Shiny and the Spoon

Hailing from Cincinnati, Shiny and the Spoon has an interesting take on the folk genre. Mixing it up with solo songs, with either Jordan Neff or Amber Nash trading duties, and songs in complete harmony they breath fresh air and a good range into their somewhat light songs. So light, indeed, that they have a hard time competing when sandwiched between rockabilly and punk bands.

Knoxify: How did you get a start in music?

Jordan Neff of Shiny and the Spoon: Amber and I had been playing music in some relatively low-key settings for a long time, but I started playing a little more seriously when I joined an Americana outfit out of Cincinnati called Magnolia Mountain. I was still in undergrad, and too young to even be in most of the venues we played, but that only made it all the more exciting in my eyes. Amber briefly studied musical theater, and has apparently always been blessed with a musical streak. She told me she just picked up a Ukulele at a flea market one day and it stuck. She played in a number of small projects before the two of us joined up in 2008.

K: How did you all form Shiny and the Spoon?

JN: I always joke that it was an excuse for a second date. As soon as we met, we started talking about music, and before the end of the night we already had a show set up together. It’s hard to distinguish what parts of our first couple of months together were necessarily about Shiny and the Spoon, and what parts were about Amber and Jordan. Anyhow, the two of us played around town off and on, released a 7 song EP we recorded in our bedroom, and had a lot of fun. We had this really cool, minimalist, wilting folk thing going on, but we got sounded out in every venue we played. We were really pretty quiet for the bar scene.

K: How long have you all been on the road?

JN: Not long at all. Aside from some small trips, this is our first tour. We were always afraid to go on the road, and find ourselves struggling to be heard above even small crowds. I mean, we really really wanted to, but it just couldn’t happen. People drinking at a bar in Knoxville, who’ve never heard of you, aren’t going to stop what they’re doing and quietly listen to your songs. I wouldn’t, at least. We tried to set up a number of trips before, but we had to be very selective about venues, and we just couldn’t line one up. It really took breaking from the duo format before we could leave the coffee shops and listening rooms and hit the road. We met our bass player, Pete Brown, over craigslist; we basically exchanged some info and said “let’s see how this goes,” and it went phenomenally well. Matt Frazer, our drummer, joined shortly thereafter. Amber, Matt, and I had met playing together in Magnolia Mountain, and Matt had been a guest musician and engineer on our latest album Ferris Wheel. After the album’s release, we had already talked a great deal about Matt joining the band, and a couple of months later, we were a quartet. Amber and I had always been protective of our sound as a duo; we stuck to it through some pretty tough shows (I distinctly remember a series of shows we did at a multi-stage venue, where we consistently ended up with rockabilly bands a floor above us, and punk bands a floor below), but it’s amazing how sometimes, you meet certain musicians you just click with. You’ll be playing with them for the first time, a song in, and you’re already making plans. Things changed a lot when those two joined Shiny and the Spoon, and I’m excited to see where else it takes us.

K: Is this your first trip to Knoxville?

JN: Yep, our only forays into Tennessee have ended with “Daniels” or “Dickel.”

K: How familiar are you with WDVX and the Blue Plate Special?

JN: We’ve been listening for a long time. Amber and I had always watched the videos of different acts playing through. When Pete joined the band, the first thing he told us was “I want to play that show with the plates on the wall.” Of course, the idea of actually playing at the Special hadn’t really occurred to Amber and I, but Amber sent an email to Tony Lawson, and a few days later we were writing it on our calendar.

K: What’s next the next destination for the band?

JN: We’re staying in Knoxville. We’ll be playing on the 10th at Barley’s Taproom at 9:30 P.M. with Ian Thomas. We’re really looking forward to sharing the stage with him. Then it’s back to Cincinnati, where we’ll be releasing a 5 song Christmas EP called Sing the Season. It’s got some of our favorite yuletide tunes, along with two originals. And, in the spirit of the season, we’re giving it away digitally. Details on how to download free copies are available at shinyandthespoon.bandcamp.com, as well as a free download of our five favorite tracks from our album Ferris Wheel.

Check out Shiny and the Spoon on Saturday, December 10th either at the WDVX Blue Plate Special starting at noon at the Knoxville Visitors Center downtown, or later on in the evening at 9:00 P.M., at Barley’s Taproom in the Old City. You can also find more information about Shiny and the Spoon on their official site, Facebook, or Twitter.

-Jody Collins - Knoxify (December 9, 2011)

When “Simple Song” hits, it strikes with a scorching, heartfelt, catchy melody. The echoing “Canary in a Coal Mine” takes a sweet trip back in time. Listen close, and you’ll become that bird singing from the depths of a deep cavern.

For Shiny and the Spoon, creating a whimsical, old-timey sound involves using subtlety and simplicity as a crafty tool. Tom Waits meets Ella Fitzgerald with a ukulele in the mix. Americana/Folk/Pop with a ’20s spin. And this duo’s clever style recently earned them a Cincinnati Entertainment Awards nomination in the New Artist of the Year category.

We chat the day after S&S — Amber Nash and Jordan Neff —played The Tillers’ recent CD release show (as members of Magnolia Mountain) , for which The Southgate House was jam-packed, evidence of this city’s love for Americana and old-time music.

