Atlanta Music Guide

Win Tickets to See Cold Cave @ 529, February 11

2010-02-03T17:17:36-05:00

Dark, synth-driven electro-rockers Cold Cave are coming to Atlanta for a show at 529 on February 11. And we've got a couple of tickets to give away to one lucky winner. Check out their incredibly cool video for "Life Magazine," above and then email us at win@ticketalternative.com with "ColdCave" in the subject for your chance to win, or you can buy the tickets at Ticket Alternative.

Get Ready for The Atlanta Mess-Around @ The EARL and 529, April 23-24, with Gentleman Jesse, Carnivores and More!

2010-02-03T13:15:13-05:00

Douchmaster, Rob's House and Triple D's are bringing back The Atlanta Mess-Around to East Atlanta for an incredible lineup of local artists and beyond. There are a few two-day passes available, which include both EARL shows and a Saturday matinee at 529.

Here's the crazy-cool lineup:

Urinals
Reigning Sound
Davila 666
Gentleman Jesse & His Men
Ty Segall (solo set)
King Louie's Missing Monuments
CoCoComa
Wizzard Sleeve
GG King
Predator
Woven Bones
Barreracudas
Bad Sports
The White Wires
Carnivores
Customers
Georgiana Starlington
Games
Bukkake Boys
Ralph

Buy your tickets now at Ticket Alternative.

500 Songs for Kids Return with Greatest Era-Defining Songs of All Time; Looking for Bands to Perform

2010-02-03T13:00:07-05:00

There isn't a better event in Atlanta to enjoy some unique performances of favorite songs by exciting local artists to raise money for an incredible cause than 500 Songs for Kids. The event is coming back to Smith's Olde Bar on April 29 for a fantastic week of bands and singers performing ... The 500 Greatest Era-Defining Songs of All Time. And they're already looking for bands to perform - so all you musicians, click here to sign up. We can't wait!

CD Review: Ellis Paul -- The Day After Everything Changed; Playing Eddie's Attic February 5 and 6

2010-02-03T10:32:06-05:00

Ellis Paul
The Day After Everything Changed
Black Wolf Records

By Al Kaufman

Boston's Ellis Paul has been writing contemporary folk for almost 20 years. You don't do that by just strumming a guitar and acting all sensitive. Paul is a gifted, poetic writer with with a flair for crisp melodies. His voice, which resembles that of Del Amitri, is light and clear.

The Day After Everything Happened came to be after Paul was able to raise over $100,000 from fans at concerts. He then called up old friend, Sugarland's Kristian Bush, to write some songs. The result is an album with a bit more of a southern country flavor than some Paul fans may be used to. The man who used to pay attention to the little details of life now paints in broader strokes. His music, too, has more of a wide open sound, like some of Sugarland's bigger hits with the twang toned down. The songs are polished and clean, but not to the point of sterilization. Yes, this is undoubtedly Paul selling out, but it sounds good anyway. Grandiose songs like "The Lights of Vegas" sometimes fall over into the overblown realm of bands such as Live, but more often than not, Paul stays on the right side of cliche.

"Hurricane Angel," his obligatory Katrina song, offers nothing new as far as these songs go. It's about a guy who got stuck on his roof, got out of town, then couldn't afford to pay his bills. But the piano sure is pretty, and the story, no matter how many times it has been told already, still rings true. And if "Once Upon a Summertime" doesn't bring a smile to your lips, well then you never dated anyone in high school. His medley of Patsy Cline's "Walking After Midnight" with Sam Baker's "Change" somehow ultimately works (it's touch and go there at the beginning). His insertion of "Change" modernizes the Cline classic, and makes his poppier melody, complete with trumpets and trombones, understandable.

Paul ultimately is a singer/songwriter. He writes and sings of people's little joys and major disappointments. He believes in the people he sings about. The people here are not as detailed as some in the past, but they seem just as real.

Ellis Paul plays Eddie's Attic Friday, February 5th. 8:30 p.m. $18, and on Saturday, February 6th, 11 a.m. (family show) $5.

