Thanks to Ken Shimamoto for his review of Westward:

Kavin.'s Acoustic Church's Westward
By Ken Shimamoto

Kavin Allenson's a guitarist from Burleson who hit the boards in 1998 after 25 years of playing, was a semi-finalist in a B.W. Stevenson songwriting contest in 2000, played in an acoustic Pink Floyd tribute band (!) with Glenn Milam from 2001-2004, and released a CD, Texas Tonefreak, in 2006. Since then, he's pulled tight with estimable Fort Worth axe-slingers like Darrin Kobetich and Bill Pohl (their next three-way collision takes place at Hip Pocket Theatre on September 7th). Back in February, he took part in the RPM Challenge, writing and recording an album in a month. The result is Westward.

Kavin's saturated with classic rock influences – the Eat A Peach-era Allman Brothers in particular come to mind, listening to the spacey layers of leisurely, melodic guitars – and the masterwork of Leo Kottke (sometimes very literally; listen to "John's Rag" and tell me which song off 6 and 12-String Guitar it reminds you of). The opening "Hippolyte" showcases his strengths – rolling fingerpicked patterns on a crystalline-textured acoustic, supporting a lilting slide line that recalls the pedal steel part from Thunderclap Newman's "Hollywood Dream" (if anyone in the 817 remembers thatun).

The title track has Kavin singing in a serviceable guitar player's voice over interlocking guitar parts like Duane 'n' Dicky might have played, except for the flanging. (Full disclosure – he gave me a songwriting credit for part of the lyrics.) The Indian-flavored "Climbin'" (with percussion accompaniment from Phil Waite) has the same rhythmic feel as Darrin Kobetich's "Playing In the Hedges," but wedded to a lighter harmonic palette. The solo guitar piece "Eulogy: February 5th" is somber and lovely.

Things start to get really interesting with the next couple of tracks. I'm not even certain how the sounds on "Sunwind" were generated – something to do with a slide, perhaps -- but they create a lysergic sci-fi atmosphere that's quite striking. "DrumznBass" is a showcase for drummer Waite and bassist Eric Allenson, with Kavin presumably providing the weird electro-F/X. Finally, "Runnin' Out of Time" is a down 'n' dirty blues with a gruff vocal from Kavin that recalls Mark Knopfler, and more carpe diem lyrics.
All in all, not a bad month's work from a fella who clearly loves to play and does it well.


Here's Michelangelo's review of "Westward", from the RPM Challenge boards:
Kavin's Acoustic Church
Album: Westward

Hippolyte
Great little finger picking tune with a slide guitar part. Instrumental two part song. Kicks ass. The finger-style switches between an fast arpreggiated chord and some full strumming. The two parts work well together but I'd like to see some mixer work here. The slide needs to be louder in certain parts.

Westward
This is the title track that is three parts guitar and one part vocal. Again we have the slide guitar that at times sounds like a steel guitar. This is a dreamy piece on the slide where the slide and lead work together. Great vocals that need to be a little louder -- no reason for them to be back there so far. The rhythm guitar is a little loud. But this is a great song.

Decent Descent
Guitar solo finger-style on the acoustic electric at first. Nice work on this instrumental. This is the same style of fast arpeggios with the lower strings sustaining beneath faster chord work in the high end. Another guitar and the slide joins again later. The theme I'm catching in all this work is the amazing connection between the guitars. They really fit together. Love the harmonic ending.

Fly to the Sun
This is an AWESOME track. My favorite of the non-instrumentals. Getting the message of the words but once again, the vocals are too low and often get lost in the guitar work. Really, really good piece that has that great guitar combination again especially in the break. Only thing I might do differently is put less separation on the guitars -- rhythm is too far left. That works on the instrumentals but here a little less width.

Climbin'
The first picture my gal ever sent me was a photo she labeled "Climbin'" -- and that's special so this song can't possible live up to that memory the title invoked. But wait .. WOW! This is a great instrumental and the first one featuring percussion. This is a great instrumental with a great beat on some interesting drums. Starts with Adrian Legg like feel on a solo acoustic electric but then picks up a beat and gets cooking. The dum kit is too low in the mix - I'd like to hear some dripping reverb on that crash.This is a MUST listen instrumental.

