Review: Stuart McNair - Growing A Garden

Stuart McNair - Growing A Garden
2008, Stuart McNair

Birmingham, Alabama based Stuart McNair explores traditional Country music themes and values as well as Earth-friendly topics on his debut CD, Growing A Garden. Recorded live, in-studio with just McNair, his guitar and harmonica, listening to Growing A Garden is like having McNair over for a house concert. The organic feel of the album and the honest, down-home songwriting and performance lend a certain charm to the 18 songs presented here.

Growing A Garden opens with The Birds Were Like A Symphony, a song of appreciation for the beauty of nature, and the way that the Earth around us every day can surprise us when we simply take the time to notice. McNair's voice is strong and clear and has a rugged beauty to it. Man On A Mission has an autobiographical element to it, explaining perhaps, why McNair makes music. There's a great classic folk sound here and McNair reminds me heavily of David Matheson on this song. Somewhere In The Middle is a personal favorite, probably the best "opposites attract" song I've heard. I guarantee you there will be couples out there that claim this song as their own. It's not a humorous song, per se, but you can't help but chuckle at some of the truths unveiled here.

Don't Worry is a highly positive message set to music; a song about change and being yourself and letting the big things settle themselves out. It's not an invitation to disengage from life, rather one to engage and let the tides come and go ("One day I decided to be free/One day I decided to be me/One day I finally took my place/not ashamed to wear a smile on my face/and you'll be smiling a lot when you get the word / God loves every dog, cat, fish and bird/He walks right beside you and you've never been apart/so don't worry, worry, worry too much with your pretty little heart.") Hearts Don't Lie speaks to the inner voice that we sometimes call our heart and how it never lets people down even when they fail to listen.

You Need To Be Danced With is destined for mix-tapes everywhere. Don't be surprised if this song gets licensed for Television or Movies, as it is probably one of the most romantic love songs I've heard. As is it could be a hit on country radio and quite possibly cross over to pop radio as well. Grow The Garden is all about tending the future through the actions of today, and could be applicable to personal growth, societal growth or even growth in a relationship. It's a beautiful song and well delivered. Didn't Know You Then is a powerful song about forgiveness and accepting people for who they are and not necessarily for who they once were. Walking With Jesus has the feel of a modern folk hymn; more of a story song than what passes for contemporary Praise music. The most interesting aspect of McNair's music may be the role that faith plays in his songs. It's obvious that faith is a large part of McNair's mindset, and he sings about it as he feels moved in his songwriting in much the same way that James Taylor sings about love; it just happens to be what's on his mind. Be sure also to check out You Make Me Smile, I'll Be Back, Eating Me and How YOU Do It.

Stuart McNair is an honest songwriter who writes what he knows. There's no attempt to put forth a persona here, McNair is what he is, take it or leave it. The image that comes across is a singer/songwriter who is happy with his lot in life; happy with who he is, and happy to share his stories with any who will listen. McNair touches on elements of life, love, faith and our communion with nature. How McNair isn't highlighting major folk festivals across North America I don't know, but I suspect the time will come. In simple, straight-forward fashion, McNair has created an album that should establish him as one of the best young talents in folk music, bar none. Growing A Garden is a Wildy's World Certified Desert Island Disc, and highly recommended to anyone who will listen.

Rating: 5 Stars (Out of 5)

You can learn more about Stuart McNair at www.myspace.com/stuartmcnair. You can purchase a copy of Growing A Garden at www.myspace.com/stuartmcnair2.

Review: Summer Mencher - Stranger To Stronger [EP]

Summer Mencher - Stranger To Stronger [EP]
2009, Summer Mencher

Summer Mencher is a groundbreaking Progressive Folk artist who bends the boundaries between genres as easily as breathing. Folk, Rock, Rap, Arena-Rock harmonies and the occasional flirtation with Middle Eastern scales all work together to create a sound that is familiar on the surface and mind-bending in the musical waters than run beneath. Mencher released her Stranger To Stronger EP in January, 2009 as a prelude to her full length release, Break The Mold, due in May, 2009. Mencher won first place in the 2008 Evolve Singer/Songwriter Competition. Mencher holds a degree in Music Therapy from Berklee College of Music in Boston, and performs regularly in orphanages, schools and hospitals.

The EP opens with the title track, Stranger To Stronger, inspired by a music program for troubled youth Mencher worked on during her Music Therapy education. A typo in a search engine reminded Mencher how small actions can affect major changes (Stronger becomes Stranger). The song features Spoken/Word rap verses mixed with a sung chorus and is remarkably fresh sounding. Wish Me Luck is an open faced song about the experience of falling in love. Mencher's voice has a velvety tone that is a pleasure to listen to, although it's not your typical pop/rock voice. Waves parallels the ebb and flow of human emotion with the rise and fall of the ocean. The song weaves its way from still waters to stormy seas and all the fluctuations in between, just like the human heart. More of a sonic painting than anything, Waves is a musical work of art. Hang On is a musical salve that falls halfway between Tori Amos and Sarah McLachlan; piano and strings work together to soothe while Mencher's words act like a tonic to those who have fallen. For all of that there's not a bit of cliché in the song, which surprised me by being better than I thought it might from the artist's description. Cold Wars speaks to the inner struggles that all people endure in the course of day-to-day life and how the tension from these struggles feeds our spirit's sense of play. Cold Wars features some of the most stunning harmonies on the disc (along with Waves) and is a sonic pleasure. Beyond Repair is more of a driven folk/rocker, ala Ani DiFranco, dealing with the human ability to overcome by accepting the past, accepting our part and moving on. The tension and resolution in this song is achieved in unusual ways, with the sonic highs and lows at times running in counterpoint to the lyrical and vocal heights. The song is a very intriguing listen.

