Breadfoot Press, Select Features & Reviews From Americana UK, fRoots, Baby Sue - "Real, True Music That Resonates"
Breadfoot : Van Life
by Del Day Dec. 11, 2017
North Carolina’s singer-songwriter, multi-instrumentalist, and all-round professional road dog, Breadfoot (AKA Stephan Meyers) takes his music pretty much where anyone will have him. His latest album, Salvatella, is both short and sweet, akin to a couple of jars with Michael Hurley at some backwater town bar, just chewing the fat and pondering tales of the heart. Breadfoot swaps instruments with the assured footing of someone at complete ease and in total command of his craft. Americana-UK catches up with the talented troubadour and wonders if it’s as easy pulling the miles, and finds out what it is that feeds his ears on them endless freeways.
So, this touring life. Its one long trip, right?
Might be a lot of folks are of the mind that life on the road is a constant party. Well, that couldn’t be farther from the truth cause I tell ya what you all, for an independent artist and musician like myself, it’s a shit ton of work that requires perseverance and a thick skin. Getting the show on the road involves piles of post-its, endless enquires, and promotional efforts. I rehearse my butt off and then travel hundreds, sometimes thousands of miles by train, plane and automobile. I load in my gear, cross my fingers on a sound check and then put everything I have into trying to get some toes tapping, touch a heart, make someone smile or just possibly get ‘em to think a little differently about how they move through the world.
Now don’t take that to be complaining. No sir. Just stating fact. On account of the way I’m wired making music and being on the road and getting from one show to the next keeps me from getting too squirrely. True fact. Another true fact and this in no way discounts the experience of performing, seeing and hearing other fresh new bands and meeting cool new people. I too truly relish the time in-between. Meaning to say, the time on the road especially when I’m on the road here in the states, alone with my thoughts digging the sound of the wheels or sometimes listening to music. Oh and hey if I may, another third true fact? While driving is pretty much the only time I really listen to recorded music.
Ok, so let’s have them toons that you just CANNOT do without. No hiding that Katy Perry in the glovebox behind the travel mints, you hear??
Well, this is made up from actual CDs from the floor of my 1998 Subaru, (which I’m proud to say has over 300K miles on it).
The Sherman Brothers – I Wanna Be Like You
These are the fellas that wrote music for Disney classics like Mary Poppins and The Jungle Book. This track takes me back to my childhood and features Louie Prima on the vocal; swings like nobodies business.
Yaz – Bad Connection
Living out in the county, mostly we had ready access to all manner of bluegrass and classic rock. Just down the road towards Pikeville, there was a fella named Howie who owned a record shop and he turned us on to all kinds of great sounds that he was finding out of the UK. The Cure, New Order, Skids and of course Yaz. Love this record.
The Tiger Lillies – Jesus On The Windshield
The combination of the music of Martyn and the boys and Edward Gorey’s words is something beyond fantastical. The whole album is wonderful but this one, because I was raised up Catholic and find a lot of hypocrisy in religion, especially tickles me.
X – Devil Doll
I Dig most all X but this number from Under The Big Black Sun, which actually served as my introduction to X, rocks me particularly hard.
Queen – Seaside Rendezvous
I’ve always found this song to be just great fun. Especially taken by the ‘horn’ section in the break. Yeah, sure, Bohemian Rhapsody has been done to death but it’s hard to deny that there is genius in nearly every track.
Warren Zevon – The French Inhaler (Solo Piano Demo)
This is an incredibly beautiful song and performed just with piano for this demo the desperation and heartbreak really hits ya right slam square in the face.
Thelonius Monk – Locomotive
Love everything by Monk. His use of the space between is just so, wow. More than anyone other musician/composer, his music makes the most sense to my brain. This track is from my go to, Straight No Chaser.
Black Sabbath – Never Say Die
Not from one of Sabbath’s more popular releases yet this one really rocks hard for me. And, truth be told I actually really dig the whole album.
