Reviews for Goodbye Cindy
From "The Other Paper"
LOCAL ROUNDUP: Miller-Kelton By Rick Allen Published: Wednesday, January 6, 2010 7:48 PM EST Fuzzy surface belies CD's depth
Due either to its proximity to Appalachia or to the number of college towns within driving distance, Columbus has never lacked for traditional country and folk acts. The latest to politely mosey up to the stage is Miller-Kelton, which released its debut CD, Goodbye Cindy, on New Year’s Eve. Like many snobby critics, I don’t have a lot of time for folk music, but a couple of spins of this record make the argument for keeping the disc close by. The band plays a pleasant blend of banjo-led Americana wrapped around the honey-sweet vocals of Julia O’Keefe. It’s a sound we’re all familiar with, one that would fit in just as naturally at Borders as it would at Victorian’s Midnight Café. For the most part, it reminded me of the overly pleasant, warm and fuzzy songs you’re likely to hear on Nick Jr.
Keep your ears peeled, however, and you’ll realize the band uses that sort of inoffensive musical language to convey much more mature lyrical themes. There is a veritable one-act play of pathos and interpersonal drama underneath the album’s surface. Let’s hope this thoughtful work is a harbinger of a musically interesting 2010.
Due either to its proximity to Appalachia or to the number of college towns within driving distance, Columbus has never lacked for traditional country and folk acts. The latest to politely mosey up to the stage is Miller-Kelton, which released its debut CD, Goodbye Cindy, on New Year’s Eve. Like many snobby critics, I don’t have a lot of time for folk music, but a couple of spins of this record make the argument for keeping the disc close by. The band plays a pleasant blend of banjo-led Americana wrapped around the honey-sweet vocals of Julia O’Keefe. It’s a sound we’re all familiar with, one that would fit in just as naturally at Borders as it would at Victorian’s Midnight Café. For the most part, it reminded me of the overly pleasant, warm and fuzzy songs you’re likely to hear on Nick Jr.
Keep your ears peeled, however, and you’ll realize the band uses that sort of inoffensive musical language to convey much more mature lyrical themes. There is a veritable one-act play of pathos and interpersonal drama underneath the album’s surface. Let’s hope this thoughtful work is a harbinger of a musically interesting 2010.
From "The Voice Magazine"
I’m a diehard old folkie. For various intervals in my life it was the only music to which I’d listen. At the same time I’m now so jaded by folk rock—and not always because most of what I hear sounds so contrived—that it’s really hard for musicians playing in this genre to grab my attention. I still write about folk rock occasionally for a couple of reasons, the main one being that good stuff is still, occasionally, being recorded.
Remember those old songs that you used to play to death? The tracks that got you through depressions, breakups, the terrible angst-filled loneliness of youth, the music that was just as much yours in the city or the country? Is it possible to create songs with built-in nostalgia? Is it possible to pen a brand new tune and lyrics that immediately bring to mind the clouds and tall grasses of childhood, the tortured self-absorption of adolescence? Yes.
And here it is. The poignant but relevant lyrics, tight harmonies, wonderfully jangly stings, and brilliant teamwork of Miller-Kelton, a post-Bush alt-folk/country band from Columbus, Ohio, are reminiscent of that folk trio/duo era I’m always harping on about (see Human Statues, Tab, and JD Miner) and will continue to harp on about as long as I have enough self-possession to indulge my whims.
Julia O’Keefe’s voice is as smooth, powerful, and heartfelt as that of mountain singers I heard at camp meetings years ago—pitch-perfect, resonant, and ripe with holy zeal. Her phrasing is thoughtful and her annunciation is a great vehicle for these lyrics. Her singing has that quality that the Mindful Bard admires more than almost any other in a vocalist: sincerity. She means what she sings and she sings what she means.
I am also put in mind of the odd groups that have brightened my days through the years even though not necessarily falling into the “great albums of all time” category or even any conventional musical movement: Poi Dog Pondering, The Incredible String Band, and one album, Ram, by Paul and Linda McCartney are all prime examples. Like these, Goodbye Cindy just makes it seem like the band was having an incredibly good time, and that’s infectious.
My favourites are “Summerflies,” “Glad to See You’re Pushing Me Again,” and of course the title track, but they’re pretty much all good.
Goodbye Cindy manifests six of The Mindful Bard’s criteria for music well worth a listen: 1) it is authentic, original, and delightful; 2) it confronts, rebukes, and mocks existing injustices; 3) it displays an engagement with and compassionate response to suffering; 4) it inspires an awareness of the sanctity of creation; 5) it is about attainment of the true self; and 6) it provides respite from a sick and cruel world, a respite enabling me to renew myself for a return to mindful artistic endeavour. -- Wanda Waterman St. Louis
Remember those old songs that you used to play to death? The tracks that got you through depressions, breakups, the terrible angst-filled loneliness of youth, the music that was just as much yours in the city or the country? Is it possible to create songs with built-in nostalgia? Is it possible to pen a brand new tune and lyrics that immediately bring to mind the clouds and tall grasses of childhood, the tortured self-absorption of adolescence? Yes.
And here it is. The poignant but relevant lyrics, tight harmonies, wonderfully jangly stings, and brilliant teamwork of Miller-Kelton, a post-Bush alt-folk/country band from Columbus, Ohio, are reminiscent of that folk trio/duo era I’m always harping on about (see Human Statues, Tab, and JD Miner) and will continue to harp on about as long as I have enough self-possession to indulge my whims.
