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After the Storm Michael Stacey MSP Records, 2002
Buy it online
Reviewed by Lincoln Cho
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The term "indie" gets thrown around a lot in the music industry. Quite often it's misused, implying a specific type of music that is closer to what gets marketed as "adult alternative" than anything else. Reviewers describe an "indie" sound and the "indie" scene and, whatever those things are, they don't have have anything to do with Country, new or otherwise. And all of this is a little bit silly because, of course, "indie" when applied to music truly means "independent" as in independently produced and distributed and not under the auspices of mega-giant music publishing company with barrels of cash. It follows that in the set of circumstances that spawns an "indie" anything can happen in any genre, at any time. "Indie," in the most modern context, often also implies a high level of innovation combined with a not-quite-ready-for-primetime-but-nearly-so quality. This latter quality, in fact, is what separates the "indie" act from those too rough or untalented for mass market distribution. This, too, can occur in any genre. What's delightful about keeping an eye on the indie scene, no matter what the genre, is that it allows you to catch wind of strong talents in the early stages of their careers and to subsequently watch as they tighten up their act, sign their desired deals and head for the limelight. Country performer Michael Stacey strikes me as one of those that warrants close watching. Stacey possesses all of the disparate pieces necessary for Country music stardom... with the notable exception of a recording contract. Not only does Stacey have the cleft chin, clear blue gaze and well-developed upper torso desirable in the male Country music star, on his first album, the independently distributed After The Storm, Stacey demonstrates talent in all the right places. On After The Storm he proves himself to be a solid performer and a very good songwriter. If his vocal talent is somewhat limited, it's a limit he seems to have an understanding of. Most of the time he doesn't aim too high with the high notes and if a little more restraint could be beneficial on the choruses of various songs, this is likely something he can learn. Vocally, Stacey pushes it a bit on After The Storm, notably on the chorus of "Blu Tornado," an otherwise touching ballad penned by B. Millar and L. Alderman. Stacey handles himself credibly enough on earlier versions of the chorus, but on the final most rousing rendition, the vocally limited Stacey is in a little over his head. It all comes together on "Okay." Stacey manages some pretty harmonies with his backup, and somehow the chirpy little ditty seems perfect for Stacey's signature vocal stylings. An upbeat song that is one of those where you find it impossible to keep your foot still while listening. Interestingly, Stacey is closest to hitting his stride on songs written or co-written by Shane McAnally, whose approach to country is more middle-of-the-road than what Stacey exhibits on After The Storm. Certainly this was the case with McAnally's superb but under-reviewed 2000 album, the self-titled Shane McAnally. McAnally contributes to fully half of the writing on After the Storm and it is some of the strongest material on the album, as well as the most suitable for Stacey's particular style of voice. All in all After the Storm is an
entirely worthwhile album, if only for the future promise
that it holds. Stacey is one to watch: don't underestimate
the power of a chin. | April 2002 |
Tracks 1: Highway
41
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