Lynyrd Skynyd – I Know A Little
A track from the first record I bought for myself when I was like, oh, maybe 13 years old. I don’t remember for sure but whatever have always just really dug this tune. A week or two after I bought this album the band went down in a plane. Dang.
Riff Raff / Rocky Horror Picture Show Original Cast – Time Warp
This is one rocking little number from a disc that has been in the player more often recently as I’m trying to get some inspiration for a new project I’m bouncing around in my brainpan. Folks keep remarking about the theatrical nature of my live show. One fan mentioned Arthur Miller’s Death of a Salesman. And another told me they felt I was a cross between Roger Miller and Shel Silverstein. Hmmm.
Salvatella is OUT NOW
So, this touring life. Its one long trip, right?
Might be a lot of folks are of the mind that life on the road is a constant party. Well, that couldn’t be farther from the truth cause I tell ya what you all, for an independent artist and musician like myself, it’s a shit ton of work that requires perseverance and a thick skin. Getting the show on the road involves piles of post-its, endless enquires, and promotional efforts. I rehearse my butt off and then travel hundreds, sometimes thousands of miles by train, plane and automobile. I load in my gear, cross my fingers on a sound check and then put everything I have into trying to get some toes tapping, touch a heart, make someone smile or just possibly get ‘em to think a little differently about how they move through the world.
Now don’t take that to be complaining. No sir. Just stating fact. On account of the way I’m wired making music and being on the road and getting from one show to the next keeps me from getting too squirrely. True fact. Another true fact and this in no way discounts the experience of performing, seeing and hearing other fresh new bands and meeting cool new people. I too truly relish the time in-between. Meaning to say, the time on the road especially when I’m on the road here in the states, alone with my thoughts digging the sound of the wheels or sometimes listening to music. Oh and hey if I may, another third true fact? While driving is pretty much the only time I really listen to recorded music.
Ok, so let’s have them toons that you just CANNOT do without. No hiding that Katy Perry in the glovebox behind the travel mints, you hear??
Well, this is made up from actual CDs from the floor of my 1998 Subaru, (which I’m proud to say has over 300K miles on it).
The Sherman Brothers – I Wanna Be Like You
These are the fellas that wrote music for Disney classics like Mary Poppins and The Jungle Book. This track takes me back to my childhood and features Louie Prima on the vocal; swings like nobodies business.
Yaz – Bad Connection
Living out in the county, mostly we had ready access to all manner of bluegrass and classic rock. Just down the road towards Pikeville, there was a fella named Howie who owned a record shop and he turned us on to all kinds of great sounds that he was finding out of the UK. The Cure, New Order, Skids and of course Yaz. Love this record.
The Tiger Lillies – Jesus On The Windshield
The combination of the music of Martyn and the boys and Edward Gorey’s words is something beyond fantastical. The whole album is wonderful but this one, because I was raised up Catholic and find a lot of hypocrisy in religion, especially tickles me.
X – Devil Doll
I Dig most all X but this number from Under The Big Black Sun, which actually served as my introduction to X, rocks me particularly hard.
Queen – Seaside Rendezvous
I’ve always found this song to be just great fun. Especially taken by the ‘horn’ section in the break. Yeah, sure, Bohemian Rhapsody has been done to death but it’s hard to deny that there is genius in nearly every track.
Warren Zevon – The French Inhaler (Solo Piano Demo)
This is an incredibly beautiful song and performed just with piano for this demo the desperation and heartbreak really hits ya right slam square in the face.
Thelonius Monk – Locomotive
Love everything by Monk. His use of the space between is just so, wow. More than anyone other musician/composer, his music makes the most sense to my brain. This track is from my go to, Straight No Chaser.
Black Sabbath – Never Say Die
Not from one of Sabbath’s more popular releases yet this one really rocks hard for me. And, truth be told I actually really dig the whole album.
Lynyrd Skynyd – I Know A Little
A track from the first record I bought for myself when I was like, oh, maybe 13 years old. I don’t remember for sure but whatever have always just really dug this tune. A week or two after I bought this album the band went down in a plane. Dang.