Summer Mencher has an interesting take on songwriting. Working from the standpoint of a therapist she sees the world around her in almost clinical terms, yet finds the personal angle needed to truly understand the twists and turns about which she writes. Stranger To Stronger is surprisingly vibrant compared to much of the music that comes out of the Music Therapy field (which tends predominantly toward New-Age fluctuations in pitch and tone that eschew song structure much less personality). Stranger To Stronger gets high recommendations, and gives us cause to look forward eagerly to Mencher's full-length release, Break The Mold.

Rating: 4 Stars (Out of 5)

You can learn more about Summer Mencher at www.myspace.com/summermencher or http://www.summermencher.com/. You can purchase downloads of the tracks on Stranger To Stronger on Mencher’s MySpace page using the SnoCap application. No information on availability of physical CDs is available at this time.

Review: Kotadama - Demo EP

Kotadama - Demo EP
2009, Kotadama

Kotadama is comprised of brothers Chris and Evan Brown. Legend has it that Chris taught himself to play guitar and keyboards in 2006, and then encouraged his brother to learn the drums. Kotadama (meaning spirit of words) was born. Chris and Evan Brown were born and raised on the central coast of New South Wales in Australia and have traveled the country extensively. In the latter part of 2008 and early part of 2009 they have created significant buzz in both the US and Europe, gaining airplay and exposure from numerous sources. Their debut album, What Does It Mean? is forthcoming.

The Demo EP opens with Three Simple Words, a plaintive paean to love with a distinctive melody and an interestingly orchestrated arrangement. The song is highly commercial and radio ready, although I was admittedly disappointed to hear the heavy effects on the vocal line. Golden Child displays a strong social conscience, calling out world leaders for knowing the sort of problems our societies face but choosing to wait for miracles to solve the problems rather than taking the steps necessary to ensure long term prosperity. See You Tonight is a sweet ballad that’s destined for mix tapes wherever it’s heard. Earth Vs. Man has an almost U2 air about it, exploring the ultimate clash between societies and the natural forces of the Earth. Land Of Dreams goes a more ethereal route, using harmonics and reverb to build a "dream" sound for the song to inhabit. Calm Before The Storm has a similar vibe, built around the earth and social conscience of Kotadama.

The songwriting here is excellent. Kotadama displays a distinct ability to craft songs that are socially apt and intelligent and commercially viable. The arrangements are lush and full of orchestral passages and structure. I was very concerned to hear what sounds like correcting software used on the vocal lines, as I can not be confident that what I hear in the vocals is the band as opposed to the software. For me, at least, this blanches the experience of what is otherwise a fine start for Kotadama.

Rating: 3 Stars (Out of 5)

You can learn more about Kotadama at http://www.kotadama.com/ or www.myspace.com/kotadama. What Does It Mean will be released sometime in Spring or Early Summer of 2009. For now you can catch their music on the radio in certain markets in the US, Canada and Europe, or you can stream songs on their MySpace page.

Review: Jeannine Hebb - Too Late To Change Me

Jeannine Hebb - Too Late To Change Me
2007, Jeannine Hebb

Jeannine Hebb is a highly decorated singer/songwriter, graduating with high honors from the Berklee College of Music in Boston and winning practically every award she was eligible for while there. Comparisons that have been made include Fiona Apple, Laura Nyro, Carole King and Norah Jones, but there's really no one to compare Hebb to. Her Pop/Rock sound borrows influences from Jazz, Blues, R&B and Soul and transcends them all into a sound that is just a little bit more than anything you've heard before. Hebb has played with Jazz musicians such as Ben Monder, James Genus, Tim Ries and Clarence Penn, and has graced well-known stages throughout the Northeast US. Jeannine Hebb's debut EP, Too Late To Change Me, is a musical revelation for those tired of the usual tricks of the Pop trade.

Too Late To Change Me opens with Only Ones, a song about the side of ourselves we show only to ourselves or to the ones we love. There's a strong theatrical feel to this song, like it might have just walked off a Broadway stage somewhere. Elements of Jazz and 1970's singer/songwriter pastiche abound in an unusually intelligent and quasi-analytical yet affecting song about the power of love. Things Haven't Been So Bad Lately captures the lost and alone feelings that can overcome someone living in the anonymity of a large city, as well as about the human capacity to adapt to such a harsh environment. Ultimately, the answer is to find others or even one other, but the protagonist is declaring a standoff with loneliness, even if only for the benefit of the listener. All The Way Down is a song about growing up, juxtaposing maturity with falling from a place where our heads are "full of clouds". Once again there is a strong theatrical quality to the song, and Hebb uses blues-style slide guitar to counterpoint the plaintive piano that drives the song.

Too Late To Change Me is more of a straight up Pop/Rock tune, and a declaration of self like one might make in a relationship. The song is unapologetic but sad and self-knowing, and beautifully human in concept and delivery. Just Enough For Me has an almost Bill Withers vibe, mixing the boundaries between Soul, Jazz and Pop. It's a love song from a cynical perspective, with the protagonist layering certainty over fear in a declaration that's as much about loneliness as it is about love. Whatever You Want closes out the set and is easily the most beautiful and simple composition on the EP. Hebb displays vulnerability through certainty, giving in to another's wishes in an ambivalent fashion that speaks words about how unhappy she really is. It's hard to escape the story-like quality with which Hebb writes songs. Whatever You Want sounds like the keynote song for a major character in a musical, but it’s the conviction with which she inhabits these songs as a vocalist that's most impressive. The only comparison I can come up with for this quality is Randy Newman.

Jeanine Hebb's voice is quite possibly one of the most striking in popular music, able to belt with the best of them one moment and break your heart with a soft passage the next. Too Late To Change Me is one of the finest debuts I've had the opportunity to review. It's a Wildy's World Certified Desert Island Disc, for certain. Make sure you acquire Too Late To Change Me, and make every effort to see Jeannine Hebb if she plays in your neck of the woods. The time will come when you won't get anywhere near a show without paying Live Nation prices.

