KWLC reviews Jeremy Messersmith, Taj Mahal

Jeremy Messersmith - The Silver City

Minnesota artist Jeremy Messersmith created a dreamy, playful, heartbreaking and longingly beautiful album in “The Silver City.” Many reviewers are tentatively calling Messersmith’s sophomore album “the best local album of the year” (Will McClain, City Pages). This is due to the innovative arrangement, production and vocals accompanying an array of eloquently understated and celebratory instrumentals. In fact, “The Silver City” might be the freshest breath of air the Twin Cities rock scene has had since the departure of the Hold Steady to more universal lyrical references.

Messersmith surpassed the nostalgia-driven tendencies of some recent local artists for the sounds of the Replacements, the foundation of the Cities’ rock scene in the eighties. Instead he surprises the listener by forming “The Silver City” as a complete work of art.

The music takes us on a journey through Suburbia, and as we are transported from one part of the “city” to the next we experience its facets: starry-eyed wonder, pedestrian defeat, loyalty to a fault, disengagement from reality, naive love. While “Franklin Avenue” is the outstanding radio edit, “Dead End Job” and “Miracles” stick out as favorites in an album full of them.

Messersmith’s voice carries the listener on a cloud, presenting the lyrics dreamily yet with clarity. The production remains simple, letting the music speak for itself through interesting touches such as sparse tambourine, horns and even glockenspiel. Each song is a completed thought, and strung together these stories create a full panorama of a city that seems inherently familiar, as though we’ve been there before.

- Julia Schumacher, Rock Music Director

Taj Mahal - Maestro

Forty years after his self-titled debut, Taj Mahal has still got it. His first new release in five years, the appropriately titled Maestro, is a twelve track journey through the various styles of music that have made him one of the leading names in both blues and world music. There are many flavors here, from straightforward blues (in addition to blues with a distinctly New Orleans style) to reggae to roots and African world music.

Accompanying Taj on this whirlwind tour are a stellar lineup of guest artists and supporting bands. Several tracks feature Taj reuniting with the Phantom Blues Band, the group that he played with on the 1997 and 2000 albums that each earned him Grammy awards. The remaining numbers are filled with contemporary artists for whom Taj Mahal has been a major influence. Taj’s daughter Deva is here, as well names like Ben Harper, Ziggy Marley, Jack Johnson, Angelique Kidjo, the New Orleans Social Club and Los Lobos.

Despite being a mix of old and new material, Maestro plays like a “Best Of” compilation: Taj’s ability to mesh with each artist and group’s style while adding his own distinct textures along the way is what makes the album an enjoyable listen from start to finish. One thing is clear: Taj Mahal isn’t finished making music that paves new ground as it inspires the next musical generation.

- Tristan Campbell, Blues/Folk/World Music Director