Bill Lloyd “Look Into It”
There is no doubt about the skill that Bill Lloyd possesses; nevertheless, after hitting a tremendous home run with Working The Long Game, he is satisfied to figuratively stop and smell the roses with his latest release. He explores a few different styles on this album, but it starts with the impressive low-rhythm title track “Look Into It.” This is Lloyd’s bread and butter, with a terrific riff in the chorus and a strong lyric. The curious “This Ain’t My Parade” recalls his earlier works, with a dreamer looking back on his career. Bill moves along with strange stories in “Aroma Dollerhead” and the pounding “Number System.” One of the better songs here is “Keep the Place Clean.” You can almost see the music video in your head; it’s so well done. “Road Trip Betty” is a great car-driving song; you can picture the signs just passing on the highway.
Check out “She Cheated on Her Pain” and “We Can Drive.” The depressing mood of these songs doesn’t diminish their narrative power. There are folk ballads (“Half Mast” is a nod to John Prine) and country acoustic (“Bunny in the High Grass”). There are weird attempts at reggae (“Don’t Watch Me”) and an instrumental (“Game Show Stars of the 70s”) But make no mistake, Lloyd’s music is a treasure, and most of his tunes hit the mark. Highly Recommended.
Jim Basnight “Summertime Peculiar”
Within the span of a double album consisting of 21 tracks, Jim Basnight has crafted what is arguably his most eclectic record to date. The album features elements of pop, rock, jazz, bluegrass, and blues. The best music here swings across several levels, starting with the swaying horns of “Summertime Again” to the light, goofy “Lattes.” The play “Little Rock” by Basnight served as the inspiration for many of the songs, and Suze Sims’ female backing vocals plus some strings give some of them a distinct adult jazz-pop feel. For the best of this style, check out “The Heart” and “Stars in Time.”
There are good rock songs (“What I Wouldn’t Do” and “We Rocked We Rolled”), but his best work here is on “Guilty” and Stones-like pop like “Stay To The End.” Another silly sing-along “Cameltoe” (doing a play on “Happy Trails”) and some country bluegrass and jazz notes (“Elma” and “Something Peculiar”), and there you have it. While the album theme doesn’t necessarily tell a story, the emotional delivery of most of these songs is strong and gets better with replays. This is music that deserves to be heard.