Riff Raff / Rocky Horror Picture Show Original Cast – Time Warp
This is one rocking little number from a disc that has been in the player more often recently as I’m trying to get some inspiration for a new project I’m bouncing around in my brainpan. Folks keep remarking about the theatrical nature of my live show. One fan mentioned Arthur Miller’s Death of a Salesman. And another told me they felt I was a cross between Roger Miller and Shel Silverstein. Hmmm.
Salvatella is OUT NOW
The music of Breadfoot is as at home on the porch as it is in the parlour. Breadfoot has shared the stage state side with The Avett Brothers, Regina Spektor, Kimya Dawson, and Langhorne Slim and in the UK with such acts as The Decemberists, Richard Buckner, and the Larry Love Show Band (the acoustic branch of Alabama 3). He has written and recorded albums with both Anti-folk legend and Ramseur Records recording artist, Paleface and former Trans Siberian Orchestra String Mistress, Anna Phoebe.
Tell us about yourselves and what you do?
I am a singer, songwriter and multi-instrumentalist. Originally from Cleveland, Ohio I have hung my hat in the small town of Pittsboro, North Carolina for the past 8 years. An Arsenal supporter I have two large orange dogs. The first is Wendell, named after one of my more favourite authors and the other, Butters is…uh well, named after a South Park character.
How did you start out?
Breadfoot came to be after several years musical hiatus. It was the mid-nineties in Brooklyn. After releasing a cassette only EP, a 7” vinyl single and completing our first extended tour my latest band effort Gill, had just fallen apart. Frustrated and worn out I decided that I needed a break from the whole rock-n-roll band thing. I began playing around with a slide. I would sit alone at the kitchen table for hours on end wishing nothing more than to amuse myself. It was on one of these occasions that a friend soon to be married, got an ear full and asked me if I might not perform a few songs at his wedding. I agreed and that was be the first time I would perform in public in nearly 7 years. From there I was off and running. Next stop was an open mic at the Raven on Avenue A which then led me to Jerry Teal’s Funhouse Studios in Manhattan and my first full-length album in better than 10 years. Which was of course the first Breadfoot album, The Funhouse Recordings.
What is your current release/future release?
My current release is an album called Salvatella. It was funded via Kickstarter. The album was recorded, mixed and mastered at On Pop Of The World Studios in Greensboro, NC. The album was a real pleasure to record and features some truly exceptional local musicians from bands like Vaughn Aed, D.O.G, Jack Carter and The Armory, Tommy Flake, Damn Frank, Corporate Fandango, Ameriglow, Holy Ghost Tent Revival and Lost In The Trees. The name for the album, Salvatella is word gleaned from a desktop calendar of forgotten English. It is a primitive medical treatment for melancholy. Lost in the funk of a broken heart rather than slice open a vein in my ankle, as the treatment prescribes, I choose to pen the title track for the new album.
What is the best part of being a singer/song writer?
Two things I dig most are really about the process. First there’s that moment, typically when I’m alone and the little birds rest long enough on the wire for an idea to become fully formed. That feeling is like nothing else. Second cool thing for me is the exchange between musicians in the studio. When ya take that idea and bring it into the studio and you open up your hands and show everyone what ya got and ya start running through the song and that first time it clicks man, that is the best.
What is your most significant moment yet?
Would have to say it was during a time when I was playing guitar for a run away train of a heavy alternative rock band called Liquor Bike out of Baltimore. I had just begun to get serious about my guitar playing and the first time the solo I heard in my head came out of the amp just the way I heard it, well that was quite something.
What are your biggest musical influences?
Oh goodness from polka and country western I heard when I was younger to the rock-n-roll of my teen years. Wow, uh, can definitely say that Zeppelin III was a huge influence as far as slide and open tunings. Between the Buttons from the Stones would have to be blamed for something as far my approach to the aural aesthetics of my recordings. Am also a fan of Thelonius Monk and how he uses space. Oh and just recently realized that the Sherman Brothers may have played a big part in the development of my musical tastes. These are the guys Walt Disney signed on to write music for so many of his successful films. They did Mary Poppins, and oh so many more but most importantly for me, The Jungle Book. One tune in particular that used to, and well still does, rock my world is called “I Wanna Be Like You”. That song swings like no bodies business and features Louie Prima on the vocal.