Q&A: John Douglas of Ten Story Relapse; CD Release Party @ The 183 Room at Legends, February 13

2010-02-02T17:34:06-05:00

Stylistically diverse Atlanta rockers Ten Story Relapse have chosen a unique way to celebrate the release of their fifth CD, the intriguingly-titled Buddha & The .38. They’ve decided to combine that achievement — which also happens to coincide with the band's 10th anniversary — with a one-night-only art exhibit hand-picked by Atlanta legend Fay Gold and a benefit for The C5 Youth Foundation of Georgia. TSR’s dynamic vocalist John Douglas sat down with Atlanta Music Guide to discuss the band’s interest in the C5 organization, the new CD, and the secret of playing with the same musicians for 10 years.

How did you become involved with The C5 Youth Foundation of Georgia?

I found out about them about a year and a half ago through a mutual friend and I was just so impressed with the work they do, I wanted to help out in some way. I’d worked with some charitable organizations before, but I’d never seen the dedication these guys have.

What does C5 do, essentially?

They have a five year program that gives kids opportunities and tools to overcome challenges and obstacles that would otherwise be difficult to overcome. About 300 kids are nominated every year and only 70 get accepted, but they have a 95-percent college acceptance rate, which is pretty amazing.

So, what can people expect musically from Buddha & The .38?

Musically, it’s all over the map; it goes everywhere but it still sounds like “us.” I really think we’ve hit our stride in terms of collaborating as a five-piece and that’s what I’m really excited about. Thematically, a lot of the songs seem to be about being “in the moment” and trying not to get so bogged down with all the external stimuli out there.

Has it been difficult staying together as a band for 10 years?

Not really, because our only real goal has always been simple: can we make interesting music together and still be friends? If the answer is yes, then we’re happy.

$25 general admission tickets for this all-ages event, sponsored by Agave Restaurant, Fay Gold Gallery, Zip Car Atlanta, Cuervo Liquors, and Paste Magazine, are available at Ticket Alternative (the $50 V.I.P. tickets are sold out!) and include admission to the show and an autographed copy of Ten Story Relapse’s brand new CD, Buddha & The .38.

CD Review: Packway Handle Band — What Are We Gonna Do Now?

2010-02-01T17:04:01-05:00

Packway Handle Band

What Are We Gonna Do Now?

Self-released

By Scott Roberts

You have to admire the tenacity of Athens’ Packway Handle Band. For nearly 10 years, this hard-working quintet has been one of the only purveyors of traditional (well, mostly traditional) bluegrass music in a town known more for its art- and dance-rock, and on their fourth full-length CD, What Are We Gonna Do Now?, the band answers the album’s titular query by continuing to do what they’ve been doing throughout the past decade — keep playing enjoyable, acoustically-rich music that has a sense of humor and a subtle depth with no regard to trends or fickle audiences.

“I’m a walking disaster/I’m an accident to stop waiting to happen,” confesses mandolinist/vocalist Michael Paynter in the opening line of the catchy opening song “Walking Disaster,” and it is a perfect example of the band’s sly sense of humor. Joining Paynter in the humor department is fiddler/singer Andrew Heaton (one of the band’s three songwriters along with guitarist Josh Erwin) who contributes the ready-made audience sing-along “What Is A Packway Handle?” a question that seems to elude Heaton himself. But with its rousing call and response refrain (“What—WHAT?—is a packway handle?”), listener and author have so much fun that they both realize the answer isn’t really too important. This song also displays a bit of the band’s non-bluegrass influences with Heaton recalling Lou Reed in his sing-talk vocal approach. There might also be a bit of Velvet Underground’s influence (specifically the song “Oh, Sweet Nuthin’”) on the plaintive “Outskirts,” and the opening chords of “Off My Knees” borrow heavily from The Beatles’ “While My Guitar Gently Weeps” before veering into something more uniquely Packway’s.

While the band doesn’t have one particular hotshot instrumentalist, all five members, including banjoist Tom Baker and bassist Zach McCoy, are above average players who have ample opportunity to shine, especially on the jaunty instrumental (another bluegrass tradition) “Horse Vs. Technology,” an Erwin composition that is the clear-cut winner for “Best Title” and possibly the standout track on this well-produced effort. After one listen to What Are We Gonna Do Now?, the answer is in the music.

Picture Book: Amanda Hale, Big Snow, FERVoR @ Hard Rock Cafe's Velvet Underground, January 29

2010-02-01T11:19:37-05:00

By Susie Ceruto

Amanda Hale:

Big Snow:

FERVoR:

CD Review: Charlotte Gainsbourg -- IRM

2010-02-01T10:29:17-05:00

Charlotte Gainsbourg

IRM

Electra

By Al Kaufman

Finally, the often asked question, "What would Beck sound like as a French woman?" has been answered.