Rating: 5 Stars (Out of 5)

Learn more about Jeannine Hebb at http://www.jeanninehebb.com/ or www.myspace.com/jeanninehebb. You can purchase a copy of Too Late To Change Me at www.cdbaby.com/cd/jeanninehebb.

Review: Filter - The Very Best Things (1995 - 2008)

Filter - The Very Best Things (1995 – 2008)
2009, Rhino Records

I remember working part time in a record store back in the mid-1990's and seeing Filter's debut album come first come into the store. I was intrigued by the plain yet stylish cover, when the manager walked by and quipped, "Don't bother, those guys suck." Nearly fifteen years later and an awful lot of people disagree, but until this week I'd never heard a single one of Filter's songs (or so I thought). The Very Best Things (1995 – 2008) is my first musical introduction to the band, and I went through the full range, from pure enjoyment to reaching for the skip button. On the whole, however, it's an impressive collection.

The set opens with one of Filter's biggest hits, Hey Man Nice Shot, featuring the heavy guitar and industrial rhythms you might expect out of Nine Inch Nails. (Can't You) Trip Like I Do plays heavily on Filter's heavy rock pedigree and marries it with the heavy dance beats of Crystal Method in a surprisingly pop-oriented heavy rock anthem. It's when I get to the radio edit of Take A Picture that I realize, "Hey! I've heard this before". This song is very stripped down from the heavier sounds that preceded it and has a great pop sensibility woven into the music. Fans will be pleased with the musical selection in general, although the dedicated fans will already have all of these songs. Other highlights include. Where Do We Go From Here, I'm Not The Only One, The Best Things and Thanks Bro.

Filter is an accomplished Modern Rock band with veins of Metal, Alternative and Industrial running through their music. The Very Best Things is a solid compilation album that may sell well to ne fans, but established fans already have what's here. Based on the material alone it’s a solid collection, although there’s little to make it appealing to folks who already have the discography.

Rating: 3.5 Stars (Out of 5)

You can learn more about Filter at http://www.officialfilter.com/ or www.myspace.com/filtersongs2. You can order a copy of The Very Best Things at Amazon.com, as a download through iTunes, or in music stores everywhere.

Review: Simavi - Memories Of You

Simavi - Memories Of You
2008, Original Cast Records

New York City crooner Simavi spent several years putting together the 23 tracks on Memories Of You, released in 2008 on Original Cast Records. Back by a 50-pieces orchestra, Simavi tackles classics from the American Standard songbook as well as some lesser known gems. Arrangers for this disc include the likes of Quincy Jones, Johnny Mandel, Nelson Riddle and Billy May. The disc also includes video footage of a live performance from New York's Lincoln Center.

Simavi has a pleasant voice that is period-perfect for the material he's singing, but its not the best voice on the market. Similar to Frank Sinatra or Johnny Mercer, Simavi relies on his ability to sell a song to overcome those vocal flaws, but Simavi lacks the charisma of Sinatra or the panache of Mercer. The vocals are very straight forward renditions of the classics and near-classic Simavi's chosen for Memories Of You. The orchestration is incredible. The orchestra employed by Simavi creates an amazing musical canvas on which to work. Highlights include The Girl From Ipanema, I Get A Kick Out Of You, Love Looks So Well On You and Fly Me To The Moon.

Sinatra had an ability to electrify a song with his conviction. Johnny Mercer spent most of his time writing for others, but had a knowing warmth and a wink that made you feel like you were in on the joke. Simavi may be able to bring some of those qualities out in front of an audience, but they are absent here. The vocals are clean and technically proficient, but lack the heart and soul to make these songs soar.

Rating: 2.5 Stars (Out of 5)

You can learn more about Simavi at http://www.simavi.us/ or http://www.originalcastrecords.com/. You can purchase a copy of Memories of You at www.cdbaby.com/cd/simavi or download the album from iTunes.

Review: Cary Judd - Goodnight Human

Cary Judd – Goodnight Human
2009, Cary D Judd

Cary Judd is a native of Thousand Oaks, California who has found a home on the Wyoming/Idaho border in the shadow of the Teton Mountain Range. Judd uses this lifeline to nature as impetus and inspiration in his songwriting, drawing moments from his life into song. Judd’s third album, Goodnight Human, presents some of these moments in snapshot style, drawn in non-traditional pop instrumentation yet with a distinct pop sensibility.

Judd marches to the beat of his own drummer, and I can’t say I was able to follow the beat at every point on Goodnight Human, but the album has moments that are absolutely inspiring. Judd’s instrumentation and arrangement style could best be described as Americana/Pop. Goodnight Human has a distinctive sound that borders on Country, yet the pop hooks and infectious melodies will make you want to get up and dance. The opening song, Andromeda, will make you wonder just what you got yourself into, but then Judd launches into The Apocalyptic Love Song, a tongue-in-cheek declaration of true love forever (seriously). Angel With A Cigarette is highly catchy pop music that’s a bit bizarre but highly listenable.

My favorite song on the album is Valentine, a well-written Pop/Americana song. This is definite mix-tape material; it’s a bit quirky and has real commercial potential. Flicker is perhaps the biggest potential hit on Goodnight Human with lush harmonies, a great arrangement and a highly danceable nature. Stars is another song with a memorable melody and harmonies and a powerful pop arrangement. Other songs of note are Huang Shan (The Ah-Ha Song), Sarah, Kiss Comes To Shove and A Time To Lie.