Eulogy: February 5th
I know the story behind this song as it was announced in a blog. But even without that you can hear this finger-style solo piece is a tribute. It has a somber feel. Slower tempo, great work on the 6-strings. Seems a little rough. Could use some engineering I think to separate the lows and highs and achieve a better balance. But I get the feeling this song is supposed to be a "natural" sound -- one with less engineering and closer to a live feel. And I think that works. Only complaint is, sequence. Coming off "Climbin'" this has a definite downer feel.

John's Ragg
More flowing guitar eloquence that works nicely between a strumming mode and picking mode. Solo piece I think but done so well there are times I think there's two. Has the feel of a Steve Howe piece after his Yes days. Great little motif carried high then low and uses the feedback well. More countryese then the other instrumentals. Nothing bad to say here at all.

Sunwind
Change of tone here with a wild sounding delayed guitar work that is abstract. This one is smack dab up my alley as for the kind of experimental work. The overtone in the delayed reverb creates this wailing sound on the high end. Experimental, eerie, but totally interesting. Great example of playing with the effects as the feature of the song. I'm feeling this one -- nice ride. Great ending -- like to see that final sound held out long with a ridiculously fat delay.

DrumznBass
As it says, just the bass and drums. Since I come from the didj and drum school of thought I thought I'd be all over this one -- but it just doesn't carry it for me. It has its moments for sure, especially when it breaks into the effect run at about 1:10, I think there's way too much reverb on the drums. And for me, the drums are a little sparse for a bass and drum piece. Pulse chamber would be great for the drums here with a switch to reverse pulse in the effect runs. Love to see a faster tempo to get that drum sweating. This is my personal preference -- I think this song came exactly as intended -- just not my style.

Runnin' Outta Time
Blues piece with great guitar work again. Good gravely blues vocals fits well with a dry little slide part. Great stereo width here, perfect balance with the main rhythm picking with lows left and highs right with mids spread across the whole width. Great feel. Solid blues work.

Overall
Excellent work. This is a great listen and if you're a guitarist it's even better. This guy can play. Great album. My biggest complaint is the song sequence doesn't flow and the vocals, which are fine, seem meek in the mix on two of the songs. But these are such small issues, I struggled to find anything wrong with it at all (worse thing is, this guy is coming to the listening party and I think I need to stay home now cause I can't compete.)

This album is six-string greatness.





Thanks to Tobias Reese for writing a review of my March Borders gig:


Kavin. (yes, that's Kavin with a period) describes his playing as "eclectic acoustic" or sometimes "turbo acoustic". It embodies elements of folk, rock and blues, utilizing both 6 and 12 string guitars. His original songs include historical themes, science fiction, family, and personal experiences.
Kavin. is a finger-style guitar player, singer songwriter of Ft. Worth Texas.
He has been performing at the Borders Books and Music in Burleson on the 3rd
Friday for the last 2 years. I was lucky to be a part of Kavin.'s March performance.
In jeans, a casual pull over shirt, and barefoot, he cradles his guitar like a babe...maintaining a dialogue between the intended mechanics of each song and the surprises his babe insist on putting forth. His manner- like his voice- is modest, smooth, and unassuming. I had a wonderful time watching and listening as Kavin. led each song tenderly forward. His delivery, sincere with each syllable, seemed to be a comforting feature to those present. At times his pieces were invigorating, often passionate but never heady, melodramatic, or self absorbed. Beneath Kavin.'s salt pepper hair, behind spectacles, one glimpses a man with a youthful spirit, a young compassionate heart.
His songs fall within themselves stylistically though beyond themselves melodically. Within them is a fusion of delay effect and finger-style logic that gallops into each phrase with seamless poetic precision; you hear one song and it is as if it has always existed. You won't get Stan Getz meets Lenny Breau from Kavin. His voicings and harmonic structures are more in the vein of an ambient Jerry Reed meets an eclectic Jelly Roll Morton. Kavin. -by virtue of his humility- has achieved that much coveted prize of discovering himself and thereby sounds unique.
Within two 45-minute sets, Kavin intertwined original songs with covers that spanned a diverse musical language. Whether playing an old Robert Johnson song or reconfiguring a Genesis track, his arpeggiated sustain style bore witness to his nickname "ToneFreak". One particular cover that stuck out for me was the mysterious, rousing Jimi Hendrix "Voodoo Chile". This captivated me. Keep in mind that Kavin presented this on an acoustic. In doing so, he exhibited his understanding of the abilities and differences between acoustic and electric. Few others could have delivered "Voodoo Chile", full on with rhythmic slaps on the body of the guitar, wrestling with the stylistic differences of the original without compromising the magic of this classic. Kavin.'s rendition didn't attempt to emulate, but instead focused on the lyricism of the song, bringing to the forefront the beautiful subtleties offered from his acoustic. This is not to mention his vocal dexterity and well-rehearsed control. Some artist try so hard to manipulate their natural voices that a lonely night in an empty karaoke bar seems inevitable. Kavin., however, sings maturely and powerfully and though he does take chances with breathy effects and octave juxtapositions, never does he come across as a delusional ham. I was left eager to hear more of his interpretations of classic songs.
For you guitarist out there, you will learn much from observing his set and you will be inspired by his rapport with the instrument. He plays within the old vernacular of finger-style, where fundamental bass lines support chord changes, where nimble fingers of the right hand pick and strum to suit sensible note groupings. His confident and solid fingering on the left hand support the conclusion that he knows what he is doing.

