Matt D'avella

Inevitably, there's some symbolism implied when an artist, after years of lurking behind a semi-obscure pseudonym– head down, eyes averted, shoulders squeezed and high– puts out a record under his common name. Former Third Eye Foundation principal Matt Elliott has spent most of his recording career as a modish UK hipster in a dark disguise: thus, the leap from "Third Eye Foundation" to "Matt Elliott" should involve a nice dose of lurid confessionalism, some newfound honesty, a running-around-naked-in-daylight reinvention of self. Right? Hey, turn this car around! Someone left the personal catharsis at home! The Mess We Made, Matt Elliott's proper debut as Matt Elliott is, at least atmospherically, just as shadowed and sinister as his late, orchestral Third Eye work.

Unbridled joy springs eternal from Halfway Home by Morning. Recorded live off the floor in Nashville, Tennessee, celebrated songwriter Matt Andersen's tenth album collects all the essential elements for a down-home ramble and shoots them through with enough electrifying energy to drive the rock 'n' roll faithful to simmer, shimmy, and shake. Over it's lucky 13 tracks, he explores every facet of his sound-sweat-soaked soul, incendiary rhythm and blues, heartbroken folk, and gritty Americana-and binds them together with palpable heart, as the band leaves everything they've got on the sweet old hardwood of the Southern Ground studio, in the same spot that legends like Neil Young, Emmylou Harris, and Jerry Lee Lewis turned up the volume 'til it couldn't go up anymore. Halfway Home by Morning is the sound of an artist doing what he was born to do.

Matt Monro was a regular feature of the British singles charts between 1960 and 1965, after which he had only one other UK hit (And you smiled, a top thirty entry in 1973, not released on an original album, only on compilations). Despite the lack of hits, Matt's music remained popular with adult audiences. So there are none of Matt's own hits on the two albums presented here, but you'll find plenty of familiar (and not-so-familiar) songs via Matt's covers of pop songs from the sixties and early seventies, as well as older songs from the Great American Songbook.

Matt Andersen's eighth studio album finds him featuring his own songwriting skills, and also his versatility, as the award-winning Canadian guitarist shows that there's more to his sound than the blues. Produced by Steve Berlin, Weightless branches off into R&B, reggae, and rockabilly rhythms, and with Calgary guitarist Paul Rigby on board, it's less about soaring guitar leads and more about tight, scrappy guitar arrangements that make this arguably Andersen's best, broadest, and most commercially accessible album.