The internetz is a really cool place sometimes. I can work from home every now and then (read as: “catch up on e-mail while watching the news cycle on MSNBC”), I can think about ordering a really cool pullover like the Indians were wearing in the postseason (cough-cough-christmasgiftidea-cough-cough), and I can search Craig’s List for a used Weber grill.

Chalking another one up for the internetz, I managed to get my hands on a legal pre-release of the upcoming Steven Delopoulos album, Straightjacket. The rest of you will have to make time between 2nd and 3rd helpings of deep-fried turkey (or a piece of turkey-shaped tofu, Jake) to download the album straight from Steven’s website. I can definitely tell you, though, that making that 2nd slice of pumpkin pie wait a few minutes as you watch the internetz work its download magic will be time well spent.

For those of you not familiar with Delopoulos, he’s the vocals of the Dove Award-winning band Burlap to Cashmere, which may or may not be defunct. Regardless, Delopoulos transitioned into a singer/songwriter and released his first solo project, Me Died Blue, in 2003 (I think). There was something so fluid and neat about the album, but his voice and unbelievable guitar stood in strong contrast, offering a raw feel that instantly transformed the room into a dark coffee shop, listening to a friend pick and strum away. That connection instantly gained Delopoulos a fan, so it was with great anticipation I awaited the new album.

The EP, Work To Be Done, can still be downloaded from Steven’s website and it may just be the perfect mix of his work (two live Burlap tracks, two tracks from Me Died Blue, and most importantly, two tracks from Straightjacket). The songs Work To Be Done and and She Held My Hand were perfect nuggets of anticipatory gold when the EP was released, and I still believe they are the strongest songs on the full album. The lyrics, vocals, and guitar accompaniment all flow together, standing out while simultaneously not overpowering one another.

The full album, while not as strong as Me Died Blue, still carries the remarkable talent and connectivity that led me to embrace the first album (and, of course, Burlap way back when). There are just small issues that throw me off, like the Gregorian chant background in the first track, Ruin of the Beast, but those issues are few and far between. I think the song stands strong on its own, but perhaps there is more meaning to the chants than I know.

The more and more I listen to it, the old school spiritual sounding May I Always Keep My Feet Upon the Ground may eventually take over the coveted “favorite track” position. It’s somewhat perplexing to hear the distinctively Greek-sounding Delopoulos backed up by a clapping choir. In my head I picture a soulful, shimmery robed black choir leading me in worship on a sunny fall day in a small church and I start to get lost in the music again. I really, really like that feeling.

Overall, it feels like Delopoulos stepped a tiny bit away from the comfortable singer/songwriter schtick, incorporating unique background accompaniments and a slightly different sound. I think he succeeds in staying mostly true to what connected him to that “friend playing in a coffee shop” feel, but the experimenting is still in need of further development. When he adds background strings to songs like Fire Away, he hits the mark head on and creates a lush, full, moving music experience. The piano intro to Open Your Eyes tees up the song and catches your attention, setting you up to sway and hum along with the simple melody and get lost again.

What I’m thrown off by, though, are songs like the aforementioned Gregorian chant-filled Ruin of the Beast, and the somewhat out of place, Halt. I’m not sure exactly what’s going on in Halt, but it just doesn’t feel like it belongs on this album, or at least, not between Open Your Eyes and The Dancer. I know record labels now want us to listen to songs, not albums, but I guess I’m still a little old school when it comes to listening to full albums as a piece of musical art, and Halt just stands in contrast of an otherwise strong body of work.

Speaking of The Dancer, the final track on this album really wraps up the entire project in the bread and butter that made Delopoulos stand out among singer/songwriters. I don’t know who is accompanying him on this track (sounds a little Emmylou-ish), but the mix of the voices and guitar gives me goosebumps. Definitely a gem hidden at the end of the album.  (so, apparently it’s Derek Webb’s wife, Sandra McCracken, that is singing harmony on The Dancer.  That’s pretty neat considering the first time I saw Delopoulos play he was sandwiched between McCracken and Webb.)

So, I’m almost three years behind with this, but there is no way I could pass up throwing my thoughts onto the heap of praise that already exists for Lonely Runs Both Ways, the Grammy-award winning album from Alison Krauss & Union Station.

I remember when it came out, I was pretty fresh in my role with Admission Possible with a very, very low cash flow, which meant buying the album would have to be put on hold. AK&US had put out a pretty huge number of albums already and I figured this would just be another quality record, but nothing so special that it required giving up a few Grain Belt Premiums with my commie friend Jake. Looking back now, I can do nothing but scratch my head and wonder what I was thinking. Why was I friends with that chucko and why did I let him convince me to drink Grain Belt?!

The album starts out with your typical blend of Krauss’ unique and soulful voice, and quickly blends with the instrumental prowess that has come to be expected from Union Station. Their cover of Woody Guthrie’s Pastures of Plenty makes me giddy and makes me feel like it should have been included in O Brother, Where Are Thou? (AKA: one of the greatest movies ever made).

The entire album from start to finish is so solid, the amount of accolades and awards compiled is unsurprising, but could have easily been so much more. It’s kind of sickening to see the amount of talent within AK&US and know that they will never share the mass media coverage and consumer appeal that so many other talent-less hacks seem to be given. I suppose this means I’m getting old. Pretty soon I’ll be yelling at kids to stay off my lawn and complaining about soup.

All this to say, I wish I could have found this album almost three years ago when it came out, but I’m glad Derek left his cds at my house so I could rip it onto my computer.