Glenn Yoder - Okono Road
2008, Glenn Yoder

Originally from Dallas, Texas, Boston-based Glenn Yoder carries his influences with him like memories. They infuse his musical choices as seamlessly as breathing. The singer/guitarist of Boston's Cassavettes heads out on his own with the release of Okono Road. Trimming a list of fifty songs down to twelve, Yoder leads with his best foot on his solo debut, mixing radio anthems with ballads and some old fashioned Rock N Roll in a highly commercial yet likable debut.

Yoder opens with the radio-friendly anthem Broken, Beaten & Blue. It's an incredibly tuneful song that fits neatly into several demographics. Yoder's voice is pleasant and easy on the ears, and the arrangement is as smooth as silk. That polished feel carries over to Okono Road in a very accessible acoustic pop tune. A Thousand Ways looks to be a mix-tape favorite, mixing balladry and soul in a moving performance. Til The Wheels Fall Off is a great acoustic pop tune, very likely to end up in licensing or on the radio if offered in those venues.

Just Like is the best pure pop song on the record and likely to be a crowd favorite at shows. It's Gonna Take Time is a very close second. Yoder reminds me very much of Canada's The Waltons on several songs, but nowhere more so than on It's Gonna Take Time. Other songs of note are Home, Give Me A Moment and You Led Me Into Your Love.

Glenn Yoder infuses pop-savvy acoustic rock with elements of country and soul to full effect on Okono Road. At times he sounds a great deal like Jason Plumb of The Waltons (I consider this a supreme compliment). Yoder is a very polished songwriter who will appeal heavily to several demographics, and is probably one of the more likely artists to end up with songs licensed for prime time shows you'll come across. Okono Road is a smooth and accessible recording with significant commercial legs.

Rating 3.5 Stars (Out of 5)

You can learn more about Glenn Yoder at www.myspace.com/glennyoder. No information was received on availability, so please keep checking back to Yoder’s MySpace page for more information.

Review: Lindsay Mac - Stop Thinking

Lindsay Mac – Stop Thinking
2008, Taiga Records

Born in Iowa amid rumors of Pork Tenderloin breakfasts, it’s hard to know whether anyone knew Lindsay Mac was destined for greatness. While gaining classical training in voice, cello and piano in school, it wasn’t until after school that she really found her musical voice. In spite of classical training from such august institutions as the Royal College of Music in London and The San Francisco Conservatory, Lindsay Mac one day decided to strap on her cello and play it like a guitar. Rumor has it that on that day the clouds parted, angels sang and a single ray of brilliant light shown down on cabin Lindsay Mac was living in at the time. While this story should be taken with a grain salt (particularly because I made it up) it is very clear that Lindsay Mac found SOMETHING that day. Stop Thinking is Lindsay Mac’s second full length release, and while we haven’t had the opportunity to hear her debut yet, it is easy to see that Lindsay Mac possesses a certain amount of that musical magic that separates a true artist from a mere musician.

It’s unusual to find a CD that keeps you hanging on each and every note, waiting breathlessly to find out what the artist is going to do next. It’s even more unusual to respond that way on the 2nd or 3rd listen, but that’s the reaction Stop Thinking demands. On Stop Thinking every song is a highlight. The album kicks off with the title track, a stark, comical look at compulsive thinking. As a first time listener I was blown away by this song, between the non-traditional arrangement, the singular nature of Lindsay Mac’s voice and the utter brilliance of the lyrics come as a sweeping and welcome surprise. Amazingly enough, Lindsay Mac doesn’t let up for eleven songs. Faith is a fast moving tune with introspective moments. Faith is discussed in pragmatic terms here, but the arrangement itself plays like a musical metaphor for the title. The greatest hints of beauty fall in the quiet moments between all the action when the writer and listeners psyche are left bear of cover.

Barbies & Broncos is a wonderful song about living life in the moment. It’s a quirky song that isn’t nearly as risqué as it may sound on first listen, and may be the finest pop song on the album. 7 Stones is a musical parable full of beauty and grace that are as unexpected as they are confirming. Up to this point Lindsay Mac has been a quirky pop genius who writes great songs; on 7 Stones she proves herself to be a great songwriter. You’ll find yourself drawn into this story like driftwood on the incoming tide. It’s a song of love and faith drawn from deep wells that aren’t visible on the surface of any one person. It’s an amazing song. Rain is one of the most involved arrangements on the album, using South American rhythms like those you might hear on Paul Simon’s Rhythm Of The Saints album. The song is pure genius.

Cry, Cry, Cry is a musical creation in three distinct parts. You would be hard pressed to find an ABC style arrangement with more disparate parts in popular music, yet the three individual creations come together to create pop music. The chorus in particular, with cello, banjo and clarinet taking the lead is an incredible listen. Up next is a cover of The Beatles Blackbird. Over the last several years this has become one of those songs that everyone covers, and in itself has become something of cliché. Nevertheless, Lindsay Mac gives the song a reading that is fresh and welcome that even hardcore Beatles fans will enjoy. You’ll also want to make a point of checking out Peppercorn and Pavement.

Whatever led Lindsay Mac to strap on her cello and play it like a guitar was a good move, there’s no doubt about that. It makes her a unique performer that sticks out in people’s minds, and the image is just one you won’t forget right away. But all of this would be for naught if Lindsay Mac didn’t display a certain level of talent for writing and performing songs. The fact is that Lindsay Mac is one of the most exciting new songwriters we’ve heard in some time. The musical arrangements of her songs on Stop Thinking are utterly brilliant. Her voice is quirky and memorable with a certain abstract beauty that makes you want her to just not stop singing. Lyrically Lindsay Mac tells stories in intelligent lines of musical prose, mixing in wit and color to raise her story telling to an art form. Stop Thinking is utterly brilliant. It’s a Wildy’s World Certified Desert Island Disc. Lindsay Mac is going places fast.

Rating: 5 Stars (Out of 5)

You can learn more about Lindsay Mac at http://www.lindsaymac.com/ or www.myspace.com/lindsaymacmusic. You can purchase a copy of Stop Thinking at www.cdbaby.com/cd/lindsaymac3.

Review: (hed)p.e. - New World Orphans

(hed)p.e. - New World Orphans (N.W.O.)

2009, Suburban Noize Records

(hed)p.e. has come a long way; from party music mixing in the occasional social commentary to one of the hardest, most politically oriented acts on the table. Mixing elements of thrash metal, punk and hip-hop, (hed)p.e. responds to eight years of lionized conservative doctrine in governmental policy making with an equally lionized response born of the liberal blogosphere. (hed)p.e. markets this music as part of "The Truth Movement", purporting to tell the truth about the intent and actions of political and social elites around the world in controlling the non-elite. (hed)p.e.'s latest offering, New World Orphans (N.W.O.) is compelling listening whether you agree or disagree with their lyrical content.

(hed)p.e. leads off with Ordo (ab Chao), imploring listeners to "Think about it" in a classic thrash/punk tune about how government sows discord amongst the governed in order to maintain or consolidate power. Ordo should be a monster in the Modern Rock format, although the political climate has changed somewhat since (hed)p.e. wrote this song, at least in the US. Whether this song will reach as many as it might have under a President Bush is hard to say. It's interesting to note that (hed)p.e. doesn't seem to have much use for President Obama either. Higher Ground calls 2008 "another fake election". Oregon's The Dirtball rapid lays down the rhymes here in a rapid fire performance that will make your head spin. What becomes clear is that (hed)p.e. has become inspired by the same spirit of anarchy that drove The Sex Pistols and the entire punk movement.

Songs like Flesh And Blood implore listeners to "throw the bums out" of Washington, while songs like Planet X rip off the roof in a juxtaposition of thrash metal and an almost melodic surf/punk style. The Kottonmouth Kings sit in on Higher Ground; the liveliest song they've been associated with in several albums. Tech N9ne joins in on Work On This, tackling media driven perceptions of sex. Suffice it to say this is not an album for those with sensitive dispositions. Parents may want to think twice about letting this disc fall into the hands of impressionable ears (which of course means that every teen and tween who reads this will move mountains to listen to the album).

(hed)p.e. leaves sense and sensibility at the door in pursuit of their own version of the truth on New World Oprhans (N.W.O.). The music is amazing, and much of the album is thought provoking. At the same time a great deal of effort is expended using words and phrases to shock and awe the listener. This has the sum effect of lessening the impact of (hed)p.e.'s message. Misogynistic and homophobic language and imagery turns this into an angry diatribe born in facist doctrine rather than the sort of inspired education of the masses (hed)p.e. preaches, and begs questions about the true intent. Most likely the net effect is great market placement of music in message to invoke the appropriate number of bans and censures to ensure healthy sales, but the sum message balances of the precipice of irresponsibility at times. Ultimately New World Orphans pleases musically while leaving a lot of questions on the lyrical/message side of the coin.

Rating: 3 Stars (Out of 5)

You can learn more about (hed)p.e. at http://www.newworldorphans.com/ or www.myspace.com/hedpe. You can purchase a copy of New World Orphans at Amazon.com or wherever music is sold.

Review: Ben Johnson - Make It Bloom

Ben Johnson - Make It Bloom
2007, Ben Johnson

Ben Johnson's involvement and training in music runs the gamut from opera to jazz to world music to rock n roll. One of his previous bands, a salsa act named Mambo Jumbo opened for the Dave Matthews Band during the 2002 Olympics. His musical experiences and exposure lead to Make It Bloom, a diverse and wide ranging album full of sounds you may not always hear on one album, but which work amazingly well together for all of that. Johnson plays bass and sings on the album, but also recorded all acoustic guitar and piano parts in the studio. He's joined by Anthony Phan on Rhodes Piano, trumpet and vocals, and Randy Herbert on drums.

Johnson gets off very much on the right foot with New Sonata. This is an amazing pop song that is so catchy it might invoke a quarantine. Imagine if Ben Folds wrote happy pop songs and you get the general idea ("Boom shadda shadda boom boom shadda / I found paradise within your personna / Boom shadda shadda boom boom shadda / You're the kind of inspiration for my new sonata"). Pulling a prompt 180, Johnson launches into the maudlin love song Untame. It's a hard change of pace, as its difficult to rectify the Johnson we hear on New Sonata with the one we hear on Untame, but both songs work in their own right. Way Back East is a melancholic pop tune with bright/dark ambivalence that makes it an intriguing listen.

Up With The Flow has a quirky feel to it that is charming. The rhythmic acoustic guitar arrangement underneath keeps this one moving until the chorus kicks in with muted pop grandeur. One of my personal favorites here is Life, Easier. Johnson unleashes the funk on a limited basis here, with a guitar riff opening that's as nasty as they come. This one is something of a guitar anthem on the chorus, with minimal instrumentation on the verses. Internal Bleeding heads back into Ben Folds territory, sounding like an outtake from Rheinhold Messner. Other highlights here include O Town, Equilibrium and Way Back East.

Ben Johnson brings a fun and quirky sense to his music, highlighted by a real flair for the essence of pop music. Lyrically he presents some awkward moments at times, but these are almost more notable as marks of his musical character than flaws in writing. The song New Sonata is something special. In New Sonata Johnson has created one of those pop moments that either spark long and successful careers or memorialize bands as one hit wonders. It all depends on what follows of course, but New Sonata is an IT song. The sort that, released to pop radio in late spring/early summer with the right push could dominate the airwaves all summer long. If Johnson has anything else up his sleeve along that line he'll be with us for a long, long time. Even without New Sonata, Make It Bloom is a worthy effort.

Rating: 3.5 Stars (Out of 5)

You can learn more about Ben Johnson at www.myspace.com/benjohnson1975. You can pick up a copy of Make It Bloom at www.cdbaby.com/cd/bjohnsonmusic.

Review: Jeneen Terrana And The Howl Brothers - My Creation

Jeneen Terrana And The Howl Brothers - My Creation
2008, Bitesized Records

New York City based singer/songwriter Jeneen Terrana is talented enough to be funny and still be taken seriously. Growing up in a Sicilian family in Buffalo, NY, Terrana was treated to an opera performance every Sunday after dinner by her grandfather. Terrana took a lot to heart from those performances, learning the person-to-person performance style that her grandfather imparted. She has translated that into an electric and engaging stage presence; writing and performing intelligent and witty songs with a distinct musical and melodic sense. Terrana's 2nd album, My Creation, features the incomparable Howl Brothers as Terrana's backing band. The resulting thirteen songs are a magical, musical tour de force you have to hear to believe.

Let's start with the voice. Wow just doesn't cover it. Terrana has this silky yet metallic vocal quality that can't be taught. She runs the gamut from beautiful balladeer to edgy alt-rock goddess and back in a single breath. Power, grace and deep hues are all part of the mix here. The Mountains is a prime example of this range as Terrana wrings every ounce out of the song. The Howl Brothers provide an amazingly balancing performance underneath, teasing the song out of its shell with playful licks and taunting musical drama. Terrana moves on both figuratively and literally with New Book in a bracingly honest resolution. New Book has this delicious blues undercurrent fed by the Americana/blues textures laid down by The Howl Brothers.

Terrana slows things down with Close To You, a sweet ballad sung against the backdrop of bare instrumentation. This is a diva performance. The song itself is amazing. I could even hear in my head the jazz arrangement that would turn this song into a standard. Terrana knows her theater as well as her music and takes this song all the way. Up next is Joseph Scott’s Turn On Your Love Light, a tribute to classic country with a modern twist. The Howl Brothers provide one of the tightest musical performances you'll hear on this one, and Terrana continues to stun and amaze as she spreads her wings and shows the breadth of what she's capable of. Life Goes On is a musical soliloquy about finding direction out of chaos. The song itself is amazing, although is a bit muddled on CD by the use of excessive reverb.

Terrana takes us to the dance floor with Something Sweet, a song made up of two cups of double entendre and a dash of spice. This is a classic song in the tradition of old-school country. Back in the day when innuendo needed to be buried deep in the lyrics it was an art form to push the envelope while staying within the rules. Terrana sings this one with a wink and a smile and a powerful vocal delivery you have to be in awe of. Bloody Valentine steps back to the 1960's in a dark minor key song that sounds like a pulp fiction outtake. Bloody Valentine marks one extreme in a performance that continues to expand the boundaries Terrana is willing to push. Vocally this is the most challenging and rewarding performance on the CD.

Train steps back from the brink of musical madness into a classic folk arrangement that's like a cool drink of water to clear the palette. Jeneen Terrana is sweet and vulnerable here in an honest, unguarded performance here. The Howl Brothers continue to impress by building both a musical and rhythmic tapestry to wrap around a song of sadness and loss. Money Tree is a step into rockabilly with guitar work reminiscent of Chet Atkins' distinctive style. It's a light moment that allows Terrana to have a little fun while The Howl Brothers get to play around in the background.

Beautiful Surprise is the most straight forward rock arrangement on the album. Melodically this is a beautiful ballad, although it doesn't play quite that way in the mix on the CD. I enjoyed it, but thought the guitar was mixed a little too high for my taste. Considering that and the use of reverb in Life Goes On are the only minor issues I could find on the entire disc I'd say it’s nothing to worry about. Little Fish is a sweet song with a powerful positive message that finds Terrana at her most personal and personable. Terrana's cover of Dolly Parton's Jolene is classic; even better than the original (sorry Dolly). The album closes out with the title track, My Creation. The song serves as epilogue and autobiographical soliloquy of hope and the power to change, and completes a primo performance from Terrana and The Howl Brothers.

Jeneen Terrana is a special talent, and My Creation is one of the most breathtaking introductions to an artist I've ever experienced. It makes me sorry I missed her debut in 2002. Buffalo, NY should be proud, and New York City music fans should make every effort to see and hear the musical gem playing among them while they can. If there's justice in the world of music, New York City won't be big enough to hold Terrana in the long run. Between her voice and songwriting talent, and the impresario backing band The Howl Brothers, there's nothing this musical outfit can't accomplish. My Creation is, without a doubt, a Wildy's World Certified Desert Island Disc. It's a classic album that deserves to be heard far and wide. What are you waiting for?

Rating: 5 Stars (Out of 5)

You can learn more about Jeneen Terrana at http://www.jeneenterrana.com/. You can purchase a copy of My Creation at www.cdbaby.com/cd/jeneen2.

Review: Sugar Red Drive - Sugar Red Drive

Sugar Red Drive - Sugar Red Drive
2009, Big Machine Media

Poughkeepsie, New York’s Sugar Red Drive are a neo classic rock band by, of and for musicians. Their latest project, Sugar Red Drive, will be released on CD in early 2009. Combining the melodic and progressive phrasing of the 1970’s with the Modern Rock edge guitar sound that lights up the phone banks at local radio, Sugar Red Drive has hit on a unique mix of classic rock and pop that takes an audience by surprise. You’d better put on your seat belts.

Sugar Red Drive opens with Wicked Sister, a rock anthem buoyed by big hits and even bigger guitar in the vein of Collective Soul's heavier material. Velvet Leash barges in on the opener with as much attitude as the opener. Sugar Red Drive keeps up the intensity on One More Time, sounding like a cross between Soundgarden and Collective Soul. Grace is a decidedly more pop-oriented rocker that has "single" written all over it. This is one of those songs that stick in your head in spite of not being particularly catchy. The chorus is melodic rock candy though, and you won't be able to stop it from playing in your mind.

Millers Child finds Sugar Red Drive stripping things all the way down to the acoustic core, building slowly throughout the song into an acoustic/electric mix that stands in stark contrast to the first few songs on the album. Have no fear; Sugar Red Drive doesn't go mellow-rock after a few rambunctious tunes. The next track, Liar, opens on a guitar progression reminiscent Living Color. Overdrive lives up to its name, exploding out of guitar riff that's as dangerous as it is entertaining. Comin' Down is by far the heaviest action on the album; prepare to be pounded by the wall of guitar and bass ridden by vocalist Archit Tripathi. Comin' Down is probably the best pure rock tune on the album, and is likely to garner some attention from the Modern Rock set. The album closes out with Somebody Else, the big guitar rock epilogue you knew had to be coming.

Sugar Red Drive is an exciting Modern Rock act with sufficient attitude to satisfy their target demographic and enough musical talent to rise above it. Big guitar rock bands are a dime a dozen in the current environment, but every so often one comes along with a little something extra that might make it worthwhile for them to stick around. Sugar Red Drive has that extra sense of charisma bleeding out of their music that makes you want to hear what's next. It's also easy to see how that charisma would translate to a live show, where'd I'd guess Sugar Red Drive is at their best. Sugar Red Drive is a keeper.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sugar Red Drive at www.myspace.com/sugarreddrive or http://www.sugarreddrive.com/. Formal release information has yet to be released, so keep checking back at Sugar Red Drive’s website for more information!

Review: Jane Monheit - The Lovers, The Dreamers And Me

Jane Monheit - The Lovers, The Dreamers And Me

2009, Concord Records

Jane Monheit harkens back to the days of artists such as Sarah Vaughan and Kay Starr with her latest album, The Lovers, The Dreams and Me. Monheit burst upon the jazz scene in 2000 as an amazing ingénue. Nine years and nine albums later she is considered one of the pre-eminent female vocalists in jazz, and rightly so. Monheit has worked with the likes of Terrence Blanchard, Les Brown and Steve Tyrell while racking up appearances on Christmas At The White House, The Capitol Fourth Of July Celebration, The View, The Today Show and Letterman.

Monheit opens with a cover of Like A Star, finessing phrase after phrase into waves like those on the ocean. The ebb and flow here is tranquilizing; wrapping its arms around the listener and lulling you into Monheit's vocal grace. Fiona Apple's Slow Like Honey gets the Monheit treatment, turning the urgent edge of the original into a sentimental longing that is both less and more than the original. Monheit's at her best on This Girl's In Love With You. The full color and texture of her voice is laid bare on the most personal and lovely song on the album.

A sense of mischief infuses Monheit's take on Get Out Of Town. She's able to sell a sense of playful angst with this classic while delivering a primo vocal performance. Ballad Of The Sad Young Men is another beauty, with Monheit at the top of her game, and her backing band wringing everything they can out of the arrangement. The backing band here is perhaps one of the finest working jazz outfits going, bringing energy and life to even the most mellow of arrangements. Other highlights include I'm Glad There Is You, I Ain't Gonna Let You Break My Heart, Lucky To Be Me and Rainbow Connection.

Jane Monheit is one of the Great Ladies of Song, bringing grace and panache to a genre that's too often diminished in modern interpretations of classic material. The Lovers, The Dreamers And Me makes the most of even never material, placing it in a style and tenor that is at once period and timeless. Monheit scores big with this one. Somewhere Hoagie Carmichael is smiling.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jane Monheit at http://www.janemonheitmusic.com/. You can purchase a copy of The Lovers, The Dreamers And Me at Amazon.com or wherever music is sold.

Adrien And The Fine Print - Honey For Bees
2008, Adrien and the Fine Print

Adrien And The Fine Print come out of Boston's Back Bay with a rich tapestry of sound based in classic Americana roots and quality songwriting. The band's debut EP, Honey For Bees, was recorded in one day, with at most two takes per song. Adrien And The Fine Print attempted to capture the classic sound of the albums that influenced them most, opting for a less modern, less air-tight recording method that happens to bring out more of the live, organic sound of the band. Adrien, Elizabeth, Alex, Renee and Joey have something to say. You might want to listen.

Honey For Bees opens with A Ghost You Know. Vocalist Adrien sounds like he falls somewhere between Dylan and Ron Sexsmith, and the guitar violin bookend the vocals in a pleasant valley of sound. The stereo mix here is positional; with the violin on your right and guitar on your left and Adrien in between. It's almost as if you're sitting in at a house concert with the band right in front of you. The performance is very comfortable with good energy. Up next is Honey For Bees, a classic 60's sounding folk-rocker. Adrien just has this easy singing style that seems to work for most any song, and the harmonies here are a pleasant cushion to carry his voice.

Future Perfect is a strong, straight-ahead Americana arrangement in the same vein as A Ghost You Know. Santa Ana Winds takes on more of a country/rock feel and is probably the most commercially oriented song on the album. The EP closes out with Virginia Wasn't Always For Lovers, which takes on more of a classic country sound, complete with twangy guitar and harmonica. This is the sort of song you expect to hear on some prime time television drama as background music, so don't be surprised if it shows up somewhere in the future.

Adrien And The Fine Print make a fine first impression with Honey For Bees. Fans of bands/artists such as Wilco, Johnny Cash and Bob Dylan will go ga-ga for Adrien And The Fine Print. The songwriting is very strong and the performances are solid to outstanding. Honey For Bees is definitely worth harvesting.

Rating: 4 Stars (Out of 5)

You can learn more about Adrien And The Fine Print at www.myspace.com/adrienandthefineprint. Adrien And The Fine Print will release Honey For The Bees on Friday, February 13, 2009 at La Luna Café in Cambridge, MA. Keep checking their MySpace page for availability. In the mean time you can stream the songs on their MySpace page.

