Album Review: Amy Speace - The American Dream

 www.amyspeace.com

Amy Speace possesses a distinctive sound and style. Moments into her 8th solo record, you sense the warmth of familiar territory. Arrive at the end of THE AMERICAN DREAM and the urge to repeat is too strong to resist. Every artist's desire to make their latest record the best yet, few achieve it. We may be in the midst of the exception here. Through an inspiring collection of a dozen tracks, Speace fuses the head and the heart, knowing full well that the team around her will turn her raw songs into recorded gems. If this album does settle in the legacy spot, then a mighty fine body of work is enshrined.

Neilson Hubbard has been the wizard of the production process for heaps of great albums over the years. He has worked with Amy Speace before. Here, his stamp lies as the undercurrent, while perfecting the art of ensuring the right voice is up front. 

It is a brave move to place two of the likely stronger tracks at the start of an album. 'The American Dream' and 'Homecoming Queen' set the high bar and the tone. They remain at the summit throughout the listen, but the others push them to the limit. The title track is pure vintage for folks of a certain age. Over here in the UK, 1976 will forever be remembered for the hot summer. These are staple in the US so memories of the Bi-centenary and Carter versus Ford hover in the background. Speace wonderfully evokes the beauty of youthful dreaming among the era indicators. The underlying message is as strong as the references. Following this opening piece of unabated nostalgia, a delightful character story takes centre stage. A killer melody and a chorus to die for serenades a twisting story. A hint of innuendo spices the tale and a resounding final line captures the meaning - 'she still looks like 1985'. 

A quick leap to the final track reveals Amy Speace the smart listener. When I first heard Jaimee Harris sing 'Love is Gonna Come Again', it melted me. The cover version here doesn't own the song, but borrows it beautifully. When you leave space for one non-original on a record, make it a stellar belter like this.

One song glowing with personal pride is 'First United Methodist Day Care Christmas Show'. Happy memories of the event transcend from writer to listener. The detail is evident, though the notes inform of a video of the occasion that will never be shared. Writing from a personal perspective is a strength of Amy Speace. A view backed up in the early placed track 'In New York City'. This is a candid, fascinating and gutsy piece of strong narrative. Her days in the Big Apple's art scene have been well-documented and this autobiographical account cramming a lot in provides a flavour and is delivered in a trademark theatrical style. 

A lot of Amy Speace's work would easily transfer to the stage or screen. You can envisage 'Already Gone' in a late night lounge bar. Definitely a song to capture a moment. This was co-written with one of her favourite collaborators Robbie Hecht. Among the other co-writes is 'Glad I'm Gone', where Gary Nicholson lends a hand wrapped in a sound with a touch of soul in the bones.

Neilson Hubbard joins the writing fray on 'Where Did You Go?', where he also assists in giving the overall sound an epic feel with strings kicking in. Two other tracks that are as effective in the feelings they generate as the sentiments expressed are 'Something Bout a Town' and 'I Break Things'.

A pair of songs framing the astute writing are 'This February Day' and 'Margot's Wall'. The former is a contemplative number cleverly reflecting on a pivotal day. The latter is inspired by visiting Anne Frank's house in Amsterdam and viewing the adorned wall of her sister Margot. An exquisite slice of observational writing that links with events occurring back home. 

AMERICAN DREAM is the latest in a lengthening line of cracking albums from Amy Speace. A reflective body of work capable of fuelling the future. Lush, expressive and unmistakable sums up the listening experience. Conclusively, it feels real and leaves you at one with the writer. Let it settle and breathe, and the sparkling quality will illuminate. 

Album Review: Beau Jennings and the Tigers - American Stories Major Chords

 www.beaujennings.com

The latest album from Beau Jennings and the Tigers rates highly on two approaches. Pursue a lighter route of using it as a soundtrack to routine activities and its undulating rock 'n' roll score will encircle an environment punctuating moments with enticing melodies. When space is made to dive deep, fascinating lyrics await unravelling where real and fictional storytelling jostle to fill blank pages with poignant memories. AMERICAN STORIES MAJOR CHORDS sums up in four words what the album is about. Expect tender reminiscing awash with the raw sentiment of a tight band playing with the freedom to rock out and own the room they're filling.

This is the 3rd album in five years from an Oklahoma native, now back in his home state after spending time in Brooklyn. You get a sense of what to expect from the title and Jennings duly matches anticipation with a fully stocked package. Eleven songs keep you entertained from the majestically written opener 'Oklahoma Heat', which is gently strummed and strong in recount, to the curiously titled closer 'Sooner Superette'. Awareness of the term 'Sooner' in relation to Oklahoma sport is expanded when further researching its origin, while 'Superette' is a term for a small supermarket not used this side of the pond to my knowledge. Couple the song notes with the lyrics and more real world nuggets and experiences are revealed.

The outlier track is a frenetic exposition of garage-infused punk-inspired rock 'n' roll. The intensity of 'Rubberburn' blows away any dusty malaise as Jennings attempts to recreate the sound of his wife's college band. This track is paired in the running order with the lighter moderate rock tinge to 'Lookin' for a Way' that emits fragrances of post-punk new wave. 

The geographical span of Jennings' career is highlighted in two tracks. 'Broken Angel' is a solid focal track harking back to his Brooklyn days with references to 'tickets for a Mets game'. This track possesses radio friendly credentials and you can't go wrong with a harmonica blowing exterior. 'Boston Avenue' heads a few thousand miles west and back home to Tulsa where childhood grief is dealt with. This latter song contains the strong lines: 'Donnie I still have dreams/Where you’ve come back to get me/Oh you were my hero back then'

Another cracking lyric crops up in 'The People's Porch', where impactful piano plays a backdrop to 'There’s the dreams we have, and the dreams we get/And then there’s the waking up'. This song refers to a lost friend and links up with 'Norman Nights', a song about life in a college town. A decent piece rinsed with nostalgia. 

The title track 'American Stories Major Chords' turns up the heat in the early stages and is a quality full band effort after the temperate opener. Later in the album 'Driving Around' houses a mid tempo beat caressing fictional lyrics, although with a weird sounding ending. More piano and a memorable chorus feature in the final assessed track 'Knockin''.

Beau Jennings cordially invites you into the world of an insightful songwriter and a straight down the middle old school rocker. No frills just honesty, an assortment of chords and stories to be told. AMERICAN STORIES MAJOR CHORDS is swift, sincere and sold to discerning ears. A record to learn from and ultimately enjoy.