SONGS FROM ANOTHER LOVE BY TOM ODELL

Songs From Another Love by Tom Odell

Forget the Jeff Buckley comparisons.  Tom Odell is no Jeff Buckley and any music critic who insists on leading readers to that conclusion ought to have their head examined for severe cases of overeagerness and sensationalism.  There isabsolutely a vocal resemblance, but Buckley's range and expressiveness was otherworldly and Odell's is great—one full step below amazing.  He's somewhere in the class of Marcus Mumford, Taylor Goldsmith, Chris Martin and James Blunt.  But, there I go making comparisons.  In the end, 22 year-old Tom Odell is Tom Odell and he's doing a more than fine job at being him.  

Songs From Another Love proves that this singer/songwriter from Chichester, England is already a fully developed talent.  His songwriting arsenal is diverse and sophisticated.  "Hold Me" and "Can't Pretend" aren't quite hits, but they are impressive singles.  On the other hand, "Sense" is a genuine songwriter's songwriter track—performed with brilliant and appropriate sensitivity, I might add.  

Tom Odell still needs to develop that extra little something to be a force on the charts.  But if he writes a seriously kick-ass hook, he may be unstoppable.   If he doesn't, he'll have a career playing small to medium-sized rock clubs.  There is a lot of promise here, so let's see if delivers the goods later on.  

Tom Odell is currently on tour in support of his full-length debut Long Way Down.  Unfortunately, it is not on Spotify as of yet. 

Songs From Another Love by Tom Odell

ONCE I WAS AN EAGLE BY LAURA MARLING

Once I Was An Eagle by Laura Marling

Once I Was An Eagle is an intimate combination of Laura Marling's droning, sensitive—and slightly percussive—acoustic guitars, hauntingly beautiful vocals, straight-out-of-a-diary lyrics and an absolutely focused vision.  And, these days, an album like this is quite refreshing—and thank god it has found an audience that appreciates it.  The four song suite that seamlessly opens the album indicates that this 63 minute LP is a body of work, which Marling effortlessly rehearsed, calculated and probably wrote in a few inspired, all-nighter, songwriting sessions.  It's not quite spellbinding but it is very listenable.  If you're a "lyric guy or gal" there is a lot—and I mean a lot—to love over repeated listenings. 

At 23 years old, the singer/songstress has received plenty of comparisons to Joni Mitchell.  Why? Because she's a girl who sings well and feels at home playing her acoustic guitar in alternate tunings?  Is it because, like Joni, she's blue? The comparison is understandable—especially because Marling's voice has a Joni Mitchell-like cadence—but it's not really accurate.  In truth, L.M.'s idiosyncratic songwriting is much closer to that of N.D.—Nick Drake.  There's nothing onOnce I Was An Eagle that is so melodically complex and immediately compelling like the songs on Court And Spark or Blue.  But there are a bunch of moving, mini Pink Moon-like masterpieces.  There's also a gorgeous, dissonant "Interlude"—a very smart inclusion, by the way—that has Jack Nietsche written all over it.  It's a cool, early 70s incorporation.

If the brilliant Laura Marling has any issue with her songwriting, it is that she seems to compose melodies sort of like Bob Dylan writes words.  Her music is very intriguing and the odd melodic directions she takes do work, but the effect only lasts as long as you listen to it.  Even if one listens to Once I Was An Eagle 10 times in a row, attempting to sing back the melodies to any of Marling's songs is like trying to write down all of the lyrics to the first five songs off of Dylan's Highway 61 Revisited.  Her work is great, but not that memorable or distinct.  So, here's a precaution: Anyone expecting Laura Marling's musical compositions to be as astonishing as her voice and artistry will be disappointed.  The indistinguishability of her songwriting will be the one and only reason her music may move 200,000 people—instead of 2,000,000.  She has everything else within her mind, soul and voice box to become a real star.  

But chances are you will be more than happy with what Laura Marling has created on Once I Was An Eagle.  It's a beautiful album.  Despite any (accurate) criticisms of being monotonous, at 63 minutes, it never feels boring.  I would not be surprised if this album makes many critic's "end of the year top 10" lists.  Who knows, it may even make mine—like you care...

Once I Was An Eagle by Laura Marling

LEE MICHAELS

Lee Michaels

Given that there are so many masterpieces from the '60s and '70s, it's hard to call Lee Michael's 1969 self-titled album essential.  Certainly, any serious music listener looking to expand his or her historical music perspective should check out the essential albums by The Beatles, The Byrds, The Doors, Santana, Big Brother and Holding Company, Bob Dylan and so, so, so many others first.  If "tier one" is made up of those gold and platinum gems, Lee Michaels is certainly in "tier two."  It's a very good—possibly brilliant—album, and if it had had one top 10 hit, it probably would have the same sort of time-tested name recognition as other albums from the era.

No, there isn't a single hit on this album.  But Lee Michaels, has some spectacular elements, which reveal themselves on side one.

Side one is made up of one long track—a nearly 21 minute suite of rare soul songs performed on three instruments: vocals, hammond organ and drums.  The first two instruments are played with remarkable virutosity by Lee Michaels, who proves to be one helluva talent.  Bartholomew "Frosty" Smith is on drum duty and his extended drum solo on this medley makes it surprisingly haunting.  For those who are lucky enough to discover this album, this is a real treat.  All Music Guide reviewer Matthew Greenwald has described this track as "one of the finest sides of Los Angeles rock & roll."  100% accurate.

Side Two is nearly as good as side one.  By far the most impressive moment is "Who Could Want More?" a slice of New Orleans style R&B, which is not quite unlike Donovan's "Season of The Witch"—another classic from the period.  The only thing missing here is a Stephen Stills guitar solo (like the one from 1968's Super Session—you'll like that one, too).  Another great moment is on "Want My Baby," which has an unmistakable resemblance to The Band's "The Night They Drove Old Dixie Down."  On the other hand, Michaels' covers of "Heighty Ho" and "Stormy Monday" are simply great performances, showcasing his organ and vocal pipes more than his songwriting craftsmanship.

Lee Michaels would later record two hits on his fifth album—the appropriately titled fifth—but Lee Michaels is and always will be his magnum opus.  Hell, it would be any artist's magnum opus.  For those who like their rock n' roll bluesy, soulful and psychedelic, Lee Michaels delivers the goods and more.  Much, much more.

Lee Michaels 

And here are two of Michael's best known songs recorded in 1971. 

And, oh yeah, I think I mentioned you'd like this album, too.  Here it is. You're welcome. ;)