Julia O’Keefe’s voice is as smooth, powerful, and heartfelt as that of mountain singers I heard at camp meetings years ago—pitch-perfect, resonant, and ripe with holy zeal. Her phrasing is thoughtful and her annunciation is a great vehicle for these lyrics. Her singing has that quality that the Mindful Bard admires more than almost any other in a vocalist: sincerity. She means what she sings and she sings what she means.
I am also put in mind of the odd groups that have brightened my days through the years even though not necessarily falling into the “great albums of all time” category or even any conventional musical movement: Poi Dog Pondering, The Incredible String Band, and one album, Ram, by Paul and Linda McCartney are all prime examples. Like these, Goodbye Cindy just makes it seem like the band was having an incredibly good time, and that’s infectious.
My favourites are “Summerflies,” “Glad to See You’re Pushing Me Again,” and of course the title track, but they’re pretty much all good.
Goodbye Cindy manifests six of The Mindful Bard’s criteria for music well worth a listen: 1) it is authentic, original, and delightful; 2) it confronts, rebukes, and mocks existing injustices; 3) it displays an engagement with and compassionate response to suffering; 4) it inspires an awareness of the sanctity of creation; 5) it is about attainment of the true self; and 6) it provides respite from a sick and cruel world, a respite enabling me to renew myself for a return to mindful artistic endeavour. -- Wanda Waterman St. Louis
From "Country Music Jukebox"
Die charismatische Sängerin Julia O’Keefe ist der Dreh- und Angelpunkt der vor gut zwei Jahren gegründeten Band aus Columbus, Ohio. Ganz vorne mit dabei sind die fünf Musiker von MILLER-KELTON in Sachen Folk-Rock/Americana. Sie verbinden auf ihrem Albumdebüt Goodbye Cindy abseits jeglicher Stereotypen authentische Klänge und balladeske Tradition der Appalachen mit inspiriertem, aktuellem Songwriting, großartigem mehrstimmigen Gesang und furiosen Slide Guitar- und Banjo-Grooves. Eine echt hörenswerte musikalische Frischzellenkur.
Loose Translation:
The charismatic singer, Julia O'Keef, has been the crucial point of / key element of the band from Columbus, Ohio for a good / solid two years. The five musicians of MILLER-KELTON are at the very front in causa / in respect of / regarding Folk-Rock / Americana. In their debut album, Goodbye Cindy, they blend / couple the stereotypical authentic sounds and balladesque traditions of the Appalachian Mountains with inspiration, current / to date songwriting, magnificently / superbly harmonious singing / vocals, and furious(-ly crazy) slide guitar- and banjo-grooves. A refreshing musical works truly worth hearing. (frischzellenkur = living cell therapy / revitalized / refreshed...)
Loose Translation:
The charismatic singer, Julia O'Keef, has been the crucial point of / key element of the band from Columbus, Ohio for a good / solid two years. The five musicians of MILLER-KELTON are at the very front in causa / in respect of / regarding Folk-Rock / Americana. In their debut album, Goodbye Cindy, they blend / couple the stereotypical authentic sounds and balladesque traditions of the Appalachian Mountains with inspiration, current / to date songwriting, magnificently / superbly harmonious singing / vocals, and furious(-ly crazy) slide guitar- and banjo-grooves. A refreshing musical works truly worth hearing. (frischzellenkur = living cell therapy / revitalized / refreshed...)
From Indie-Music.com
Pleasant folk-rock with pleasing vocals, banjo, mandolin, percussion, guitar and more. The female vocals are wistful, like Jill Sobule or a less jazzy Norah Jones. The male vocals have a friendly singer-songwriter vibe - the kind of guy you'd like to sit down with in a coffee shop.
"Throws Like A Girl" is definitely the stand-out cut, with quirky lyrics like "Wondering why my neighbor's such a fascist and I still throw like a girl." He never answers that question but you'll be singing along anyway. The banjo is great and I love the harmonica 'cause it gives it all a more rootsy feel.
"Throws Like A Girl" is definitely the stand-out cut, with quirky lyrics like "Wondering why my neighbor's such a fascist and I still throw like a girl." He never answers that question but you'll be singing along anyway. The banjo is great and I love the harmonica 'cause it gives it all a more rootsy feel.
Christian Lamitschka's Country News
Miller-Kelton, das ist eine Mischung aus Folk und Country. Die Musik ist ehrlich und auf ein Minimum an Instrumenten ausgelegt. Die 13 Songs lassen einem vergessen, dass die Welt auch Schattenseite hat.
Loose translation:
Miller-Kelton, a blend/mix/cross of Folk and Country. Their music is honest/sincere and meant/designed for minimal instrumentation. The 13 songs 'allows an unlearning' (helps you forget), that the word also has a dark/shady side.
Loose translation:
Miller-Kelton, a blend/mix/cross of Folk and Country. Their music is honest/sincere and meant/designed for minimal instrumentation. The 13 songs 'allows an unlearning' (helps you forget), that the word also has a dark/shady side.
Live Reviews
Miller Kelton, named after the East Side of Columbus, brings a well polished and lively multi instrumental onslaught. Multiple Instrumentation and multiple vocals bring the "wall of sound" effect. -- "Twang Town Alliance of Central Ohio"
Not only that, but they do a mean cover of "Up Against the Wall Redneck Mothers," which is no mean feat in and of itself. -- Fort Knox
Not only that, but they do a mean cover of "Up Against the Wall Redneck Mothers," which is no mean feat in and of itself. -- Fort Knox
