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*** Various Artists

THE GIGAFONE RECORD VOL. 1, NO. 2

(Gigafone Records)

Robert Sylvain was on to something when he launched Gigafone Records back in November, and the grassroots label’s second installment of its local music periodical, The Gigafone Record, proves it once again. As it did with its debut, Gigafone presents a series of live, lo-fi recordings from area musicians that gently remind listeners of how raw talent and simplicity beat posturing and super-slick production any day of the week.

Although I can’t support the notion that “this issue begins to define a whole new world of music” (as the extensive, but sometimes painfully melodramatic liner notes suggest), the CD is, on the other hand, a beautifully crafted reflection of the acoustic traditions of American folk, bluegrass, and blues. All of the cuts share an almost breathtaking sincerity. From the opening chords of accomplished folk singer/songwriter Abi Tapia, (accompanied by Haakon Kallweit of The Piners on mandolin) on “Big Front Porch,” to Colleen Kinsella and Chriss Sutherland of Cerberus Shoal’s duet “Getting Over the Hump, ” each contributing artist adds something distinctly and unforgettably their own.

Jenny Whitter, a.k.a. Jenny Jumpstart, anchors this volume with outstanding country-tinged tracks recorded at the Out of Cake rehearsal space, and with the Cap Guns at The Track Farm in Cape Elizabeth. Whitter’s delivery on such cuts as “I Watched You Go” and “Corner Girl” is spare, careful and in all, as close to perfect as this intentional celebration of the imperfect could reasonably be. John “The Hollerin’ Man” Witham contributes similarly strong work with his earthy , charming rendering of “Streets of Laredo” from a recording made in an old grange hall he calls home in Richmond.

Scarborough’s Phil Wells, alum of the Free Street Taverna’s Open Mic Night and winner of last year’s songwriting contest at The Maine Festival, provided one of the CD’s most memorable turns. Recorded in Wells’ bathroom, “The Picture” — a stark, sad snapshot of a life gone totally sour — is reminiscent of some of Vic Chesnutt or even Cat Stevens’ best work.

— Pete Hodgin