Carbon Leaf Albums (8)
'Nothing Rhymes with Woman'
Release Date 5/19/2009
Tracks 15
Label Vanguard
See Album Tracklist and Review
What The Critics Say
Long-lived mainstream rock band Carbon Leaf offered few surprises on Nothing Rhymes with Woman. It's a set of dependably earnest tunes, ably paced by Barry Privett's confident and versatile vocals, projecting various shades of hope and regret without succumbing to breast-beating anthemic rock moves. That might be a nice way of saying that there's not much that stands out here musically or is worthy of singling out for uniqueness of vision. At least Carbon Leaf do what they do with high professionalism and integrity, and some variety, even if overall it's pretty average commercial guitar rock radio fare. But it's not a great sign when you have to struggle to pinpoint highlights or noteworthy features, though one of those is a return to the more Celtic slant on rock characteristic of their earlier albums on "Pink." The brooding, slightly swampy thump of "Another Man's Woman" is a welcome break into something a whole lot more sinister than their usual brand of roots rock with a warily uplifting outlook. ~ Richie Unterberger, All Music Guide
'Love Loss Hope Repeat'
Release Date 1/1/2006
Tracks 11
Label Vanguard
See Album Tracklist and Review
What The Critics Say
Pitched somewhere between John Mayer's earnestness and the genial hacky-sack-on-the-quad pop of the Dave Matthews Band, Carbon Leaf have made it to their seventh album on an abundance of sunny good vibes and a relative paucity of genuinely interesting musical ideas. Produced by British pure-pop master Peter Collins (responsible for hits by everyone from Tracey Ullman to Bon Jovi), Love Loss Hope Repeat is utterly faultless AAA-radio pop. There are hooks aplenty, especially in first single "Learn to Fly" and the gimmicky Matchbox 20-style pop/rock of the title track, and singer Barry Privett has a smoothly appealing voice that's the band's best feature by far. However, there's no real spark of personality on this perfectly arranged, pristinely recorded album. The songs are tuneful but bland, the musical equivalent of a chain-restaurant pizza: tasty and comfortingly familiar (and no doubt quite handy to have around the dorm when the munchies strike), but completely forgettable. ~ Stewart Mason, All Music Guide
What The Critics Say
With Indian Summer, Carbon Leaf takes the leap from "America's preeminent unsigned band" to a member of Vanguard Records' roster. Hailing from Richmond, VA, vocalist Barry Privett, multi-instrumentalist Carter Gravatt, bassist Jordan Medas, drummer Scott Milstead, and guitarist Terry Clark concoct a solid pop/rock sound filled with lots of acoustic and electric guitars and good harmony. The opener, "Life Less Ordinary," reveals that despite Carbon Leaf's D.I.Y. background, the band is quite capable of making radio-friendly tracks. Even with a large arsenal of non-pop/rock instruments -- mandolin, lap steel, and bouzouki -- the overall blend works in accord with the vocals on catchy tracks like "What About Everything?" and "Raise the Roof." The instrumental firepower also gives the band and producer John Morand lots of elasticity in matching the arrangement to the mood of each song. There's the nice acoustic underpinning of "Let Your Troubles Roll By," the heavy guitar work on the bridge of "Changeless," the guitar runs and steady backbeat of "This Is My Song!," and the heavy bass that anchors "Grey Sky Eyes." Of course, none of this would work so well without good vocals, and Carbon Leaf is blessed with more than one good singer. A solid entry into the mainstream, Indian Summer seems to promise more good things from Carbon Leaf. ~ Ronnie D. Lankford Jr., All Music Guide
What The Critics Say
Celtic and jam band aesthetics merge to create a meandering, somewhat monochromatic impression throughout this live double-CD set. The first is the lesser element; emerald accoutrements pop up rarely in these largely acoustic mixes, and when they do they seem more decorative than essential. It would be easy, for example, to erase the prominent tin whistle part in "Wandrin' Around" without substantially affecting the song's integrity or impact. No vibrato and not much dynamic expression infect the solo and harmony vocals; even on the a cappella studio-recorded "Gloryland" the rustic Appalachian echoes come across as correct but somewhat bloodless. The band, similarly, purrs contentedly, revealing no rough edges and betraying few outbursts of passion. (The arco bass solo and snappy hand percussion that kick off "American Tale" offer stimulating contrast to this otherwise mellow flow.) Even the audience seems pretty sedate, silent during the music and warmly appreciative, though not exactly hysterical, between tracks. With plenty of familiar titles from previous albums, 5 Alive! offers comfort to the converted and something less than that to newcomers. ~ Robert L. Doerschuk, All Music Guide
What The Critics Say
Carbon Leaf's earlier works showed the potential for Echo Echo, and here it is, realized. All the practicing, the effort of traveling to perform, all the work of developing original material comes together here. How they've grown since the first glimmerings on their debut album, Meander! Echo Echo is stellar. This is Carbon Leaf's own distinctive sound, matured, polished, and skillfully presented. The five band members have developed themselves into fine, strong musicians -- talented, assured, and each well versed in his respective specialties. They do themselves proud, here, and listeners will be glad of it. Their opening song catches the ear right away. Don't let its title -- "The Boxer" -- fool you. It's not a cover of the earlier Simon and Garfunkel song, it's a whole new original composition of theirs, and deserving of a lot of airplay in its own right. When they get guitar, mandolin, bass, and percussion going, and then add grace notes of tin whistle and bells, it's outstanding. One listen is all it takes to get people wanting the album. This is a must-have. You can tell they like the traditional tongue twister Mary Mac also, because here it is again, and this is their best version yet, a rollicking race through the heather. It's a reflection of the Celtic side of their roots, yet make no mistake, Carbon Leaf is much more than just a Southern Celtic band. They synthesize their influences and inspirations, add a lot of personal creativity, and produce a sound that's now all their own, and well worth