Review: Sherri-Anne - Love, Light, Life!

Sherri-Anne - Love, Light, Life!
2008, Canyon Edge Records

Sherri-Anne is a small town girl from British Columbia in Canada who came to the United States for college/university. While there, Sherri-Anne was bitten by the performance bug. A Missy Higgins concert was the tipping point. Noted by Canadian legend Tom Stinson during an “Okanagan Idol” contest, Sherri-Anne refused to do anything but her own original tunes. That contest resulted in a recording opportunity that later led to her debut album, Love, Light, Life! Produced by Tom Stinson and mastered by Joao Carvalho Mastering (Canada), Sherri-Anne brings her powerfully positive message to life on 12 songs (10 written by Sherri-Anne and 2 by her musical contemporary Bird).

Love, Light, Life! opens with Awake, a positive-themed pop tune with a feel good message based in kind of a new age self-help philosophy. The tune is a mildly aggressive pop tune with an mild but pointed edge to it. Sherri-Anne has a voice reminiscent of a mildly breathy Lisa Loeb. The arrangements are sharp, pointed acoustic pop sides that are compact and tuneful. Change Will Come is a perfect example of the material here. The general lyrical content is in that self-help/feel good realm and will definitely appeal to a specific niche of fans. Selfish Girl see saws from ballad style verse to rocker girl chorus juxtaposing hope with a vindictive, told-you-so attitude.

Love, Light, Life! is a happy, hopeful anthem that is part universal prayer and part humanistic self-actualization chant. It's catchy and upbeat and just slow enough to not be the danceable song it wants to be. Where Have You Gone? is the heart-rending anthem you knew all along would be here somewhere. The protagonist is pining and promising to wait in what is ultimately a lovely ballad; the sort that 14 year old girls or their emotional equivalents dedicate on shows like Delilah to the ones who got away. We Meant Love is peppy and upbeat, complete with hand claps, juxtaposing love against the things valued in popular culture. It's actually a great message song, although perhaps a little too peppy for its own pith. The rest of the album is of similar material, strong in positive thoughts and images and pop-oriented arrangements.

Love, Light, Life! is one of those albums you like at first listen but may not create a long-term bond with all listeners. Sherri-Anne is a strong songwriter able to craft hook-laden pop songs capable of overwhelming a listener in their pure confectionary air. Like all great pop music, such light offerings tend to grow old before their time. The exceedingly positive messages in many of the songs on Love, Light, Life! will sit well with some listeners and not so well with others. This is one of those discs I really have to suggest that everyone check out for themselves, as I suspect the range of reactions will be all over the map, and perhaps even a bit unpredictable. Sherri-Anne is a very capable performer, and in Love, Light, Life! she has created a note-worthy album deserving consideration and discussion.

Rating: 3 Stars (Out of 5)

You can learn more about Sherri-Anne at http://www.sherrianne.com/. You can purchase a copy of Live, Light, Life! At www.cdbaby.com/cd/sherriannesongs.

Review: Bailey - Burden The Hand

Bailey - Burden The Hand

2008, Baileymusic

Ohio native Chris Bailey has released six albums since 1999, both individually and with his band Moonlight Graham. Weaned on 1970's singer/songwriter types such as Jim Croce, Cat Stevens, Van Morrison, Paul McCartney and John Lee Hooker, Bailey writes in a bluesy folk style that would have fit in with the folks above while retaining a modern edge. Bailey's latest release, Burden In The Hand is intensely personal and forthright, using a broad range of instruments and sounds to tell a series of 7 stories to highly entertaining and complex musical arrangements.

Bailey opens with Sunny Road, a blues flavored folk rocker that would do Van Morrison proud. The arrangement is bare through most of the song but builds to a delicious crescendo as the chorus concludes. Bailey delves deeper into the Blues on Burden The Hand. Bailey's voice is incredibly soulful here with just the right mix of gruffness. The song builds from barebones to a big jam surrounding the tasty guitar riff that drives the song. This is my personal favorite song on the disc. River sticks with the blues sound and brings out a vocal quality that you hear before now but becomes extremely plain on River. Bailey sounds very, very similar to Dave Matthews. The main difference is that whatever Matthews is vocally, Bailey is more so. Bailey has just a bit more gruffness to his voice, and vocally has a more compelling sound than Matthews (based on tone, power, etc.). DMB fans will find themselves doing double takes when they first hear Bailey.

On Top Of The World is more in the singer-songwriter style Bailey grew up with. The song is a bit of genius writing. Bailey sounds like no one but himself here, and the performance is excellent. Between The Tracks sounds like Bob Dylan meets Billy Joel stylistically. It's pleasant singer-songwriter stuff but perhaps doesn't stand out quite the way some of the other material here does. The EP closes out with In Your Hands and Flowers, two musical short stories that are pleasant closure to a strong introduction.

Chris Bailey offers a memorable performance on Burden The Hand, proving that the singer/songwriter genre is alive and well. Highly introspective and reserved, Bailey offers up 7 vignettes in song that are entertaining and gratifying listens. The market for Burden The Hand probably veers strongly toward older music fans, but Bailey will find adherents across all age groups. There's nothing glitzy here, just good old fashioned music.

Rating: 3.5 Stars (Out of 5)

You can learn more about Bailey at www.myspace.com/baileyandthe. You can purchase a copy of Burden The Hand at www.cdbaby.com/cd/chrisbailey.

Review: Jeff Neville - A Romantic War Novel

Jeff Neville - A Romantic War Novel
2008, Jeff Neville

Lisle, Illinois Jeff Neville knows two of the most vibrant and divergent music scenes in the United States. Growing up in the Chicago market, Neville headed to New York City for college, and ended up part of the vibrant East Village/Lower East Side music scene. Years after returning to Chicago, Neville has a regular gig as keyboardist for Soul/Rock favorites The Midnight Shows. At the age of thirty seven he finally got the bug to put out something of his own. A Romantic War Novel, Neville’s solo debut, mixes dark and light, shadow and bright in a collection of nine story songs that are just Neville, his piano, and a guest trumpet on two tracks.

A Romantic War Novel is a musical offering painted in dark overtones, mixing pop aesthetic with gothic intent; as if Robert Smith and Colin Hay decided to get together for a weekend and write some music. The result is sometimes tragic, sometimes enlightening and generally entertaining. Neville's delivery is more like the morose days of Smith than the maniacally energetic Hay, particularly on the opening track, Watch Her. Neville has something of a story-teller streak in his songwriting, but the story falters on watch her. Between the nearly atonal vocal line and the robotically charismatic delivery, he just doesn't get off to a great start. Luckily things improve significantly on What She Said To Me; a wonderfully tuneful arrangement that bespeaks of a melody line that Neville just isn't quite up to delivering. Neville compensates by donning a Lou Reed style spoken word style that's full of casual style and chutzpah. Likewise Yours Truly, a song that sounds like a Tori Amos piano composition. Lyrically awkward but theatrically intense, the song crashes about and makes quite an impression like a party guest two shots too deep into the house liqueur; two much for the atmosphere but too likeable to make leave.

Neville moves back into aesthetic territory with Your Stubborn Pride, a pretty piano prologue that builds into a vindictive diatribe. Its likely epilogue, It's Over, is a mellow center stage soliloquy built on a Ben Folds style composition. Lyrically sophomoric, this particular track would be much more enjoyable as an instrumental. It's all part of the see-saw nature of the album. Crests are followed by troughs, with the occasional moment of parity between strong songwriting and ill-defined lyrical craft. One of the most interesting compositions here is Tonight, which plays with multiple keys and/or strong dissonant composition at times. The musical phrases here are pleasant to listen to, and the lyrical content is at or near its best on Tonight. You'll also want to check out Let It Drop and Take Me Back.

Jeff Neville isn't a wunderkind singer, sticking more to a talk/sing style that works for him. His lyrics are hit or miss. At times he has a way with words and other times... well, you get the idea. What really works here are the musical compositions themselves. Neville is a talented composer on piano, showing a broad range of styles and musical influences. He also seems to understand his instrument's voice, when to use it, and when not to. It would be very interesting to hear Neville working in a band setting. One imagines that working with other talented musicians he could be part of something quite special. As it is, A Romantic War Novel is a work of interest. It's not pretty, it's got some rough edges, and not everyone will see it, but it just might be a diamond in the rough.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jeff Neville at www.myspace.com/jeffneville. You can purchase a copy of A Romantic War Novel at www.cdbaby.com/cd/nevillejeff.

Review: Michael DeMaria - Siyotanka

Michael Brant DeMaria – Siyotanka
2009, Michael DeMaria/Ontos Music

Musician, Psychologist, Professor and new age guru Michael Brant DeMaria has twenty-five years under his belt on the life-journey gig. The professor at the University of West Florida is a multi-instrumentalist who dove into music at the age of seven to heal his own wounds. On Siyotanka (the Lakota Sioux word for flute), DeMaria explores an almost metaphysical musical world. DeMaria finds an extraordinary balance between moving flute and drum duets and cinematic arrangements that bring in piano and organic environment sounds as well.

DeMaria is one of many therapists/artists currently in the market with music aimed at promoting healing or growth. Frankly, many of these offerings are less than thrilling musically. Many end up being vanity projects with marginal artistic value, although there are exceptions. Siyotanka is one such exception. Whether through the eerily beautiful passages of Siyotanka, the ceremonial gait of Grandfather, the ethereal mysticism of The Quest or the cinematic grandeur of Beyond The Known, the listener is in good musical hands. DeMaria doesn’t just string together notes or progressions; he grabs hold of the listener and tells a story in phrases and notes that speak to more than just the ears. The introspective moments are full of quiet beauty, and the more cinematic moments are reminiscent of the sort of scoring you might hear in a movie like The Last Of The Mohicans or Dances With Wolves.

Michael Brant DeMaria is one of those uber-talented folks that can achieve at high levels along multiple career paths. Suffice it to say that if he ever retires his therapists’ shingle, it would appear he has a strong secondary path to follow. Siyotanka is a thing of beauty.

Rating: 4 Stars (Out of 5)

You can learn more about Michael Brant DeMaria at http://www.ontos.org/. You can purchase a copy of Siyotanka in the store at that site or at www.cdbaby.com/cd/mdemaria3.

Review: Gunbunny - The White City EP

Gunbunny - The White City EP
2008, Gunbunny

Seattle's Gunbunny relies on a classic 4-piece setup to create new and edgy Americana flavored post-punk pop songs that stick in your head like oatmeal on your ribs. With a second home in Portland, Oregon, this young band is moving quickly. Together just eleven months and with less than twenty-five live shows under their belt, Gunbunny have quickly found their musical voice. They put it on display on their debut, The White City EP, released in October of 2008.

The White City EP opens with The Knife, an edgy, post-surf guitar rock fueled song. The song is very vibrant and catchy and will get your feet moving. Never Wrong keeps listeners on their toes with a change of pace that's fueled by punk instincts in a wonderfully alt-pop setting. Left Coast is a more traditional rock arrangement built on jangly guitars and an introspective melancholy born of absence. Hidden is the gem of the album, with frenetic guitar work and a driving rhythm that won't let you go. Gunbunny seems to have a real touch for this sort of post-punk pop, infusing the rhythm and energy of punk into wonderfully hooky pop arrangements like it's nothing. Wreck ventures into a more Americana sound embellished with twangy guitars and a hint of vulnerability.

Gunbunny is a pleasant surprise. For a band so young (as a group) to have found their voice so quickly you start to think there's something special going on. Gunbunny covers enough musical ground here to avoid a distinct pigeonhole, but there's a definite punk work ethic and energy in this band, and there's a highly refined pop music sensibility that runs through their songwriting. It's a recipe for success that many bands dream of. The White City EP is a great introduction to Gunbunny, and is sure to leave you wanting more.

Rating: 4 Stars (Out of 5)

You can learn more about Gunbunny at www.myspace.com/wearegunbunny. You can purchase a copy of The White City EP at www.cdbaby.com/cd/gunbunny.

Review: El Dorado - En Busca De Eldorado

Eldorado – En Busca De Eldorado

2008, Eldorado

Madrid has a secret, and it’s one that won’t keep. Madrid might just be home to the best new classic metal band around. Fans of Rainbow, Deep Purple and even Whitesnake will want to take note, Eldorado is the real deal. Combining a killer rhythm section with soaring guitar riffs, big choruses and a charismatic lead vocalist in Jesus Trujillo, Eldorado has found a winning Rock N Roll formula. Their debut album, En Busca De Eldorado, was produced by Richard Chycki whose worked with such august artists as Rush, Seal, Aerosmith, Sum 41, Kid Rock, Def Leppard, Pink and Dolores O’Riordan.

Eldorado mixes heavy blues, rock and classic 1970’s metal sounds into a musical patois that is both comfortably familiar and at the same time new and edgy. En Busca De Eldorado is eight tracks deep, with seven in Spanish and one in English. Even if you don’t speak Spanish, the musical language here is universal. En Busca De Eldorado opens with Abril, which has a real Def Leppard feel to the verse. Crushingly melodic guitars drive this song home while Trujillo goes soul-metal in a performance that is highly memorable. Guitarist Nano makes the point that he’s a force to be reckoned here with some incredibly hot soloing. Whereas Abril has a brooding core, El Final springs out of the gates with a lively beat and takes to the open road. Eldorado is a well-oiled machine here, rocking for all they’re worth. The harmonies on the chorus will hearken back to a time when most hard rock acts could really sing.

Un Mal Presentimiento sounds like something you might have seen on MTV in the hair band days of the mid-1980’s. Eldorado doesn’t skimp on the quality here, building a layered sound that is both melodic and edgy. Dejame Decirte sounds like a big rock ballad, fairly typical for the genre, but Trujillo’s vocals keep it more than interesting. En Busca De Eldorado goes for the big, soaring guitar sounds you might expect from Ronnie James Dio, although the song itself is a bit more polished and commercial than Dio might end up with. My favorite song here is El Jugador. Eldorado reaches down and grabs hold of an infectious blues core on El Jugador and refuses to let go. The result is a song that just won’t get out of your head. Mistreated is the only English Language song on the album, dealing even more keenly in a blues-heavy hard rock sound. You can tell the band is having fun on this one, waltzing into Prog territory with the song structure and even stepping on the toes of Led Zeppelin in a musical dance you won’t want to miss. The album closes with Identidad, the most ambitious rocker on the album; sure to be a concert favorite.

Eldorado is one of the most resilient and hardest rocking classic hard rock bands on the scene today. The fact that most audiences in the new world have never seen them aside, Eldorado is a band to watch. With a growing Latin American population and the addition of a few more English language songs, Eldorado may be on the precipice of jumping of the EU and taking over the rest of the Western Hemisphere. En Busca De Eldorado is amazing.

Rating: 4.5 Stars (Out of 5)

You can learn more about Eldorado at www.myspace.com/enbuscadeeldorado or http://www.enbuscadeeldorado.com/. You can purchase a copy of En Busca De Eldorado at www.cdbaby.com/cd/eldoradomusic.

Review: Clipper - Make My Day

Clipper – Make My Day
2007, Clipper

Italian Rock band Clipper is one of the more surprising entries into the Americana market that we’ve received. Citing roots in Rock N Roll, Folk and Country (in particular Hank Williams), Clipper delves deep into the roots of American music. Primarily a duo, Lorenzo and Davide occasionally enlist the assistance of other musicians, but the two have been with Clipper for a long time and stand firmly at the helm. Their most recent CD, Make My Day, provides a solid grounding in classic Americana with a European twist.

Clipper takes on a kind of Grunge-American style tempered by the sort of pop aesthetic practiced by Oasis on Make My Day. Lead singer Lorenzo Romagnoli sounds like a Gallagher on the opening track, The Mean Singer. The Mean Singer has a sort of Punk/Pop vibe running through it. While lyrically repetitive, the music is catchy and pleasant to listen to. Start Breathing is a catchy, jangly guitar-pop anthem that will get stuck in your head from the opening verse. Shopping Mall Blues has a real rockabilly feel to it that is as catchy as the flu; Doom, similarly, has a very viral country sound built around pedal steel guitar and a two-beat rhythm.

Through it all Romagnoli sounds very much like Liam Gallagher imitating Bob Dylan. This doesn't sound rediculous in fact, although it seems like it should. The overall effect is quite entertaining, as if Ringo had took lead vocals on all of the Traveling Wilburies' tunes. My favorite song on the disc is Black Sky Blues. The picked acoustic guitar and slide-guitar accompaniment make this sound like acoustic blues you might hear in a backwoods Kentucky roadhouse. Other highlights include You, Spean Bridge, the traditional Leaving Of Liverpool and Ramblin' Man.

Clipper finds the heart of Rock N Roll that many American rock artists have long forgotten. The definition of radical is returning to the roots, and by that definition Clipper is one of the most radical bands out there. Vocally intriguing and musically sound, Clipper explores the back roads of American music through the eyes of a Brit Pop fan. Make My Day, consequently, is a comfortable album with a classic sound that deserves real attention. Clipper is for real.

Rating: 3.5 Stars (Out of 5)

You can learn more about Clipper at www.geocities.com/clipperpeople or www.myspace.com/clippersound. You can purchase a copy of Make My Day using PayPal at Clipper’s online store.

Review: Jennifer Grayson - New World/How Blue

Jennifer Grayson - New World/How Blue
2009, Jennifer Grayson

The line between classical music and popular music is a strong border entrenched on one side by popular mores and on the other by hundreds of years of history and tradition. It is rare for a classical musician to cross over into the popular realm because the discipline and technique required in classical music isn't valued in the popular realm. Nevertheless classically trained musicians do cross over to varying degrees of success. Jennifer Grayson is classically trained on both piano and voice, debuting as the principal soprano in nothing short of the Carmina Burana in Boston's Jordan Hall. She's studied voice at Philadelphia's Academy of Vocal Arts and the New England Conservatory Of Music. Constrained by the classical music world, Grayson felt a desire to make her mark in the realm of popular music. Her performances have included modern interpretations of her classical music repertoire as well as updates of pop classics. Recently Grayson took the big step of releasing her first single in the digital realm. New World/How Blue combines expansive and subdued pop arrangements with an ethereal voice unlike anything in popular music.

Grayson puts aside the pop convention of singing from the throat and sticks with the voice she knows best: gorgeous tone and vibrato. Grayson's voice is haunting and beautiful. You may find yourself so entranced that you forget what she's singing about. The musical arrangements are smart, mellow pop/rock stuff; perfect vehicles to let Grayson due show her best side vocally. New World builds to a climax that gives us just glimpses of Grayson's full soprano range, climbing and building in intensity by half measures from start to finish. How Blue allows Grayson to soar into the higher altitudes of her vocal register. The song itself has an air of longing that's part melancholy and part hope, and Grayson delivers this mood perfectly.

Jennifer Grayson may have the most beautiful voice in popular music. The question from a commercial perspective is whether it may be too beautiful. Grayson delivers tone and vocal quality rarely heard on pop radio, but lacks the sort of vocal imperfections that tend to make a voice interesting or iconic in the pop world. There's definitely a market for a voice like hers in popular music, but it may be limited to the adult contemporary realm. That's not a problem, and we really hope Grayson doesn't try to sound more like a rocker girl, her sound is refreshing and will hopefully inspire more classically trained vocalists to jump the border into the pop realm. Grayson's first single is a wonderful introduction to an artist whom we hope will continue to add her voice to the pop conversation.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jennifer Grayson at www.myspace.com/jennifergrayson. You can purchase her digital single New World/How Blue at iTunes or Amazon.com.

Review: Bernie Journey - The World In The Eye Of The Beholder

Bernie Journey - The World In The Eye Of The Beholder
2008, J2 Records

Cleveland native and current New York City resident Bernie Journey is a puts himself out there as a George Michael clone doing the sort of dance pop that bridges the gap between pop music and Electronica. The brand of innocuous electronic dance pop that was popular in the late 1980's and early 1990's is what Bernie Journey does best. His second album, The World In The Eye Of The Beholder will be released on January 27, 2009, and is likely to appeal to fans of George Michael and fans of the era of dance pop he's most associated with.

Journey makes every effort to sound like George Michael, from vocal affect and tone down to the style of music presented on The World In The Eye Of The Beholder. Unfortunately for Journey, he just can't carry the shoes of George Michael. I'm not exactly what you'd call a George Michael fan but I respect his talent for catchy pop songs and his ability to deliver them. Bernie Journey is a competent vocalist with a voice that almost lends itself more to pop Bowie comparisons than Michael. The music is campy and upbeat; enjoyable but unlikely to make significant commercial impact in the current business environment. Highlights include A Song For Hope Everlasting, A Better Life and Everything, although I think Journey is at his most musically compelling in jazz oriented pieces such as Just A Dream.

The World In The Eye Of The Beholder is one of those albums that will find favor with a small niche of listeners, and it may qualify as a guilty pleasure for a handful more. There are a handful of compelling songs here, but much of the album is fluff packaged for a dance crowd that isn't really there anymore. Journey is a good vocalist, but can't live up to the hype about him being someone else (Michael). In the end he's good enough as himself, but he just doesn't stand out from the crowd.

Rating: 2.5 Stars (Out of 5)

You can learn more about Bernie Journey at http://www.berniejourney.com/. You can order The World In The Eye Of The Beholder through Amazon.com.

Review: Underground Logic - Demo

Underground Logic - Underground Logic
2008, Underground Logic

Underground Logic are the hip-hop darlings of the Jersey Shore. Incorporating elements of rock, funk and soul into their fresh blend of hip-hop, Underground Logic aim for the sort of musical domination reserved for trailblazers and superstars. Lead vocalists Tiffany Sterling lays down devastating rhymes over the live band sounds created by Brian Keith (guitar), Kenny Peterson (drums), Colin Thompson (bass) and Salli Redd (backing vox). Underground Logic is currently working on their debut album, and sent along this four song demo for review. It sounds promising.

The demo opens with Rainbow Gangsta, with a driving beat and lyrical style that is intense but only gives a glimpse of what Sterling is capable of. Drums For Me expands on Sterling's initial offering in duet with Salli Redd. The vocals are sharp and clear and very pleasant to listen to, even if the melodic content here is repetitive and bland. Poison sounds like the musical ravings of lunacy before breaking into a typical hardcore gangsta diatribe. The rhymes are competent but don't really stand out as something special, and even the chorus lyrics sound somewhat forced. Even brings the tone and tempo down in a pleasant R&B/disco offering that may get some attention at commercial radio.

Underground Logic is a talented outfit angling for a record deal or some other form of the big break. Vocalist Tiffany Sterling has a great sound that isn't truly used to its full potential here. The Underground Logic demo shows a band struggling between its desire to be gangsta and an innate musical sense that is drawn more to the melodic side of music. The struggle is there although it may not be readily apparent without several listens. Underground Logic is a band to watch, and they'll go a long way if they don't get too wrapped up in what critics like me say about them.