All right, so maybe the question was never asked, but with release of Charlotte Gainsbourg's IRM, it has been answered anyway.

Gainsbourg is the daughter of French singer-songwriter, actor and director Serge Gainsbourg (of whom Beck is a fan), and British actress and singer Jane Birkin. She is an accomplished thespian who recently won the Best Actress award at the 2009 Cannes Film Festival for the film Antichrist, which also stars Willem Defoe. She made her musical debut at the age of 12, singing a duet with her father on the song "Lemon Incest" on her father's album, Love on the Beat. The song, about incest and pedophilia between a father a daughter, caused quite a sensation, even in free-loving France, which was the elder Gainsbourg's intention.

Since that time, Charlotte Gainsbourg's hipness quotient has only increased. Her 2006 release, 5:55, was produced by Radiohead collaborator Nigel Godrich, and for IRM she chose the perennially cool Beck (of whom Godrich has also produced) to twist the knobs. Beck also wrote most of the tracks, plays many of the instruments, and even duets with Gainsbourg on the first single, the bouncy "Heaven Can Wait."

So Gainsbourg is cool, but can she sing? Well, it's kind of hard to tell. Gainsbourg has a cool, breathy vocal that she never really tests. It co-mingles well with the bed of sounds Beck lays out on IRM, much in the way Beck's own voice fits into his songs. It's nice enough but, like Beck, she will never be thought of as a great singer.

But this CD does have Gainsbourg's stamp on it. The album's title, IRM, is a French acronym for the English MRI. Gainsbourg underwent many MRIs after suffering a cerebral brain hemorrhage due to a water skiing accident in 2007. She thought the whirrings and stutterings of the machine would make great music. She made recordings of the machine and sent them to Beck, who created the hypnotic, drum-heavy, title track. And even though the simple and elegant "In the End" was written by Beck, it presents Gainsbourg in her stripped down beauty. Beck is a master at lo-fi high-tech stuff. He can distort bass, loop sounds, throw in string arrangements, and load in drum beats off a dump truck, but still generate songs with a folky base. Gainsbourg is able to cooly stay with Beck throughout all his musical forays. She feels comfortable in his shoes.

Plus when she sings in French (or in English on "Trick Pony" for that matter) she sounds downright sexy, and that's never a bad thing.

Frederick Brown Jr. Amphitheater in Peachtree City Announces Summer Concert Line-Up

2010-02-01T09:50:18-05:00

It's finally time to start announcing those lovely summer line-ups - hard to think about with all this chilliness I know. But let's dream about warmer times, and look ahead at the concert lineup for Peachtree City's Frederick Jr. Brown Amphitheater:

Gloria Gaynor & The Village People - May 15

Cheap Trick - June 5

America with special guest Christopher Cross - June 26

Boz Scaggs - July 10

The B-52s - July 24

Jose Feliciano - August 7

All tickets go on sale March 15 at Ticket Alternative.

Live Review: Très Bien, Stolen Hearts, The Greatest Hits, The Biters, The Booze @ Star Bar, January 23

2010-01-29T17:08:29-05:00

By Jhoni Jackson

Anyone enticed by the show flyer’s promise of a “big rock and roll show” certainly got what they came for. Like any good rock show, charismatic front-men (and women, mind you) were abundant, the venue was packed and patrons lined every free space at the bar. The bands were punk-derived but heavily pop-inclined, as if they’ve been listening to old-school punk all their lives (probably accurate for all musicians present) but long-since gave in to catchy, danceable melodies.

Très Bien opened the night enthusiastically – and that’s an understatement. Lead singer Michael “Mikey” Bostinto was loudly energetic from the get-go, even goofily raising the roof in excitement. He thanked The Booze graciously for letting them join the bill, and announced guitarist Randy Michael may make an appearance. After the upbeat, shout-interspersed “Use Your Brain,” Michael made good on Bostinto’s promise, hopping on stage with a cigarette and drink in hand to sing back-up on “Liquid Love.” The down-tempo ‘60s-tinged number guided by hand-claps was made hazier with wandering, fuzzy, psychedelic-like guitar. Bostinto later shouted at the crowd, “Who likes drugs in Atlanta?” When patrons were slow to respond, he reassured them they wouldn’t be prosecuted. In another gracious gesture, Très Bien dedicated the oh-so-familiar Motown hit “(Love is Like a) Heat Wave” (written by Holland-Dozier-Holland and made popular by Martha and the Vandellas) to The Booze. The meaning behind that dedication is unclear, but it’s the thought that counts, right? Très Bien is no stranger to Motown, as the band’s catalog is clearly influenced by the genre and related big band sounds.