Since 2008, S&S has been on a full-speed, trippy journey. That year, Nash and Neff hit it off at the MidPoint Music Festival when she gave him a much-needed ride home.

Not long after, Neff went to hear her sing.

Nash laughs. “I remember looking out at Jordan and he was just like … (Nash imitates an intense stare),” she says. “It was really cute. And here we are.”

Neff smiles. “The music was sort of an excuse for a second date.”

Nash (vocals, ukulele, kazoo) wears a hippie-style green hat. An ancient Green Day hoodie keeps her warm. From Shelbyville, Ind., Nash buried herself in musical theater growing up, voice lessons and Jazz bands. In college, ukulele took over her world and her early songs appeared in the German Indie film, Finding Frida. Moving here for a teaching job, she now sings background vocals for Mark Utley and Magnolia Mountain.

“And sometimes I do some bad-ass tambourine work,” she says.

Neff (also of Magnolia Mountain) is a multi-instrumentalist with a knack for guitar, trumpet, harmonica and then some. From Mansfield, Ohio, he once fronted two Rock bands. He later went to UC for English, training that bleeds into his lyrics. Neff has short, blonde, straight hair and he’s easy to talk to, unassuming in his brown sweater, watching Nash with a soft smile. With his hands, he carefully cradles his coffee cup.

Recorded at home in their spare room, their new self-titled seven-song EP is chockfull of poetic lyrics. On their sound, Nash comments, “I really love melody, very simple melodies that can stand on their own. It’s kind of a weird, fresh mix … a couple of years ago, all I was listening to was ukulele music, online radio stations and ’20s music. Almost that Tin Pan Alley-ish kind of sound.”

But there’s a modern spin. The vocals on “Canary” were digitally tweaked, giving it an underground feel that’s right on. Neff was overall “pleasantly surprised. I think Gram Parsons pops his head in every once in a while … it’s interesting that people are getting back to Roots music.”

He mentions the Americana crossover with Punk, an attitude that weirdly meshes with the older sounds of Patsy Cline, Johnny Cash and earlier Folk music.

But Nash’s vocals come from a different tradition. “I listen to a lot of Ella Fitzgerald and Etta James,” she says. “I also just like good Pop — Barenaked Ladies and old school Green Day.”

Writing nonstop, Shiny and the Spoon’s schedule is currently jam-packed with local gigs, including the Southgate House’s Artist in Residency in May, when they'll play Juney's Lounge every Wednesday. Upright bass player John Oaks (of Rubber Knife Gang) will join them at the release show, where the band will perform some new songs.

From here, they’re shooting for a full-length studio CD, using funds from the EP. Here, they’re in luck; Nash has been actively immersed in the supportive ukulele subculture:

“I think we’ll sell more online than we think we will, because if someone plays ukulele, they’re gonna buy it just for the ukulele factor,” she says. A video of the duo's uke spin on a-ha's ’80s hit “Take on Me” has become a YouTube sensation, with close to 67,000 views.

Their lives are utterly intertwined, living and playing in two bands together. Nash says, “I think we’re both really intense with highs and lows. We ebb and flow.”

Neff grins. “That’s what happens when musicians date musicians.”

But they stay focused. As Nash says: “You have to be organized in order to be realistically dreamy, to get where you want to go.” - CityBeat (January 19, 2010)

At first blush, Nash and Neff seem like a standard issue Folk duo, but SATS is far from typical. “Snowflake,” the lead-off track on Ferris Wheel, is a good example of what sets them apart. Although a strummed acoustic guitar intro and lightly touched upright bass suggest a familiar structure, Nash’s tremulous upper register vocal is more reminiscent of ’60s AM radio Pop chicks and contemporary Indie Folk/Rock chanteuses. But the pair quickly slides into a swirling atmospheric soundscape and “Snowflake” begins to breathe with a compelling and melancholy sigh that transcends their chosen genre.

Of course, not every song on Ferris Wheel follows this template, but it stakes a sonic claim that exponentially expands Shiny and the Spoon’s parameters. It happens again at Ferris Wheel’s midpoint when Nash and Neff offer their spectacular Indie Folk version of a-ha’s Synth Pop hit “Take On Me,” and continues on “Run,” which mixes Gillian Welch and David Rawlings and a mariachi interlude. On “Killin’ the Flower,” Nash croons with the traditional modernism of k.d. lang while the pair constructs a Country soundtrack that swings its legs from Charlie Rich’s piano bench, while the title track glitters subtly as panned gold with an electric undercurrent to accompany the moody Folk/Pop that floats just above the counterpoint.

Ferris Wheel is a magnificent benchmark for Shiny and the Spoon, establishing the duo as acolytes of the dusty past and visionaries of a bright future.

-Brian Baker - CityBeat (March 6, 2012)

A teacher from Shelbyville, Ind., Amber Nash — who sings and plays ukulele and guitar with Cincinnati-based Folk Pop duo Shiny and the Spoon — wears a porcupine claw and a white, tooth-shaped piece around her neck. On her left arm, a tattoo peeks out. Her hair, reddish brown curls. Nash, who got her start in musical theater and Jazz bands, speaks easily.