Among Kavins' originals, one of my personal favorites is "Over the Falls". Over the Falls" on surface level is a song about Annie Taylor, whom, in 1901 was the first person to conquer Niagra Falls in a barrel. Kavin. unfolds his song as a parable about living your dreams regardless the cost. And at presicely 8:50 Kavin gave the introduction and those in attendance were treated to a very nice presentation of this beautiful song. Its' charm grows each time I hear it.

Another original, Kavins' recent song " Wildflower Way", was inspired by a Fort Worth Star Telegram article. It highlighted activist/author Jarid Manos and his efforts to preserve 2000 acres of untouched prairie in Fort Worth from being sold off to developers by the Texas Land Office, and subsequently being destroyed. The land is located between Benbrook lake and Old Granbury road.
"After reading the article" Kavin. writes on his myspace page, "I drove down Old Granbury road, and was shocked at the amount of recent development, and how much damage has already been done. The lyrics are taken mostly from the descriptions of features, past and present from the area, in the article. The title "Wildflower Way" is a street name taken from one of the new housing developments."
(Since Kavins' performance, I recently heard Jared speak at the Ft. Worth Contemporary Arts Museum, he has a convincing and important issue to tackle. But I digress…)
Point here is this: Kavin., as a songwriter, guitarist, singer, or composer is also a naturalist, a conscientious individual concerned for the soul of mankind, and this shows with every musical nuance of his being. I recommend to the musician and non-musician alike to seek out a show of Kavins'. When you do, write to me and tell me that I am wrong about him… I suspect that my inbox shall be empty for quite some time.- Tobias H. Reese.
.

Kavin. now has a podcast on iTunes, via alonetone.com. You can subscribe (free!) and hear the latest ejecta from the Tonefreak Sound Lab.

Kavin.'s podcast

My new song "Wildflower Way" came about as a result of a Fort Worth Star Telegram article. It highlighted activist/author Jarid Manos and his efforts to preserve 2000 acres of untouched prairie in Fort Worth from being sold off to developers by the Texas Land Office, and subsequently being destroyed. The land is located between Benbrook lake and Old Granbury road.

After reading the article I drove down Old Granbury road, and was shocked at the amount of recent development, and how much damage has already been done. The lyrics are taken mostly from the descriptions of features, past and present from the area, in the article. The title "Wildflower Way" is a street name taken from one of the new housing developments.

Please visit the Great Plains Restoration Council website, and do what you can. If we ignore rampant development (and I've seen it too, here in Burleson), one day we will wake up to see everything "paved over to make us a road to the almighty dollar bill".

What is Life?
It is the flash of a firefly in the night
It is the breath of the buffalo in the wintertime
It is the little shadow which runs across the grass
And loses itself in the sunset...

-Crowfoot, last words 1890