Cary Judd carves out a musical niche that’s not well populated on Goodnight Human. Since the emergence of Americana as its own genre artists have been toying with it and stretching the boundaries, and many have taken it to the pop side, but perhaps no one has done it as well as Cary Judd. Goodnight Human is a mixed bag: just about half the tracks here are average, and there’s nothing here that will turn listeners away, but there are six tracks on this album that are golden. Flicker and Valentine could put Judd on the map; both songs could do well on commercial radio or licensed into TV or Films. The sound that Judd has crafted is, if not unique, rare. Cary Judd will turn heads and hearts with his music.

Rating: 4 Stars (Out of 5)

You can learn more about Cary Judd at http://www.caryjudd.com/. You can purchase a copy of Goodnight Human at www.cdbaby.com/cd/caryjudd3.

Review: The People Now - Demonstrative Romance (demo)

The People Now - Demonstrative Romance (demo)
2008, The People Now

The People Now is a five piece outfit from Seattle that mixes Rock, Metal, Pop, Jazz, Contemporary Christian and even Classical elements into their writing. The result is a highly melodic and Progressive sound with deep lyrics and a strong philosophical leaning. The People Now's second demo CD, Demonstrative Romance, displays a distinctive sound that is edgy enough for Modern Rock, hooky enough to gain some share of the Pop audience, and melodic enough to play well across the spectrum.

The EP opens with Demonstrative Romance (title track) and a chorus constructed from piano, harmonies, hard rhythms and a wall of guitar sound. Vocalist Tahjin displays a great Rock N Roll voice, and the harmonies around him recall the best of the arena rock days. Have You Forgotten? is an admonition set to song, carrying a strong social message and complementary musical punch. The third track, listed as "untitled", is perhaps the best song on the demo, taking a harder, yet still highly melodic, path than the first two songs. This is the perfect marriage of Progressive Rock and Modern Rock, and perhaps helps to define the sound of The People Now as much as anything else they might play.

The People Now are an incredibly dynamic and melodic rock act you should pay attention to. These guys are on their way to somewhere, and even if you don't dig what they're doing right now it’s worth keeping your ears on them just to see where they might end up. I highly recommend The People Now as a band of interest. The time will come when they won't need recommendation, or introduction. Everyone will know who they are.

Rating: 4.5 Stars (Out of 5)

You can learn more about The People Now at www.myspace.com/thepeoplenow, www.purevolume.com/thepeoplenow or http://www.thepeoplenow.com/.

Review: Randy Stern - Give

Randy Stern - Give
2009, Heyday Records

Randy Stern’s resume is full of Indie Cred and even some big names. As the former singer/songwriter/guitarist of Brooklyn’s The Nerve, Stern gained significant respect and admiration in the New York City scene. He ultimately was invited to play in Bumblefoot’s (Guns N Roses) touring band for a 2005 jaunt through Europe. In 2006, The Nerve disbanded, and Stern began to pursue solo writing and performance. Putting aside the punk sound, Stern has striven for a more mature, subtle songwriting style. With the help of producer Hugh Pool (Patty Smith, Rufus Wainwright, Hubert Sumlin, The National), Stern has firmly established himself as a competent solo artist with his debut album, Give.

Give opens with Deeper And Deeper, a pop-oriented Americana tune with real potential. Better Days is a solid, Southern Rock tune that's steeped in the blues and Rock N Roll. Stern has a very pleasant sounding voice that works very well with the blend of Rock, Americana & Pop he purveys. The Night is a highly catchy and commercial sounding track that could garner some attention on the radio. My favorite track on the album is the R&B/early Rock gem The Only Woman; complete with walking bass line. Into Your Heart is the pre-requisite mix-tape offering, although this isn't your typical love ballad. Stern gets highly personal here, eschewing cliche in favor of honest emotion. The song is very touching and might even make a good wedding song for the right couple. Other highlights include Home, In The Midnight and Ain't Dead Yet.

Stern has a home grown style to his playing and singing that is refreshing. You'll hear shades of Gordon Lightfoot, Bob Dylan and even Ryan Adams running through his song, but in the end Randy Stern isn't really like any of them. His is an original voice in a crowded field. Give isn't flashy, there are no big lights or whistles here, just good, honest music. Make sure you check out Randy Stern.

Rating: 4 Stars (Out of 5)

You can learn more about Randy Stern at http://www.randystern.info/ or www.myspace.com/randystern. You can purchase a copy of Give at www.cdbaby.com/randystern.

Review: Tonye Christopher - I Dreamt I Was A Rock Star/Under Covers With John Mayer

Tonye Christopher - I Dreamt I Was A Rock Star/Under Covers With John Mayer
2009, Tonye Christopher

Rochester, NY native Chris Korokeyi is a computer engineer by day and aspiring pop star Tonye Christopher by night (and a few days, too). Blending R&B, Pop and Rock into a unique and interesting fusion, Christopher writes urban oriented songs with soaring guitar and a hardy vocal style more common in rock music. April, 2009 saw the release of two digital albums from Tonye Christopher, I Dreamt I Was A Rock Star, and a cover album, Under Covers With John Mayer. Distributed together, the two projects give a full accounting of the divergent influences and styles that make up Tonye Christopher's repertoire.

I Dreamt I Was A Rock Star opens with the title track, a paean to stardom and an expression of anxiety about the emptiness that might be found at the top. The song is quite interesting, although I noted that Christopher's voice has been electronically enhanced, both here and throughout the rest of the album. Dear Ms. Anniston (I Need You) is a love song/stalker anthem to the former Friends star, and fits in with Christopher's apparent obsession with pop culture. Kanye Komplex finds Christopher declaring himself the best thing in pop music, albeit in a tongue-in-cheek fashion. Likewise, Scarlet Fever is an ode to Scarlet Johansen. One of the more interesting songs on the album is One Night At The Hilton; exploring the guilt that follows a one night stand. Love Actually (To Me Your Are Perfect) is inspired by the film of the same name, and is a positive message to the women of the world ("You're perfect just the way you are / You're too pretty to dye your hair Hollywood blonde.") The pop references continue on Girls Like Halle Berry, one of the most musical compositions on the album. Ditto You Look Like Jessica Alba.