From the Ontario, Ohio, Nash’s SATS partner Jordan Neff (guitar, vocals) came to Cincinnati for college. He wears a button-down shirt and simple jeans, his hair, blonde and straight. No visible tattoos. Neff — who got his start as the lead singer of a sixth grade band — thinks carefully before he speaks.

Neff likes The Hiders’ Valentine, while Nash prefers the local Indie Roots band’s Penny Harvest Field. But there’s a certain respect present — while explaining how they differ, each listens closely, happily disagreeing, as if along for the ride.

A sense of Yin/Yang between the two is what makes Shiny and the Spoon’s music so clever. Like Johnny and June Carter Cash, they have a natural chemistry that makes their Folk/Pop sound an easily blended creation, with smooth harmonies, catchy melodies and a subtle style that’s their own unique merry-go-round.

In 2008, SATS started playing together as “an excuse to exchange numbers,” Nash admits. Soon dating and collaborating, numerous gigs and steady success came to Neff and Nash quickly. A “Best New Artist” nominee at the 2009 Cincinnati Entertainment Awards, SATS scored a hit on YouTube with their ukulele-driven cover of ’80s hit “Take On Me” and their songs were used in a German independent film. The duo’s self-recorded, self-titled EP was spun regularly on radio outlets like WNKU and Lexington’s Red Barn Radio.

Both musicians played with Mark Utley’s local Americana ensemble Magnolia Mountain, but more recently left to concentrate on Shiny and the Spoon exclusively.

The duo has also officially become a trio, adding Pete Brown on upright bass.

After steadily gigging and receiving many requests for CDs at shows, the duo realized it was time to record a full-length album. Nash says they were eager to make the LP because, as they’ve grown as musicians, so has their music.

“We kind of hit a wall,” Nash says of the lead up to the album, Ferris Wheel. “We played a lot of places in town that we wanted to play and we needed to record, because we were starting to change our sound. I feel like in general there’s more meat to (our sound) — it’s more real. We both have some experience under our belt, and we’re showing it a little.”

Formerly ukulele-centered, the group’s sound matured and changed when Nash picked up the acoustic guitar. Although there’s the same understated, artistic feel, Americana roots and ear-grabbing melodies, the addition of electric guitar, fiddle, piano and other instruments during recording gave the songs a fullness that stands in contrast to their earlier, more sparse sound. Songs set a definite mood, a feeling of closeness, bringing forth a simple, contagious vibe and an innocent intensity. Imagine the feeling of a first date at a carnival. The album’s title track and “Bread and Butter” have a lighthearted feel, but there’s a dark touch and the exposed emotion gives them a magnetic intimacy. Repeatedly, Neff and Nash have been told these two songs are “mesmerizing.”

Another change that emerged as SATS grew over the years is how much more directly collaborative the duo has become, something Neff says you can hear on Ferris Wheel.

“It’s more of a reflection of the both of us,” he says, before noting that not everything has changed in SATS’ world. “It’s still without pretense. That’s really important to us.”

Neff also says there is still a “core simplicity” to the music, but the more voluminous sound developed as performance experience taught them what did and didn’t work live. To grab and keep the crowd’s attention, the music needed to be harder to ignore.

“We started playing a lot of shows and we sort of cut our teeth a little. We learned to play a lot bigger,” Neff says.

The group is aching to tour and expand regionally. Being in a busy, hardworking band with your romantic partner has proven catastrophic for many musicians, but Neff and Nash’s bond suggests they have a good chance of being one of the noted exceptions.

“It’s definitely the most bizarre but wonderful relationship I’ve ever been in in my entire life,” Nash says. “I wouldn’t trade it for anything, because I think we’re both the same kind of crazy, and that helps, too. A good kind of crazy.” - CityBeat (August 10, 2011)

On their first full-length album “Ferris Wheel”, Shiny and the Spoon (Cincinnati) have seemingly made a promise to us, that they know they’re good, and they know they’re going to get better. I had heard a few random songs of theirs before I got a hold of this album, and I thought they were pretty good, but when Amber Nash and Jordan Neff added Upright Bass player Pete Brown they cemented their sound with a quality, classic folk/Americana touch that raises them to the big leagues as it were.

Highlighted by simple, beautiful tracks like “Killin’ the Flower” and “I Hear Ghost”, they are able to show you some prowess with the lyric, as well as an ability to step back at let the music deliver itself without too much interference. Even their cover of “Take On Me” is brought with an interesting pace that revives an already great song. I, for one, will be eagerly awaiting their next one as well.

-Darren C. Demaree - AltOhio (August, 2011)

Shiny And The Spoon’s debut CD Ferris Wheel is a light and lilting, feather-sensitive acoustic affair, but don’t be fooled by the smooth veneer of the band’s soft sound. This is far from the stuff of unicorns and rainbows. A deep current of romantic skepticism that runs just beneath the calm surface of these still waters is perfectly encapsulated in the metaphorical implications of the album-opening “Snowflake”. Over a lightly strummed acoustic guitar, vocalist Amber Nash displays a presence of mind that is rarely in our grasp during the first warm blush of a new love, gently reminding us - or herself, perhaps - that this blessed and unique thing will melt away all too soon.