waiting for. They mellow it down on "Maybe Today," a peaceful, dreamy Sunday afternoon sojourn that shows their more subtle and balladic side, then brightens to a vibrant instrumental variation, and finally softens again. At ten minutes and 29 seconds, some listeners might perhaps find this one just a bit long, but others will enjoy the thorough exploration of the possibilities. There's skill involved in getting the tin whistle right, so it's full bodied and lilting, but not shrill, and Barry Privett does well with this on "Desperation Song," adding to the distinctive mesh of sound that Carbon Leaf creates. Also gotta love Carter Gravatt's lucid mandolin, enriching the dependably excellent guitar and basslines from Terry Clark and Jordan Medas. Scott Milstead's versatile percussion accents it all, and when they weave it together and then kick it into high gear, it's melodic, rhythmic, danceable, and downright splendid. Barry Privett has come into his own, lyrically, as well -- there's less surrealism this time, and more poetry, more heartfulness, more poignancy. "Toy Soldiers" conveys the transition time between youth and adulthood with a series of images like glimpses through a lighted window on a winter night. Back this with a rocking beat, as they do, and include a fine soaring bit of whistle work, and they've got another winner, oh yes. As a note, Carbon Leaf gives energetic live performances too that are well worth attending. But if they don't have a gig in your area, grab a copy of Echo Echo and listen to your heart's content. The quality shines through on it. Whether casual listeners or devoted Carbon Leaf fans, just about anybody who likes original music will find songs to enjoy here. Savor it fully, and hope to goodness for a follow-up with more of this exemplary material. ~ Murrday Fisher, All Music Guide
'Ether-Electrified Porch Music'
Release Date 1/1/1999
Tracks 12
Label Constant Ivy
See Album Tracklist and Review
What The Critics Say
Like okra, Carbon Leaf is a Southern-style acquired taste. Still, by the time they released Ether-Electrified Porch Music, they're having moments that can and do inspire listeners to become fans, as on "American Tale." Sometimes it takes repeat play to get into the sound, but they have a way of growing on their audience, and getting listeners to like them. "Blue Ridge Laughing" has Barry Privett's characteristically surreal lyrics, and a catchy chorus, on one of their more laid-back songs. In their less developed efforts, Carbon Leaf is still working on shaking the jam band-trying-to-make-good image, and they can be a bit repetitious, as on "Aurora." "Clannanhide" is another cut that still could use more work on becoming clearly defined. "Nowadays" tells the tale of 20-something loneliness, as old friends marry and go away, so they do sometimes perform songs that are more than word collages of pleasing sounds. In other cases, what they have is enjoyable, like with "Home." The second half kicks in and really rocks -- if only they'd have gotten to that a bit sooner. Hang in with this one until the tempo picks up, and right there, Carbon Leaf starts realizing some of their potential. "Ordinary Eyes" is another one to their credit, with some interesting tempo changes. Fans may want to compare this version with their live performance on the EP American Tale to see which version they like better. Overall, the good news is that they've matured quite a bit since the release of their earlier album Meander, and the addition of Jordan Medas' bass playing is a definite plus. Ether-Electrified Porch Music is an encouraging addition to Carbon Leaf's albums, and worth picking up a copy. ~ Murrday Fisher, All Music Guide
'Shadows in the Banquet Hall'
Release Date 1/1/1997
Tracks 11
Label Constant Ivy Music
See Album Tracklist and Review
What The Critics Say
Carbon Leaf returns from Richmond, VA, with their follow-up album, Shadows in the Banquet Hall. The lyrics are often complex in this collection and are challenging to catch on first listen, so it's good that they include the words with the CD. Listeners will find some cuts, like "Reunion Monticello," a lot more comprehensible when they read the lyrics as they play the song. Of particular note is "Attica's Flowerbox Window," about a woman who first asks politely that her wish for a view be granted, and then, having been summarily denied, sets out with sudden decision to build it herself. With her own efforts attracting the attention and support of friends, the project is triumphantly completed. The song is a celebration of the breaking of conventional boundaries, and is definitely well worth repeat play. Barry Privett's skill at rapid-fire delivery is increasing with every album, and the instrumentalists -- Terry Clark on guitar, Carter Gravatt on mandolin, Devin McGuire on bass, and Scott Milstead on percussion -- weave a mix of sound to support it. The overall production is definitely a team effort, with each player enhancing the performance of the others. Listeners with an ear for the lyrics will notice that Privett has a series of images and themes that reoccur in his songwriting. The phrase "Shadows in the Banquet Hall" is included in "Come Again?" and then later on in "Toy Soldiers" on Echo Echo. The phrase "Whittle away" is in "Home" and later on "Mellow Tone." The theme of going home surfaces over and over again in "Dusk" on this album, "Home" on Ether-Electrified Porch Music, and "Mellow Tone" on Echo Echo. He even talks, in "Wolftrap and Fireflies," about how "The image sticks like glue to me," querying, "Is this to make some sense, some evening?." And while the sense is occasionally surreal in this album, when the images are juxtaposed in quick flashes, as on "For the Girl," the overall effect is thought-provoking, even when listeners have to think fast to keep up with it all. There's still places where a bit more work will help, as on "November (makebelieve)," where at the start, the instrumentals swallow up the vocals. Yet considering the work as a whole, the progress they've made since Meander is evident, and quite encouraging. So while this earlier work of Carbon Leaf's still had a few rough spots where a bit more polish would help, it's still an effective step on the journey as they grow into their full musical abilities. Fans will want a copy of this album to go along with Ether-Electrified Porch Music and Echo Echo. Keep an ear on Carbon Leaf -- they're creative, and they keep getting better. ~ Murrday Fisher, All Music Guide