Rating: 3 Stars (Out of 5)

You can learn more about Underground Logic at www.myspace.com/undergroundlogicmusic. Keep checking their website for upcoming release information and availability.

Review: Alan Cohen Experience - Alan Cohen Experience

Alan Cohen Experience – Alan Cohen Experience
2008, Alan Cohen Experience

Alan Cohen is a concept guy. The Boston-based singer/songwriter/bandleader turns out new music like breathing. Cohen and his Orchestra of Personality comprise The Alan Cohen Experience, name coined by a drummer Cohen once knew. The name is apt, Cohen is a musical experience. His latest album, a 6-track EP entitled, aptly, Alan Cohen Experience, was released in November of 2008. Produced by Roger Greenwalt (The Pierces, Ben Kweller, Nils Lofgren), Cohen comes out of the deeply conceptual into the wonderfully strange.

Alan Cohen Experience opens with Elephant, a bizarre ditty that sounds like something Saturday Night Live's Dieter might have played on his fictional television show Sprockets; "All's quiet on the waterfront, it's just me and my ellee-phant." The music is minimalist Euro new wave circa 1985, with riffing guitar and a hip 1985 dance beat. Up Next is Roy's Rock, a classic rock mover with funk in its ancestry. Lyrically the song is fluff, but it's a fun listen that will be sure to get your feet moving. Communist Park reminds me of what might have happened if the early incarnation of They Might Be Giants wrote lyrics for and sang with Ben Folds. The tune is catchy; the arrangement based on pop piano and horns, the lyrical content is strange.

Saturday Morning is a dreamy musical landscape that's more a descriptive musical image than a story or idea. It's sweet in its own way with a lovely melody and perfect harmonies. Bonita is a "love song for no one"; it's a bit cliché and silly but quite enjoyable. The song is accompanied by gorgeous orchestration and shows the depth of songwriting talent chief songwriter Cohen possesses. Space Watch takes some lyrical license in a song that is both odd and richly rewarding.

The more I listen to Alan Cohen Experience the more they remind me of another band known for richly psychedelic songs. Canada's Rheostatics made a long career out of the same sort of material for nearly twenty years, although they had a slightly harder edge at times. Fans of The Rheostatics of Kevin Hearn (Barenaked Ladies) will get the Alan Cohen Experience. Musically the band/orchestra is top notch. The songwriting is clean, crisp and rich in orchestration and musical development. Lyrically they'll leave some folks behind, but not too many. Alan Cohen Experience is a worthwhile listen; one of those you might not listen to regularly over the long haul, but will call to you from time to time to pull it out and give it another spin.

Rating: 4 Stars (Out of 5)

You can learn more about the Alan Cohen Experience at www.myspace.com/alancohenexperience or http://www.alancohenexperience.com/, where you can purchase a copy of Alan Cohen Experience.

Review: The Lovely Killbots - Primrose Lane

The Lovely Killbots - Primrose Lane
2008, Obscenery Music

Elegance comes in many forms. Lauralee, the yin of The Lovely Killbots, brings a quiet elegance wrapped up in melancholy and disturbance. Her voice is rich and warm with a semi-eternal melancholy shadow while her piano creates cognitive dissonance for her thoughts. Yang Ryan provides drums and vocals, both corralling and propelling their collective muse. The mythology of the due implies they perhaps came together over spilt beer at a party, but what was set loose on that day (however it occurred) is a musical dynamo that's part surreal, White Stripes style rock and part non-conformist musical experiment. The Lovely Killbots offer up their debut album, Primrose Lane, for your consideration.

Crushed Orange Warrior opens with Lauralee singing along with her piano. The percussion here is just too much, threatening to drown out the piano and vocalist throughout much of the song. The song itself is quite pleasant and worthy of checking out. Re-creatio(n) is a bouncy, spring-like composition. Lauralee and Ryan's vocals here create a formidable palette with which to paint the song. Ghetto A is built on a straight up rock beat and arpeggio variations of the left hand. It's alt-rock themed with what sounds like a Rent reference thrown in. Ghetto B is a slowed down, more jazz-oriented composition based on the same melody

Fill The Space is perhaps the most commercial sounding track here. The recording is much tighter here than previously on Primrose Lane. Other songs of note are Don't Look Down, Dis/Gruntled and Whisper Softly.

The Lovely Killbots are a quirky Toronto duo playing slightly disjointed piano/drum art pieces that blend into and out of alt-rock seemingly on a whim. While making interesting and unusual songs, The Lovely Killbots prove that virtuosity isn't a requirement for success. Lauralee has a warm and lovely voice that is pleasant to listen to, but would not appear (from this album at least) to have piano skills that exceed mechanically proficient. Percussionist Ryan isn't asked to stretch the bounds extensively here, and so we're left with a narrow view of The Lovely Killbots. Primrose Lane is an interesting listen with merit, but it’s hard to imagine The Lovely Killbots having much long term success without expanding their repertoire.

Rating: 3 Stars (Out of 5)

You can learn more about the Lovely Killbots at www.myspace.com/lovelykillbots. You can purchase a copy of Primrose Lane at Indiepool.com.

Review: Megan Munroe - One More Broken String

Megan Munroe - One More Broken String
2008, Diamond Music Group

Megan Munroe grew up in the foothills of Washington's Cascade Mountains. Raised according to a get-back-to-basics philosophy, Munroe grew up essentially without the influence of television. This idyllic lifestyle allowed Munroe to develop her imagination and creative abilities in ways that bypass many raised in a "plugged-in" culture. It's ironic then that her first foray into the public eye was on television. At the age of seventeen she moved to L.A. to pursue a career in acting. Munroe thrived, appearing in three films and co-starring on two episodes of the WB's Everwood within a space of three years. By the age of twenty Munroe had tired of the narcissistic culture of Hollywood and return home to Washington to focus on music (while commuting to LA on weekends of acting gigs). Munroe is based in Nashville these days, where's she's preparing for the release of her second CD, One More Broken String, due on February 10, 2009. In the mean time she continues to act, model, writing, work on a novel and train for a 5K.

Just twenty-five years old, Munroe shows the grace, confidence and polish of a seasoned performer. Co-writing most of the material for One More Broken String with longtime collaborator Brian Oaks, Munroe explores the basics of life, love, happiness, and the consequences when one or all go wrong. Munroe opens with Angel On My Shoulder (Devil On My Back), a raucous country rocker that explores the struggle to stay on the right path between the power of grace and the draw of temptation. Munroe sings her heart out on this one and it is a likely single (or should be). Munroe's voice is honey and steel, in turns, with lots of heat and grit thrown in. She can tear the roof off one moment and turn vulnerability into an art form with her next breath.

Nothing Is Easy Anymore is a prime example of the latter, a quiet and introspective ballad that is strikingly honest with a highly memorable melody. The arrangement is a classic country one with pedal steel and compact, sorrowful sounds. Moonshine is a pop rocker with country instrumentation. Munroe gets to engage in a vocally gymnastic pounce flowing out of sultry stalking the chorus. Moonshine could be the sort of song that gets tied to an artist; it shows all of Munroe's most desirable vocal qualities along with her ability to take a performance completely over the top. It's bombast, country style, and it works.

Never one to stay still, Munroe moves on to Pennies In The Ocean, a paean to chasing the golden bail, juxtaposing the heights of success with the solitary songwriter, alone with a guitar under a nondescript sky. It's a musical reality check for all who've tasted success or at least chased it, and bound to be one of the most thoughtful and poignant songs of 2009. The metronome swings quickly with Munroe, and before you even done considering the implications of Pennies In The Ocean she's launched into the delicious spite and vitriol of Leavin' Memphis. The tale of dealing with a straying husband is incredibly rich and textured, like a short story in a song. It frankly makes "Before He Cheats" sound second rate. This is top-ten country chart material if it's released as a single (and a probable #1).

Angel On Fire finds Munroe getting down to a bluegrass sound reminiscent of Allison Krauss (and in the right part of her range Munroe sounds more than a little like Krauss). Good Fight is country with an urban, almost R&B feel to it. Munroe lets the glints of steel in her voice shine through here, projecting a toughness that is tempered by intelligence. On Shameless Fool Munroe finds her vulnerable self and puts it out on her sleeve. Some of the sweeter qualities of her voice come through in a performance that also has top-ten country song written all over it (this one is probably even more likely to be a #1 than Leavin' Memphis).

Perfect Storm is a pop song born of a waltz. Munroe goes for sweetness here in a country ballad that is fairly generic for country radio but still a pleasant listen. Belle Meade is one of those rare moments where artistry and craft combine to rise above the bar of mere performance. Munroe inhabits this song like it’s her life story. The song itself isn't my favorite on the album, but Munroe wears it like her own skin and makes it more than it could ever be otherwise. It's a Sinatra moment, of sorts. Speechless is another example of Munroe's ability to take a song and make it into something special. The difference that Speechless itself is a special song, yet Munroe still finds a way to inhabit it and bring it to life. The gritty powerhouse has thoroughly melted away here and Munroe sings straight from her heart in what may be the most potentially explosive commercial song on the album. The set officially closes with Lonely Tonight, a sweet and regretful song that sounds standard country issue. Cliché perhaps, but Munroe still manages to lift the song beyond its moorings. In a pleasant surprise, Munroe has hidden an encore at the end of the album. "What I Am" is a wonderful exploration of the dual nature of humanity; the sinner/saint in each person, and how this can contrast with the expectations of those we love. Munroe speaks more truth about the human condition in three plus minutes than many pop artists speak in entire careers.

One thing is abundantly clear. Megan Munroe is ready for Nashville and ready for the world. Munroe brings all the tools of an A-list performer on One More Broken String and uses them all too full effect. One More Broken String will put Munroe on the map in a way she hasn't been before, and for all that is likely only just the start. Her songwriting partnership with Brian Oaks would appear to be a special one. Oaks may just be Munroe's Bernie Taupin, and this could be the beginning of one long, wildly successful ride for a daydreamer from Sultan. In the mean time, One More Broken String is a Wildy's World Certified Desert Island Disc, an absolute pleasure, and an early favorite for breakout album of the year.

Rating: 5 Stars (Out of 5)

You can learn more about Megan Munroe at http://www.meganmunroe.com/ or www.myspace.com/meganmunroe. You can purchase a copy of One More Broken String at www.cdbaby.com/cd/meganmunroe2.

Review: The Johns - Foresight/Poorsight

The Johns - Foresight/Poorsight
2008, Ghost In The Cupboard

The John's hail from Chicago, brandishing their style of honest, mid-western Rock N Roll like a sigul. The Johns have barnstormed the Mid-West, making friends and fans at each stop along the way, and even entertained a crowd in Boston's Town Hall in the past year. Everywhere you look these days you see things in contraction, but not The Johns. Their dream in creation just continues to grow. Their latest release, Foresight/Poorsight furthers that dream in wonderful and melodic ways.

Yes, they sound like early U2. The Johns, more than any band I've heard, have captured that blend of melody, grand harmonies and grander themes that made U2 such a success. Lead vocalist Jon Scarpelli even manages to sound a bit like Bono at times. Foresight/Poorsight opens with Sun For Days. Sun For Days is built on a simple melody and even simpler arrangement. Trim harmonies and workman-like guitar work making for a stark and lovely song, steeped in that melodic bigness U2 was known for in the 1980s. Defeatist sticks to a similar style, with sublime vocals and a sort of minimalist quasi-minimalist instrumental approach. If you want to hear angelic harmonies check our Love In A Dangerous Place. The song is a highly melodic ode to death and love and how one doesn't necessarily overcome the other.

The Johns change pace with the country-flavored Compass Rose. The wailing, ethereal pedal steel is almost dreamlike before the song returns to the pop/rock form The Johns are adept at. Wake Me Up is a darkly sweet waltz hiding in a ballad obsessed with mortality. The song is beautiful. Can't Carry No More is good old-fashioned honky-tonk country full of wit and not just a little spirit and is probably the feel-good standout of the album. Other highlights include Green Collar and Are You Still Coming?

It's hard to say the Johns are entirely unique, but they certainly have the market cornered on melodic pop. There is no one quite likely them in the music scene right now. The U2 comparisons are going to be made, and they aren't entirely unfounded, but The Johns make the sound all their own. This is one incredibly talented group. Foresight/Poorsight may just call for the crown of kings of melodic pop to be change hands again.

Rating: 4 Stars (Out of 5)

You can learn more about The Johns at http://www.thejohnschicago.com/. You can purchase a copy of Foresight/Poorsight at www.cdbaby.com/cd/thejohnstunes2.

Review: Justin McMillan - The McMusic Sampler

Justin McMillan - The McMusic Sampler
2009, Justin McMillan

Justin McMillan is a young upstart musician based out of Toronto who has a knack for catchy little pop/rock ditties that stay in your head for weeks. He was a runner up in the http://www.wearelistening.org/ 2007 Songwriter Awards and garners positive attention wherever and whenever he plays. McMillan is currently working on his debut album, The Style At The Time, due sometime in Spring of 2009. In the meantime, he sent along a little four song appetizer called The McMusic Sampler. Let’s check it out.

Justin McMillan leads off with Sleepless Eyes, a catchy, jangly bit of Brit Pop. There's an Elvis Costello and The Attractions air about this song, keeping to a simple, compact arrangement and a melody you'll be humming long after the song is over. Sleepless Eyes could go to pop/rock radio right now and get significant interest. Next up is In A While, keeping with the compact style, McMillan is shines in a wonderfully tuneful song that dances right on the edge of punk without ever leaving the realm of pop. Question To Ask You finds McMillan expanding his sound just a bit, opening up on guitar to accompany a song that is a tad more reserved. This is a song of courting and encompasses all of the nervous energy and suppressed excitement that goes along with such things. Say It To Yourself closes out The McMusic Sampler by amping up the music another notch. Say It To Yourself may be the unfortunate answer to Question To Ask You. The song is impetulant, unbelieving and thoroughly wonderful. The jaunty music arrangement stands in stark contrast to the lyrical content, and there's even a guitar solo that sounds like something that might have come out of Brian May's customized guitar.

Justin McMillan is an up-and-coming artist who deserves your full attention. His influences are quite obviously rooted deeply in British Rock And Roll, and he even has some of the same vocal qualities of a young Elvis Costello. The songs are full of life, with jangly, angular chord progressions and unforgettable melodies. McMillan just needs to keep knocking on doors, because before long one of them is going to open. The sky's the limit.

Rating: 5 Stars (Out of 5)

You can learn more about Justin McMillan at http://www.justinmcmillanmusic.com/ or www.myspace.com/justinmcmillanmusic. You can currently stream songs from The McMusic Sampler on McMillan’s MySpace page. Look for his debut album, The Style At The Time, available in Spring 2009!

Review: Mass Echo - Oblivion

Mass Echo - Oblivion
2008, SOCAN

Hamilton, Ontario, Canada’s Mass Echo is a new breed of band. Prog rock tendencies and electronic sounds/effects make for exciting listen as Mass Echo weaves their way through unbroken musical ground with the history and classical forms of progressive rock. School chums Michael David Stricker and Sebastian John Jurowski team with the tomato loving Caleb Cromb to create inspired moments of musical madness on Oblivion, the band’s debut album. Mass Echo are touring in support of Oblivion and already planning for albums number two and three.

Mass Echo explodes out of your speakers with Doorajar, a musical fracas incorporating Eastern sounds with electronic effects and a Drum N Bass floor. The song practically does a slow implosion rather than end. (Oops) Into Wonder is a pensively vibrant composition focused primarily on keyboard/synth permutations of rhythm. This song of seeking rides its own waves of inquiry through rough musical waters that wash up into frenzied rock guitar runs and then into reticent alt-rock poses before burning out into a Pink Floyd-style neural/aural tease.

What becomes abundantly clear very quickly is that Mass Echo is given to fits of musical metamorphosis that are wonderfully jarring and disturbingly beautiful to witness. In much the same way that later Beatles material simply broke down barriers between music styles (and compositional rules), Mass Echo goes where they wilt, without rhyme or reason or any external sign of why. The results tend to be chaotic, exasperating and ultimately fulfilling. Songs like Overseer confine barely controlled rage into dark and shifting sonic elements that range from the forebear to hard rock to electronic smudgery.

You'll want to check out The Bell, a sonic water color with alarming tendencies toward electronic and vocal bombast. The chanting and arrhythmic pulsation of the synth heart bespeak of a dance on the edge of lunacy. Be sure to also check out Augmented, played in part on a ghostly piano and an arrangement that expresses disturbance beyond the usual human capacity. Other highlights include Cobwebs, By The Horns, Pole Shift and Lounge.

Mass Echo might properly be dubbed (pun not intended) the first of what I am certain will be many Progtronic bands (those who compose and perform electronic music but with the sort of compositional tendencies found in hard-core Progressive Rock). Mass Echo can change direction with the wind (or in spite of it), leaving the listener to either be lost at sea or grab on for dear life. The choices made on Oblivion are surprising, disturbing and deeply informative of the musical mind of Mass Echo. Mass Echo follows their muse wherever it takes them, without fits or filters. The results are glorious. Mass Echo obviously mixes ambient and electronic here, but they may be the most exciting and vibrant electronic artist in a decade. Oblivion is highly recommended.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mass Echo at http://www.massecho.com/ or www.myspace.com/massecho. You can purchase a copy of Oblivion at www.cdbaby.com/cd/massecho.

Review: Lloyd Dobler Effect - Lloyd Dobler Effect

Lloyd Dobler Effect - Lloyd Dobler Effect
2008, Lloyd Dobler Effect

Lloyd Dobler Effect is a Washington D.C. based band with big plans. Having toured extensively over the last four years, Lloyd Dobler Effect has played with a virtual whose who of Rock N Roll. Lloyd Dobler Effect celebrated 2008 by releasing their debut studio album, Lloyd Dobler Effect. The album had been in the works since 2004, but an air of perfectionism settled over the band, and combined with a heavy touring schedule it just didn’t happen. Two live albums filled the space between, but for long suffering fans, the album is finally here.

Lloyd Dobler Effect opens with Have Faith, a wonderful pop rock song with smooth vocals from singer Phil Kominsky and an unerring melody. Through in some funky guitar work up front and a smokin' rhythm section and you have the base recipe for a fine album. Meet Me In London is a big, joyous rock song that sounds like it could have been a Gin Blossoms tune. This is first class Rock N Roll, the sort of stuff that even ten years ago would have been a major radio hit. Radio is a big arena-rock style song. Vocalist Kominsky has this interesting vocal tick that kicks in from time to time. Occasionally you'll hear this vocal quality that is eerily reminiscent of Freddie Mercury. It's generally gone as quickly as it came, but certainly notable when it occurs.
Spain is a loping rocker with big harmonies on the chorus and Spanish guitar licks cementing the phrases together. Kominsky and mates seem to ricochet through self-titled debut between slow, meandering, harmony filled rock anthems and frenetically guitar-driven rockers. Release Me is a prime example of the latter, reigniting the comparisons to the Gin Blossom in the process. Fans of the Tragically Hip will also find shades of their favorite band here as well. You'll want to surf the funky guitar licks of Might Be Love and the Latin-Rock tune Stranger, which is the absolute highlight of this disc. Vacillating between Latin and Rock sounds with some electric slide guitar work thrown in, Stranger is by far the most dynamic and interesting composition here. The recorded version runs five-and-a-half minutes, but you could easily hear this getting stretched into an extended jam in concert. Other highlights include Empty Reach, Harvard and I Have The Touch.

The Lloyd Dobler Effect has a very dynamic and engaging musical presence that comes across even on CD. Fifteen or twenty years ago Lloyd Dobler Effect would have been kings of the pop/rock world. In today's environment I would guess that they are destined to long term success as a band, but the whole radio star thing is a dead end unless you're with a major (or are very, very lucky). Lloyd Dobler Effect is an A&R professional’s dream find, and their self-titled debut is as tight as they come. A highly enjoyable album that is very much worth your time.

Rating: 4 Stars (Out of 5)

You can learn more about the Lloyd Dobler Effect at http://www.lloyddoblereffect.com/ or www.myspace.com/lloyddoblereffect. You can pick up a copy of Lloyd Dobler Effect on the band’s website or at www.cdbaby.com/cd/lloyddoblereffect2.

Review: Jerry Oliver - Death Of The Avant-Garde

Jerry Oliver - Death Of The Avant-Garde
2008, Odd Records

Minneapolis native and current Nashville denizen Jerry Oliver has been making music for a number of years. As a member of bands as diverse as The Cherokee Rose Band, Peculiar Red and Pushin’ Daisies, Oliver has released/recorded several albums, toured extensively and even been featured on a regional compilation. These days Oliver teaches guitar at The Musicians Hall Of Fame and Museum School Of Music in Nashville, in addition to gigging extensively. In February of 2008, Oliver released Death Of The Avant-Garde.

Death Of The Avant-Garde opens with the Hot Coals after a short prelude. Oliver sets the tone with big guitar and sitar evolving into a straight up rock tune with lyrics that are unimaginative and uninformative. Death of The Avant-Garde turns out to be a wonderfully Prog new wave tune. This will get people up and moving whether on the radio, in a club or on the stage of a stadium. Out Of Here is a bit slower getting through the verses but the refrain is ultra-catchy. Fact Or Fiction? is a mellow and dreamy introspective song that devolves into an occasional discordant fit. Ripped Yellow Shade wants to rely on a style that's part old school gospel.

Jerry Oliver is a capable vocalist, and the music on Death Of The Avant-Garde is interesting in composition. The musicianship here is first class, and the songwriting ranges from Great! to Okay. Death of the Avant-Garde is a fun listen and definitely worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Jerry Oliver and purchase a copy of Death Of The Avant-Garde at http://www.jerryoliver.com/.

Review: Jerome Lee - Life This Time

Jerome Lee - Life This Time
2003, Jerome Lee

Jerome Lee’s been making music for many years. His professional career goes back 31 years when he was stationed in Japan with the US military and playing club and concert dates with folks such as Oy Takahashi, Miyanoue Yoshiaki, Keiji Yoshida and The 9th Of June. After returning to the US, Lee became something of an in-demand player while continuing to write his own material. 2003 saw the release of Life This Time, a soul and funk-filled play at modern pop.

Life This Time opens with Prettiest Girl, a funky jam with a classic soul sound. Lee sounds like he's singing through a time machine; a young James Ingram reborn. Monkey Slide brings on the funk with some nifty dance beats. Lee's musical dogma is understated here , turning Monkey Slide into a delicious and snarky that's made from piano, guitar, keys and vibes. Reach is a pleasant listen but fails to distinguish itself as an essential track. In My Heart is a classic R&B ballad, circa 1985; complete with saxophone and jazz guitar sound effects. Druk Op De Een is the peppiest song here, complete with disco beats.