What venue/gig do you most want to play?
Ya know what I think would be a whole mess of fun would be to play a festival like Glastonbury with a full band compliment.
What is your best/favourite song you have written?
Well ya know they are all my children so to pick a favourite would be uh, jeez may I pick two? Instrumental I’d have to go with Kecha and wow this is tough, uh right now I’m really digging a song that will most likely end up on the next album. Song is called Lady Rocket Head.
What is your favourite album of this year?
Well this is a little embarrassing because I don’t listen to a lot of new music. And when I do it’s usually music from folks I work in the studio with or play a show with. Since it’s still kinda early to have a favourite for the year I’m gonna have to say it’s between Jack Carter and The Armory’s latest release Clyde, and D.O.G’s new album Nomtombot.
What does the next six months have in store for you?
I’ll continue to book as many stateside shows as I can. Apply to some festivals. Get my passport sorted out and begin booking for a UK tour in the fall. And all the while work on developing the next release, which if the wind is with us will be a trans-media experience.
Where do you see yourself in ten years?
Still working to write songs that hopefully engage the listener and challenge and / or amuse me on one level or another.
What is the best thing about Americana-UK?
Might first have to say that I like the new look of the website uh but I think one of the things I like most about Americana-UK is that you all have never seemed to be the sorts to take up airs. You all just plain love music and are keen on turning folks onto music that though maybe not from the big labels, you find is worth listening to. I like that. And I thank you for it.
Tell us about yourselves and what you do?
I am a singer, songwriter and multi-instrumentalist. Originally from Cleveland, Ohio I have hung my hat in the small town of Pittsboro, North Carolina for the past 8 years. An Arsenal supporter I have two large orange dogs. The first is Wendell, named after one of my more favourite authors and the other, Butters is…uh well, named after a South Park character.
How did you start out?
Breadfoot came to be after several years musical hiatus. It was the mid-nineties in Brooklyn. After releasing a cassette only EP, a 7” vinyl single and completing our first extended tour my latest band effort Gill, had just fallen apart. Frustrated and worn out I decided that I needed a break from the whole rock-n-roll band thing. I began playing around with a slide. I would sit alone at the kitchen table for hours on end wishing nothing more than to amuse myself. It was on one of these occasions that a friend soon to be married, got an ear full and asked me if I might not perform a few songs at his wedding. I agreed and that was be the first time I would perform in public in nearly 7 years. From there I was off and running. Next stop was an open mic at the Raven on Avenue A which then led me to Jerry Teal’s Funhouse Studios in Manhattan and my first full-length album in better than 10 years. Which was of course the first Breadfoot album, The Funhouse Recordings.
What is your current release/future release?
My current release is an album called Salvatella. It was funded via Kickstarter. The album was recorded, mixed and mastered at On Pop Of The World Studios in Greensboro, NC. The album was a real pleasure to record and features some truly exceptional local musicians from bands like Vaughn Aed, D.O.G, Jack Carter and The Armory, Tommy Flake, Damn Frank, Corporate Fandango, Ameriglow, Holy Ghost Tent Revival and Lost In The Trees. The name for the album, Salvatella is word gleaned from a desktop calendar of forgotten English. It is a primitive medical treatment for melancholy. Lost in the funk of a broken heart rather than slice open a vein in my ankle, as the treatment prescribes, I choose to pen the title track for the new album.
What is the best part of being a singer/song writer?
Two things I dig most are really about the process. First there’s that moment, typically when I’m alone and the little birds rest long enough on the wire for an idea to become fully formed. That feeling is like nothing else. Second cool thing for me is the exchange between musicians in the studio. When ya take that idea and bring it into the studio and you open up your hands and show everyone what ya got and ya start running through the song and that first time it clicks man, that is the best.