Under Covers With John Mayer opens with Waiting On The World To Change, a fair cover of the song with an urban bent. It’s on the Mayer material where Christopher appears weakest. It's impossible to tell what Christopher's true voice is like because it sounds like his voice has been altered throughout, but Christopher's tendency toward to slight pitch issues and wavering tone suggest that a fair amount of cleanup has been done. On his own material these issues aren't as readily apparent as Christopher is writing for himself, but vocal lines written for others expose these issues clearly. There are highlights here however; I liked the minimalist arrangement on Gravity. Christopher builds a musical bed here that suggests an almost hymn-like feel that works perfectly. Christopher also scores with his cover of Daughters. Stylistically this song is similar enough to be familiar and different enough to garner some attention, although the mix on the recording isn't very good. The album also includes covers of Your Body Is A Wonderland, Dreaming With A Broken Heart, Say and I Don't Trust Myself With Loving You, among others.

Tonye Christopher has definite talent as a producer, but the production values, particularly on Under Covers With John Mayer, are a bit sloppy. Some of the mixes presented here (particularly Daughters) sound incomplete or poorly mixed. Christopher's voice comes off as pleasant on both albums, although it’s very apparent that at the very least it’s been given strong electronic support, if not outright alteration. Most of the arrangements on I Dreamt I Was A Rock Star are pretty strong, with a distinctive style that mixes Rock, R&B, & Hip-Hop. Under Covers With John Mayer gets a much more canned sound, as if he didn't approach the cover album with the same conviction he did his own material. Tonye Christopher offers up some pleasant light listening on I Dreamt I Was A Rock Star. Under Covers With John Mayer is probably only going to appeal to diehard John Mayer fans.

Ratings:
I Dreamt I Was A Rock Star - 3 Stars (Out of 5)
Under Covers With John Mayer - 1.5 Stars (Out of 5)

You can learn more about Tonye Christopher at www.tonyechristopher.com. You can purchase a CD of I Dreamt I Was A Rockstar/Under Covers With John Mayer at CaféPress.com, or you can get them as a download through iTunes.

Review: Pete Herzog - Homestyle

Pete Herzog - Homestyle
2008, Hartkop Productions

Pete Herzog is an old-school, back porch picker, blending folk and blues in a fashion not common since the 1960's urban folk movement was co-opted by the major labels. Using open tunings, ala Bruce Cockburn, and a self-developed flat picking style, Herzog is a treat for the ears, offering up a mix of Mississippi Delta Blues and Appalachian Folk that is, if not wholly originally, indeed rarely found. Herzog's latest CD, Homestyle, contains 18 tracks (15 originals) that were recorded in one take, without overdubbing using an old Gibson guitar and a 1930's Kay arch guitar for slide work. Listening to Homestyle you'll swear there is more than one guitarist involved, but it's all Herzog, all the time.

Homestyle opens with Woman That I Love, a happy and hopeful blues tune featuring some very intricate guitar work and Herzog's strong, clear voice. Herzog is so authentic and organic in sound you can close your eyes and picture him playing some club back in the 1930s or 1940s without any reservations. Coqui Blues features very strong guitar work and is a very memorable tune. Big Island Woman is the sort of Blues that inspired bands like Led Zeppelin; Herzog has an easy delivery that works perfectly here. Pretty Mama Take Me Home is a touching song that is the sort you build mix tapes around and Herzog sounds particularly emotionally connected to this one. Other highlights include Jump On Blues; Whole Hog; My Baby, Um Huh; Murphy's Cabin and Herzog's cover of House Of The Rising Sun.

Pete Herzog mixes Blues and Folk styles like they were born together. Homestyle is as down home as it gets. Folk and Blues fans will sing the praises of Pete Herzog.

Rating: 4 Stars (Out of 5)

You can learn more about Pete Herzog at http://www.peteherzogmusic.com/. You can purchase a copy of Homestyle at www.cdbaby.com/cd/peteherzog.

Review: John Scofield - Piety Street

John Scofield - Piety Street
2009, EmArcy/Decca Records

John Scofield has a long standing reputation as one of the top jazz guitarists of his generation, and to some the decision to tackle an album of southern gospel songs may seem out of character, but Jazz and Gospel have common ancestors. Scofield underscores this connection on Piety Street, his latest release on EmArcy/Decca Records. Thirteen tracks of gospel fused with jazz is what Scofield serves up on Piety Street, perhaps one of the most electric and energetic albums from Scofield in a while.

Piety Street opens with That's Enough, staying close to the Gospel roots of the song. This paves the way for Motherless Child, which gets sidetracked into a serious jam on guitar. It's A Big Army is a lively tune that will have them falling down in the aisles; Scofield invokes a little of Chet Atkins guitar style on this one, and the choir that accompanies him is top notch. His Eye Is On The Sparrow is written into a strong jazz arrangement that allows Scofield to show off his axe skills a bit without straying too far from the original melody. Scofield mixes in a little R&B vocal group styling on Something's Got A Hold On Me, one of the better arrangements on the disc.

Just A Little While To Stay Here showcases Scofield at his very best; displaying a subtlety and feel for the music that is uncanny, Scofield makes magic at low speed for what is perhaps the most sonically pleasing song offered here. Never Turn Back breaks out from a rock beat and some funky guitar turns to update a gospel classic. Other highlights include Walk With Me, But I Like The Message and I'll Fly Away.

Fans of John Scofield don't need to be told, but this man has some of the touch of Chet Atkins, and the subtle nature of Mark Knopfler. He can play anything, but Jazz is the field on which he plays. Piety Street is an inspired work, updating a set of gospel classics in a reverent but forward-thinking fashion. This disc will be on some year-end favorites, and don't be entirely surprised if it gets some dark horse consideration come Grammy time.