My absolutely favorite song here is Time Gone Away, a deep and beautiful ballad that sounds like it's played on baritone guitar. An instrumental tune; Time Gone Away doesn't need words to convey the sad hopefulness that runs through every phrase, passage and note Lee evokes from those six strings. Time Gone Away is a master class in emotive guitar playing. Homecoming is a fairly typical ballad that is a pleasant listen but not particularly consequential. The album closes with Student Jam; three-and-a-half minutes on what sounds like a Casio keyboard with some very funky bass interplay. This is what some folks might describe as elevator music, although a close listen reveals more complexity and diversion than is generally found in the musical Soma of enclosed places.

Jerome Lee's Life This Time is up and down throughout, running from average to amazing. Lee is obviously incredibly talented, but tends to play in a genre/era mix that has been pretty much covered many times over. When Lee really lets his creative abilities out of the box and just plays, the music is sublime. Life This Time is a worthwhile venture.

Rating: 3 Stars (Out of 5)

You can learn more about Jerome Lee at http://www.jeromelee.net/. You can purchase a copy of Life This Time at www.cdbaby.com/cd/jeromelee.

Review: Ecotone Refugees - Water Is Rising

Ecotone Refugees - Water Is Rising
2008, Echo Orange Music

Ecotone Refugees come barreling out of the vibrant Brooklyn Indie rock scene with a sound that is reminiscent of Black Sabbath, Pink Floyd and Queens Of The Stone Age without really sounding like any of them. A modern rock psychedelic band with a shredder on lead guitar and a vocalist who sounds like Ozzy Osbourne had a child with Eddie Vedder is going to attract attention, and Ecotone Refugees definitely attract attention. Their debut album, Water Is Rising was released in 2008 and makes quite an impression.

Ecotone Refugees are a conglomerate of true music professions. Johnny Young lends vocals, guitar, Moog and keys. Outside of the band he is also a producer and composer who has provided music for the Oprah Winfrey show. Sean Egan (guitar, Moog, bass) is a shredder in the first degree and loves to play with dynamics and time signatures. David Weise chips in on vocals and bass, and drummer Michael Galante is a Berklee College of Music grad. Suffice it to say Ecotone Refugees aren't your typical rock bruiser. It's no surprise then how varied and complex the songs on Water Is Rising truly are. The album opens with Marathon, an Ozzy-era Sabbath-esque rocker built on some very interesting guitar work. Wake Up is a big, straight up rocker with Moog effects and an anti-war message. This is probably the least compelling song on the album, but still a decent listen.

Losing Your Faith is the sort of heavy rocker that would have ruled AOR radio in the early 1980's. Psychedelic bridges and big driving guitars give this song a distinctive sound that stands out. Lost In You is an interesting mix. There's a pop sensibility in the hook-laden song (even if the hooks are anti-pop). The chorus is classic punk rock and the song is a clear dichotomy that reflects the divergent sounds Ecotone Refugees pursue. Cyclone is a raucous old-school rock tune based on a classic Moog sound and surf-style guitar. B-Squad Brothers is feel good Rock N Roll in a classic 1960's format. Water Is Rising is pure psychedelia, Pink Floyd style. Nine and-a-half minutes of pure rock ambience.

Ecotone Refugees march musical ground that's been covered for years and yet they seem to find a way to sound fresh and new even while paying tribute to some of the biggest names in Classic Rock. Water Is Rising has the same sort of iconic feel about it that Pearl Jam had in their early days. If you love great classic rock sounds with a modern edge, then Water Is Rising (and Ecotone Refugees) is for you.

Rating: 3.5 Stars (Out of 5)

You can learn more about Ecotone Refugees at www.myspace.com/ecotonerefugees. You can purchase a copy of Water Is Rising at www.cdbaby.com/cd/ecotonerefugees.

Review: Dead Copycats - Dead Copycats

Dead Copycats - Dead Copycats
2008, Dead Copycats

In the digital generation it's no surprise to find a band that came together through something like Craigslist, particularly not in a place like Brooklyn, NY. Jessica Braun (vox), Will Rossano (guitar), Jay Foote (bass) and Angela Webster (drums) make up this exciting young Indie Rock powerhouse. The band derives its name from a Charles Mingus quote: "If Charlie Parker were a gunslinger there'd be whole lotta dead copycats". In spite of the name, The Dead Copycats manage to not be terribly derivative, instead crafting a big rock sound that's steeped in classic rock and the Blues. The bands debut album, The Dead Copycats was released in 2008, and Dead Copycats will be touring extensively in 2009 in support.

Jessica Braun is a vocal powerhouse. She has the sort of voice that can rise above the maelstrom of guitar, bass and drums in the noisiest club and be heard. That becomes clear quite quickly on the opening track, Alone. The song itself is bit germane, but does offer a great showcase for Braun's pipes. Things pick up on Strength, which keeps the pop/rock energy but has more of a sense of energy and urgency. The arrangement is very straight forward, and Dead Copycats are as tight as can be on this one. Who Knows is an entertaining song with distinctly pop leanings. Away From Me is a big power rock song based in the blues and finds Braun at the top of her game. The band hits on all eight cylinders here in a performance that would have to be amazing in a live setting. Other highlights include Sunshine, Come Back, and a cover of Led Zeppelin's Since I've Been Loving You.

Dead Copycats offer up a strong debut with great pop sensibility and forebears in classic Blues based Rock N Roll. A tight, supple band backs up powerhouse vocalist Jessica Braun on the ten songs offered here, making for an incredibly enjoyable listen that is reminiscent of Michelle Malone in her days with Band De Soleil. Dead Copycats is a definite keeper.

Rating: 3.5 Stars (Out of 5)

You can learn more about Dead Copycats at http://www.deadcopycats.com/. You can purchase a copy of Dead Copycats at Amazon.com, iTunes, eMusic or one of several other online retailers.

Review: Christina Havrilla - In My Chair

Christine Havrilla - In My Chair
2008, Boxrilla Music

Christine Havrilla is one of the pre-eminent practitioners of enigmatic folk-rock music. Self-taught as a guitar player, Havrilla isn’t bound by the usual conventions. This freedom results in a musical will to power that runs all through the seams of Havrilla’s latest album, In My Chair. Walking the line between folk and rock in a form of urban cowgirl diplomacy, Havrilla sets things straight with songs based in frank and open lyrics and tuneful melodies.

In My Chair opens with the gritty, bluesy Fresh Sanity; Havrilla projects the sort of saddleback toughness that Bonnie Raitt has always embodied. Even on more vulnerable songs such as Exit 25, Havrilla has that air of cowgirl resolve. Her voice is extremely pleasant to listen to, with just enough edge to make it interesting; Powerful and tuneful, there is a rough beauty when she sings. Havrilla also has a tendency for distinctive and disarming candor that's in the style of Ani DiFranco with without the anger. Everyday is a wistful look back at better times in a relationship that is both touching and poignant and likely to be a fan favorite. Take Me To The River is a classic offering that should light up the stage and the listening crowd whenever Havrilla plays it. Expect this to be a concert staple.

Christine Havrilla bears a striking vocal resemblance to Melissa Etheridge on Light Up, so much so that Etheridge fans who hear this will do double-takes. The song plays on the edge of Rock N Roll in a couple of passages with the introduction of electric guitar and distortion. Havrilla really hits on all cylinders in Take Another Look. Everything works on this song, which is the sort that other artists hear and want to cover. Havrilla deserves a hit out of Take Another Look. Old House is likewise a fine composition. Havrilla brings it down to a highly personable level with a stripped down arrangement and highly emotive vocals. Great songs abound on In My Chair; other highlights include Sky, Want To Go, Sober Up Betty and Lay It On Me. Havrilla includes a live version of the song Daffodil as a welcome and much appreciated bonus track.

Christine Havrilla brings the toughness of a real urban country girl, the heart of a crooner and the no-nonsense approach that makes folk music so real and powerful. In My Chair vacillates between good and absolutely breathtaking. Havrilla is one of the standard bearers of American Folk music to a new generation. The tradition is in good hands.

Rating: 4.5 Stars (Out of 5)

You can learn more about Christina Havrilla at http://www.christinehavrilla.com/. You can purchase a copy of In My Chair at www.cdbaby.com/cd/havrilla5.

Review: Halie Loren - They Oughta Write A Song

Halie Loren - They Oughta Write A Song
2008, White Moon Productions

Halie Loren made quite an impression with her debut album, 2006's Full Circle. Loren proved she could write and perform songs that walk the line of emotional breakdown with a power and grace that are nearly unheard of in popular music. Loren, who is seemingly something of a musical restless heart, follows up with an album of classic jazz songs entitled They Oughta Write A Song. As good as Loren was on Full Circle, she sounds as if she were born to sing jazz. They Oughta Write A Song hits all the right notes from start to finish.

Starting off with the pensive title track, Loren's silky alto slides through the songs here like a hot knife through butter. Loren is smooth and full of a sensual grace that recalls Eartha Kitt at the top of her game. A Whiter Shade Of Pale is a gorgeous reading by Loren; she owns it like she wrote it, and it is one of the highlights of the CD. Blue Skies is performed in a mischievous, funky jazz arrangement that you won't soon forget. For all that's been said thus far, Halie Loren raises her game another notch on Autumn Leaves. The muted piano arrangement allows for maximum appreciation of Loren's virtuosic vocal, steeped in melancholy remembrance and regret.

Halie Loren really shakes things up on Fever. Get out your ice water, AC and oscillating fans. They won't be enough. Loren proceeds to find the heart of The Blues on God Bless The Child. I keep wanting to point out particular songs as highlights, but the difficulty is that everything here is just so good that the word highlight becomes meaningless. That being said, Perhaps, Perhaps, Perhaps is amazing. There is a mischievous quality to this performance that allows Loren to reach even higher and touch perfection for two minutes and twenty-one seconds. How Should I Know, The Dock Of The Bay and I Don't Miss It Much are up to the level that Loren has established throughout the album, and Summertime is absolutely glorious. Summertime is one of those songs that EVERYBODY who sings Jazz or Broadway tunes tries on at least once. As such it’s easy to listen to each new rendition with a jaded ear, but occasionally a particular performance will still pique interest. Halie Loren's version is full of soul; adopting the warm and easy feel of the prototypical summer's day that the song uses as its scenery. Loren waxes and wanes in intensity as she builds toward the song's peak. Her performance is a master class that avoids the attempt some singers make to overpower the song on the final chorus, letting the power of the song speak for itself.

I'm torn. After hearing Full Circle I very much anticipated Loren's next project. After hearing They Oughta Write A Song, it seems as if Loren was born with Jazz in her veins. Loren is one of those artists that can sing pop, rock, jazz and even Broadway without missing a beat. She could be equally successful in each realm. Hopefully over time she'll make time for both the pop/rock material and the jazz/show tunes. They Oughta Write A Song deserves to take a place among the great vocal jazz albums. Halie Loren becomes the first artist in the history of Wildy's World to have two Wildy's World Certified Desert Island Discs! They don't make them like this anymore.

Rating: 5 Stars (Out of 5)

You can learn more about Halie Loren and even purchase a copy of They Oughta Write A Song at http://www.halieloren.com/.

Review: Tamara Hey - Miserably Happy

Tamara Hey - Miserably Happy
2008, Miserably Happy Records

Tamara Hey is a product of New York City. All the humor, intelligence, sarcasm and soul searching that goes with being a New Yorker is reflected perfectly on her latest album, Miserably Happy. Her press materials site influences such as The Beatles, Fleetwood Mac, The Rolling Stones, Suzanne Vega and Aimee Mann, and you can hear shades of each within her songwriting, but Tamara Hey would appear to have a musical progenitor in Christine Lavin. Hey is a bit edgier than Lavin perhaps, but carries that same sense of intelligent wit and mischief that infuses the best of Lavin's material. The subtle essence of wit is ever-presented on Hey's most recent album, Miserably Happy. No subject is devoid of opportunity in Hey's capable hands.

Miserably Happy opens with You Wear Me Out, a reflection on a boyfriend whose amorous intent is based more in his own insecurities than affection. The arrangement is peppy pop sweetness that encapsulates the quiet angst that runs through the song. Round Peg is contrasts the distaste or discomfort some people feel with regards to an acquaintance or friend with a real weight issue, and yet it contrasts this feeling against the feelings of inadequacy engendered by the struggle for the perfect body. The narrator ends up deciding the less than perfect body and fun life are more desirable than the pursuit of elusive perfection. Umbrella is a humorous song that residents of any large pedestrian metropolis will understand. It's cute and understatedly funny.

Somebody's Girl reflects an almost neurotic sense of hope or knowledge that the perfect person it out there somewhere. It's a sweet song with a great pop arrangement. Isabelle incorporates subtly beautiful Spanish guitar licks into a song about how friends sometimes change once they get married or seriously involved. It's as much a lamentation of friendship lost as it is a passive or internal exhortation for the friend to see the truth about her choice. Drive is probably my favorite song on the record, nailing the angry urgency with which New Yorkers live every single day. Drive is about the need to get away from time to time to refresh yourself, and is delivered with a wink of wit. Other highlights include David #3, Long Dog Day and Miserably Happy. Tamara Hey closes out with October Sun, a musical painting of images and understandings drawn from the sun in decline. This is the prettiest and most poignant song on Miserably Happy.

Tamara Hey is quite the songwriter. Intelligent and funny lyrics back up against strong country/folk/rock arrangements that serve as perfect vehicles for Hey's sweet voice. Tamara Hey is just quirky enough to be instantly memorable/recognizable. Once you've heard her sing you'll always know Hey's voice right away. That is a quality most singers would die for. Add to that the obvious talent and you have quite a package. Miserably Happy is well-written and well-performed, and an indication that Tamara Hey should be a viable force in folk and rock for some time to come.

Rating: 4 Stars (Out of 5)

You can learn more about Tamara Hey at www.myspace.com/tamarahey or http://www.tamarahey.com/, where you can purchase a copy of Miserably Happy. You can also pick up a copy at www.cdbaby.com/cd/tamaramusic3.

Halie Loren - Full Circle
2006, Halie Loren

Halie Loren is a name you should remember. The 24 year-old Alaska native and Eugene, Oregon resident has already released three albums, amassed several songwriting awards (many while still in high school), and worked with some of the most respected professionals in the music business. She won Female Rising Star and Alternative Entertainer Awards through the Independent Music Awards before turning 16, and has been cited by both the Billboard International and John Lennon Songwriting contests. Equally adept at alternative rock and jazz, Loren is a bundle of musical surprises. Her debut album, Full Circle was released in 2006 to an unsuspecting world. Prepare to be bowled over.

Halie Loren is a performer very much in the mold of Tori Amos. Her intonation and vocal style is very similar to Amos', and her songwriting style is built on the same sort of piano flourishes and structure that Amos employs. The opening track, Maybe I'll Fly is a prime example of this. That being said, Loren does seem to have a little more soul in her sound than Amos manages and comes across as perhaps a bit more grounded. Alone is a powerful and moving song with a darkly sweet melody in a beautifully orchestrated arrangement (and also the best use of the word rivulets in a pop song). Sand is a personal favorite, dark in intonation and timber, the song is full of a powerful wave of emotion. This song will haunt you.

Loren launches next into an inspired cover of Joni Mitchell's River. Loren's alto reverently caresses this song to life in a version that's at least as good as the original. Pretty Truth is an amazingly well-written song about the illusions and myths people succumb to in the early stages of a relationship. It's a refreshingly honest song lyrically and the arrangement will blow you away. Kitty is a vindictive song about social pecking orders (think a musical version of Mean Girls for adults). Full Circle is a dark and powerful calling out song that makes Carrie Underwood's Before He Cheats sound tame by comparison. Loren lets another one of her influences slip through here as well, there's a definite Sarah McLachlan style to this song. Full Circle is the sort of song that Loren could still be playing to crowds twenty years from now without crowds ever tiring of it. The emotional energy in Full Circle is frightening.

Empty is also particularly worthy of a listen. Loren has fully embraced the darker side of human perspective fully by this point, and her nuanced voice perfectly shapes the twilight realm of human emotion that runs throughout Full Circle. Other highlights include Almost Even, Sisters and Lucky.

Halie Loren establishes herself as a presence with Full Circle. The alternative oriented rock feel here runs counter to the almost classically influenced piano bass compositions Loren pours her heart and soul into. Full Circle is stunning. Halie Loren doesn't sound like she's conveying emotion in the songs on Full Circle; she sounds like she's living through each painful moment as she sings. The result is an entirely compelling performance that should be required listening for anyone who wants to perform vocal music of any style. Halie Loren owns the listener by the end of Full Circle, which is a Wildy's World Certified Desert Island Disc. Make sure you check this one out.

Rating: 5 Stars (Out of 5)

You can learn more about Halie Loren and even purchase a copy of Full Circle at http://www.halieloren.com/.

Review: Zpiderflower - I, Zpi

Zpiderflower - I, Zpi
2008, Diamond Tone Deluxe

Zpiderflower is the alter ego of Seattle’s Alex Trzyna. His release as Zpiderflower, I Zpi, is a step away from his previous work as part of various Indie Rock outfits (Secret Stairs, Kiss Her For The Kid, Mr. Twit, Red Velvet Relief and Leanne Wilkins Band). Trzyna had complete artistic control of I, Zpi, and played/programmed all elements himself.

I, Zpi opens with More Streets, a straight up mellow rock tune informed and filled with guitar riffs and drum loops. It's a pleasant listen but doesn't captivate the listener, relying on repetition of the same progression over and over to lull the listener into a sense of comfort. Darling Don't Take That follows a similar path, although Zpiderflower does mix up the instrument (sound) mix about two minutes into the song. Zpiderflower maintains the same rise and fall of chords for nearly three-and-a-half minutes in an uninspired series of repetitions. Catching starts out a promising note on acoustic guitar. As other instruments become involved the guitar loses its vitality and what starts out as a vibrant composition sinks back into the mediocrity of repetition. Zpi is an exercise in sound with little or no structure. A Problem starts with a promising riff on acoustic guitar, but quickly sinks into the art of repetition. 1981 falls to the same sort of looping chord progressions.

Zpiderflower plays in a mix of organic and electronic sounds where much can be done that was impossible before the dawn of the digital age. Unfortunately there is little compositional effort expended here, with looping chord progressions that sound like fancy versions of Casio pre-programmed tracks. There is a lot of potential in these sorts of compositions -- in the age of computers the choices are nearly endless, but Zpiderflower appears stuck. This may be fine for background music, but this ultimately is at best pre-programmned backing track material. Little or no compositional freedom or creativity is noted.

Rating: 1 Star (Out of 5)

You can learn more about Zpiderflower at http://www.zpiderflower.com/. You can purchase I, Zpi as a download from Amazon.com.

Review: Submerged - Violence As First Nature

Submerged - Violence As First Nature
2008, Ohm Resistance

Submerged is one of the most in-demand Drum N Bass artists in the world. Having played with the likes of Bill Laswell, John Zorn, Dr. Israel and Mike Patton (among others), Submerged is practically royalty in the Drum N Bass world. Aside from being a resident DJ at Konkrete Jungle NYC, Submerged has played clubs all over the world. Submerged issued their latest project on CD in 2008; Violence As First Nature is a 2-CD collection of classic collaborations or remixes of songs from the Ohm Resistance Label mixed with three new songs. None of these songs has even appeared on CD before.

The album opens with the three new tracks: Consciousness, A Bad Time For Empire and Homicide Bomber. Consciousness mixes ambient passages with repressed Drum N Bass runs that end as precipitously as they started. A Bad Time For The Empire plays with tempo and rhythm variations in a constantly shifting yet stubbornly relentless barrage of beats and sounds. Homicide Bomber has a surreal feel to it, almost like trying to walk around under water. The frenetic pace and manic rhythms are almost too much to cope with. From the tracks previously released only on vinyl, I Love You But I Chose Darkness is a personal favorite. The fuzzy electronic effects interspersed among the rhythmic phrases offer a surreal funhouse feel. Let Your Body Take Control is absolute madness. Don't pass through without giving this track a listen. Just don't lose your mind. Other highlights include Project Two, Cop Killer and Human Camera.

The second disc is mixes released by Ohm Resistance featuring artists such as Impulse, Temulent, Lethal, Khanage, Imaginary Forces and Silent Killer. At 28 tracks its too much to go into here, but suffice it to say that if you liked disc one you'll love disc two.

Submerged hits us up with Violence As First Nature as a celebration of the continued success of the Ohm Resistance label. Featuring a number of tracks from Submerged as well as mixes done with or by some of the most impressive names in electronic music (Bill Laswell and Scorn, just to name two). If Drum N Bass is your thing, then you've come to the right place. Submerged keep their electronic creations vibrant by constantly mutating the beats, sounds and rhythms. Violence As First Nature is both an exciting look backward at material not previously available on CD, but also an open window on the future of electronic music.

Rating: 3.5 Stars (Out of 5)

You can learn more about Submerged at www.myspace.com/theonlywaytogoisdown. You can purchase a copy of Violence As First Nature at Amazon.com.

Review: Ryan Delmore - The Spirit, The Water And The Blood

Ryan Delmore - The Spirit, The Water and The Blood
2008, Varietal Records

Ryan Delmore has been a worship leader at the Five Cities Vineyard Church in Arroyo Grande for the past fifteen years. In that time he’s written scores of songs while leading worship in his church, and even managing to tour once in a while. Infusing country, folk, gospel, rock and soul with a Christian message, Delmore crafts a steely blend of religious Americana Delmore’s latest album; The Spirit, The Water and The Blood hints at influences as diverse as Bob Dylan, Sam Cooke, Tom Petty and The Staples Singers.

Ryan Delmore has either created one of the best gospel albums I've heard thus far in 2009 or one of the best Americana albums I've heard in 2009. It's hard to say which, because it's both. The Spirit, The Water and The Blood was born out of Delmore's love of God, but also pays direct homage to classic Americana sounds. Delmore's love of the sounds of artists such as Bob Dylan, Tom Petty and Neil Young is evident and shines through clearly here. Delmore's love of God is equally evident, and I suspect that the religious community will embrace this album enthusiastically. Delmore is supported on the album by guitarist Marc Ford (The Black Crowes, Ben Harper) and his wife Kirsten Ford on backing vocals.

Delmore opens with Mercy, a pure singer-songwriter take on forgiveness and redemption. This is a classic country arrangement that may have commercial potential in secular markets as well. Sing Like Mary Sang plays more into the gospel realm, and Delmore's slightly gruff vocals are perfectly at home here. Provide For Me goes down the country path once again in a fairly straight up country/rocker. The guitar work here is amazing. Country fans will dig this song even if they don't buy into the lyrical content. Teach Me All Your Ways is a quiet ballad that is as much a prayer as it is a love song. Harmony vocals from Kirsten Ford enlighten this song with a sense of quiet beauty.