What is your most significant moment yet?
Would have to say it was during a time when I was playing guitar for a run away train of a heavy alternative rock band called Liquor Bike out of Baltimore. I had just begun to get serious about my guitar playing and the first time the solo I heard in my head came out of the amp just the way I heard it, well that was quite something.
What are your biggest musical influences?
Oh goodness from polka and country western I heard when I was younger to the rock-n-roll of my teen years. Wow, uh, can definitely say that Zeppelin III was a huge influence as far as slide and open tunings. Between the Buttons from the Stones would have to be blamed for something as far my approach to the aural aesthetics of my recordings. Am also a fan of Thelonius Monk and how he uses space. Oh and just recently realized that the Sherman Brothers may have played a big part in the development of my musical tastes. These are the guys Walt Disney signed on to write music for so many of his successful films. They did Mary Poppins, and oh so many more but most importantly for me, The Jungle Book. One tune in particular that used to, and well still does, rock my world is called “I Wanna Be Like You”. That song swings like no bodies business and features Louie Prima on the vocal.
What venue/gig do you most want to play?
Ya know what I think would be a whole mess of fun would be to play a festival like Glastonbury with a full band compliment.
What is your best/favourite song you have written?
Well ya know they are all my children so to pick a favourite would be uh, jeez may I pick two? Instrumental I’d have to go with Kecha and wow this is tough, uh right now I’m really digging a song that will most likely end up on the next album. Song is called Lady Rocket Head.
What is your favourite album of this year?
Well this is a little embarrassing because I don’t listen to a lot of new music. And when I do it’s usually music from folks I work in the studio with or play a show with. Since it’s still kinda early to have a favourite for the year I’m gonna have to say it’s between Jack Carter and The Armory’s latest release Clyde, and D.O.G’s new album Nomtombot.
What does the next six months have in store for you?
I’ll continue to book as many stateside shows as I can. Apply to some festivals. Get my passport sorted out and begin booking for a UK tour in the fall. And all the while work on developing the next release, which if the wind is with us will be a trans-media experience.
Where do you see yourself in ten years?
Still working to write songs that hopefully engage the listener and challenge and / or amuse me on one level or another.
What is the best thing about Americana-UK?
Might first have to say that I like the new look of the website uh but I think one of the things I like most about Americana-UK is that you all have never seemed to be the sorts to take up airs. You all just plain love music and are keen on turning folks onto music that though maybe not from the big labels, you find is worth listening to. I like that. And I thank you for it.
BREADFOOT
Salvatella Jeeziepeezie JP003
Salvatella Jeeziepeezie JP003
Short and sweet: Americana maverick Breadfoot’s third album has eight tracks, each lasting barely three minutes, but each is beguiling and varied.
From the eponymous American Primitive guitar piece that opens to the Dixieland-style brass and slide of the closer, Still Can’t (Find My Heart), there are inventive arrangements, with pedal steel, viola and banjos to the fore. Particular praise goes to co-producer Randy Seals, whose humorous and telling drums and percussion give an extra kick to the wellcrafted songs of love and loss (the dragging bass drum thumps of Room In Her Heart are just perfect). Breadfoot’s vocals, alternately gruff, as on Honey Please, and high and yearning elsewhere, tell his tales well – and there’s even a hint of Ronnie Lane at his brightest in the joyous, brass-inflected Lucky Me, which is never a bad thing. Superior stuff, and very charming.
Ian Kearey
From the eponymous American Primitive guitar piece that opens to the Dixieland-style brass and slide of the closer, Still Can’t (Find My Heart), there are inventive arrangements, with pedal steel, viola and banjos to the fore. Particular praise goes to co-producer Randy Seals, whose humorous and telling drums and percussion give an extra kick to the wellcrafted songs of love and loss (the dragging bass drum thumps of Room In Her Heart are just perfect). Breadfoot’s vocals, alternately gruff, as on Honey Please, and high and yearning elsewhere, tell his tales well – and there’s even a hint of Ronnie Lane at his brightest in the joyous, brass-inflected Lucky Me, which is never a bad thing. Superior stuff, and very charming.