Rating: 4 Stars (Out of 5)

You can purchase a copy of Piety Street through Amazon.com, or download the album through Amazon MP3 or iTunes.

Review: Foxfire - Early Rising

Foxfire - Early Rising
2008, Sludgehammer Records

Marietta, Georgia's Foxfire is a classic power trio born from the early 1970's Garage Metal movement. If the Runaways got into an alley fight with Courtney Love and Hole and put together a band from whoever was standing at the end then you might have something a bit like Foxfire. Big guitar sound and structure are the key elements here; melody and composition are almost secondary on Early Rising, the band's debut CD. Vocalist Rachel Collins has a decent Rock/Metal voice, engaging the same rasp that made Janis Joplin a household name but without the same tone or color.

I've listened through this album several times now, and I struggle to find even one track that really stands out from the rest. That's not an indication that the album is bad, it's solid and fairly uniform throughout. The sound has a definite Lo-Fi flavor, sounding like it may have been recorded in one or two takes in a concrete room with minimal production gloss. The sound is true to the nature of the band, who are probably better appreciated in a live setting. In a bar, with the amps turned way up, Foxfire can create a wall of sound through sheer force. On CD, it just doesn't carry quite as well, with the music sounding a bit thin and a bit too much like so much that's gone before.

Early Rising isn't a bad album, but there also isn't anything specific about it that elevates it to memorable status. Early Rising represents solid work from a solid band.

Rating: 2.5 Stars (Out of 5)

You can learn more about Foxfire at http://www.foxfirerocks.com/. You can pick up a copy of Early Rising at www.cdbaby.com/cd/foxfiresongs2.

Review: Davie Gayle - Amber In The Clay

Davie Gayle - Amber In The Clay
2009, Claydirt Music/Remba Records

Los Angeles-based Davie Gayle grew up on country music in New Jersey, where her father was a guitarist in a country band. Her entire family was musical, and Gayle eventually formed a duo with her brother (The Gayles). After moving to LA, Michael began his own label and went into production while Davie threw herself into songwriting and performing. Davie Gayle’s debut solo album, Amber In The Clay, is a distinct and poignant collection of songs drawn from her own life experiences. Comparisons to Emmylou Harris, Patty Loveless and Lucinda Williams are understandable, but Gayle’s point of view as a songwriter is practically unique.

Amber In The Clay opens with the title track, a story song paralleling a scientist who finds the building blocks of life stored in the earth and a person of significance who helps a broken or lost person rebuild their life. The song has a classic country tragic sound while moving toward a positive message. Get Me is a great roadhouse country tune that sounds like it should be a hit on the country charts. If Shania or someone of that ilk recorded this song you'd hear it everywhere, and Gayle is a much better vocalist. 3:09 finds Gayle giving a classic country performance in a voice that mixes her sweet tone and just the right dose of bittersweet sorrow. Channel To You takes more to the pop side of the scale with some R&B and Gospel influence in one of the more daring tracks on the disc.

Roundabout is one of the best story songs I've heard in some time, culminating in a positive message that parallels Robert Frost's Stopping By Woods On A Snowy Evening. Gayle's sweet, honest voice is the perfect instrument to deliver this song, and she deserves real attention for this one. You Don't Say is a country flavored blues rocker ala Bonnie Raitt with an innate pop sensibility that will turn a lot of heads. Doghouse Flowers lets Gayle rip it up a little; this one will be a particular favorite of the ladies. Rockabilly Bug will have you reaching for your dancing shoes and cowboy hats.

Amber In The Clay is a pleasant surprise, hitting the high points of country music without succumbing to the Top-20 Country milieu that pervades commercial radio. Davie Gayle has a tremendous voice mixing sweetness with just a hint of mischief, and the arrangements here are out of sight. Amber In The Clay is music you need to hear; a potential breakout disc.

Rating: 4.5 Stars (Out of 5)

You can learn more about Davie Gayle at http://www.daviegayle.com/ or www.myspace.com/daviegayle. You can purchase a copy of Amber In The Clay at www.cdbaby.com/cd/daviegayle.

Review: Fireworks - All I Have To Offer Is My Own Confusion

Fireworks - All I Have To Offer Is My Own Confusion
2009, Triple Crown Records

Brains and brawn go hand in hand on All I Have To Offer Is My Own Confusion, the debut CD by Detroit’s Fireworks on Triple Crown Records. With a lead vocalist (David Mackinder) who sounds disturbingly like Anthony Rapp (Rent) and a muscular guitar-based sound, Fireworks wend their way through eleven intelligent and well-crafted songs. This disc is a nice surprise, based in Modern Rock but more complex and well-crafted than a lot of the stuff you'll hear on Modern Rock stations.

The disc opens with Geography, Vonnegut And Me, an energetic Pop/Punk anthem that is radio-ready and just off beat enough to get noticed. 2923 Monroe Street has a wonderful dark pop sense to it. This is what hits are made of, strong melodic lines, great vocals, accessible lyrics and an arrangement that kicks tail without abandoning that strong sensibility that seems to be at Fireworks' fingertips throughout the CD. You've Lost Your Charm is another example of the Punk/Pop sound that Fireworks brings to the table. This is one of the most purely radio-ready debuts I've heard thus far in 2009. Detroit represents two sides of Rock City, with a chorus reminiscent of classic KISS and verses that echo the thriving punk scene. Other highlights include Holiday, Again And Again and When We Stand On Each Other We Block Out The Sun.

Fireworks has a strongly commercial sound built on a marriage of Pop and Punk and lots of guitar. All I Have To Offer Is My Own Confusion is one of those albums that with the right push could be a monster hit. Ten years ago they would have been an MTV Buzz Band for sure. Make sure you check out All I Have To Offer Is My Own Confusion, and if Fireworks comes to town, line up for the show. You won't regret it.