Sacred has a Ryan Adams/Whiskeytown sound that is both tired and inspired. The energy level on this one doesn't really match the lyrical content, but the arrangement is gorgeous. Jesus' Name is a classic country/pop tune that could garner significant play on pop/country radio. Other highlights are Nowhere To Be Seen, True Religion and Love Of God.

Ryan Delmore is the sort of artist who could bring Gospel music more fully into the popular realm. A great songwriting talent and a strong, soulful voice help Delmore make The Spirit, The Water and The Blood an eye-opening experience. Even if you're not into message you'll respect the music here. Ryan Delmore is a special talent.

Rating: 4 Stars (Out of 5)

You can learn more about Ryan Delmore at http://www.ryandelmore.com/. You can purchase a copy of The Spirit, The Water And The Blood at Vineyard Music.

Review: Monte Montgomery - Monte Montgomery

Monte Montgomery - Monte Montgomery
2008, Thirty Tigers

Monte Montgomery is a throwback to a time not so long ago when technical proficiency on guitar was only half of the equation. Guys like Jimi Hendrix, Eric Clapton, Yngwie J. Malmsteen, Mark Knopfler and even Eddie Van Halen were technically proficient but also played with a fire in their soul that was otherworldly. As rock has moved away from solo-driven guitar works, the heart required for virtuosic play has largely been left behind in favor of a number of technically proficient but musically cold guitar players. Monte Montgomery flies in the face of that trend, playing with a technical proficiency that is stupefying but also a creative genius and intensity nonpareil. As luck or fate or whatever prime mover you choose to credit would have it he's also a fine songwriter with a lyrical touch and a sense of theater that would make Dennis DeYoung proud. On his latest release, 2008's Monte Montgomery, Montgomery offers up what may be the last great guitar god album until his next release.

Montgomery opens with River, an acoustic blues rocker with significant slide work. On top of everything else, Montgomery has a wonderfully soulful voice that can rise to a scream or drop to a whisper without notice. Listening to Montgomery's fretwork is mind-numbing. You'd swear at times there are at least two, maybe three guitars playing, but it's all Montgomery. Let's Go has the sort of intricate guitar progression that makes your head spin. Guitarists will have a ball trying to pick these recordings apart and recreate them, and a good number will come up against their own musical mortality trying. Montgomery is truly in a class by himself.

Company You Keep is an instant classic. I was blown away by the virtuosity and lyrical impact of this song, all delivered with that vibrant blue-eyed soul voice. Montgomery even shows his mellow side on the sweet ballad Loves Last Holiday. Montgomery plays around with amazing runs and harmonics on You Can't Fool Everyone. The song has a distinctive pop feel in conjunction with some of the most amazing guitar work thus far on the album. Could Have Loved You Forever is destined to be a classic song for somebody. If it doesn't become a hit for Montgomery then someone will pick it up and re-record it a few years down the road to great effect. Other highlights include Be Still, How Far, Midlife Matinee and the amazing ten-minute take on Jimi Hendrix' Little Wing.

To listen to Monte Montgomery play you might assume he's playing an electric guitar throughout Monte Montgomery. In fact all of his guitar work is acoustic; frenzied fretwork, neck bends and all. Monte Montgomery is a lightning bolt to the music industry. This sort of album (or artist, for that matter) doesn't come along very often. A generation from now young pop music stars will be lining up to play with Montgomery on duet or tribute albums. For now, enjoy watching an icon in the making. Amazing album, amazing guitar playing, amazing talent. Monte Montgomery is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Monte Montgomery at http://www.montemontgomery.com/. You can purchase a copy of Monte Montgomery at Amazon.com.

Review: Twenty30 - Departure EP

Twenty30 - Departure E.P.
2008, Twenty30

Twenty30 is a four piece outfit from Philadelphia playing Rock N Roll with a punk attitude and relentless energy. Building a following from regular airplay on http://www.indie104.com/ and live shows, Twenty30 appears poised to break out on the national scene. Their debut recording, Departure, was release in July 2008. Departure includes six songs mixing modern rock edge with a punk mentality and classic rock finesse.

Departure opens with Pay No Attention, a boisterous rocker with two vocalists (one singer, one screamer). It's a surprisingly tuneful song with decent commercial potential. Departure sounds a lot like stuff from other bands you might hear on The Edge or other Modern Rock formats, but there is this underlying Spacehog feel to Twenty30 that saves them from sounding formulaic. This becomes clearer on Wait Don't Wait, which is built on some impressive pop hooks and the sort of bombast Spacehog was so good at. Say It Like You Mean It has a pop/thrash style to it that is very accessible but also likely to appeal to fans of hard core music. Choke is a mellow tune that really outlines the Spacehog comparison on Departure. The song serves as a declaration of sorts but fails to really say anything. Giving Everything returns to the power chord format that Twenty30 seems so well versed in. The pop sensibility seen elsewhere just doesn't quite make it here however. Departure closes out the set; it's a big guitar-driven tune with memorable hooks and a driving rhythm that make it very memorable.

Twenty30 shows a penchant for pop hooks in hard/modern rock arrangements that are intriguing. Their sound is just a bit rough, which works as a DIY punk/Modern rock band. Twenty30 doesn't show a lot lyrically here, and the music is not virtuosic by any means, but Departure is a good, solid Rock N Roll EP.

Rating: 3 Stars (Out of 5)

You can learn more about Twenty30 at www.myspace.com/twentythirtyrock. You can download the Departure EP either through Amazon.com or iTunes.

Review: Wendy & Lisa - White Flags Of Winter Chimneys

Wendy & Lisa - White Flags Of Winter Chimneys
2008, Girl Bros.

Wendy Melvoin and Lisa Coleman are consummate professionals. The childhood friends each the daughters of in-demand session musicians, and their work together over their career points to a love of quality music. The duo’s big break came in 1980, when Lisa Coleman was invited into Prince’s touring band. In 1983 she recommended her friend Wendy Melvoin as a replacement for a departing member. The Revolution was born, and for better or worse, Wendy & Lisa’s collective life has never been the same. These days Wendy & Lisa spend much of their professional energy scoring television shows such as NBC’s Heroes, Fox’ Virtuality and Showtime’s Nurse Jackie. Nevertheless, the duo found time to release White Flags Of Winter Chimneys in 2008. White Flags isn’t quite what you’d expect from the former heart and soul of The Revolution, but I think you’ll be pleasantly surprised.

White Flags Of Winter Chimneys opens with the ethereal Balloon, a haunting and lovely musical dream. More ambience than structure, Balloon is almost neurotically psychedelic. Invisible is a great mellow pop song with just a big of swagger to it. Invisible recollects an old relationship in a mix of longing and empowerment. Ever After retreats into the ambient nature found on Balloon in a song that deals with mortality and desire in unexpected ways. Salt & Cherries finds Wendy & Lisa breaking out of the mellow mold with the inspiration of MC5. The mix of Rock and Dance sounds matches the sexual tension in the lyrics in a song short on subtlety.

Niagra (sic) Falls is a mid-tempo rocker that is a pleasant listen that just seems to run short on energy. The ambient theme tries to sneak back in here but the big bass line drives it away like a breeze drives away the mist. You And I is a Moment. Listening to this song you hear Wendy & Lisa and all of the qualities that got them a recording contract in the first place: Gorgeous voices; inventive, heartfelt songwriting and a keen sense for melody. As I said, You And I is a Moment. I suggest you check it out and enjoy it. White Flags Of Winter Chimneys is a highly poetic watercolor in song. It's gorgeous but loses the energy that Wendy & Lisa have built up thus far. The album closes out with Sweet Suite (Beginning At The End), an eight-and-a-half minute composition in classical form mixing pop, classical and new age themes. Sweet Suite is in turns beautiful, maddening and boring. The next effect is positive, but it does drag significantly in places.

White Flags Of Winter Chimneys isn't so much a return to form for Wendy & Lisa as it is a new direction. Pop and rock elements mix with classical, new age and esoteric sounds to create new sounds and experiences. The songwriting itself is mixed, at times getting bogged down in time and heaviness of sound, but overall it's a positive experience. White Flags Of Winter Chimneys is recommended for fans of mellow rock, or esoteric easy listening folks such as Enya.

Rating: 3.5 Stars (Out of 5)

You can learn more about Wendy & Lisa at http://www.wendyandlisa.com/, where you can purchase a copy of White Flags Of Winter Chimneys in either traditional CD format or an expanded edition download (with four unreleased tracks).

Review: Pan Am Down - Three Songs EP

Pan Am Down - Three Songs E.P.
2008, Imperfect Smile Records

Pan Am Down is the musical nom de plume of Joshua Kraemer, a singer/songwriter who pays his bills courtesy of the New York City Transit (NYCT) System. Previously a member of Earthling Records recording artist Ultra Cindy (Norfolk, VA), Kraemer has spent the last four years keeping residents, commuters and tourists moving around the great city of New York. His experiences and relationships there (including not a few stories from co-workers) have infused and inspired his songwriting. On February 17, 2009, Pan Am Down will release their as-yet-unnamed debut album. In the mean time, we have a delightful little nugget entitled Three Songs EP.

Pan Am Down is not derivative, but don't be surprised if comparisons to bands like Wilco or Son Volt keep coming up in your mind. The sound is a blend of Americana, Rock and singer-songwriter sensibility that leads to the creation of smart and intricate story songs. Kraemer has a pleasant voice to listen to as well, which is always a bonus. Boise is a celebration-in-advance of a home coming full of expectations of love. The song wraps up a regret for lost time and a hope for love recaptured that is surprisingly poignant considering how common the theme is in popular music. Kraemer's honest and open vocal performance and heartfelt lyrics turn what could be a cliche love song into something special that listeners will respond to. I Know You Realize is a straight ahead Americana/Rock tune that is a pleasant listen but doesn't really stand out. Tomorrow's Silence bookends the EP steeped in angst and loneliness. It's a well-written tune that gets mired in its own delivery; lacking the energy seen and heard on the first two songs. A pretty melody, but just a bit deflated in the end.

Pan Am Down is the latest output of expression for singer/songwriter Paul Kraemer. Kraemer shows a maturity and lyrical grace that you might not expect from an NYCT employee if you had to take the Subway every day. This EP shows great promise for the upcoming full length release and for whatever lay beyond that. Pan Am Down may not be the most popular of name choices, but expect the band to garner a lot of attention over the next few years. The Three Songs E.P. is a great start.

Rating: 3 Stars (Out of 5)

You can learn more about Pan Am Down at http://www.imperfectsmilerecords.com/.

Review: Tiffany Martin - Tiffany Martin

Tiffany Martin - Tiffany Martin
2008, Tiffany Martin

Orlando’s Tiffany Martin has already had a lot of success in her twenty-three years. As a four-year member of Monsters In The Morning, Central Florida’s #1 rated radio show, Martin has proven her comedic chops (Monsters In The Morning is carried nationwide on XM Radio channel 152). Martin has been a powerhouse vocalist all along, and in 2008 she puts her musical hat in the ring with her debut album, Tiffany Martin. The album mixes Pop and Rock N Roll in a swirl of bubblegum bombast.

Complicate Things kicks off Tiffany Martin's self-titled debut; a Pop/Rock hybrid in the style of Chantal Kreviazuk. This is a commercial tune and a likely first single, but doesn't really stand out from the sort of stuff you're likely to hear on popular radio. Consecutively tries to build on the rock edge with a slightly darker sound and themes. Martin is a fine vocalist with real power and presence and does her best to carry the song, but the song itself is just a little too mundane to save. It's not bad, it just doesn't stand out. Wonder Woman mixes Rock, electronic pop and Soul styles for what is likely a near-perfect commercial storm. Martin shines on this song vocally, displaying a vitality and energy that has been less than clear to this point, but the material itself is still average.

I don't generally go this far, but Cloud We're In is awful. All due respect to Ms. Martin, but this is about as cliche as pop music can get. I don't know if it's the original writing or what happened in the production booth but this was just flat out difficult to listen to. Suffice it to say it's probably the most commercial song on the album and likely to be a big hit. Let Me Go, on the other hand, shows what Tiffany Martin is capable of. The first thirty seconds sound like a ballad will ensue until the song devolves into a pop/punk tirade reminiscent of Avril Lavigne. Martin has a truly gorgeous voice. It is evident that this album is her grab at pop stardom, and the song choices here reflect that priority. The material is frankly beneath Martin's level of talent; either that or the production team took whatever respectable musical nuggets were available for this project and brought out the most base qualities in each.

The end result is a truly talented artist who is hamstrung by her songs/producers. This is the sort of album that tends to do very well on pop radio, but popularity has never been a necessary guide to quality. Don't be surprised if a few years from now you see/hear a revamped Tiffany Martin performing a different style of material, and don't be surprised if she knocks your socks off. The talent is here, but this album sells her short.

Rating: 2 Stars (Out of 5)

You can learn more about Tiffany Martin at www.myspace.com/tiffanymartinworld or http://www.tiffworld.com/, where you can purchase a copy of Tiffany Martin.

Review: D4P - Passion Fruit & Bamboo

D4P - Passion Fruit & Bamboo
2006, Dan Miller

Floridian Dan Miller has been doing the coffee house circuit for about ten years now, honing a laid back, neo-hippy folk style that fans of Bob Dylan or Keller Williams would appreciate. In 2006, Miller (performing as Dan4President, or D4P) took time out from the road to record his debut EP, Passion Fruit & Bamboo. Having discovered the wonder of looping technology, Miller was able to essentially become a one-man band, adding layers of sound and instruments to his heart’s delight.

Passion Fruit & Bamboo opens with the title track, a straight up acoustic rocker with some unusual instrumentation. Miller's vocals are gruff and soulful, serving to almost mask the lyrics, which seem to aim for a descriptive form of Zen but come across as awkward and clunky. Travelin' Song is a neat arrangement for acoustic guitar and drums. Steeped in a funky rock setting, D4P delivers the rapid-fire lyrics with precision and skill. This is a very catchy tune and a likely fan favorite. The West Is The Best is another ultra-catchy rock tune in acoustic form about a near-tragic brush with the law.

I Don't Mind finds D4P flipping on the amplifier for some funky, blues guitar work flourishes as accent to the acoustic setting. While You Were Gone is probably the most commercial sounding track on Passion Fruit & Bamboo; a pop/rock nugget that could easily cross over to country. The poignant lyrics and easy deliver of vocalist Dan Miller makes this song a hidden gem! ONoTherIGo is another acoustic rocker that will give you a strong desire to dance. Bombs Away has a bit more of an overtly political air to it. The musical composition is strong, but on the lyric side it’s a bit awkward in the same sense that the opening track was. It's almost as if you can tell which songs D4P is trying to have a message on as opposed to the songs that may have just happened. The songs with a forced message sound, for lack of a better word, forced.

D4P is very talented. Five of the seven songs here work wonderfully well. The other two are good, but a bit on the awkward side lyrically; almost as if the songs came to D4P, but in the process of creation Miller tried to make these two songs into something other than what they wanted to be. When, however, Miller listens to his muse and doesn't try to imprint himself on the songs, the results are incredible. D4P is a highly energetic and entertaining performer. Passion Fruit & Bamboo is a great introduction, warts and all.

Rating: 3.5 Stars (Out of 5)

You can learn more about Dan Miller at www.myspace.com/d4pband or http://www.dan4president.com/, where you can order a copy of Passion Fruit & Bamboo using PayPal.

Review: Donohoe - Songs Of The Saints

Donohoe - Songs Of The Saints
2008, Ocean Media LLC

World musician Donohoe returns with his second album, 2008’s Songs Of The Saints. The follow-up to his 2006 debut, Shi Jing: Ancient Book Of Songs contains 10 modern hymns, each dedicated to a Saint or to God himself. Donohoe mixes styles both ancient and modern, utilizing ethnic instruments alongside modern synth, drum, bass & guitar to create a unique and unusual recording.

Songs Of The Saints opens with St. Michael The Archangel, a middle-eastern flavored song of praise and glorification set to an almost trip-hop beat. Vocalist Rachel Kresge adds a modern flavor that is both surprising and welcome. St. Francis Of Assisi mixes Chant with a rock arrangement, electronic effects and Spoken Word passages in Latin to create what may be the first religious dance mix. It's actually quite a catchy composition but may run thematically counter to the classic conception of St. Francis. St. Catherine Of Sienna is a quiet, introspective peace that seems to parallel the life of the 14th century saint. St. Brigid pays tribute to the mysterious Irish saint who is often called the Mary Of Gael. The musical choice here is somewhat confusing as Donohoe goes with a middle eastern flavor for a Gaelic saint. The arrangement is pleasant but just doesn't seem to fit.

St. Valentine seems to play off the modern commercial conceptions of the martyr. The fact that at least three separate St. Valentines can be identified in history and very little is known about one of them makes it difficult to encapsulate his history beyond the British originated celebration of love. Hail Mary is a lively arrangement is a love song of sorts to the Blessed Mother. It lacks the reverence found in some of the earlier songs on Songs Of The Saints but is built around some great jazz guitar licks and electronic tricks. Amazing Grace features a minor-key vocal version of the classic hymn set over a jazz-guitar arrangement that is musically busy but not terribly inspired. Sonata Lucia (2nd Movement) closes out Songs Of The Saints and is the most beautiful composition on the CD, with a heavy cello line that's so effecting you might have to sit down.

Donohoe offers up a mixed bag on Songs Of The Saints. Some of the compositions are absolutely inspired and moving, while others become a morass of good intentions. On the whole I'd say it's worth listening to. It's not that the compositions that don't particularly work are bad; they're just sidetracked by unfortunate musical decisions that are a normal part of the creative process. Music students and studying fans can find examples of both what went right and what went wrong here. The high moments (St Michael The Archangel, St. Catherine of Sienna and Sonata Lucia are really worth the price.

Rating: 3 Stars (Out of 5)

You can learn more about Donohoe at http://www.donohoemusic.com/. You can purchase a copy of Songs Of The Saints at www.cdbaby.com/cd/donohoemusic2.

Review: Phil Putnam - Casualties

Phil Putnam - Casualties
2008, Box Of Wood Music

Say what you want about Phil Putnam, the man is all about perseverance. Born into a non-musical family, Putnam didn't even learn to play piano until he was in college (he taught himself). Diagnosed with Tourette's Syndrome at the age of nine, Putnam wasn't exactly the poster child for a career in music, but he never gave up. In this case desire and perseverance combined with talent to create a pretty special package. Putnam's 6th album, Casualties, represents a plateau of personal and musical growth that bleeds through every word and every note. This is Putnam at his best (so far).

Phil Putnam is very much his own man as a performer, but you will find moments where he reminds you of artists such as Ben Folds, Rufus Wainwright, David Gray and even Billy Joel. Casualties opens with More Than This, inhabited by the spirit of Joel's piano playing. Putnam is a comfortable story-teller behind the mic, his easy sounding voice the perfect instrument to deliver his smart, heartfelt lyrics. More Than This sounds like it could just as easily be country as rock. Don't be surprised if you hear other folks covering this song down the road. Severity is reminiscent of Ben Folds at his most neurotic with a nervous piano progression underlying the song. Paris is a lovely side trip with haunting violin trio playing alter ego to the vocalist.

Putnam offers up a touching performance on Let It Go, complete with a beautiful vocal harmony that balances sorrow with hope. I'm No Prize is the sort of big piano rock tune that Putnam seems to have the most fun with. He does the ballads well, but these vaguely bombastic tunes full of self-deprecating wit are where Putnam shines. This is perhaps not the most moving song on the album, but it may be the best selection here. Slip Away is a big change of gears, lamenting a relationship that has fallen apart in starkly beautiful terms. Slip Away is a matter of fact recognition of how things are, whereas Ache is full of sorrow and loss, punctuated by strings and the plaintive piano Putnam provides as support.

Casualties is one of those albums that starts off perhaps just a bit weak but keeps getting better and better as it goes. Sacrifice is brutally honest and poignant and sounds like a musical soliloquy from a play. Other highlights include Goodnight, My Devil; The Ben Folds styled Here To Stay; Variations and One Little Step.

In listening to Casualties, your first impression might be that Putnam delights in, or is at least very talented at relaying human sorrow in song. This isn't exactly true. Putnam has a talent for illuminating the sad beauty and conviction that underlies human sorrow. He doesn't have the true bombast of a Ben Folds or Billy Joel, but when it comes to emotional honesty in songwriting he is in the same class. The musical arrangements here are generally first class. A couple of weak moments early on in Casualties are more than balanced by album that gets better and better as each song passes. Casualties is highly recommended.

Rating: 4 Stars (Out of 5)

You can learn more about Phil Putnam at http://www.philputnam.com/, where you can purchase a copy of Casualties. Putnam also has links on his site to iTunes if you want to purchase Casualties as a download.

Review: Donohoe - Shi Jing: Ancient Book Of Songs

Donohoe - Shi Jing: Ancient Book Of Songs
2006, Ocean Media

Donohoe is the performance name of New York City based World musician Colin O’Donohoe. Majoring in jazz drumming at Arizona State University, Donohoe found Chinese orchestral music and felt like he’d been reborn musically. What has followed is an almost insatiable appetite for musical cultures and styles. Donohoe tackled the Shi Jing for his debut album, taking poems from the 4,000 year old collection and setting them to music that utilizes a combination of traditional Chinese instruments in conjunction with modern synth, bass, drums and vocals. The resulting album, Shi Jing: Ancient Book Of Songs was released in 2006.

Shi Jing opens with Minnow Net, a song about turning the tables on a betrayer (in love). The attempt here it to take an almost soul style vocal juxtaposed against an ambient background covered with big rock instrumentation and eastern sounds. The sound is compelling and vocalist Kathryn O’Leary makes the song. Strike The Drum is a highly rhythmic composition with spoken word overlays. This one sounds more like a form of noodling, with little or no direction or coherent imagery coming out of the music. Moon Rising, on the other hand, is a very clear impressionistic view that the title accurately reflects. The ambience and ethereality of this piece are sure to make it a fan favorite. Gathering opens with a spoken word section that appears to be back-masked. This is more of a distraction than anything as the composition itself has a sparse beauty that is to be admired. Gathering is almost like a dream sequence in which the images fly by you faster than the eyes can accommodate, but somewhere deep within the mind they coalesce into coherence. Other highlights are Storm, Heaven and Northern Wind.

Donohoe has created a surprising album in Shi Jing. There are no real disappointments here, but there are few real Wow! moments either. Shi Jing is a pleasant listen. The best moments involve vocalist Kathryn O’Leary, who sounds like she might have Wagner on her resume. Shi Jing: Ancient Book Of Songs is recommended for relaxation and easy listening.

Rating: 3 Stars (Out of 5)

You can learn more about O’Donohoe at http://www.donohoemusic.com/. You can purchase a copy of Shi Jing: Ancient Book Of Songs at www.cdbaby.com/cd/donohoemusic.