Throughout the disc, Nash and guitarist Jordan Neff display an amazing gift for vocal harmonies that are sweet as pie and soft as a cotton ball. Liberally sprinkled with Southern gothic imagery and late summer malaise, their deceptively simple lyrics convey a great depth of emotion. With a singular blend of cynicism and grace, Ferris Wheel carries itself with quiet humility like a silent spinster aunt in a Steinbeck novel.

The perfect accompaniment for the duo’s clever lyrics and infectious melodies is Neff’s subtle string-work, coolly weaving through each tune like a smiling serpent through tall grass. Late in the proceedings, “13 Crates” hints at a completely different direction. Neff turns up the grit just a little bit here, revealing a strain of dark Blues unheard on the rest of the record. The juxtaposition of this ominous minor key lament among a crop of largely lighter fare creates an unexpected mood twist and perhaps points towards uncharted territory to be explored in the future.

The duo’s excellent songcraft and natural harmonies are a winning combination that casually propels Ferris Wheel with a confidence refreshingly free of ego. This is perhaps best exemplified by their cover of Malvina Reynolds’ “No Hole In My Head”, wherein the duo’s clever command of acoustic instrumentation and self-assured irreverence creates a lighthearted new spin on the blues.

-Ric Hickey
- Adventures of a Loose Wreck (August 13, 2011)

Jordan Neff and Amber Nash were originally introduced by Neff’s sister-in-law during Oktoberfest and within a matter of weeks they were dating and collaborating on music.

Two years down the road, the duo has released a self-titled debut CD (which sold out the first pressing of 500), made a hit YouTube video with more than 137,000 views and are planning a full-length debut album.

We talked with Neff about all things romantic and musical and about this weekend's big Browngrass Festival.

What’s it like going from playing in a large band like Magnolia Mountain to playing in a pared-down twosome?
Sometimes it’s really great; sometimes it’s not so great, I guess. The great thing is that I really enjoy doing the stripped back, you know, just acoustic. I think we’re both sort of fans of the, I guess, minimal approach in music in particular. And I think there’s an opportunity there to allow the songwriting and the performance in all facets sort of shine through.

How do you approach songwriting? Do you work separately or together?
Kind of both. We have, I’d say, more often than not, it’ll work where someone will have a framework for a song, and then we’ll work on that. But occasionally, we will, from the beginning, set out to collaborate on a song. And sometimes one of us will completely write the song on our own and the other person will just sort of pick up on it.

Have you had situations where you had to put aside the personal relationship in order to conduct the musical side?
Definitely, but most bands have to deal with that sort of thing to begin with. We’ll occasionally have that, and I mean it’s fine. We both sort of understand that if you have a performance, you have a performance, but more often than it’s actually a lot of fun.

What’s your favorite thing to do together when you’re not doing music?
I’d say eat, but you might publish that! (laughs) We enjoy hanging out—I’ve got some siblings here in the city. When we’ve got time, we really just like to check out music, you know some of the other bands in the city, and the arts that we have available here. We both are in Enjoy the Arts, and we like to go down to Music Hall and see a symphony show.

It’s getting close to Halloween, have you picked out costumes yet?
No, no. We’ve thought about a couple. I have an accordion that I play to everyone’s annoyance. Sometimes I dress up as a very amorous accordion player, but we’ve also talked about going as Shaggy and Thelma. The whole experience of fall is always a pleasure for us especially because, for me, it reminds me of when we first met. Within a couple of weeks (of Oktoberfest) we were dating. I would say that October was sort of our puppy love phase—well, that’s a silly way to put it. We went out on a lot of dates, went on hayrides and carved pumpkins.

I have to ask, how did you come up with the band name?
I wish I had kind of a cool answer for that, but actually we set out to come up with a name for the two of us together, and we just had a couple of words that we liked and we tried a couple different arrangements for them. And sure enough, that was the one that stuck.

I love that YouTube video of you two playing Aha’s Take On Me. Is there a story behind it?
Well Amber had already been doing a pretty cool version of that song when she was playing solo and I guess actually there was this contest online for a brand new ukulele that Amber really wanted. And so we entered that song into the song into the contest, and I at the last minute sort of fooled around with this kalimba she had sitting on her bed stand.



Did you win?
No (laughs) actually. We did not win.

You both play primarily folk music in your various projects. Do you listen to music outside that genre?
I would say most of the time we do listen to folk music. I think that is just ‘cause when you’re already sort of embedded in a genre, you tend to sort of listen to that, partially because it gives you inspiration for your own music. But we both listen to just about anything. I know one of our favorite records that we listen to together is this Cuban signer (Ibrahim Ferrer), who has since passed. But we listen to a lot. We’re both really big fans of Gillian Welch and David Rawlings and Gram Parsons for instance.