As announced on the poster, Stolen Hearts’ performance was their last. It’s a shame to see a promising Atlanta band dismantle before achieving full-scale, much-deserved recognition. The band has been interviewed in Creative Loafing and mentioned in Paste, to name a few enamored publications, but a full-scale blow-up was imminent. Stolen Hearts used punk-rock beginnings as a base for mixing doo-wop and power-pop sentiments, with instantaneously catchy melodies as a result. That fun combination and lead singer Ashley Salisbury’s high-octave croon will be sorely missed if the members don’t find a way to regroup and stay present in Atlanta’s music scene.

Seattle’s The Greatest Hits opened with David Bowie’s “Rebel Rebel.” Not really, but the baseline riff of “Ghost Town” was teetering on the line between copyright infringement and transformative use. Despite this passing peeve, the band’s power-pop, clearly evolved from punk-rock, was as catchy and fun as the rest of the lineup. Not to be overlooked, front-man Nils Forever’s half-black, half-bleached, messy ‘do made strides at standing out aesthetically.

The Biters opened with “Hang Around,” likely their catchiest track. Power-pop best defines this increasingly popular local band, but a dash of humor is necessary to mention – Tuk’s commentary between songs is as entertaining as watching the band play. Check their MySpace for a silly video of Tuk beat-boxing on the streets of Atlanta with a random guy who’s visibly ecstatic about singing along.

By the time The Booze closed the night, the crowd appeared good and sauced. This performance marked The Booze’s return after a two-year hiatus that felt like forever for their devoted fans. The Booze truly offers the best throwback rock in Atlanta, and this performance would have convinced anyone who didn’t already believe that. Their nonchalantly cool performance never outshone the quality of musicianship the band’s become known for. The show’s grand finale was a cover of “Gloria” (attributed to Van Morrison, but originally released under his band Them), where most of the night’s players flooded the stage to sing along in an incredible, fun display of chaotic camaraderie.

CD Review: Chris Duarte and Bluestone Co. -- 296; Playing Smith's Olde Bar, February 18

2010-01-29T15:09:01-05:00

Chris Duarte and Bluestone Co.

396

By Sam Parvin

Chris Duarte’s latest album, 396, is funky from the first guitar lick. This guy can really wail, both instrumentally and vocally, and his band, Bluestone Co., rocks so hard you’d think they were a bunch of bayou boys with blues in their blood. There are obvious jazz, rock 'n' roll, blues, and even zydeco influences in his music; the subjects of his songs combine classic blues ideas like drivin’ fast down a dirt road with Chris’s life experiences, with lyrics like “I’m going back Chattahoochee side.”

While blues music can be the most simple genre to play (three chord, B-side Blues style) or the most difficult, Duarte chooses the latter. The opening track, “Back In Town,” hits you like a tequila hangover and really does say “HEY! I’m BAAACK!” Duarte’s energy is impressive, and it makes me anxious to see if he can keep that up throughout a live show. “396,” the album’s title track, could only be sung by a justifiable bad-ass, with lyrics like “running wide open, flyin’ on the track, nothing’s gonna stop me in my 396.”

“Give It Back To Me” opens with a funky jam, complete with a danceable bass line and electrifying guitar riffs. We get a little of Duarte’s San Antonio roots with the Texas twang in “Angelina,” and the album’s finale, “H2k3,” sounds like the final level of an impossible-to-beat videogame - crazy fast bass moves and several tempo changes later.

Duarte has been playing music since an extremely early age, and he jump-started his music career at 15. Now decades down the road, Chris Duarte Group continues to play nearly 200 shows a year. His guitar inventory is impressive, from his 1963 Stratocaster (Chris was born the same year) to his Les Paul Emperor, but the equipment is just a bonus; the man could play a bowl rigged with fishing line and still rock hard.