Review: Chrissy Coughlin - You Never Know

Chrissy Coughlin - You Never Know

2002, Lafayette Park Music

A couple of weeks ago we reviewed Chrissy Coughlin’s most recent release, Look Ahead. In the wake of that review we received her debut CD, You Never Know for consideration. Here is what we found!

You Never Know opens with Don't Do It Alone. The sound is a mix of straight ahead rock with a taste of Americana. Coughlin sounds a bit like early Natalie Merchant. The sound and songwriting here are a bit rougher than on Look Ahead Coughlin shows flashes of what is to come however. Freedom opens with a guitar progression that could have been lifted almost identically from The Lowest Of The Low's Just About "The Only" Blues. The progression on Freedom is slower and lasts much longer into the song, but the similarity was so striking I had to go back and pull Shakespeare My Butt and make sure I wasn't misremembering.

Sammy starts to show some of the songwriting promise that Coughlin has grown into with time. Coughlin sounds a bit tentative through the first two songs, but settles in here to give a strong performance. Sweet Release is something of a coming of age song for Coughlin. It is intended to be forceful but suffers somewhat from the same tentativeness that waylaid the first two tracks. Coughlin finds her form on Hallelujah, a mellow upbeat pop tune. She still hasn't found the voice that she'll later unleash on Look Ahead but you can hear her start t come into focus here a little bit. On With The Show is the highlight of the disc, as Chrissy Coughlin comes more and more into her own, and Rain cinches the fact Coughlin is clearly coming on strong at the end of You Never Know.

Chrissy Coughlin is a talented vocalist and songwriter. You Never Know is her debut recording and is, at this point, six years old. What we see and hear on You Never Know is a young singer/songwriter struggling to find her identity as an artist. Coughlin fights hard and finishes strong, shaking off the tentativeness that dominates the first half of the album to proclaim herself ready to be heard. In conjunction with Look Ahead this is a great listen because over the course of two albums you can really hear Coughlin develop as an artist. You Never Know on its own is a decent release, but stands as an important monument in the development of Chrissy Coughlin.

Rating: 3 Stars (Out of 5)

You can learn more about Chrissy Coughlin at http://www.chrissymusic.com/. You can purchase a copy of Look Ahead at www.cdbaby.com/cd/chrissycoughlin.

Review: Movin' Melvin Brown - The Magic Of You

Movin' Melvin Brown - The Magic Of You
2007, Melvin Brown

Movin' Melvin Brown may just be the last of the great song and dance men. His shows are an artists' depiction of what might happen if the likes of Same Cooke, Louis Armstrong, The Platters, James Brown, Ray Charles and Bill "Bojangles" Robinson all took the stage together for one night. Brown sings, dances, taps, clogs and performs comedic soliloquies in the course of a stage show that leaves audiences begging for more. Brown isn't just a mimic, he practically inhabits the memories of artists such as Sam Cooke and Ray Charles, as if the late, great stars stood before you on stage once more, if only for one night. Brown's 2007 release, The Magic Of You, finds Brown moving from persona to persona as he navigates his way through 17 vibrant tunes that run the gamut between Soul, R&B, Rock N Roll and the Blues.

Brown has added a newer song to The Magic Of You in honor of Barack Obama. I Have A Dream (Obama Dream Theme Song) is an update of the great Martin Luther King, Jr. speech as inspired by Obama's historic run for President of the United States. Whoto Man is an overtly political song that reads like a diatribe against dishonorable politicians. This kind of modern, mostly spoken-word material doesn't fit quite so well with Brown's persona. The same can be said to a degree about Communication. It's a great message steeped in cultural politics, but the message in this case overpowers the singer. People, on the other hand, finds Brown more in his element, with classic R&B vibes and a nasty funk bass line and Brown losing himself in the classic sounds.

The Magic Of You finds Brown channeling Ray Charles so close to true you'll do an aural double take. One of the true highlights of the disc is the jaunty My Love Is Real. The arrangement almost borders on cheesy at times, but Brown is spot on in one of the best performances on the album. Master Of The Beat gets Brown into full funk/disco mode with a country flavored guitar lead. It's an odd tune but wonderfully entertaining to listen to. There's almost a Creedence Clearwater Revival "Swamp Rock" thing going on here. I Ain't Got Time is another favorite. Movin' Melvin Brown is absolutely vocally inspired here. Other highlights include Can You Feel and Special.

Movin' Melvin Brown translates pretty well to CD, but my guess is that there is nothing quite like a live show with this man. Nevertheless The Magic Of You is quite a treat. Brown is at his best digging into a classic R&B or Blues sound, but is more than competent on everything else. There are a couple of slow moments on the album, but in general it's a fine offering. The Magic Of You is recommended for all ages, as much of the music Brown is practically universal across generations A great listen.

Rating: 4 Stars (Out of 5)

You can learn more about Movin' Melvin Brown at http://www.movinmelvin.com/ where you can purchase a copy of The Magic Of You.

Review: Erik "Eski" Scott - Other Planets

Erik Scott - Other Planets
2008, Eskimusic Productions

Erik "Eski" Scott has a long history of raising a ruckus. After sixteen years raising the rough reveille of youth with Sonia Dada, Scott has taken a little break to pursue other musical avenues. Along the way he's played with Alice Cooper, Flo & Eddie, Kim Carnes and Mavis and Pop Staples, just to name a few. Erik Scott's latest release, Other Planets, finds him dabbling with steel guitar, melodic bass and what he terms as "interstellar strings". Tranquility abounds on Other Planets, but that wild energy that has run through everything Scott has touched over the years is here, deep within the still waters of this musical moment.

Bartalk is built of the sort of ups and downs one might see in any microcosm of society. A bar is as good a random sample as any, and Scott captures the swell and release of human interaction perfectly in rise and fall of the musical passages within. Guitar and keyboard carry on the main conversation here, while passersby (keyboard, bass, drums) provide the background noise and occasionally spill over into the main conversation. The sonic imagery is almost perfect. Sundogs takes its name from the scientific phenomenon called a parhelion. Parhelia are the mock suns you sometimes see to either side of the actual sun usually shortly after sunrise or shortly before sunset. Sun Dogs were debated as portents in the middle ages, and have even been used as signed to start wars. They are coronal objects that result from sunlight reflecting off of ice crystals in the atmosphere; illusions. Scott's musical interpretation seems to play with the concept of illusion while perhaps implying a purpose unknown or unseen.

Peace On Saturn is one of the most pleasant surprises I've heard on an instrumental album in some time. Scott uses pedal steel here in an almost ambient setting that could be described as some sort of "heavenly" country music. The pedal steel sighs and wails its way across a serene musical landscape provided mostly by a conversation between bass and guitar. Despues De Guerro is my favorite track on the disc because it perfects the theme that Scott seems to be trying to draw out of all the songs on Other Planets. It's music as a conversation between instruments. This concept was put forth bluntly on the opening track, but the underlying theme is not so much of instruments playing together as conversing. On Despues De Guerro Scott achieves a near-perfect conversation where guitar, bass, drums and pedal steel all find perfect rhythm, pacing and content and lift the whole project to enlightened speech. (Not to mention that Pink Floyd fans will be very pleased with some of the passages in this one).

Not to drive a point too hard, but Erik Scott brings out his inner Floyd in flashes on Bassque Revolution (particularly in the opening). Bass is the primary voice in this wonderful composition, taking center stage while piano and keys egg it on and trill laughter throughout. Make sure to listen carefully to Foggy Bridges when you get there. The opening distorts sound like fog distorts sights seen in the distance, but the bass leads you where you need to go and the piano is as beautiful as sunlight illuminating the world through the mist. Bathing Maui comes across as a bit of a musical joke, delivered with a wink and a smile. Chaos ensues both in the tub and in the music, although in a much more refined fashion that fans of Scott may be used to. Bass guitar provides the laugh track for this one, while the keyboard suggests the sense of adventure that any dog owner will recognize come bath time. Scott gets full into the space rock ethic with Aliens Made Me Do This, the closing track to the album. Space age strings and a mischievous bass line make for quite a listen.

Erik Scott has always been known for his raucous side as part of Sonia Dada. On Other Planets he shows us a much more musically mature aspect that is both surprising and welcome. Instrumental rock albums always end up having something of a limited reach, but this is far and away one of the best instrumental rock albums I've come across. In the art of composition Scott has found a voice, one that speaks clearly and quietly to the listener. You must listen carefully to hear this voice, but the reward is well worth the effort. We here at Wildy's World sincerely hope for the continued vitality and success of Sonia Dada, but we also hope that Erik Scott continues to find time to explore his instrumental muse.

Rating: 4.5 Stars (Out of 5)

You can learn more about Erik Scott at http://www.erikscottbass.com/. You can purchase a copy of Other Planets at www.cdbaby.com/cd/erikscott or http://www.wishingwellonline.com/

Review: Bohemian Grove - Bohemian Grove

Bohemian Grove - Bohemian Grove
2009, Bohemian Grove

Bohemian Grove is a Tallahassee, Florida based band that dabbles in Jazz, Rock & Blues. Lead vocalist Mitch Neubauer and bassist Jeff Davis currently form the core of Bohemian Grove. Bohemian Grove takes its name from the California campground of the Bohemia Club, one of the most exclusive all-male clubs in the world. Membership includes world leaders, captains of industry, artists, musicians and the generally filthy rich. The Grove is their escape from the world, and is often the meeting place from which major political and financial decisions are made. Bohemian Grove is in the process of recording their full-length debut, but submitted a demo entitled Bohemian Grove for review.

Bohemian Grove opens with Creature Habits, a jazz flavored light rock tune with strong and enjoyable vocals from Mitch Neubauer. It's a smart arrangement with jazz and funk influences that will have your toes tapping almost immediately. Next up is Disappearing Coast, a meandering waltz that allows Neubauer to really open his pipes with soulful vocals that drill through you. The arrangement here isn't terribly complex, but Neubauer creates a lot of interesting texture and rhythms with his guitar that make Disappearing Coast a delightful listen. Walk Away has a delicious blues feel to it and is likely to get stuck in your head. How's It Feel has an easy-pop feel to it, vaguely reminiscent of Hootie & The Blowfish. Kate's Song is an introspective love song exploring the giddiness of new love.

Bohemian Grove is a very eclectic mix of jazz, funk and singer-songwriter pastiche, all in a mellow, easy listening package. This is a feel-good, enjoyable recording that is pleasant to listen to. Neubauer's voice soars across the five songs presented here in a majestic manner. Bohemian Grove isn't a highly commercial project, but is likely to engender a small core of very devoted fans.

Rating: 3.5 Stars (Out of 5)

You can learn more about Bohemian Grove at www.myspace.com/bohemiangroveonline. Bohemian Grove will be releasing a full length album in 2009.

Review: St. Dominic's Trio - Switch

St. Dominic's Trio - Switch
2009, Frozen Rope Records

Minnesota rockers St. Dominic's Trio offer up a mix of original songs heavily influenced by a classic rock sound with the occasional to modern mores. The Minnesota based band (which is not, in fact, a trio) has been a local club favorite for some time but has started to branch out in the last two years. Switch is their debut album, and provides a picture of a band with a distinct musical taste and a chameleon-like nature.

Switch opens with Free And Alive, punctuated by 1970's Chicago (the band) style horns. Free And Alive is a happy romp with a driving rhythm and lots of peripheral instrumental action. 4th Day Of May is a straight forward classic rocker that draws from early R&B sounds. I Thought We Were Friends is in a similar vein with the addition of that delicious horn section. There's an Elvis Costello vibe here that is somewhat muted but unmistakable. She Loves You Anyway is a tasty bit of Americana that is a perfect vessel for vocalist Terry Walsh. Bike Ride of 35W has a southern/swamp rock feel to it. The song is quite catchy and certain to have you up and dancing.

Outta Bullets reflects a little more attitude and oomph from St. Dominic's Trio, dealing in a blend of Blues and Rock N Roll that is sure to please. This is what AC/DC might have sounded like if they originated in the early 1960's. Be sure also to check out Cold Dice and the effecting One Day. One Day is perhaps the finest composition on the album -- every listener will recognize this aural photograph in someone they know.

St. Dominic's Trio have made the jump from classic rock bar band to creative force. Switch is a capable album with a number of decent songs and one or two real standouts. In the current market this is not a highly commercial release, but is very listenable and should find a solid fan base for St. Dominic's Trio. One Day is a special song that could carry St. Dominic's Trio a long way (similar to how The Time Of Your Life established Green Day as a serious artistic band as opposed to a reckless punk outfit). Switch is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about St. Dominic’s Trio at http://www.belfastcowboys.com/. You can purchase a copy of Switch at www.cdbaby.com/cd/stdominicstrio.

Review: The Belfast Cowboys - The Belfast Cowboys

The Belfast Cowboys - The Belfast Cowboys

2009, Frozen Rope Records

You don't often find cover bands cover in a forum such as this for a two distinct reasons:

1.) Cover bands often don't release albums;
2.) Albums by cover bands don't tend to sell well outside of the band's geographic base as most fans of the covered artist would prefer the originals.

There are exceptions of course. Luther Wright & The Wrongs in particular pulled off a coup covering Pink Floyd's The Wall (Rebuilding The Wall) a few years back, and Diana Ross' Lady Sings The Blues soundtrack is a classic cover album, but it's difficult (and often a mistake) to try and reinterpret an iconic artist's catalog for commercial gain. You tend to offend the hard core fans who are your primary market. Minneapolis' The Belfast Cowboys are a Van Morrison cover band who released their self-titled debut in December of 2008. Not only do The Belfast Cowboys do Van Morrison's material justice, they capture the vibrancy and energy of Morrison from his Them days.

The Belfast Cowboys opens with Cleaning Windows (Minneapolis version); its true to the original version while adding some local flavor. The Funk/R&B underpinnings of this song are as fine as Morrison ever imagined and it gets the album off on the right foot. The album's second song, Wild Night is a treat. Lead singer Terry Walsh performs a bit of musical transubstantiation here, nearly projecting the essence of Morrison for the first of several performances on The Belfast Cowboys. Walsh leads the band through reverent and coherent readings of Into The Mystic, Real Real Gone, Bright Side Of The Road and several other Morrison classics but hits a musical climax on Jackie Wilson Says. The whole band is inspired on this song and you forget for three minutes that you're listening to a cover band. Other highlights include Bright Side Of The Road, Caravan and Precious Time.

The Belfast Cowboys are a first class cover band. Walsh and crew provide a window on Van Morrison the performer 35 years ago. The energy and joy of that young man have been replaced by the wisdom and serenity of the consummate performer who is still musically active today, but longtime Morrison fans will appreciate this honest and reverent look back on the young man he was. It’s a great recording.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Belfast Cowboys at http://www.belfastcowboys.com/. You can pick up a copy of The Belfast Cowboys at www.cdbaby.com/cd/belfastcowboys.

Review: Medicine Hat - Blood And Bone

Medicine Hat - Blood And Bone

2008, Deep Fried Coelacanth

Chicago's Medicine Hat just can't stop writing and recording. Their latest release, 2008's Blood and Bone is their fourth album in under five years, and by far their most refined effort to date. Staying well within the bounds of the Classic and Southern Rock sounds they've always been steeped in, Medicine Hat attempts to provide a true 1970's era album experience. Broken into "sides" like an old school vinyl album, Medicine Hat provides both an electric and an acoustic set full on inspired songwriting and performing.

Blood And Bone opens with Take The Bait, a classic rock gem that is reminiscent of early Rolling Stones material. Take The Bait has a rough, unfinished quality to it that recalls Jagger & Richards at the top of their game. Emmett Till incorporate guitar work that would make Gary Richrath blush with glee, while Mudhen is a classic Rhythm & Blues rocker that you won't be able to get out of your head. South 55 shows off the country side of Medicine Hat, with a classic ballad that would have been entirely at home on 1970's country radio.
Twelve Lights opens the acoustic "side" of Blood And Bone with a sound that's reminiscent of Crazy Horse. Old Country Home is another classic country sounding song that probably deserves some serious commercial attention. Diary Of A Northern Soldier is a tremendous story song that you're not likely to forget any time soon. Cast as a country song, this could easily become a folk standard. Other highlights include Blood And Bone and El Dorado Suite.

Medicine Hat is not your typical, hard-working mid-western band. Lead vocalist and primary songwriter Demi Buckley is a special talent, with an ability to craft images and stories into a three-and-a-half minute country/rock song then many writers could put into a manuscript. His rough and tumble delivery combined with the incredibly tight play of Medicine Hat is just what the doctor ordered. Blood And Bone is a great album, although in some ways it may have been a better bet to split the album into two EPs. Nevertheless, you can't deny the talent here. Blood And Bone is very much a worthwhile listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about Medicine Hat at http://www.medicinehatband.net/. You can purchase a copy of Blood And Bone at www.cdbaby.com/cd/medicineh4. Please note to be careful with the web addresses, as there is also a band named Medicine Hat in the UK with a very similar web address.

Review: Daryl Shawn - As Promised

Daryl Shawn - As Promised
2008, Tender Entropy

Daryl Shawn could be described as a musical chameleon. He is able to shift gears betweenRock, Jazz and Classical without a thought. Shawn never picked up a guitar until he was 16 years old, but appears to have been born to play it. After two years at Berklee studying Jazz, Classical and Flamenco guitar styles, Shawn uprooted himself from the San Francisco Bay area to Oxaca Mexico. Shawn continues to write songs and hone his craft there, but regularly returns to the US to share his music with audiences across the country. His latest release, As Promised, is full of beautiful instrumental guitar compositions that you're going to want to hear.

As Promised is a conglomeration or projects. Eleven tracks on the disc were composed as a wedding suite for a friend, while the others are unrelated compositions Shawn felt were strong enough to include here. Daryl Shawn has created a thing of beauty in the wedding suite (Tracks 1-10 and track 17), seeming to mimic the rise and fall of a relationship from inception to the culmination of the wedding day. Interstate is a rambling composition that seems to draw a musical parallel between the river of cars and the great rivers that carry water to the sea. The same sense of peaceful rolling and rocking is implied here in a very complex yet serene arrangement. Do Me A Favor is a strong composition with clear energy and a highly rhythmic structure and a memorable melody line dug deep into the chord progressions. It's not the most complex song on the album but probably one of the more enjoyable.

Oakland Azul allows Shawn to show off his finger-picking style in a minimalist and lovely arrangement that takes some interesting melodic turns. As Promised is a Suite composed of three movements. The first movement, Andante, has a baroque feel to it that you could easily imagine being played on harpsichord instead of guitar. Moderato has some of that baroque styling but also wants to break out in a James Taylor style folk/rock tune (but doesn't quite). Adagio is a love song played under moonlight, full of reverence and reverie. It is by far the most beautiful composition on the album. All In is a quiet expression of joy with an almost baroque sense to it. It could be a very cool processional that elevates slowly into a quiet yet exuberant joy.

Shawn changes gears on Danza Del Campo, breaking out a Latin flavor and high energy that demands that you get up and dance. Bride Of The Winter Plains reminds me somewhat of the early Windham Hill recordings (Michael Hedges) with its upbeat tenor but disciplined classical approach to composition. Other highlights include Center Of The Country, Lynda's Cannon and Montage.

Daryl Shawn shows distinct ability as a guitarist and composer. Dancing lightly back and forth across the chasm between pop and classical stylings, Shawn manages to create some magical moments along the way. As Promised began, at its core, as the celebration of the marriage of two people who love each other more than the morrow. Darryl Shawn communicates this with beautiful musical imagery that reflects and refines the day of marriage into a musical prism we can all enjoy. The additional material on As Promised simply outlines the range that Shawn is capable of, and of a talent that should provide more great listening in the years to come.

Rating: 4 Stars (Out of 5)

You can learn more about Daryl Shawn at http://www.darylshawn.com/. You can purchase a copy of As Promised at kunaki.com. You can download the album from Emusic or Amazon.com.

Review: Dan Freedman - Art Attack

Dan Freedman - Art Attack
2008, Four Hearts Music

Prodigal Sons always return home. So it is with Dan Freedman, who returns to his roots as a jazz pianist after 20 years as a software entrepreneur. Showing how close a musician always stays to their music, it took nothing more than an early 2008 concert performance by Hiromi Uehara to throw Freedman a musical headwind that would turn his life once more to music. Born in London, England, Freedman has a weekly slot on BBC Brighton as "Dan The Piano Man" at eleven years of age. After moving to Canada with his family, Freedman majored in jazz piano performance on his way to completed both bachelors and masters degrees in computer science (hence the 20 year detour). Based now in Honolulu, HI, Freedman was so moved by the performance of Uehara that he began playing again the next day. By the end of 2008, he'd already recorded his debut album, Art Attack. Freedman has plans for two more albums in 2009, and I think it's safe to say that he's not looking back.

Freedman's press materials say his greatest influences are Oscar Peterson and Bill Evans. It's very evident on first listen to Art Attack that the jazz spirits of Peterson and Evans inform Freedman's musical consciousness. Freedman takes the impressionist style and runs with it on Art Attack. As with impressionist pianists this can be both a good and not so good thing at times. Freedman finds moment of musical glory embedded in the eight covers and two originals on Art Attack, but also finds moments where the impressions pile up too high upon one another and drown each other out. On balance, the passages and songs that work far outweigh what does not.

Art Attack opens with On Green Dolphin St., a classic played in trio form (piano, drums, bass). It's an egalitarian recording where no one instrument really is subservient to others, like a musical talk show where the instruments converse. There's an Bill Evans vibe that's evident in a relaxed reading of time signatures and the willingness to bend and shape melody lines into pretzels before returning them as they were, unharmed. Freedman pays tribute to Evans on Very Early, re-imagining the Chick Corea/Hiromi Uehara version in a style almost reminiscent of Vince Guaraldi.

Sweet Georgia Brown left me a little bit lost. The Maceo Pinkard classic is performed here as a piano duet, and ultimately that is just too much. The impressionist approach combined with a second piano in duet creates a bit of musical mayhem that was just too much for this listener. Chopsticks is a jaunty series of riffs on classic piano exercise that transforms into, among other things, Rhapsody In Blue along the way. This sounds like it was a lot of fun to play; the sort of divine inspiration that comes when a musician lets themselves have fun with the music.

The absolute highlight of the disc is Freedman's interpretation of Oscar Peterson's Wheatland for bass and piano. Freedman takes us through the gentle ebb and flow of Peterson's creation with a contrapuntal left hand and a minimalist bass line. Wheatland gets to breathe its own metaphysical melody in an inspired performance. Freedman gives an interesting turn next on The Beatles' Michelle, taking the Lennon/McCarthy classic off the pins of rock music and re-inventing it as classical/jazz hybrid. Freedman focuses on dynamic development throughout the song in moving from an almost Chopin presentation to Van Clyburn before falling back to the melodic heart of the song trailing the acoustic waters from whence it originally arose.