You’re playing a show with local legend David Rhodes Brown. It’s a huge line up of bands.
It’s gonna be a really cool night. I think it’s gonna be on par with Rivertown Breakdown, in so far as there’s going be just a lot of really good roots and Americana bands. I’m most looking forward to seeing and playing with on a couple of songs David Rhodes Brown’s band that he’s assembled for the night, partially because, lord only knows when we’ll get to see it again. He’s got some Cincinnati superstars, not the least of which is himself. - Allison Cayse, Metromix

This is the second time I’ve interviewed Amber Nash. My excuse – if I need an excuse beyond her being bot-rockingly awesome – is that last time she was part of ukebucket and this time she’s half of Shiny and the Spoon.

Shiny and the Spoon have just released their new EP. You’ll be familiar with many of the songs if you’ve been following Amber’s YouTube channel (although still no sign of Pig Latin despite my protestations).

Here’s her lowdown on the EP, independent recording and being a girl.

Who’s Shiny and who’s the Spoon?

This is something that Jordan and I go back and forth with, mostly to be combative:) I guess I’m Shiny and he’s the Spoon. The name of our band really came from nowhere. We both just really liked the way it sounded and didn’t, at the time, realize how weird of a name it was. It wasn’t until Mark Utley, frontman for Magnolia Mountain, made our logo that the name started to make sense. It’s sort of a nursery rhyme, “dish ran away with the spoon” and “the cow jumped over the moon” sort of thing. I guess we like working backwards.

How would you describe the new EP?

It’s quirky, just like us. There are some “found” sounds, good melody lines, and some sweet, sweet harmonies. It’s playful, but understated…it doesn’t necessarily ask anything of the listener, just to enjoy it. We turned on a faucet, hit a doorframe with a ukulele case, messed with crazy reverbs, and really just made it what we wanted it to be. It reflects our personalities.

How’s it been recording and releasing your own music?

Hell and Heaven and everything in-between. The great thing about recording on your own is that you have complete control over everything…and the bad thing is that you have complete control over everything. Because we are a completely independent band, our progress kind of goes with the schedule of our whims and moods. But I’m glad we did it on our own. We’ve grown with the music, musically, technically, and emotionally. We really tried to make the EP as organic as possible, from the way the songs sound to the packaging. The front and back cover are hand-drawn by Mark Utley, and we do our best to make sure that the tracks sound as close to what we’re like “live” as possible. Apart from a faucet trickle, a trumpet, some hand percussion, and a bit of reverb on some tracks, it’s pretty much just us, raw. We’re really happy with it. There was nothing like going to the pressing company to pick up our EP, printed, pressed, and shrink-wrapped, after all the work we put into it.

What happened to ukebucket? Are you still a going concern?

ukebucket is no more! It is, however, still my handle on YouTube. The ukebucket boys are incredibly talented, but like many things, you grow, you change, and you move on. It’s impossible for us to collaborate because of many things…they live in Florida, and now we’re all busy with our own things. I know Rikk Palmer is doing his solo music thing, and I’ve got Shiny and the Spoon. I still listen to Bad Ukulele… sometimes and smile.

Which three songs does everyone have to listen to?

Simple Song, Two Pennies, and Good On You

A couple of your videos have gone ‘cute girl plays the ukulele’ style viral – how do you feel about that whole trend? Do you think the shock that girls can make music will ever wear off?

You know, like many things, I think it’s just going to come and go in waves. I absolutely love the ukulele. I love the way it sounds, how versatile it is, the way it looks, etc. It’s the only instrument I’ve ever been really passionate about. It allowed me to write my own songs. If it can do the same for others, cute or not, I say more power to them. YouTube is, obviously, not a site that is restricted for “professional and serious” musicians. It acts as whatever medium you want it to…a blog, a diary, a way to promote your music, etc. If that can help others unleash their creative side, whether they be male or female, I think that’s a good thing. And if it comes as a shock that women can make good music, well, I guess, my only comment is, where have you been???!!!!!

-Woodshed - Ukulele Hunt (February 8, 2010)

In issue one of Ukulele Player, we featured Amber Nash as an up and coming artist and someone to watch among ukulele performers.

Since that time, Amber has teamed up with Jordan Neff to create an act known as Shiny and the Spoon. And so it is appropriate to review Amber and Jordan's new CD, an EP of original tunes in our anniversary issue.

First, I'd like to congratulate Nash and Nash (couldn't resist) for being nominated the "New Artists of the Year" in Cincinnati's Entertainment Awards. I think it's fantastic!

I have a copy in electronic form of the coming EP, since it is not ready at the time of this writing, but soon will be. You can buy the tunes online if you prefer.

Here is the line-up:

1. Simple Song
2. Bured
3. Canary in a Coalmine
4. Two Pennies
5. Dream
6. Feedin'
7. Good On You

Amber's voice is polished and shines at the high end, is sultry and sexy at the low-end. She has great control and can harmonize really well, whether live or dubbing back-up tracks. Jordan has a good voice, too, and the vocal blend with Amber makes for a really pleasing duo.

"Simple Song" has a short musical intro and in comes Amber's wonderful vocals. There are some great guitar accents played in the perfect volume behind a solid uke track. Very nice musicianship, understated and very classy.

"Buried" features Amber and Jordan's great vocal blend. Nice harmonies. I love the melody of this song. Nice harmonica, too. This song reminds me of Simon and Garfunkle.