Ian Kearey
Breadfoot - Salvatella (CD, Jeeziepeezie, Folk/soft pop)
We're always on a search for simplicity and purity in music...and in Breadfoot we find both. The last time we heard from this fellow was way back in October of 2005 when he released his Tea With Leo album. Since that time, Breadfoot has made some amazing connections, shared the stage with some amazing artists, and fine-tuned his craft with amazing precision. A far cry from the overlayering and overuse of technology that tarnishes so many modern artists, Breadfoot presents his tunes simply using only the bare essentials. As such, he comes across very much like a real man making real music. Recorded at On Pop of the World Studios in Greensboro, North Carolina, Salvatella is a real cool slice of underground Americana folk/pop played with class, style, and a whole helluva lot of personality. If you want to get a quick dose of what this man is all about, search for Breadfoot on YouTube.com and you're very likely to be instantly won over. This guy's music comes from his heart and soul and some of his melodies and lyrics truly sound like modern day classics. We have a funny feeling Salvatella is the one that's going to push this fellow's career to the next level. Cool reflective cuts include "Salvatella," "Valentine," "Lucky Me," and "Still Can't (Find My Heart)." Real, true music that resonates. Top pick.
We're always on a search for simplicity and purity in music...and in Breadfoot we find both. The last time we heard from this fellow was way back in October of 2005 when he released his Tea With Leo album. Since that time, Breadfoot has made some amazing connections, shared the stage with some amazing artists, and fine-tuned his craft with amazing precision. A far cry from the overlayering and overuse of technology that tarnishes so many modern artists, Breadfoot presents his tunes simply using only the bare essentials. As such, he comes across very much like a real man making real music. Recorded at On Pop of the World Studios in Greensboro, North Carolina, Salvatella is a real cool slice of underground Americana folk/pop played with class, style, and a whole helluva lot of personality. If you want to get a quick dose of what this man is all about, search for Breadfoot on YouTube.com and you're very likely to be instantly won over. This guy's music comes from his heart and soul and some of his melodies and lyrics truly sound like modern day classics. We have a funny feeling Salvatella is the one that's going to push this fellow's career to the next level. Cool reflective cuts include "Salvatella," "Valentine," "Lucky Me," and "Still Can't (Find My Heart)." Real, true music that resonates. Top pick.
BREADFOOT "SALVATELLA"
Independent, 2015
Independent, 2015
'Unassuming guitar folk with something to say'
By Matthew Boulter
Breadfoot has made a warm and engaging short player in his latest release, "Salvatella". Opening with an acoustic guitar instrumental whose melody pays homage to John Fahey and Bert Jansch, the tone is set for this wonderfully mellow collection of songs. Acoustic guitar is soon replaced however with syncopated banjo on some of the lyrical tracks, which Breadfoot sings in a quaint croon that offers a refreshing alternative to some of the more archetypal Americana.
"Salvatella" has individuality in abundance and makes it's points subtly, there is a lot to be said quietly and at the end of the record, which plays at just under thirty minutes, the listener is left wanting more not only of the music but of Breadfoot's idiosyncratic take on life.
"Salvatella" has individuality in abundance and makes it's points subtly, there is a lot to be said quietly and at the end of the record, which plays at just under thirty minutes, the listener is left wanting more not only of the music but of Breadfoot's idiosyncratic take on life.