Final note: If you don’t cut loose to this music, I’m afraid there’s no hope for you.

Chris Duarte plays Smith's Olde Bar on February 18. Tickets are on sale now at Ticket Alternative.

Additional Date Announced for Floor at The EARL (April 3 and 4)

2010-01-29T14:51:28-05:00

Floor, the early-'90s sludge rocker band that paved the way for bands like Torche and House of Lightning, have been selling tickets at a crazy rate for their upcoming show at The EARL on April 3. So the good folks at the venue have added another date on April 4. Tickets are on sale now at Ticket Alternative (April 3 and April 4), and are sure to all go long before the shows' dates.

Trances Arc Launch Kickstarter Campaign For New Record; Playing The EARL, February 19

2010-01-29T13:10:27-05:00

We got a great message from the guys of Trances Arc, who are trying to release their next fab record. They're going to be using Kickstarter to raise money from their fans to get the record into the hands of the eagerly-awaiting public. Kickstarter has helped many a local indie band, such as Attractive Eighties Women and Allison Weiss, get the funds to make a new record or get another venture going, and we can't wait to see this one turn out some great results. Get to giving!

Here's the message:

Hi friends and family,

I wanted to spread the word about a little campaign my band Trances Arc has started that you can be a part of to help us release our new album this Spring/Summer.

We are putting the finishing touches on our latest release and it's truly our finest work, to date. Unfortunately, the recording industry isn't very hospitable these days, and in many cases musicians are left to fend for ourselves, promote our own shows and fund our own records. So, our new record, "TA," is ready for the world to hear, but needs a little help, your help to get it released into the wild.

Get to know the band:
www.trancesarc.com

http://www.facebook.com/#/pages/Trances-Arc/8816195615?ref=ts

http://twitter.com/trancesarc

Please help us make this record a reality!!!

Here's how it works. You can pledge your donation here:

http://www.kickstarter.com/projects/1283572717/release-the-new-trances-arc-album

You will not only be able to directly assist in making this new record, you will also have access to EXCLUSIVE Trances Arc studio roughs, b-sides, video posts, blogs, and photos... Oh, and you also get to download the record once it's done!!

For those of you who can dig deeper into your pockets, we're offering some killer big prizes such as the actual guitars used in the making of the record, signed original album artwork, and private performances (yes, we will come to YOUR house and put on a private show for you & your friends)

SOOOO, head on over and check out a few songs you can download for FREE.... get a little taste of what you'll have access to when you pledge. The songs are called "Fuego Balloons" and "Black Lung." If you like what you hear, you can also download our recent EP, "Radians" at www.trancesarc.com

Thank you so much, in advance, for your consideration. Any help you can lend is so greatly appreciated!

Trances Arc play The EARL February 19. Tickets are on sale now at Ticket Alternative.

Portugal. The Man Offer Up Free Tour Sampler; Playing The EARL, March 13

2010-01-28T16:06:23-05:00

Portugal. The Man are gearing up for another tour, and as usual they're offering up a free tour sampler for download (HERE). The band will play The EARL on March 13 with Port O'Brien. Tickets are on sale now at Ticket Alternative.

Team Luis Celebrates One-Year Anniversary with Young Orchids, Futureshock and Lord Is My Shotgun

2010-01-28T12:10:22-05:00

It seems like only yesterday that Team Luis started putting on brilliant shows across the city. But in fact it was a whole year ago. So come celebrate this momentous occasion at Star Bar on January 29. The lineup is pretty fab - Young Orchids, Futureshock and The Lord Is My Shotgun. It will be a rockin' good time!

Hard Rock Cafe's Velvet Underground and 99X Holds Haiti Benefit Gig with Heather Luttrell, Eris and More

2010-01-27T17:42:39-05:00

The first indie showcase known as Downtown Sounds will be held this Saturday, January 30 at Hard Rock Cafe's Velvet Underground. 99X have reamed up with NU Entertainment and MaxMouth.com for the event, and this first concert will also donate 100 percent of the new proceeds to the CARE charity.

The event will feature performances from Heather Luttrell (pictured, in all her tattooed glory), Brian Collins Band, Eris and The Asherel Band. Get your tickets now at Ticket Alternative.