"Canary in a Coalmine" was written by Amber quite some time ago and I am happy that they included it on this project. This is an escape song. The vocal flavor of this song is sort of vintage-there is a lot of reverb in it, but the instrumentation remains clear. Nicely produced.

"Two Pennies" is a good follow-up to "Canary" and also has that sort of speak-easy quality to it. Listen closely, there is some nice tasteful guitar-work in the background. Nice horn play.

"Dream" starts with some nice guitar licks. Nash and Neff make good use of instrumentation. Their tempo is really tight. They have great timing and put a lot of effort into keeping it that way.

"Feedin'" has a very traditional country feel to it. I am talking old-school, Hank Williams, here. The guitar takes the center-stage in this song. Good vocals.

"Good On You" reminds me of an old Johnny Cash, June Carter tune, but with better vocals. Again, a country flavored song. What a perfect wrap to a very enjoyable CD. Great Job!

-Mickey Maguire
Writer and Publisher for Ukulele Player Magazine


- Ukulele Player Magazine (December 3, 2009)

There is something young and lovely about a ukulele. By its simple and unassuming sound we are taken to images of sun-lit woods and sweet-air beaches. We hear a ukulele and we know something good is bound to happen. Such is the spirit of duo act Shiny & the Spoon. Comprised of Amber Nash and Jordan Neff, the two Americana folksters work whimsically together in creating bare-boned songs of hazy nights and mellow mornings, sounds capable of churning loneliness into solitude.
We once again are at peace to be simple. In an era where underground music artists seem to be taking a turn for thickly layered synthesizers and electrics, Shiny & the Spoon feed us sounds of slightly sultry 1920’s vivacity with cowboy guitars and railroad harmonicas. Their debut self-titled album, with standout tracks such as “Simple Song” and “Buried”, is full of dirt road stories and dusty birds. One listen leaves us feeling like long, tall blades of grass. The red and yellow tulips on my coffee table seem to agree, good music does not have to be complicated and more often than not we are better to be simple.

Written by CYNDI


- FensePost (April 22, 2010)

"I must admit I’ve been waiting with anticipation for the debut album from Shiny and the Spoon. The duo of Amber Nash and Jordan Neff came to my attention when my friend Tony Moore posted a link online to their cover of A-Ha’s “Take on Me.” It was brilliant and I was hooked. So I was giddy with excitement when Amber contacted me about a promo copy of the self-titled album: Shiny and the Spoon.

The EP opens with “Simple Song,” which has become my favorite tune. It is indeed simple, in the most warm and endearing way. Amber’s lead vocal and harmonies are a lovely introduction, especially accompanied by their trademark ukulele sound.

“Buried” brings some harmonies of the most mellow kind. I found myself singing along with the chorus at the first listen. And who doesn’t love a touch of haunting harmonica? Even this electro chick does.

“Canary in a Coal Mine” once again demonstrates how the band shines (pun totally intended) with simple, clean arrangements. Amber’s voice already has a old-timey feel, and the vocal effect on this one just dials that up a notch.

“Two Pennies” shares the vocals between Amber and Jordan. Their songs have such an intimacy that I really admire. I find myself trying to decipher exactly what the lyrics are all about. I’ll have to enjoyably ponder it for a while. This track brings to mind Over the Rhine’s song “Don’t Wait for Tom.” Americana at it’s best.

“Dream,” like “Simple Song” is another pleasant and sweet tune with fetching harmonies. My daughter is going to get so sick of me singing these songs in the car, but that’s just the way it is!

“Feedin” is probably the most surprising track for me. Jordan takes the lead on this one. lt has a classic, old-fashioned Country-Western vibe, with haunting lyrics. “Well now I’m takin’ the train, so you can quit cryin. It’s not like I complain, so I’ll just quit tryin’.” There’s a whole story behind these words and it makes me want to know more.

Finally, “Good on You” brings it all together with a folky, catchy nursery rhyme wrapped in one cheery little tune. Charming.

You can’t beat songs about leaving, saying goodbye and eating your last breakfast. Every song brings a little surprise – be it a trumpet or ukulele solo or a whistled refrain.

The EP will be launched on January 22 with a release party in Cincinnati at Roh’s Street Cafe. To learn more, visit Shiny and the Spoon on MySpace or at their soon to be launched Shinyandthespoon.com."

-Laura Smith - The Smiths' Occasional Blog (January 8, 2010)

"Depending on who and when you ask, self-proclaimed “ukelele singer/songwriter” Amber Nash is Shiny and Magnolia Mountain frontman Jordan Neff is the Spoon (better than Hootie and the Blowfish, where neither were in the band). The pair met at last year’s MidPoint festivities and it’s been a professional/personal partnership ever since. Whoever‘s who, Shiny and the Spoon are well on their way to wherever they want to go, preferably the big time.

DIG: Johnny Cash and June Carter, driven by Gram Parsons and Elvis Costello."
- City Beat (September, 2009)

Two years ago, Magnolia Mountain guitarist Jordan Neff partnered up with singer/songwriter Amber Nash to become Shiny and the Spoon (ostensibly she’s the former and he’s the latter, although the arrangement seems malleable). In the interim, Nash has boarded the Magnolia Mountain express as a vocalist and Shiny and the Spoon has become one of the city’s most extraordinary stripped-back, old-time, front-porch outfits. Like Johnny and June, Neff and Nash are personally connected, which makes Shiny and the Spoon much more than your standard Folk duo. And their prominent use of ukulele has made them favorites in the uke-lovers underground (yes, there is one).

