelin/ http://www.americanaroots.com/reviews/detail/mannish_boys_lowdown_feelin/#When:19:56:35Z If you are a fan of high energy blues performed at a very high level you definitely need to check out Lowdown Feelin’, the new CD from The Mannish Boys. No fewer than 20 artists (the core Mannish Boys group and assorted musical guests) combine to deliver a CD stuffed with 17 tracks and over 70 minutes of great blues. The appeal of this ever-evolving blues super-group is the mix of blues veterans with countless years of performing and new players adding youthful energy, a recipe that has worked for years for Roomful of Blues. The current incarnation of the band is Kid Ramos and Franck “Paris Slim” Goldwasser on guitar, Richard “Big Foot” Innes on drums, Ronnie James Weber or Tom Leavey on bass, Randy Chortkoff, harp and vocals, front-man Finis Tasby on “vocal cords” and very special guests, Kirk “Eli” Fletcher on guitar, and Chicago legend Bobby Jones, vocals. This is “full-bodied” blues with powerful and plentiful instrumentation, not stripped down “blues-light” (not that there’s anything wrong with that..). Among the many highlight are “Low Down Feeling” and “If the Washing Don’t Get you, The Rinsing Will.” The band prides itself on delivering tunes that haven’t received a lot of attention. Randy Chortkoff says, “There are just so many great blues songs out there that almost no one has ever heard, that no one ever plays...I feel part of keeping the blues alive is keeping some of those great songs alive too.” One you will recognize and enjoy is the lengthy “Rude Groove,” which is basically built over “Green Onion.s” Also check out the pounding instrumental “You Don’t Love Me.” Hopefully the Boys will be able to continue on with this stellar group.  Rarely do we find such a great mix of players and tunes! 2008-07-10T19:56:35-06:00 http://www.americanaroots.com/reviews/detail/erik_janson_morning_in_paradise/ http://www.americanaroots.com/reviews/detail/erik_janson_morning_in_paradise/#When:12:34:43Z A truly engaging idea lies behind Erik Janson’s debut album – taking a single day from dawn until late and writing songs that describe its changes. The material and method of the project are interesting to - for their return to and respect for tradition and craft. The Santa Monica singer-songwriter previously performed the sound track for a film “The Man Who Came Back,” and extends his Americana style to also explore Soul and R’n’B territory for his first full album Morning In Paradise.” Janson’s musical turf includes San Francisco, Los Angeles and Hollywood. The sophisticated arrangements and layering of sound on many tracks show a mature talent with plenty of range at work, soundly backed by committed and talented players. Janson wrote all 12 songs on Morning In Paradise and has gathered a sympathetic crew: Craig Ferguson adds lap steel, dobro and guitar, 12-string electric guitar, banjo, and pedal steel, and assisted with string and horn arrangements, orchestration and production.  David Sutton brings upright and electric bass to the recording, while Chris Joyner provided Wurlitzer, piano and organ touches. Two drummers filled out the strong rhythms – Butch Norton and Luke Adams. Miguel Artwood Ferguson added viola and violin and David Ralicke Trombone and Saxophones; Trumpet and Flugelhorn from Chris Bautiste, Jeff Young plays organ and piano; David Alexander adds clarinet and organ; and David Kalish plays dobro. With so many musical voices and colors to flesh out the songs, it’s no wonder that such a rich-sounding record resulted. Mastering was done by Joe Gastwirt and Engineering by Mike Masters. Kara Block’s contemplative photographs for the CD package are also used on Janson’s website. Janson sang all lead lines, added harmonies, played Mellotron, Glockenspiel, Rhodes piano and other keyboards, worked out the string and horn arrangements and handled production. A complete musician, Janson shows the strength of his gifts across a wide range of songwriting styles. On his myspace site he cites some diverse influences – from Townes Van Zandt to Curtis Mayfield, from Hall and Oates to Lightnin’ Hopkins. But his music delivers all that and will definitely find a welcoming audience, probably appealing to a very wide demographic indeed. This is an excellent debut from all angles - great musicianship with thorough heart-felt songwriting full of delicate harmonic and tempo changes, great hooks, crisp direct arrangements and obvious reverence for being part of the continuum of American music. Janson has dedicated his first album to his grandparents. Morning In Paradise is on sale through Itunes, CD Baby and in stores. 