Laughing Child is a Dan Freedman original, and in some ways just doesn't belong on this album. Laughing Child is a pop song at heart with a vocal line that cries out of the piano for a singer and words. Laughing Child could migrate to either Adult Contemporary Pop or Broadway without much difficulty, and serves as a hint regarding the diversity and breadth of writing/performing talent that Freedman possesses. Art Attack closes with the surreal and rhythmic Marimba piece Lives At Stake. Lives At Stake sounds like something that might have shown up in session tapes for an early Pink Floyd album.

Dan Freedman comes home to music after twenty years in the corporate professional realm with an inspired debut album in Art Attack. While there are moments that don't work as well as other, the effort on the whole is very much worth your time. Mixing the influences of Oscar Peterson, Bill Evans, Brad Mehldau and others with unique and daring choices about structure, timing and harmony, Freedman takes chances that mostly work while giving us a hint of how broad a swath he might cut musically. With two more albums planned for 2009, this could just be the warm-up. A definite must for impressionist jazz fans, jazz piano fans, jazz-inflected pop fans, or people who enjoy an artist who can take you anywhere at any moment for any reason.

Rating: 4 Stars (Out of 5)

You can learn more about Dan Freedman or purchase a copy of Art Attack at http://www.dan88.com/. You can also pick up a copy at www.cdbaby.com/cd/danfreedman.

Review: The Amplifires - Fire On The Moon

The Amplifires - Fire On The Moon
2008, The Amplifires

The Amplifires have quite the pedigree. The Matlock, Derbyshire, England foursome has rubbed elbows on stage with some big names in British Rock N Roll. Vocalist Sharon Clancy is a former label mate of Clive Gregson (Any Trouble). Guitarist Steve Rawlinson was invited to join The Frantic Elevators (Mike Hucknall/Simply Red) at one time. David Brunt (Bass) played alongside The Red Guitars, The Housemartins (The Beautiful South) and Tracey Thorn and Ben Watt (Everything But The Girl). Ruth Dobson (drums) is a veteran of bands from as far afield as Abu Dhabi. The Amplifires peaked at #7 on the Reverb Nation worldwide alternative charts in 2008 and are beginning to generate some buzz through Europe, Japan and even in the United States. Their debut album, Fire On The Moon is an artful mix of pop, rock and punk that delivers a punch while relying on strong songwriting and big pop hooks.

Midnight Moses starts out the album on a heavy rock vibe with big guitars and a pulsing rhythm section that is reminiscent of the best of 1970's and 1980's heavy metal. Sharon Clancy's clear and powerful voice is the perfect counter to his big, heavy distorted sound, bringing clarity out of the maelstrom of sound. Wired continues the aural assault of guitar in a very garage-sounding recording. The song is very catchy, and Clancy's vocals swim just beneath the wall of sound rather than trying to overpower it. The end result is a highly enjoyable and entertaining song. To Be In Love continues the power chord onslaught in a sound with distinct punk rock trappings. This one has a real pop sensibility that belies the heavy crashing sound.

The Amplifires reverse fields on the sly and moody Dear Stalker, where the bass line skulks and hides in shadows just like the alleged protagonist. Just in case you start to wonder at this point if the album is taking a mellow turn, The Amplifires blow your headphones off with Windspun Day. The obligatory acoustic (or near-acoustic) tune shows up in Broken Wing. Clancy reaches more into her upper registry on this one and reveals some vocal inconsistencies that you realize have been there all along but don't show as clearly on the faster material. Clancy's voice isn't perfect, but it works for this material. Other highlights include Bitter Blue, Broken Pane, Next Time and Fire On The Moon. Fire On The Moon is probably the catchiest tune on the CD and is guaranteed to get your feet moving.

The Amplifires are old school rockers with a classic rock attitude. The lyrical content is a bit awkward at times but generally works quite well. Likewise vocalist Clancy isn't perfect but perfect for the garage sound The Amplifires put forward here. The sound quality of the recording is more in the Garage Band class than you might expect, but its all part of the mystique of The Amplifires. Warts and all they are one of the hardest rocking retro bands around. When they invade your town, go see them. In the mean time, give a listen to Fire On The Moon. It's a great spin.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Amplifires at http://www.amplifires.co.uk/ (where you can purchase a copy of Fire On The Moon) or www.myspace.com/theamplifiresuk.

Review: Kirsten Price - Guts & Garbage

Kirsten Price - Guts & Garbage
2008, KPI

Female vocalists who can sing soul music are all the rage again. Names like Christina Aguilera, Amy Winehouse, Macy Gray and Joss Stone sell CDs, MP3s and concert tickets by the boatload, but all have surrendered something of themselves to the music industry and its producers. London born and New York City based Kirsten Price brings the same kind of presence and big voice to the table, but Price eschewed the major label path to maintain total creative control over her material. Her debut album, Guts & Garbage is the true test of whether it's worked. Early returns suggest Price did the right thing.

Price worked with producers Frederick Sargolini, Raphael Saadiq (Tony! Toni! Tone!) and Danny Saber (David Bowie, Madonna, Seal) in the process of creating Guts & Garbage, but all on her terms and in her own way. The end result is one of the most daring and hottest records to be released in 2008. Price mixes Soul, R&B and Rock with ambition and raw sexuality that will melt speaker wires, warp amplifiers and probably require a cold shower when you're done listening. Opening with Magic Tree, Price sets to tone quickly with a sultry vocal against minimal instrumentation just to show she's got the vocal goods. Pop and R&B music hasn't seen an opening so sultry in a generation, and Price is just getting warmed up.

All Right dances on a reggae beat and Price's meaty alto sound. Price will remind folks of Fiona Apple right off the bat, but Price can sing rings around Apple. She's got that low, husky alto that turns heads but she can also break out into an upper register with complete clarity and a glorious sound. Fall mixes spoken word French and sung English in a dark and mysterious love song that resonates in transformation through the major chord chorus. Crazy Beautiful is set to be a major pop and dance hit for Kirsten Price. It has the same infectious energy as Lou Bega's Mambo #5 but with real attitude. Don't be surprised if Crazy Beautiful is a major international hit. Ten years ago it would have been guaranteed. With today's fractious music business and one-note radio wasteland it might take a bit longer, but this song is huge.

Let Me Go opens with a gorgeous orchestral prologue that morphs into an electronic play land in which Kirsten Price can let her voice play. Price makes the most of it here in a piece that is vaguely reminiscent of Milla Jovovich's esoteric The Divine Comedy. Let Me Go mixes elements of R&B, rock and electronic ambience into a rough and beautiful soliloquy that is absolutely unforgettable. Possibilities allows Price one more opportunity to turn your speakers to mush with a vibrant and sensuous performance that will leave listeners more than a little unsettled. Other highlights include 5 Days Old, Freedom and Red Hot.

Kirsten Price isn't the next in a line of Soul/Pop vixens; she's the new face of Soul influenced rock music. Guts & Garbage is more than its name, offering one of the most moving most exciting musical performances I've heard in some time. Kirsten Price is the sort of iconic voice and character the music industry's been waiting for. It's easy to imagine her, twenty years from now as the new Queen of Soul Music. For right now, she's creating on the most vibrant and exciting mixes of Soul, R&B and Rock we've heard in many years. If you don't believe us, consider that some of her tracks have been featured on The L-Word, CSI and Cashmere Mafia even before the album came out! Guts & Garbage is a Wildy's World Certified Desert Island Disc; an instant classic.

Rating: 5 Stars (Out of 5)

You can learn more about Kirsten Price at http://www.kirstenprice.com/ or www.myspace.com/kirstenpricemusic. You can buy a copy of Guts & Garbage at StretchTheSkies.com or at Amazon.com.

Review: Farkus - Thought You Should Know

Farkus – Thought You Should Know
2008, Farkus

Chicago’s Farkus is a no-nonsense Rock N Roll band based in big rock hooks; smart, insightful lyrics and memorable melodies. Vocalist Tony Maguire shows shades of Glen Phillips (Toad The Wet Sprocket) and Gordon Downie (The Tragically Hip). I could tell you that he sounds almost exactly like Dave MacKinnon (Dig Circus, Hummer, The Fembots), but most of you will have no idea of who I’m talking about. Round it all out with a backing band that is powerful, supple and disciplined and you have the potential beginning of a great success story. Farkus’ latest release, Thought You Should Know, draws on the melodic traditions of The Beatles, great pop hooks and an indie/post-punk spirit that is at the heart of modern Rock N Roll.

Chance is the opening gambit on Thought You Should Know, knocking back the listener with big guitars and challenging lyrics. Farkus bears a very strong musical resemblance to The Tragically Hip here, with a big sing along chorus and hooks that will keep you flipping. Farkus makes you think while you dance, an exorcising of mind and body that is genuinely fun to behold. Bitter Cinderella is a stark and hair-raising call to attention of an acquaintance/friend that might hold true for the population at large. While repetitive, the song is powerful and definitely worthy of attention. Supposed To Be comes off sounding like a muscular version of Toad The Wet Sprocket, bolstered by big guitar sounds and a rampant hook that just will not leave the listener alone.

Salt settles firmly into modern guitar rock with a driving beat and superb vocals. Farkus will keep the mosh pit hopping with this tune, but the pop sensibility and big chorus will attract a wider range of fans than your typical punk tune. It's here that we see the true commercial potential of Farkus, and frankly, it's huge. Salt is the sort of song that could land a modern rock band firmly on the map. At the very least the licensing arrangements should keep Farkus comfortable for a while. New Love And Prescriptions is a slightly psychotic sounding slow song that is very interesting but not terribly commercial. This is one of those songs that could become a concert favorite for hard core fans, particularly with Maguires's vocals soaring the way they do. Thought You Should Know ends with Windsor Noose, a compelling song that explores the divide many of us cross at one point or another into adulthood and responsibility. It is the chasm that every performer negotiates either by giving up their dreams or by coming to terms with the tradeoff of chasing dreams and prosperity (for many). It's not a commercial tune, but a fine one.

Farkus shows two very distinct sides on Thought You Should Know. One is the compelling, thoughtful singer-songwriter; the other is the big, arena rock star band with impressive hooks, strong melodies and a sense of pop timing. Both hearts beat within this band, and as they are they will do very well for themselves. Bands like this if they stay together long enough; generally create at least one album that pulls all of this together in a special way. Farkus has the opportunity to be that type of band - one that creates a monumental pop experience that fans talk about for generations. Perhaps I'm dooming by saying it aloud, but somehow I doubt it. My advice to Farkus on that front is to ignore everything I'm saying and then just go out and do it. Don't believe the hype. Be it. Farkus is capable.

Rating: 4.5 Stars (Out of 5)

You can learn more about Farkus at http://www.farkusmusic.com/ or www.myspace.com/farkusmusic. You can purchase a download of Thought You Should Know on iTunes. No word on CD availability yet, so keep checking back at the band's website for additional information!

Review: Adrienne Leasa - For God's Sake

Adrienne Leasa – For God’s Sake
2008, Adrienne Leasa

Adrienne Leasa isn’t your typical rock singer-songwriter. Eclectic is probably the word I’m looking for, but even that doesn’t quite fit right. She doesn’t come across as flashy. Leasa tends toward the lush sound style that made Sarah McLachlan a household name, but also carries the emotional honesty and neo-folk spirit of Kathleen Edwards. The Spring City, Pennsylvania native cuts a path that meanders from folk to blues to ethereal rock and roll, changing like the wind. Leasa’s debut album, For God’s Sake runs the gamut from starkly beautiful and emotionally raw to serenely polished.

For God’s Sake opens with the title track, a straight forward rocker built up with lush harmonies. The melody is on the cusp of memorable, but the harmonies weave a distinctive sound that trails in your mind once the song is done. Leasa moves on to What Comes Next. Her voice isn’t your typical rock voice, falling somewhere in between Edward, McLachlan and almost but not exactly Kate Bush. This is exceedingly clear on What Comes Next, another straight forward rocker that’s got a heart-on-the-sleeve quality to it. Shame is where For God’s Sake really starts to take on a distinctive character. The near-ambient arrangement is almost chilling. Leasa builds a harmonic bridge that includes her voice and keyboards that is the musical equivalent of the movement of glaciers. At first glance (listen) not a great deal of movement is occurring, but underneath the surface the energy is immense.

Cloud Of Dust is my personal favorite on For God’s Sake, exploring Leasa’s bluesy side while maintaining the harmonies that seem to be something of a trademark. Cloud Of Dust is barebones; acoustic guitar, lead and harmony vocals. This setting seems to be where Adrienne Leasa shines most, as her voice is more affecting here than at any point on the album. Deity goes back to the straight forward rock arrangement (ala Shawn Colvin) for a song full of doubt and angst. Leasa returns to the blues on I’ll Get My Way, essentially proving that the blues is probably her home base. Other highlights include Song For A Prisoner, Lucy and Reside.

Adrienne Leasa is distinctive in voice and style. Her songwriting is above average with a couple of flashes of greatness. Leasa sounds like she’s still finding her voice artistically, with stylistic choices that dance across the map in an almost haphazard way. It’s refreshing. Adrienne Leasa may not have entirely figured out who she is yet as an artist, but it’s clear that she knows what she’s not. Eschewing the polish and over-production of a major label release, Leasa allows the honesty and clarity of her songwriting shine through. For God’s Sake is a great debut album that defies you to classify it, much as the artist defies you to classify her. Adrienne Leasa should be making music for some time to come.

Rating: 3.5 Stars (Out of 5)

You can learn more about Adrienne Leasa at www.myspace.com/absorbedinthespring. You can pick up a copy of For God’s Sake at www.cdbaby.com/cd/adrienneleasa.

Review: TOMOKO - Organically Afro Asiatic

TOMOKO – Organically Afro Asiatic
2007, Blues Back Records

Growing up in Osaka, Japan, TOMOKO fell in love with American Soul Music. She credits Stevie Wonder’s Songs In The Key Of Life for changing her life; bringing out the desire in her to be a soul singer. Despite cynicism from family, TOMOKO packed up and moved to New York City. That decision has led to the recordings and release of Organically Afro Asiatic, TOMOKO’s debut EP. Produced by JAMBA, TOMOKO has created a set of songs steeped in classic 1970’s soul with a modern edge.

Organically Afro Asiatic opens with Mercy Joy And The City, a tribute to the heart of New York residents. The first thing that strikes you about TOMOKO is the smoothness and beauty of her voice. TOMOKO could sing the phone book and people would line up to listen. Mercy Joy And The City takes this striking voice and sets it against a classic NYC Soul vibe, creating a potential commercial hit. Love Me is an in your face come on song set to a bossa nova beat. TOMOKO melts more than a few speaker/headphone wires on this tune with a steaming, sultry sensuality that is almost palpable.

The big potential hit here is Geisha Girl, a classic soul side complete with Tower Of Power style horns. Geisha Girl is a smoking hot declaration of independence from stereotypes of Asian-American performers. TOMOKO is in your face here, but with intelligence and perhaps even just a touch of wit. She eschews the American style of toughness based in bravado for a classic honesty based in real toughness. The results are a breathtaking instant soul classic that is bound to break radio boundaries and offer many licensing opportunities. Promise is another song with real commercial viability, offering sweetness in the form of a fairly standard pop ballad.

Should I heads straight for the disco floor, in an S.O.S. Band style groove. TOMOKO is at her vocal best here, easily transitioning between vocal registers with a sense of grace and beauty that’s often missing in pop music. The album ends with Hold On, a meandering soul ballad with a hopeful message and a heavenly melody.

TOMOKO is the real deal. She will benefit from her look and status as an Asian woman in American pop culture, but to lay any potential success for TOMOKO at the feat of such things is to do her a disservice. TOMOKO is a first-class vocal talent. Working with JAMBA, she has created a debut that is soulful, sexy, and sweet; a surefire hit. There are at least two songs here with major commercial potential, and don’t be surprised if you hear TOMOKO on TV and movie soundtracks in the next year or two. Her versatility performing everything from Soul to Jazz and even Opera means there are a lot of layers to TOMOKO we haven’t even seen yet. TOMOKO has the potential to be an international star. Organically Afro Asiatic is a great start.

Rating: 4 Stars (Out of 5)

You can learn more about TOMOKO at www.myspace.com/TOMOKOmusic or http://www.TOMOKOmusic.com/. You can purchase a copy of Organically Afro Asiatic at www.cdbaby.com/cd/TOMOKOtunes.

Review: The Courage Pills - The Courage Pills

The Courage Pills – The Courage Pills
2008, The Courage Pills

West Chester, Pennsylvania natives The Courage Pills have the right idea. Formed just two years ago, they already haunt the clubs and venues of Philadelphia with a sound that is steeped in punk rock energy and a pop-hook driven musicality that’s bound to make the most cynical critic look up and take notice. The Courage Pills are no slouches as musicians either, with lead guitarist Michael Schramm featured in the March 2007 issue of Guitar Player magazine. Despite the recent loss of their original drummer, The Courage Pills continue to weave great pop/post-punk tunes in the same vein as Graham Parker’s former backup band, The Figgs. The Courage Pills sent along a seven-song demo entitled The Courage Pills. Let’s take a look.

The Courage Pills open with Way Down, an Americana flavored tune with an underlying punk sensitivity. The song is incredibly catchy with a bit of a garage sound to it (as if it were a live recording, which it may be). Open Our Eyes is a live recording, and is another incredibly catchy creature. The Courage Pills ride a big guitar sound and an almost Jim Morrison style vocal here to a bit of pop/punk nirvana. The melody will not escape you, recurring in your brain until you want to stomp on it. It’s infectious and a lot of fun. Cut Back The Lawn heads for Americana territory again with a surprisingly smooth sound offset by electronic voice box supporting organic vocals. The arrangement here is wonderfully smooth and high brow and shows The Courage Pills broadening their range of sound.

Cemetery Song has a manic, almost new-wave sound to it. This is perhaps the song with the greatest commercial potential on the demo; although the vocal/guitar mix is very muddy and should be clarified (vocals and guitar are at the exact same level, meaning the vocals become lost at times). Cemetery Song carries the same sense of pop hook wonderment mixed with the frenetic punk energy that underlies much of what The Courage Pills play, and is thoroughly infectious. Dumptruck is a little more driven, sounding a bit like early Figgs material. Swan Song is a glorious romp with big guitars and an almost Pearl Jam style pomposity. For alt-rock fans, Rabbiteater is the song you come to the Courage Pills for. Easily their most complex composition from the material here, Rabbiteater shows a band jumping to the next level artistically. This particular recording is rough, but shows the distinct potential of the band as a future entity.

The Courage Pills are a young band at a crossroads. The first real personnel change is just behind them, and they show the restless tendencies of a band just starting to take wings and find its true voice. It’s generally within the next year that they’ll either explode into the band they’ll become or implode into a mass of good intentions and lost potential. If I were a betting man I’d pick the former. The Courage Pills mix pop and punk in a style reminiscent of Ben Folds, and there is a real hunger for great Rock N Roll out there right now. The Courage Pills could be part of the answer.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Courage Pills at www.myspace.com/thecouragepills or http://www.thecouragepills.com/. It does not appear that The Courage Pills have any CDs or MP3s for sale online at this time. You can stream six of the songs discussed in this review on their MySpace page, although Rabbiteater is curiously not available. Perhaps if you message them through the MySpace account they’ll sell you a copy of The Courage Pills.

Review: Basia Lyjak - Don't Talk

Basia Lyjak - Don't Talk
2008, Basia Lyjak

Don't Talk is the latest single from Toronto's Basia Lyjak. It's a Chrissie Hynde meets Gwen Stefani post-punk/pop tune that dances over the edges of the modern rock precipice with a pop sensibility that's so strong it literally moves your feet for you. Lyjak is at her best here, projecting just the right amount of attitude and power-rock energy to accentuate her bigger-than-life voice. Don't Talk is the first new single since 2007's Writings On The Wall, and if it's any indication of what's to come, Basia Lyjak just keeps getting better and better.

Rating: 4 Stars (Out of 5)

You can learn more about Basia Lyjak at http://www.basialyjak.com/, where you can purchase a copy of Don’t Talk.

Classic Indie Review: Michael Kroll - Nothing Blue

From time to time I will pull a title from my own collection of Indie and/or lesser known bands to review. These are albums that are on my own personal Desert Island list; discs I just wouldn't want to be without. There's no specific schedule for these. They'll just come up as they come up. Enjoy.








Michael Kroll - Nothing Blue
1994, 13 Blackbird Music

In 1994 I attended a Tori Amos show at Buffalo State University where the scheduled opening act was The Devlins. I had been unimpressed with the proposed opening act and was not disappointed when it was announced The Devlins' bus had broken down and would not make the show. As a replacement, Seattle singer/songwriter Michael Kroll walked out on stage with no backing band except his acoustic guitar. This guy we'd never heard of kept the entire audience transfixed for the next 30 minutes as he created an orchestra of sounds from one guitar to support his subtle and intelligent story songs. Kroll was touring in support of his debut album, Nothing Blue, which was a consumate Americana/pop album before anyone knew what Americana was.

Nothing Blue opens with In God's Acre, a song that will ring true in any rust belt or working class town. Kroll's voice rings true to the working class ethic that rings throughout Nothing Blue, with just a hint of gruffness within a wonderful textured tenor. Independence Day Again explores the difficulties that Veterans face against the backdrop of a celebration of the gains their sacrifices wrought. It is one of the most sensitive and serious explorations of this difficult topic I've heard in song; endlessly melodic and rich in musical composition, Kroll hit an absolute grand slam with this one.

Pilgrim Soul is the consummate love song. This is absolute mix-tape material, and sadly one of the most overlooked songs in pop/rock music. Pilgrim Soul could be a hit in any era from the 1960's on. I'm truly surprised that this song was never licensed for film or television. Speed of Sound is almost a companion piece to Pilgrim Soul. Where Pilgrim Soul is a celebration, Speed Of Sound is a reverential prayer made from need. This song will haunt you. Walking The Fence describes the ambivalence the narrator feels about a reckless relationship. It's another song with significant commercial potential that was born 10-15 years too early.

Close Your Eyes is probably the most touching and hauntingly beautiful song on Nothing Blue. It's a song about regret that will get inside your head and won't go away. It's one of those songs that rings true for everyone who hears it in some way or another, wrapped in love and faith. 1001 is a stark explanation of a dream that holds some of the most involved guitar work on the album (that's saying something). It's a personal favorite of mine and likely to insinuate itself in your consciousness on one listen. Eastern Star is a wistful soliloquy about someone on the other side of the globe. It is particularly poignant in a time of war when so many loved ones are so far away.