You’ll Dig It If You Dig: Elvis Costello and Patty Griffin channeling Gram Parsons and Emmylou Harris with a ukulele. (Brian Baker)
- Midpoint Website (also in CityBeat) (September 25, 2010)

Ukulele-wielding singer Amber Nash, "Shiny", is joined here by the vocals and acoustic guitar playing of Jordan "The Spoon" Neff. The band’s name has a childlike quality, the music an engaging childlike simplicity.

The ukulele is a strange instrument. With the capacity to play about eight different notes and three chords it is a withered guitar for players with tiny hands. As a lead instrument, the ukulele is usually used to evoke sunsets, beaches and Gap Year frolics (it fits nicely in a backpack and sounds the same even if it breaks). Worse still it is becoming the comedic prop of choice amongst a rising bile of "cutesy" female comics and Nash and Neff have been guilty of recording "hilarious" ukulele renditions of popular tunes (search for them on Youtube if you dare).

Fortunately the presence of a ukulele here should be no excuse to give the album a wide berth. Instead it works remarkably well as a lead instrument when given space to express itself alongside Neff’s acoustic support and some really rather wonderful vocals from both singers. Better still it is only part of a rich tapestry of instrumentation and sounds on this really rather impressive debut.

'Two Pennies' features a nice give-and-take vocal duet from Nash and Neff and a beautiful Spanish cornet solo, 'Feedin'' opens with a haunting distant harmonica that gives way to Neff’s equally haunting vocals a slow, intense, heartbreaking tune. 'Simple Song' plays on the straightforward set-up, demonstrating perfectly the adage that less is more, it is a triumphant song and evidence of just how determined and confident these two musicians are.

Recorded and mixed on a home computer, this is about as independent as you can get. All credit to Nash and Neff that it sounds so good. An affable pair and an accomplished debut that does exactly what an EP should: makes you want more of the same.

-David Harry
Rating: 7 out of 10
- AmericanaUK (July 8, 2010)

On this Eponymous debut recording from 2009, Nash's ukulele lilts over the compositions, lending them an understated, naive sound. This is not ukulele for ukulele's sake. It's complemented by Neff's acoustic strains, which are solid, light on noodling, and provide an ample foundation for the melodies. Their vocals seem to paint their own imagery, whatever the text being sung. Nash's voice, in particular, goes from cafe croon to bombastic diva, sometimes in the course of a single song (as is the case with "Canary in a Coal Mine.") Neff, in contrast, can either sizzle with a low, Waitsian growl (Two Pennies) or sweetly simmer (Good On You). Song themes include alienation, companionship, inadequacy and sufficiency. If traditional folk is what's jotted down on a notepad, Shiny and the Spoon's domain is the doodles in the margin. The song, Buried, displays this duo's best; great male/female vocals, inviting, up-beat acoustics, and a lonesome harmonica way, way in the background. Feedin' is a classic, traditionally styled original ballad, with lovely guitar, uke, with mellow and sublime vocals. It's very intimate but so universal and appealing. If Call it Folk is a home for good songs, this ballad enjoys a room of it's own. The audio quality of this home recording is excellent, perhaps just a notch below what we'd expect from a polished studio recording. It does not detract from the music whatsoever. Certified Call it Folk


- Call It Folk

http://www.cincygroove.com/?q=node/894 - Cincy Groove Magazine

"The Cincinnati duo of Amber Nash and Jordan Neff transform the hyperactive '80s A-ha hit into a lilting, reggae-flavoured ballad employing nothing more than a ukulele and an African thumb piano. Charming yet earnest, it'll force you to consider a thoroughly familiar song in a completely new light." - The Toronto Star

"Perhaps the only show you can attend Saturday and not be encouraged to wear a costume, the annual BRINK New Music Showcase returns to the Southgate House Halloween night with three floors’ worth of local band freshness. An attempt to spotlight the next crop of local music wavemakers, the Cincinnati Entertainment Awards-sponsored event has hosted scores of eventual big-shots in past years, including The Sundresses, The Seedy Seeds, The Tillers, Pomegranates, Kim Taylor, Buffalo Killers, The Lions Rampant and Eat Sugar.
This year’s “rookie class” features The Damn Things, Kry Kids, Darlene, Charlie Hustle, baby alpaca (pictured; see Locals Only profile here) and Come On Caboose, plus 2009 CEA “New Artist of the Year” nominees Shiny and The Spoon, Enlou and State Song. More artists are still being added. The ninth annual BRINK show is also a benefit for the Cincinnati Music Heritage Foundation, which strives to spread the word about Cincinnati’s undernoticed but incredibly rich musical history." - CityBeat

Chances are you've never heard of most of the bands playing the Midpoint Music Fest in Cincinnati this weekend (September 24-26). Hell, even I haven't heard of half the 270 acts playing in 20 venues all around downtown, and it's technically my job.