2008-07-10T12:34:43-06:00 http://www.americanaroots.com/reviews/detail/dan_tyminski_wheels/ http://www.americanaroots.com/reviews/detail/dan_tyminski_wheels/#When:15:25:43Z Let’s see, which cliché should I start with? “Behind every cloud is a silver lining?” “When one door closes, another opens?” The best things are worth the wait?” Well, they may be clichés, but they all work when it comes to the new Dan Tyminski album Wheels. After Alison Krauss recorded her album with Led Zeppelin frontman Robert Plant, the two decided to embark on a national tour. While that was good news to many, it also left her regular band, Union Station, on hiatus for a while. That also became good news when Dan Tyminksi announced he would be assembling a band of his own to record his new CD, his first since 2000’s Carry Me Across The Mountain. Tyminski, perhaps better known to those outside of bluegrass as George Clooney’s singing voice in the movie O Brother! Where Art Thou, didn’t have to look far to assemble as top-notch group to play with. First he turned around and recruited Barry Bales of Union Station to play bass. Next he called on old friend and Union Station alum, mandolin player Adam Steffey. Rounding out the crew with the skilled and much in demand session player Ron Stewart on banjo and newcomer Justin Moses on fiddle, the “Dan Band” was ready to roll. Wheels features twelve songs that showcase some of the best in modern bluegrass songwriting as well as some classic gems. The catchy title track, written by Patrick McDougal from the great new band High Windy, starts things with a catchy bang putting the solid vocal trio of Tyminski, Bales and Moses up front. The group dips into history for a few songs like Kitty Wells’ “Whose Shoulder Will You Cry On” and the Harold Tipton song made famous by Del McCoury, “Who Showed Who.” Union Station banjoist Ron Block contributes two uplifting songs to the album, “It All Comes Down To You” and “The One You Lean On” while Stewart pitches in with “I Ain’t Taking You Back No More.” Speaking of band contributions, Adam Steffey throws in the instrumental “Knock Knock!” which gives each member a time to show their skill. With an album of great songs and a live show full of humor and great pickin’, let’s hope it isn’t another eight years before we hear from the Dan Band again. 2008-07-09T15:25:43-06:00 http://www.americanaroots.com/reviews/detail/the_infamous_stringdusters_the_infamous_stringdusters/ http://www.americanaroots.com/reviews/detail/the_infamous_stringdusters_the_infamous_stringdusters/#When:15:59:07Z Since their 2007 debut, Fork In The Road, The Infamous Stringdusters have shot to the forefront of the pack of young Newgrass bands. Their new album, titled simply The Infamous Stringdusters, continues to cement the reputation the band has built as one of the most innovative bluegrass bands on the circuit. As with any bluegrass band, the Stringdusters aren’t immune to personnel changes. Late last year founding member and guitar player Chris Eldridge left the group to john Chris Thile and his band Punch Brothers. Andy Falco stepped in to fill the guitar spot and as evidenced by this recording, did so fantastically. He joins the rest of the band, Travis Book on bass, Jesse Cobb on mandolin, Jeremy Garrett on fiddle, Andy Hall on Dobro and Chris Pandolfi on banjo as they send the sophomore slump running. Setting themselves apart from other bluegrass artists, and even some of their NewGrass contemporaries, the Stringdusters chose to record thirteen original songs for the album.  Proving that their songwriting is growing alongside their musicianship, nine of the songs come from within the band and are as strong as any of the outside material. “Bound For Tennessee” and “The Way I See You Now,” as well as being strong songs, writing-wise, show that the band is adept at arranging their songs as well. “Won’t Be Coming Back” and “Well, Well” show the fun loving side of the band as their sprightly playing and catchy melodies stick in the mind long after the album is finished. Four of the albums songs come from outside songwriters. “Three Days In July,” from the pens of Jon Weisberger and Mark Simos, recounts a Civil War tale around Gettysburg from the perspective of a young boy whose father and brothers are off fighting the battle. John Pennell and Jeff White contribute “I Wonder” while Bad Livers Danny Barnes contributes “Get It While You Can.” The somewhat brooding “Lovin’ You,” written by Sarah Siskind showcases the emotive singing of Garrett as the album closes out. No bluegrass release is complete without an instrumental or two and The Stringdusters do not disappoint in that department providing “Glass Elevator,” “Golden Ticket” and “Black Rock.” All are more laid back than hard-driving bluegrass, filled with intricate melodies and chord structures. No less could be expected of a band with two graduates from the Berklee School of Music. The Infamous Stringdusters is a fantastic set of NewGrass from a young band that will surely be around for many years to come. 2008-07-08T15:59:07-06:00 http://www.americanaroots.com/reviews/detail/hacienda_brothers_arizona_motel/ http://www.americanaroots.com/reviews/detail/hacienda_brothers_arizona_motel/#When:15:47:38Z The passing of Chris Gaffney in April, 2008 led to much anticipation for his last recordings. “Arizona Motel” is a superb memorial to the multi-talented artist, showcasing not only his singing and writing, but the depth of emotions he delivered effortlessly with friend and fellow band member Dave Gonzalez.  