Indie Spotlight on Kevin Gordon, Amy Rigby, Jontavious Willis, Charlie Peacock, more
By Lee Zimmerman
For September 2024, Indie Spotlight column takes a glimpse at some otherwise obscure offerings that deserve absolute investigation.
Kevin Gordon
The In Between
Kevin Gordon has always been an intensely authoritative singer/songwriter. He creates songs that are absolutely emphatic, courtesy of his emotional investment and determination to share melodies that effectively underscore his stoic sensibility. His ballads are as deeply rooted as his rockers, and in each circumstance, the songs are both riveting and resolute. With his latest effort, The In Between, Gordon takes a more driving and determined approach overall, giving the album a decided edge and intensity. Certain songs — “Keeping My Brother Down, “Destiny” and “You Can’t Hurt Me No More” in particular — convey a feeling of reckless abandon, as if Gordon has finally found the affirmation and acceptance needed to fully vet his feelings and frustrations. At the same time, he comes across not only as fully fueled, but also liberated to a certain extent, as if freeing himself from the bonds of being simply just another troubled troubadour. Then again, Gordon’s never found a fit with stereotypes, one of many reasons why his work is not only relevant, but also real.
(https://kg.kevingordon.net)
Amy Rigby
Hang In There With Me
The title of Amy Rigby’s new album provides a compelling entreaty, one that her fans and followers will likely be only too pleased to accept. She’s attracted a legion of of admirers throughout her career, a group of devotees that admire her for her craft as well as the many songs that have been covered by others. Along with her husband, punk raconteur Wreckless Eric, she’s established a reputation as an intriguing and often unconventional artist. Hang In There With Me may beg added indulgence, but inevitably, it resonates with songs that are smart, seductive and intwined with intrigued. Overall, the album delves into the difficulty of dealing with the complexities that come with age, emphatically stated in songs such as “Hell-Oh Sixty,” “Too Old To Be So Crazy,” “O Anjali,” and “The Farewell Tour.” It’s an intriguing effort overall, underscore with both some eerie ambiance and forthright expression. Rigby’s a master when it comes to wordplay, and on songs such as “Requiem” and “Dylan In Dubuque,” she takes full advantage of her prolific prowess, resulting in one of the most resolute records of her career.
(www.amyrigby.com)
Jontavious Willis
West Georgia Blues
A Grammy-nominated singer, songwriter and guitarist, Jontavious Willis began his career accompanying Taj Mahal, and so it’s hardly surprising that his sound often echoes that of the man who mentored him. Like Taj, he traces the blues back to its roots, paring the music down to mostly acoustic accompaniment and the sound of the rural environs that spawned an essential sound early on. Entirely self-produced, West Georgia Blues is comprised of fifteen original songs that are both celebratory and soulful in equal measure, each devoid of any posturing or pretense. Willis is a purist in that regard, a man whose love and devotion to a traditional tapestry results in a sound that’s instilled with authenticity. Whether it’s a simple shuffle like “Keep Your Worries On the Dance Floor,” the ragtag rhythm of “Lula Mae,” or the slow, subdued approach taken on “Broken Hearted Moan,” Willis conjures up the spirit of early forebears like Robert Johnson, Skip James, Son House, Leadbelly, Lightening Hopkins, and so many others that finessed the form early on. It matters little if one is a blues aficionado or simply a casual connoisseur. West Georgia Blues provides a welcome retreat for one and all.
(JontaviousWillis.com)
Charlie Peacock
Every Kind of Uh-Oh
Charlie Peacock is man who can claim a sensitive soul. That’s apparent in the songs he sings and the sentiments he shares. He possesses an innate spirituality that’s manifest in melodies that hint at greater grandeur yet speak through quiet contemplation and a calming caress. Although he’s often found behind the boards for such artists as The Civil Wars, Amy Grant, Chris Cornell, The Lone Bellow, and Brett Dennen, among the many, he clearly possesses the skillset he needs to create sounds that are alluring and authoritative all at the same time. It’s that ability to speak directly to his listeners in ways that are both soothing and assured which makes Every Kind of Uh-Oh belie its title. Despite the fact that he’s plagued by debilitating headaches, he still manages to make music that soothes and strengthens his spirit and soul. An upcoming memoir, Roots & Rhythm: A Life in Music will be published on February 4, 2025 and will detail his journey as an acclaimed producer — he’s been honored three times as the Gospel Music Association’s Producer of the Year and garnered Grammys as well — and an artist whose work has accounted for sales of 25 million recordings, all in addition to scoring soundtracks for critically acclaimed films and TV. In the meantime however, Every Kind of Uh-Oh can be considered a triumph all its own.
Albert Castiglia
Righteous Souls
Miami bred guitarist Albert Castiglia developed his talents over many years, playing clubs on his hometown circuit while making his name as an explosive entertainer whose penchant for the blues was equal to his intent to maintain his own energized persona. Although he received his apprenticeship playing with bluesman Junior Wells, he became determined not to be confined to any particular genre. He eventually came to the attention of Mike Zito, an exceptional guitarist in his own right, as well as a producer and owner of the Gulf Coast Records label. Although the two toured as the Blood Brothers, Castiglia’s solo albums find him worthy of recognition in his own right. That’s particularly true of Righteous Souls, an effort that as powerful and provocative as any he’s shared before. An outstanding array of guest artists testify to his talents courtesy of their contributions — among them, Zito, Joe Bonamassa, Popa Chubby, Ally Venable, Gary Hoey, Monster Mike Welch, Christone Kingfish Ingram, and his daughter Rayne Castiglia, to name but a few. While the majority of the songs are covers — his take on the Willie Dixon standard “You Can’t Judge a Book By Its Cover” is one of several standouts — each of these entries is a riveting and resourceful example of Castiglia’s power and prowess.
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