SweetWater Holds "Better Late Than Never Christmas Party"

2010-01-27T17:01:13-05:00

It's not too late to get in the holiday spirit. SweetWater Brewery is holding a "Better Late Than Never Christmas Party" Sunday, January 31. There will be live music from Rollin in the Hay, you can tour the brewery and then of course there is the beer. Lots of rare and untasted joys! Tickets are $8 at the door, which gets you a souvenir pint glass to sample the delights.

Win Tickets to Pretty & Nice and More at Drunken Unicorn

2010-01-27T15:58:51-05:00

We have a great handful of tickets to give away for upcoming shows at Drunken Unicorn. Email us at win@ticketalternative.com with the band name in the subject for your chance to win.

Pretty & Nice play Drunken Unicorn February 28. Email win@ticketalternative.com for your chance to win tickets or buy them at Ticket Alternative.

Xiu Xiu come to Atlanta on March 6. Email win@ticketalternative.com for your chance to win or buy tickets at Ticket Alternative.

And finally, The Morning Benders (pictured) play on March 13. Email win@ticketalternative.com to win or buy tickets at Ticket Alternative.

Preakness to Play Their (Possibly) Last Show @ The EARL, January 29

2010-01-26T10:35:27-05:00

We just noticed a little message on Preakness leader Brandon Arnold's FaceBook page, heralding the possible end of one of Atlanta's loveliest local bands:

As some of you may have heard, we're taking a break. Perhaps a prolonged break. Perhaps a forever break. A break nonetheless.

We'll just call it our last show. At the very least, it will be the last time we play a lot of these songs. Sometimes it's time to call it a day. We happen to be calling it b/c Matt's moving to New Awlin's. Or so we think...one thing's for sure. We will never, ever play "Air Traffic Controller" again. Ever

So yes, it's very, very important that every one of you show up at the EARL this Friday night. You won't regret it. Our very good friends in Social Studies and Whale Fall will be helping to send us off. They are very good excellent happy face music as well.

Lots of fun stuff in store, discounts on merch...a highlights reel. Conan will MC*, and everyone will win the lottery**, so there. Why would you miss it?

WE LOVE YOU ALLLLLLL!

xox
prknss

* not true
** even more not true

The Preakness plays The EARL Friday, January 29. Tickets are on sale at Ticket Alternative.

CD Review: Rebecca Loebe — Mystery Prize; Playing Red Light Cafe, January 26

2010-01-26T10:26:00-05:00

Rebecca Loebe

Mystery Prize

Self-released

By Scott Roberts

If you had to use one word to describe Mystery Prize, the winning new CD and third release from Atlanta singer/songwriter Rebecca Loebe, “genuine” would be a perfect choice. Some performers just have a certain knack for emanating a quality that makes listeners instantly want to be their best friend, and Loebe is definitely one of those performers. Her crystal clear vocals, occasionally augmented by some sexy, slight scratchiness, drips with sincerity, friendliness, and optimism in the face of adversity throughout the album’s 12 musically diverse tracks.

From the piano-driven, jaunty opening waltz-time title track (invoking a rarely-employed-by-a-female football metaphor in its lyrics) to the serious, slow, near-dirge closer “Avalanche” — a beautifully-realized ode to the power of a song featuring Loebe whispering “It’s a dangerous place” at the beginning and ending with almost two minutes of dramatically-building orchestral flourishes over a repeated two chords — Loebe’s earnestness is prominently displayed throughout.

More often than not, the music leans slightly more toward country than folk or Americana, thanks to the contributions of her excellent assembled musicians, especially pedal steel player Mark van Allen who adds a perfect playfulness to the rollicking “Redneck Karaoke Bar” (featuring some tasty backing vocals from David Berkeley and Danielle Sansone) and a faraway mournfulness to “Land & Sea” and “Marguerita.”

But Loebe’s tastes and influences are wide-ranging as evidenced by the straight-forward acoustic ballad “California,” a song that would fit in nicely on an Indigo Girls CD, to the New Orleans-inspired “Her In That Dress.” Loebe is also smart enough to temper her sincerity with a sly sense of humor as on “Married Man” (“You can’t knit socks for a married man”) and “Meridian” (“Got a lover who don’t love me, ‘cause that’s just what I deserve”) so as to never come across as cloying.

The immediacy of Rebecca Loebe’s voice, her varied musical stylings, and the subtle expertise of producer/arranger Will Robertson all add up to making Mystery Prize much more a prize than a mystery.