The fest, which draws around 10,000 music fans to hear mostly unsigned and up-and-coming local, national and international bands, is seeded with a handful of buzzy names like Chairlift, Extra Golden, Heartless Bastards, Sarah Borges and the Broken Shingles, Rosewood Thieves and Wussy to draw out the casual fan.

But what I love about it is that the rest of the roster put together by the city's alternative weekly, Citybeat is that it contains a variety of the weirdest, funniest, dumbest, most confounding and career-defying names you are likely to see outside of the nation's second biggest band showcase, Austin's South by Southwest.

So, for your pleasure, a few of my favorites.

» Chick Pimp, Coke Dealer at a Bar

» Detox Retox

» Come on Go With Us

» Eagle to Squirrel Variety Hour

» Blastronauts

» Sexual Disaster Quartet

» Decibully

» Freelance Whales

» Lab Partners

» Stucco Jones

» Gay Witch Abortion

» Fists of Love

» Shiny and the Spoon

» God Made Me Funky

» Karate Coyote

» Wonky Tonk

» The Lighthouse and the Whaler

» Mean Tambourines

» Kentucky Nightmare

» You, You're Awesome

» Thunderhawk

» The Zest of Yore

» The Syd Natanists

and, of course, The Flux Capacitors - MTV-Gail Kaufman

Mickey Maguire of Ukulele Player Magazine reviews Shiny and the Spoon's self-titled EP.

In issue one of Ukulele Player, we featured Amber Nash as an up and coming artist and someone to watch among ukulele performers.

Since that time, Amber has teamed up with Jordan Neff to create an act known as Shiny and the Spoon. And so it is appropriate to review Amber and Jordan's new CD, an EP of original tunes in our anniversary issue.

First, I'd like to congratulate Nash and Nash (couldn't resist) for being nominated the "New Artists of the Year" in Cincinnati's Entertainment Awards. I think it's fantastic!

I have a copy in electronic form of the coming EP, since it is not ready at the time of this writing, but soon will be. You can buy the tunes online if you prefer.

Here is the line-up:

1. Simple Song
2. Bured
3. Canary in a Coalmine
4. Two Pennies
5. Dream
6. Feedin'
7. Good On You

Amber's voice is polished and shines at the high end, is sultry and sexy at the low-end. She has great control and can harmonize really well, whether live or dubbing back-up tracks. Jordan has a good voice, too, and the vocal blend with Amber makes for a really pleasing duo.

"Simple Song" has a short musical intro and in comes Amber's wonderful vocals. There are some great guitar accents played in the perfect volume behind a solid uke track. Very nice musicianship, understated and very classy.

"Buried" features Amber and Jordan's great vocal blend. Nice harmonies. I love the melody of this song. Nice harmonica, too. This song reminds me of Simon and Garfunkle.

"Canary in a Coalmine" was written by Amber quite some time ago and I am happy that they included it on this project. This is an escape song. The vocal flavor of this song is sort of vintage-there is a lot of reverb in it, but the instrumentation remains clear. Nicely produced.

"Two Pennies" is a good follow-up to "Canary" and also has that sort of speak-easy quality to it. Listen closely, there is some nice tasteful guitar-work in the background. Nice horn play.

"Dream" starts with some nice guitar licks. Nash and Neff make good use of instrumentation. Their tempo is really tight. They have great timing and put a lot of effort into keeping it that way.

"Feedin'" has a very traditional country feel to it. I am talking old-school, Hank Williams, here. The guitar takes the center-stage in this song. Good vocals.

"Good On You" reminds me of an old Johnny Cash, June Carter tune, but with better vocals. Again, a country flavored song. What a perfect wrap to a very enjoyable CD. Great Job!

-Mickey Maguire
Writer and Publisher for Ukulele Player Magazine - Ukulele Player Magazine-December 2009

Compilation of comments from fans via MySpace, Facebook, Twitter, and YouTube.

"That was dead sexy and the kazoo solo changed my life..."
-Dedgeman80

"You guys are terrific! Please, come play at my funeral! Great musical choices, great rendition!"
-PRR5406

"You have such an amazing voice. I got goosebumps."
-sirsosay

"Your voices fit like perfect."
-theBradlands

(In response to our YouTube cover of "Take On Me" by a-ha)

"Your version of "Take On Me" is truly awesome! I hate to categorize it as "pretty" because I feel that's a bit of an injustice but that's the only word that immediately comes to mind. I find myself coming back and listening to this at LEAST once a week. I hope to hear more like this-keep up the GREAT work!"
-Columbustrainer

"you look like my senior year eng teacher and 7th grade eng teacher."
-firefly808

"I have never commented on Youtube before, but your voice is amazing. I would love to find your music on iTunes.

I honestly think one day I'm going to say, "I knew about her when she was on Youtube..."
-moshah1

"I found this video on a blog which often is showing funny videoes, but this is dead serious.
It might contain an unusual instrument, but that voice, ohh that voice, it cuts right through to my soul. I can't wait to find your music on iTunes. Untill then our MySpace will have to do. I rarely get this excited, you are truely gifted."
-TheySkye

"sweeeeeeeeeeeeeeee eeet."
-megahunk - Various Shiny and the Spoon Fans