We Can Only Be Lovers is a cynical song about misguided attempts at a relationship between two people who just do not match. The song is steeped in a bluesy feel that is part dirty regret and part remorse. We Can Only Be Lovers is very moving and honest without sounding trite. Nothing Blue But The Sky lends the album its title, and is probably the song that would translate most easily to a rock arrangement. The song is about determination and survival in a world where we all feel somewhat separated from one another. Trying To Say is perhaps my favorite track here. It just has a rhythm to it that drives the song, and is a rock song in acoustic format. It's just one of those songs that will run through your head at odd times even if you haven't picked up the album for months. Nothing Blue closes with Nobody Knows, a sober and sad song that could be the anthem for an old-timer in any working class town. Michael Kroll managed to capture the essence of the forgotten heartland of America in three-and-a-half minutes like maybe no one else has here.

In Nothing Blue, Michael Kroll created one of the quintessential albums in Indie Folk Rock, regardless of era. The fact that the album was largely overlooked is irrelevant. If you’re looking for the complete singer/songwriter/performer, then Michael Kroll hit the arc of perfection back in 1994. Nothing Blue is a Wildy’s World Certified Desert Island Disc, and one of my personal favorite albums.

Rating: 5 Stars (Out of 5)

You can learn more about Michael Kroll at www.myspace.com/michaelkrollmusic, where you can purchase a download of Nothing Blue as well as several other releases. I don’t know if hard copy CDs are available anymore, so you’ll likely have to look to eBay or Amazon for used copies.

Review: Dog Gods - I Am Large; I Contain Multitudes

Dog Gods - I Am Large; I Contain Multitudes
2008, Dog Gods

Arkadelphia, Arkansas is a small town of about 10,500 residents that has nonetheless produced no less than four NFL Football players. An old salt mining town, "The Arc Of Brotherly Love" has now produced an interesting musical conglomerate in the Dog Gods. This Folk/Americana band has a unique songwriting style and sound that is pure musical nirvana. Marck L. Beggs (vox, guitar, songwriter); Jason Chism (keys, production); Phillip Taylor (bass); Luke Pittman (lead guitar) and Craig Seager (drums) create lushly energetic and intelligent songs that are unlike anything you've heard in popular music. Dog Gods debut CD, I Am Large; I Contain Multitudes was self-released by the band in 2008. Its fifteen songs of quirky, catchy and unusual folk pop you don't want to miss.

The album opens with Another Day, a highly catchy and smartly cynical song. It's great Americana rhythm to it that makes you want to get up and two-step. Antarctica is my favorite song on I Am Large; I Contain Multitudes. Antarctica is 3:24 of Pop/Folk perfection, and reason enough to by the album on its own. The Man Who Mistook His Wife For A Hat borrows its title from a book by Oliver Sacks (Patch Adams) of the same name. It's a humorous story song that will leave you laughing and shaking your head in enjoyment. Ploughing The Moon has a great melody you're not likely to forget any time soon.

A second favorite here is Ireland Suite. Ireland Suite is very strong on Americana roots. This is destined to be a crowd favorite, and shows flashes of style similarities with Great Big Sea. Valentine For A Bi-Polar is a classic. The arrangement is wonderful and the lyrics alternative between ironic humor and straight forward suffering love song. Satellite Radio Blues has a Doors feel to it and is a very enjoyable listen. Other highlights include There's A Light At The End Of This Train; Disgrace - David's Lament and Blue Cats & UFO's.

The Dog Gods are certainly eclectic. Their mix of Rock, Americana and Folk is refreshingly new while being just familiar enough to be comfortable. I Am Large; I Contain Multitudes places Dog Gods firmly on the Folk/Americana map as a musical force to be reckoned with. I Am Large; I Contain Multitudes is a beautiful start.

Rating: 4 Stars (Out of 5)

You can learn more about Dog Gods at www.myspace.com/doggods. You can pick up a copy of I Am Large; I Contain Multitudes at www.cdbaby.com/cd/doggodsmusic or http://www.indierhythm.com/.

Review: The Singing Revolution

The Singing Revolution
2007/2009 New Video Group

If you ever needed proof that music can change the world, then you need to put aside a couple of hours to check out The Singing Revolution. The Singing Revolution is the story of Estonian Independence from The Soviet Union and the role that singing nationalist songs played in the counter-revolution. Directed by James and Maureen Castle Tusty (both of whom co-wrote with Mike Majoros, The Singing Revolution captures the raw power and emotion of song, the call of freedom and power of the human spirit against the bleak background of human oppression.

20th Century Estonia lived under the thumb of Russia for most of the Century, with a brief interregnum of German occupation during World War II. Soviet Rule began in 1939 at the beginning of World War II as Russia sought to create a buffer (The Iron Curtain) between itself and Europe. During World War II alone, approximately 1/4 of the population of Estonia was killed or removed by the Soviets. Nationalistic songs became a source of strength to Estonians and residents of other Baltic countries throughout the Soviet reign of dominance in Eastern Europe. In 1986 and 1991, Estonians came to Tallinn for the Estonian Song Festival. Songs of National Pride and freedom punctuated Estonia's campaign to be recognized as independent states by the Soviet Union.

Within Russia, Mikhail Gorbachev was pursuing a policy of Glasnost. It would appear that Gorbachev got more than he bargained for; empowered by fervent love of country and song, Estonians advocated before a watching and listening world for their own freedom. The Singing Revolution documents the growth of the Estonian independence movement between 1986 and 1991 and how it was empowered and enriched by the singing of these (banned) nationalist songs. This musical march to independence was accomplished without the loss of a single Estonian life.

The transformative power of music is captured by Mr. Tusty and Mrs. Castle Tusty through the use of archival footage from the Soviet occupation in contrast with interviews of movement leaders and residents of Estonia. And of course, there’s the singing. The film runs 94 minutes and is narrated by Linda Hunt with music by John Kusiak. If you are not moved by this film then you are not watching or listening. The subject matter may be a little dry for some, but the powerful emotions inspired by the non-violent fight for freedom in Estonia is overpowering at times. For those of you who make music, this is the ultimate sign that music can change hearts, minds, and even the world. The Singing Revolution is a rousing documentary.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Singing Revolution at http://www.singingrevolution.com/. The Singing Revolution will be released on February 3, 2009. You can pre-order a copy through Amazon.com.

Review: Toubab Krewe - Live At The Orange Peel

Toubab Krewe - Live At The Orange Peel

2008, Upstream Records

Appalachia. Home to scenic vistas, simple living, squirrel dinners and African-rooted folk music. What? Back up. Asheville, North Carolina is home to Toubab Krewe, a band that mixes traditional West-African music with a pop/Americana mix to create one of the most unusual combinations you've likely ever heard. Toubab Krewe was born in 2005, the partnership of five childhood friends: Teal Brown (drums), Drew Heller (guitar), Justin Perkins (kamel ngoni, kora, guitar), David Pransky (bass) and Luke Quaranta (percussion). Toubab Krewe has travelled extensively, studying with music masters in places such as Guinea, Mali and the Ivory Coast. Toubab Krewe has wowed crowds at Bonnaroo and the Festival Of The Desert in Essakane, Mali. Their latest release, Live At The Orange Peel (available January 6, 2009 on Upstream Records) captures their live presence in intimate detail.

Disbelief quickly turns to musical joy while listening to Live At The Orange Peel. I expected kind of a Paul Simon Graceland redux; instead I heard a brilliantly original and vibrant set of recordings that exceeded my imagination by leaps and bounds. The opening track, Autorail fell about where I expected musically, but Toubab Krewe weren't about to stand still. Lamines Tune seemed an interesting conglomeration of roots rock and northern and western African sounds. This is the catchiest of the tunes here and almost descends into honky-tonk at times (but not quite). Roy Forester features Justin Perkins on the kamel ngoni and special guest Umar Bin Hassan (The Last Poets) on the spoken word passages. Kaira is exceedingly beautiful from the opening, with Perkins creating sounds on the kora that sound like they may have been from and old Yes album.

51 Ft Ladder is more rock song than anything else, with the kamel ngoni sounding at times almost like a banjo. This is a great jam tune that could go on a lot longer than it does. Maliba carries an almost Caribbean sound -- all its missing is the steel drums. Toubab Krewe kicks out the jams on Moose, just to prove they can. This big, guitar-driven rock song has an almost Celtic feel to it and should appeal to fans across diverse boundaries. Live At The Orange Peel closes with Buncombe To Badala, which has a definite Dick Dale/Surfaris feel to it.

Toubab Krewe is one of the most unique bands I've come across. Their music is infectious and fun. You'll find yourself hooked from the first listen. Live At The Orange Peel captures Toubab Krewe in their best light - live on stage. Musically talented, Toubab Krewe adds to their performance by maintaining an ultra-high energy level. This energy comes across well on the CD, and likely only offers a hint of what there is to experience at a show. On the whole and excellent recording.

Rating: 4 Stars (Out of 5)

You can learn more about Toubab Krewe at www.myspace.com/toubabkrewe or http://www.toubabkrewe.com/, where you can purchase a copy of Live At The Orange Peel.

Review: Ben Folds - Way To Normal

Ben Folds - Way To Normal

2008, Sony Records

Ben Folds has walked the outer edge of pop stardom ever since the release of his first band's eponymous debut in 1995. Ben Folds Five reminded the rock world that pianos can rock, and also reminded rock and roll that its roots were in irreverence and true rebellion against the norm (not surveyed, pre-prepackaged rebellion at $18.98 per CD). Ben Folds has always told you exactly what he thinks, and has not mellowed (much) with success. Politically, fashionably and (sometimes) socially incorrect, Folds just tells stories his own way. Sometimes they're tongue in cheek and sometimes they're deadly serious -- you're never entirely sure which is which, but Folds is always brutally honest. Folds' eighth full-length release, Way To Normal, continues the brutal honesty, wit, intelligence and cutting edge pop/rock/punk style that Folds has become widely known for.

Folds has always been the bastard son of Billy Joel, embracing honesty and irreverence in the same fashion as many of Joel's classic recordings. Folds definitely has his own voice as a piano player and composer, but you can clearly see the lineage on Way To Normal. The album opens with Hiroshima (B B B Benny Hit His Head) details Fold's fall off of a stage in Japan. It's a funny story told in Folds' distinctive style with a sing-along chorus and memorable melody. Dr. Yang is the sort of frenetic composition that Folds' fans have loved since his Ben Folds Five days. The song would appear to mock all that we will put ourselves through in order feel our best. Folds teams up with the eccentric Regina Spektor on You Don't Know Me. You Don't Know Me has a metronomic quality to it and has actually become one of my favorite songs on the album. Spektor's voice is heavenly and wraps around Folds' voice like a snug undergarment.

Before Cologne is like a piano suite that introduces Cologne, which is one of Fold's most beautiful compositions to date. The serene melody and lush musical landscape created by Folds here stands in stark counterpoint to the storyline held within. Errant Dog is typical Folds. The song is funny and rough-hewn with the classic piano/bass/drums arrangement that seems to mark Folds at his best. Free Coffee allows Folds to turn his piano into the headwinds of funk, and also serves as the repository of the introduction to The Bitch Went Nuts. This is the most outlandishly funny moment on the album, continuing the tradition of tongue-in-cheek misogyny that Folds engages in from time to time. It's tongue in cheek because Folds is as much a misogynist as Randy Newman is racist. Both Folds and Newman have a little fun with fans and critics alike by creating true to life caricatures and giving them life in musical soliloquies that don't comply with the PC standards of the day. The song is well written and highly entertaining.

Brainwascht is a straight forward pop song done Folds-style with a little not-so-gentle irony thrown in for good measure. Effington starts out with a glee-club style chorus, complete with mixolydian harmonies. Effington is a vast word-play steeped in double-entendre and an almost Pleasantville-like vision. This may be Folds at his most musically creative. The song is stunning in it breadth of its vision and scope. I found myself in awe the first time Effington played, particularly because Folds is confident enough to marry what may be his boldest composition with a subject that is something of a humorous anecdote. Folds closes out Way To Normal with a return to his most personal and serious songwriting with Kylie From Connecticut. Once again we have a beautiful composition and lyrics that are based in a fractured relationship.

Folds may write about heartbreak better than anyone in the popular music sphere. When he writes about it in serious terms he avoids cliché and musical perseveration by drilling right to the heart of matter and speaking in unusually bold and honest terms. When he's writing from anger or humor (they're often the same), there's not a songwriter in Rock N Roll who's more entertaining. Way To Normal continues Fold's progression from punk rock pianist to consummate Rock N Roll composer. Folds embodies the near virtuosic composer status of Elton John and the irreverent rock toughness of Billy Joel, with a health dose of Generation-X awkwardness thrown in. Way To Normal is an embodiment of all these things, and proves once again that Folds is one of the most innovative and exciting performers in popular music. Way To Normal is a Wildy's World Certified Desert Island Disc. Make sure you give this one a spin.

Rating: 5 Stars (Out of 5)

You can learn more about Ben Folds at http://www.benfolds.com/. You can purchase a copy of Way To Normal at Amazon.com or wherever music is sold. Way To Normal is also available as a limited edition CD/DVD combo, and an even more limited CD/DVD/Vinyl combo that retails for $100. (What's Sony thinking?)

Review: Fresh & Ivan Ives - Juice To Get Loose To

Fresh & Ivan Ives - Juice To Get Loose To

2008 No Threshold Records

Fresh & Ivan Ives run the gamut of the best and worst things about Rap & Hip-Hop music on Juice To Get Loose To. Fresh & Ivan Ives draw from classic funk and soul influences to construct their musical accompaniment, creating highly listenable beats and music. Lyrically, Ives & Fresh are immersed in the same sort of sophomoric crudity that informs gangster rap and other similar forms. Fresh & Ivan Ives show strong lyric potential, but get caught up in highly limiting and gratuitous lyrical choices that show how able they are to kowtow to the lowest common social denominator but fails to further their ideas. This is unfortunate because Fresh & Ivan Ives show real flashes of lyrical ability. Don't get me wrong, I have nothing against the use of "crude" language or harsh lyrical imagery for artistic purpose or to further ideas, but Juice To Get Loose To just doesn't have that feel, and therefore the lyrical content here ends up sounding gratuitous at best and highly immature at worst.

Without Fail has a strong 1970's/disco vibe, bringing in samples/instrumentation referencing classic Motown sounds. The song also shows Fresh & Ivan Ives’ sense of humor in a self-deprecating fashion. At the same time it is hard to ignore the influence Eminem has had on Fresh & Ivan Ives’ rapping, particularly on the first track. Rock Precise is a prime example of the gratuitous nature of some of the music here. The language and imagery undermines the flow of the song. Time For Juice continues in this vein. It's unfortunate because Time For Juice has tremendous commercial potential. The beats and rhythm here are unique, but Fresh & Ivan Ives have made the song unmarketable with their lyric choices.

Came Into My Life is a tribute to both to themselves as well as to the broad influences Ivan Ives & Fresh bring into their collaborations. Came Into My Life is very well written and performed. August In L.A. incorporates elements of Hip-Hop, Funk/Rock and Jazz in one of the more entertaining listens of Juice To Get Loose To. Other highlights include Haterade, Truth Be Told and 18 Million Gallons Of Juice.

Fresh & Ivan Ives are strong rappers who occasionally make bad lyrical choices. There is, at times, too much striving to fit a commercial style rather on just letting the artist bring forth their sound as it comes. Juice To Get Loose To is a mixed blessing, with moments of musical brilliance stacked up alongside moments that seem to last forever. A strong effort with some evident flaws, but still a worthwhile listen.

Rating: 3 Stars (Out of 5)

You can learn more about Ivan Ives at www.myspace.com/ivanives or http://www.nothresholdrecords.com/, where you can purchase a copy of Juice To Get Loose To. You can also download the album at Amazon.com.

Review: Peter Maybarduk - No Hay Pueblo Vencido

Peter Maybarduk - No Hay Pueblo Vencido
2009, Peter Maybarduk

Peter Maybarduk was born to an American Diplomat and a social worker in Mexico City, and has lived in several Latin American countries as well as in various places across the United States since then. His worldview is strongly influenced by his upbringing, and that worldview comes through loud and clear in Maybarduk's music. His second album, No Hay Pueblo Vencido (No Defeated People), will be self-released on January 20, 2009, and offers a glimpse of that worldview set against varying musical styles, ranging from singer-songwriter style story-songs to electronic/organic rock to punk.

No Hay Pueblo Vencido opens with the poignant Darker Days. Darker Days explores Maybarduk's difficulty living amongst people who's real problems are as superficial as their happiness after living among people who truly struggle to live. The song is a subtle framing of his time in California against his background in Central America and is quite ingeniously written. The musical arrangement has a searching quality to it, as if Maybarduk is trying to find a way to balance the two worlds he knows on his shoulders. Maybarduk explores sampling mixed with organic music on Siddartha, a catchy pop tune with real potential as a dance mix.

To Make A Rebel Behave is a lovely guitar ballad that subtly explains the methods a fascist state might use to enforce what it considers to be appropriate behavior amongst its own people. Dom Helder opens with an urgent energy that turns into an almost early Police-style punk tune. Throughout all of these songs Maybarduk explores the world around him with an eye for how he might change things, or perhaps how he has already tried. There is a confidence in his writing that borders on grandiosity at times. Whether is the sort of grandiosity that is necessary to dream of and exact change or the sort that gets in the way of it is a matter of time and observation, but it does weigh down the album a bit at times.

Hey Washington is perhaps the gem of the album, a smart and inquisitive commentary about government and its failings (and potential). Right behind it (both figuratively and literally) is Caught In A Lie, a frenetically performed soliloquy that could be a man speaking to his potential beloved or a politician speaking to the government or office (s)he seeks. The sense of good will entering in here is similar regardless of the scenario, and Maybarduk doesn't fully clear up the question in the course of the song. Other highlights include Capital For Guns, Sundays and Vencido.

Peter Maybarduk is a talented songwriter. His way with words is notable and allows Maybarduk to explore subject matter than most songwriters may never pursue. Because of his experiences and upbringing, Maybarduk views his role in the world as being larger than one might expect. Whether this is reality or youthful idealism and ego remains to be seen, but there is no doubt that Maybarduk works through his music to spread a message about the interconnectedness of life and societies that should be considered by thinking people. No Hay Pueblo Vencido is a stand-out release with something for most everybody. Even if you filter out the messages the music is very entertaining.

Rating: 4 Stars (Out of 5)

You can learn more about Peter Maybarduk at http://www.petermaybarduk.com/ or www.myspace.com/maybarduk. No Hay Pueblo Vencido will be release January 20, 2009. Keep checking Maybarduk’s website for details!

Artist Feature: Spirit Of The West

Spirit Of The West is the Wildy’s World Artist Of The Month for January of 2009. They’ve been making great music for 25 years, starting out in 1983 as a Vancouver folk trio named Evesdropper. Original members Geoffrey Kelly, John Mann and J. Knutson built a sound steeped in Celtic musical traditions that defined Spirit Of The West's early years and is evident on the first two albums, Spirit Of The West (self-released, 1984) and Tripping Up The Stairs (Stony Plain Records, 1986). Knutson left after Tripping Up The Stairs to be replaced by Linda McRae and current member Hugh McMillan. The band's third release, Labour Day (Stony Plain, 1988) contained the hit single Political. This commercial splash led to the band signing with Warner Canada and releasing Save This House, which spawned two popular singles (Save This House and Home For A Rest)

As Spirit Of The West faced the onset of the 1990's, there was a desire in the band to expand their sound. They were inspired to branch out while touring England with The Wonder Stuff; wanting to fill concert halls with sound the way The Wonder Stuff did. Consequently Vince Ditrich was pressed into service. With a new drummer and a new sound, Spirit Of The West marched forward with Go Figure in 1991. Go Figure saw both a broadening of Spirit Of The West's popular appeal as well as the estrangement of some longtime fans that were unhappy with the move from folk to rock. A prime point of comparison is offered on Go Figure, as Spirit Of The West's first hit single, Political was reinterpreted here as a rock song. Disgruntled fans actually went so far as to present the band with a petition at one point during the tour supporting Go Figure demanding Spirit Of The West play the original version of Political.


1993 was a commercial plateau for Spirit Of The West. It began with the selection of Canadian super-producer Michael Phillip Wojewoda (also responsible for the Barenaked Ladies' Gordon). The resulting album, Faithlift completed the transition from folk band to mainstream rock band and sparked the band's biggest single, And If Venice Is Sinking. Spirit Of The West had other radio singles from Faithlift, including Sadness Grows and 5 Free Minutes. The marriage of Spirit Of The West with Wojewoda brought out the best in both.

Spirit Of The West returned in 1995 with Two-Headed, a darker, more mature effort that succeeded in artistry but failed to have the commercial legs of Faithlift. In 1996, Spirit Of The West released Open Heart Symphony with the Vancouver Symphony Orchestra. Perhaps the most stunning and courageous recording of their career, Open Heart Symphony was a collection of original songs written for the symphony performance, rather than a recapitulation of hits with orchestral arrangements. If fans and critics weren't aware of it before then, it became rapidly clear that Spirit Of The West had something special going for them in the song craft department.

1997 saw Spirit Of The West transplant themselves to England, and Martin Barre's personal studio for the recording of Weights & Measures. Guests included Barre (Jethro Tull); Karen Matheson and Donald Shaw (Capercaille); Ric Sanders (Fairport Convention); Martin Bell (The Wonderstuff) and Duncan Moss (Page & Plant, Shave The Monkey). Weights and Measures revived some of the Celtic roots of Spirit Of The West while continuing the development of their sound that began with Go Figure. Production was again handled by Michael Phillip Wojewoda.

A seven year hiatus saw band members pursue other musical projects, acting gigs and just living semi-normal lives, but Spirit Of The West returned in 2004 with Star Trails, a well written and performed album that received positive critical response but unfortunately just did not have significant commercial presence.

Along the way there have been three compilations of Spirit Of The West Material. 1989's Old Material: 1984-1986 captures live performances of songs from the ill-fated indie debut (which is long out of print) as well as early concert favorites. 1999's Hit Parade is your proto-typical Best Of collection featuring three unreleased songs from the Open Heart Symphony recordings. In 2008, Rhino Records Canada released Spirituality: A Consummate Compendium (1983-2008). This two-disc set captures highlights of the band's twenty-five year collective history, including rare tracks and two new songs produced by the aforementioned Michael Phillip Wojewoda. Not unsurprisingly the album peaked at #10 on the iTunes Canadian charts.

Spirit Of The West was inducted into the Western Canadian Music Association Hall of Fame in 2008, recognition of twenty-five years of ground breaking music as one of the pre-eminent alt-rock acts in Canada. For 2009, big things are planned, including a new studio album, a live DVD, and a recasting of the Open Heart Symphony shows. We are working on getting a review of Spirituality up this month, and hopefully a review of the new album (and maybe even the live DVD) as they are released this year. On a personal note, Spirit Of The West have long been one of my favorite bands, and it is with great pleasure that we present them as our January 2009 Artist Of The Month.

You can learn more about Spirit of The West at http://www.sotw.ca/ or www.myspace.com/spiritothewest.