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Breadfoot – Salvatella ★ ★ ★ ★
Bijna tien jaar was het ondertussen ook alweer geleden, dat we nog eens iets hadden mogen vernemen van de vanuit Bynum, North Carolina actieve Stephen Meyers. En dat is lang… Veel te lang, eigenlijk. Zeker in tijden, waarin de termen alternatieve country en Americana volslagen ten onrechte steeds vaker ook op commerciële acts worden geplakt, hebben we immers volop nood aan mannen als Meyers, die onder het pseudoniem Breadfoot nog volop garant staat voor the real deal. Mannen, die je graag nog eens laten horen, hoe het óók kan. (Hoe het moet eigenlijk…) “Salvatella” is al ’s mans vierde album en het is een verdomd lekker, gevarieerd geheel geworden. Aftrappen doet Meyers de feestelijkheden met een akoestische gitaarsolo. Een ongewone zet misschien, maar daarom zeker niet minder geslaagd. Vervolgens gaat het over het laid-back verhalende “For My Sake” en de daarbij echt wel perfect aansluitende alt-country-trage “Valentine” richting de alweer volgende instrumental “Weight Of Your Hand”, het op een vreemde manier catchy werkende, met subtiele blazers gelardeerde “Lucky Me”, het enigszins Waitsiaans aandoende “Honey Please” en de ronduit zalige ballad “Room In Her Heart” om uiteindelijk na goed en wel eenentwintig minuten te stranden bij het ongegeneerd met Dixieland-invloeden stoeiende “Still Can’t (Find My Heart)”. Vraiment très sympa! |
Breadfoot – Salvatella ★ ★ ★ ★
Almost ten years was meanwhile again since we once had something may hear of from Bynum, North Carolina Active Stephen Meyers. And it is long ... Too long, actually. Especially in times where the words alternative country and Americana utterly wrongly increasingly be stuck on commercial acts, we indeed need to plenty of men like Meyers, who under the pseudonym Bread Foot still guarantees the real deal. Men who like to show again told how it can be done. (How it should ...) "Salvatella" is already the man's fourth album and it's a damn tasty, made varied whole. Meyers does kick off the festivities with an acoustic guitar. An unusual move, perhaps, but certainly no less successful. Thereafter, over the laid-back narrative is "For My Sake" and its really perfect fitting alt-country-slow "Valentine" towards the already following instrumental "Weight Of Your Hand", the catchy strangely acting, with subtle blazers larded "Lucky Me" somewhat Waitsiaans sounding "Honey Please" and the downright blissful ballad "Room In Her Heart" to end after well and good twenty minutes sands and unabashedly with Dixieland influences rollicking "Still Can not (Find My Heart) ". Vraiment très sympa! (Translated with Google Translator. If you can read Dutch and would care to hook me up with a truer translation I'll gladly send you a free copy of the new album Salvatella) |
Sonic Reducer
By Geoffrey Plant
By Geoffrey Plant
Breadfoot - Salvatella (Jeeziepeezie)
This is mostly upbeat Americana from North Carolina artist Stephen Meyers—AKA “Breadfoot”—who hasn't released an album since 2005. Salvatella features a fair-sized ensemble of instruments, including a great horn section and some nice lap steel, but the stand-out playing is by Breadfoot himself who handily handles the guitar, steel guitar and six string banjo playing at the forefront of these eight songs. Meyer's charming, rough-hewn vocals are reminiscent of Michael Hurley with a drop of that carney-growl Tom Waits does —a style that suits the laid back lyrics that cover the day-to-day, true-to-life subjects common in Americana. If they don't know of him already, fans of Albuquerque's porch-music band Pawn Drive will eat this Breadfoot album up. Here's hoping Breadfoot comes through Burque like he did last time Alibi reviewed his music.
This is mostly upbeat Americana from North Carolina artist Stephen Meyers—AKA “Breadfoot”—who hasn't released an album since 2005. Salvatella features a fair-sized ensemble of instruments, including a great horn section and some nice lap steel, but the stand-out playing is by Breadfoot himself who handily handles the guitar, steel guitar and six string banjo playing at the forefront of these eight songs. Meyer's charming, rough-hewn vocals are reminiscent of Michael Hurley with a drop of that carney-growl Tom Waits does —a style that suits the laid back lyrics that cover the day-to-day, true-to-life subjects common in Americana. If they don't know of him already, fans of Albuquerque's porch-music band Pawn Drive will eat this Breadfoot album up. Here's hoping Breadfoot comes through Burque like he did last time Alibi reviewed his music.