From the faded love song opening the CD”A Lot Of Days Are Gone,” a somewhat eerie feeling begins as Gaffney sings of time slipping away. This feeling, however, subsides as the listener is drawn to the powerful passion in each song. “Ordinary Fool” along with “I Still Believe” highlight why the Hacienda Brothers are well known for their soulful traditional country ballads.  Gaffney delivers perhaps the most moving performance with “Use To The Pain,” which was co-written by Gonzalez and producer Dan Penn. The lonely despair in this song permeates throughout, driving this poignant song home. “Soul Mountain,” which was written by Gaffney, is an uplifting gospel revival number that paints a more joyous outlook on life. The contributing background vocals add to the fervor quite well. The Hacienda Brothers include an outstanding instrumental entitled “Light It Again Charlie,” which allows Gonzalez to display his keen bluesy guitar, along with Joe Terry on Piano and Gaffney on accordion. There are three covers included here, which add much to the variety. Connie Smith’s “I’ll Come Running” takes on a more Bakersfield sound. “When You’re Tired of Breaking Other Hearts,” written by Hank Williams is a well done shuffle by Gaffney. The vocal arrangements add to the haunting despair on Bill Deaton’s “Divorce Or Destroy.” The Hacienda Brothers fourth album is certainly their most poignant. Filled with a mixture of ballads, soulful country, and blues, this CD displays how the Hacienda Brothers had matured. With the unfortunate passing of Gaffney, one can only wonder where it goes from here. 2008-07-08T15:47:38-06:00 http://www.americanaroots.com/reviews/detail/amos_lee_last_days_at_the_lodge/ http://www.americanaroots.com/reviews/detail/amos_lee_last_days_at_the_lodge/#When:12:39:00Z It’s hard to argue with the success of a young artist like Amos Lee. His first two albums have sold nearly half a million copies and he has opened entire tours for such legends as Bob Dylan and Van Morrison. Upon the release of the his self-titled debut, which featured piano and vocal support from Norah Jones, Lee was hailed by everyone from People to Paste as a true purveyor of neo-soul who expertly treads the fine line between sentimentality and artistry. So, even though all that is hard to argue with, I’m going to try…well, sort of. Personally, I like Amos Lee. He’s a proficient musician and phenomenal vocalist whose somewhat moody kitsch has managed to avoid the throngs of wailing fourteen-year-olds that tend to attach themselves to sensitive talent like his. In addition, although Supply and Demand was an artistic slide in the wrong direction, I very much enjoy listening to his debut, as songs like “Seen It All Before” and “Arms of a Woman” have the heart and delivery of great soul classics. So, to pinpoint exactly what turns me off about Last Days at the Lodge is a tricky proposition, particularly since I think he’s getting back to what he does best. Last Days at the Lodge begins with one of the strongest tracks Lee has produced in recent memory, “Listen.” His session band, which features members who have played with everyone from Clapton to Aretha, shines in the tasteful arrangements, and Lee’s songwriting and vocal performance are top class. Unfortunately, writing is not Lee’s strong suit, and the next few tracks begin losing steam. “Won’t Let Me Go” and “Baby I Want You” are by no means masterpieces, but are undeniably good songs, particularly to suit a wine and candlelight type mood, but “Truth” is the first pothole track of glib preachiness that prevents the album from gaining any positive momentum. It’s bluesy, but stiltedly so; it’s idealistic, but not without being sophomoric and capricious. Although it may not be fair to measure one song’s quality against a mediocre track on the same album, there is a sense in which the support of a full record lends either credence or disrepute to tracks that initially appear to stand out. Which is the main problem with Last Days at the Lodge.  Lee is at his best on cerebral soul tracks like “Listen,” “What’s Been Goin’ On” and “Ease Back,” but his venturesome attitude misses the mark when he steps away from those bounds. All artists should try to extend themselves from their bread and butter, but Lee’s exploration here leaves something to be desired. Overall: B- Why a B-?  After three albums, Amos Lee still finds himself walking the line between art and sentiment, and, although Last Days at the Lodge leaves me with a few complaints, it has more good material than bad. Clearly Lee is trying to leave the familiar territory that came so natural on his debut smash, so one can only hope that he will find surer footing on his next effort. Until then, a few of these tracks will probably show up on some good playlists, while the rest will remain thankfully dormant. 2008-06-25T12:39:00-06:00