Rating: 4 Stars (Out of 5)

You can learn more about Fireworks at www.myspace.com/fireworks. You can purchase a copy of All I Have To Offer Is My Own Confusion from Amazon.com, or download the album through iTunes. You can catch Fireworks on Tour with New Found Glory through May 10, 2009.

Review: Brad Hammonds - Through It All

Brad Hammonds - Through It All
2009, Brad Hammonds

New York City's Brad Hammonds is familiar to many for his work with Brazz Tree. He is a regular at city hot spots such as The Blue Note, The Living Room Joe's Pub and Rockwood Music Hall. He possesses a highly percussive guitar style, falling somewhere between Richard Thompson and Ani DiFranco, and brings the same sort of laid back spirit to his music that has made Dave Matthews a fan favorite. 2009 sees the release of Hammonds' debut solo album, Through It All, a musical experience you don't want to deny yourself.

Through It All opens with the title track, sounding like a Paul Simon/Dave Matthews hybrid. This is a dark and meaty acoustic tune with some edgy harmonies and a bass line that walks the song along. The Story Of A Man That Lost Everything is a great instrumental arrangement, although I wasn't impressed with the vocal line on this one. Medicine finds Hammonds digging into the signature rhythmic guitar style of his. This is a driven song that will stick with you when its done playing. The Judge sounds a bit like personal favorite Michael Kroll. I enjoyed the song, but the vocal line was a bit low in the production settings and was difficult to follow in the chorus. You'll want to check out Fade Away, particularly if you play guitar; Hammonds dazzles with an intricate and fluid performance here. Other highlights include Losing Control, Weightless and Indignation.

Brad Hammonds has a distinctive and complex compositional style fueled by his high-energy, rhythmic guitar style. His voice is decent, but doesn't quite keep up with his guitar play on a few of the tracks presented on Through It All. This is more of a production issue than anything, as often the loss comes because the vocal line is too low for Hammonds to generate significant volume, or the production settings for the vocal line are too close to the instrumentation to hear them properly. On the whole, Through It All is a strong effort. The songwriting is solid and Hammonds is a wizard with the guitar. I suspect he'd be uber-impressive live.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brad Hammonds at http://www.bradhammonds.com/ or www.myspace.com/bradrhammonds. You can purchase a copy of Through It All at www.cdbaby.com/cd/bradhammonds.

Review: Doug Folkins - Another Last Call

Doug Folkins - Another Last Call
2009, Fenwick Music

British Columbia, Canada's Doug Folkins opens his fifth album, Another Last Call with Calico Girl, sounding like a cross between Blue Rodeo and early Crash Test Dummies. Folkins has a strong and clear voice that works very well with the material presented here. The arrangements are pleasant; perhaps a little loose in presentation but not uncharacteristically so. Pour Me Another is an acoustic Celtic Rock tune that features some hot fiddle playing. Promise Me sounds a bit more like commercial country music, but without the high gloss sheen that tends to rob popular country music of its flavor. The harmonies here are notable, and Folkins' band has pulled together as taut as a wire.

Streets Of Rome is a Celtic flavored song about Italy; one of the more anachronistic tunes I've heard this year, but extremely well written. The sound here actually reminds me a bit of The McKrells in their heyday. Park The Car is a humorous take on the Irish Drinking Song that might not sit well with members of MADD but fits very well into the musical tradition. One of my favorite tunes here is King Henry's Good Times. The pace here is frenetic, and Folkins' voice rises to the occasion perfectly. See You Smile is an upbeat, wistful love song that will strike home to those who have "been there", and would work just as well in a more rock-oriented arrangement as it does here. Folkins closes out with three classic Celtic tunes, two from the Maritime songbook, Paddy Murphy, Mari Mac and Black Velvet Band. If you've not heard these songs before, pay particular attention to Mari Mac, which turns into a devilish tongue twister that likely doubles as a drinking game in some places. This isn't my favorite arrangement of the song, but I've heard many people mangle this song and Folkins presents the song better than most (although he doesn't push the speedometer the way bands like Great Big Sea have). Black Velvet Band is a bit more traditional and very well presented here.

Doug Folkins reminds me more and more of Kevin McKrell as I listen to him. There is a definite tendency to mix other musical styles with Celtic sounds on Another Last Call, and for the most part the results are positive. The play, singing and writing/arrangement on Another Last Call are all very much above average. I hesitate to call it a great album, as there just wasn't a "whoa" moment here, but it's very, very, very good.

Rating: 4 Stars (Out of 5)

You can learn more about Doug Folkins at http://www.dougfolkins.com/. You can purchase a copy of Another Last Call at www.cdbaby.com/cd/dougfolkins.

Review: Jamie Lynn Hart - Jamie Lynn Hart [EP]

Jamie Lynn Hart - Jamie Lynn Hart
2008 Jamie Lynn Hart

Jamie Lynn Hart is one of the bright new stars in the Boston music scene, captivating crowds with her honey-hued voice. Hart has significant classical vocal training under her belt, but sings with an R&B/soul style that is unmistakably her own. In 2008, Hart released her debut EP, Jamie Lynn Hart, including five of her most popular songs. The Masters candidate in Music will embark on her first national tour in the spring of 2009 upon graduation.

Okay, get it out of your system.... Wow. Hart has an amazing voice. Its dark and heavy with more vibrato than you might be used to in pop music, but Hart will blow you away with her voice. The EP opens with Sassy, a funk-laden R&B tune that will invoke comparisons to Mary J. Blige. This song could be a hit on the radio right now without any changes. From the brash presentation of Sassy we step to a more introspective Hart on Illuminate. Hart's voice still has that heavy/dark quality on the slower material, meaning that ballads may not be her strong point. Hart's best sound is in the belting range. Summoned To Succumb is a ballad with a fine guitar/cello arrangement that allows Hart to let loose a little of the sweetness in her voice. Beautiful Minds has a Cowboy Junkies feel to it, and Hart manages to let go of the heaviness of her voice a bit more here until the chorus when all of that vibrato comes back. Hart closes out the EP with Brittle Nails, a country/pop hybrid that is pleasant but for which Hart's voice is just flat out too heavy for.

I love Jamie Lynn Hart's voice, and it works on some of the songs on her debut EP, but it’s just too much for others. The almost Wagnerian vibrato in her voice is intriguing and different in the pop world but inevitably becomes too much. When trained in classical singing styles it can be very difficult to transition from that sound to a rock voice. Hart writes intelligent and interesting songs and is an amazing performer, but the sound is going to ware thin for some listeners. Luckily, if you check her out on YouTube, it appears that heavy quality doesn’t come across in a live setting. So chock this one up to production, folks. Jamie Lynn Hart is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jamie Lynn Hart at www.myspace.com/jamielynnheartmusic. You can purchase Jamie Lynn Hart on CD through Amazon.com, or you can download a copy from iTunes.

Review: Weapons Of Pleasre - Weapons Of Pleasure

Weapons Of Pleasure - Weapons Of Pleasure
2009, Warehouse Records/Weapons Of Pleasure

Weapons Of Pleasure makes its home in the San Francisco Bay Area, but members come from as far away as New Orleans. The band has built quite a buzz touring on the west coast; now comes their debut EP, Weapons Of Pleasure. Weapons Of Pleasure is Vanessa (vox, bass); Reno (guitars/vox), A.J. (lead guitar) and Jeff (drums).

Weapons Of Pleasure opens with Hail!, an upbeat guitar rocker that will get your feet moving and sounds a bit like 1980's New Wave Pop. Bring Your Love kicks off on a fuzzy bass line and a frenetic, post-punk arrangement. Daredevil finds vocalist Vanessa sounding a bit like Courtney Love in her Hole days. Daredevil has a real Lo-Fi sound and the attitude to match. Now You See it pulls in more of a 1970's guitar rock aesthetic, complete with hand claps, but transitions into pure New Wave on the bridge. The EP closes out with big guitar rocker Burn, kicking up a rock conflagration on the way out the door.

Weapons Of Pleasure have their feet in several sub-genres or Rock N Roll, including classic rock, Punk and Grunge. Their debut EP, Weapons Of Pleasure is a mix and uneven collection of five songs that show the tendrils of sound the band is working their way through. There's real potential here, and I'd bet that Weapons Of Pleasure take no prisoners on stage. Give them a little more time playing and recording together and I suspect a more cohesive sound will emerge. For right now they are raw Rock N Roll in several of its most seminal forms.

Rating: 3 Stars (Out of 5)

You can learn more about Weapons Of Pleasure at http://www.weaponsofpleasure.com/ or www.myspace.com/weaponsofpleasure. You can purchase a copy of Weapons Of Pleasure at www.cdbaby.com/cd/weaponsop3.

Review: TAT - Soho Lights

TAT – Soho Lights
2008, Red Wagon

London, England’s TAT is a power trio led by the incomparable Tatiana DeMaria on vocals and guitars. With a distinctive rock voice that can smash-and-grab you or and melt butter on successive lines, DeMaria might be one of the best new female rock vocalists of the last few years. Add in Nick Kent on bass/vocals and Jake Reed on drums/vocals and you have a powerful power trio that mixes Classic, Punk and Melodic Rock sounds and strong harmonies. TAT’s debut album, Soho Lights was good enough to land them a spot on The 2009 Vans Warped Tour. They’ll be coming soon to an amphitheater near you. Be ready.

DeMaria has a penchant for lyrically dense, vocally dynamic songs that sound like they should be impossible to sing; DeMaria makes them look/sound easy. As a vocalist she has it all: Great tone, tremendous breath control and an ineffable front-woman quality that you see in big name artists such as Gwen Steffani and Chrissie Hynde. DeMaria could front most any band or go solo and make it big. In TAT she has an incredibly tight and talented rhythm section and backup vocalists who fill out the sound in dynamic and impressive fashion. Soho Lights opens with Road To Paradise, a lyrically dense Punk/Mod anthem that you won’t be able to get out of your head. Sympathetic Lies has an almost wall-of-sound quality in what I can only describe as a melodic Punk tune.

Pessimist may be one of the more amusingly pathologic songs on the album (“I’ll sit on your face and say I love you and leave you the next day for someone reminds me of you”). The energy here is off the charts. I Don’t Want To (Love You) is DeMaria at her most amazing, running off several phrases in a row, seemingly without a breath, without ever losing her sound or tone. A-maz-ing. Here’s To You is a pitch-perfect representation of ambivalence that features one of the best bass lines you’re likely to hear. Sandra D is an interesting bit of self-affirmation in song, while Take You Home pays tribute to Nirvana in sound. The album closes out with Live For Rock, which deserves to be the anthem for the next generation of rock/punk musicians. This is what Rock N Roll has always been about.

Wow. TAT will seriously blow you away. Soho Lights isn’t perfect, but even on the few more average songs the energy level is anything but. If you’re going to the Vans Warped Tour this year, make sure you check out TAT’s set. TAT alone might be worth the price of admission. In the mean time, be sure to check out Soho Lights. Rock is back, and its name is TAT.

Rating: 4 Stars (Out of 5)

You can learn more about TAT at www.myspace.com/tat or http://www.tatness.com/. You can purchase a copy of Soho Lights at Amazon.com, or you can purchase the download through iTunes. You can catch TAT live as part of the 2009 Vans Warped Tour between June 26, 2009 and August 23, 2009.

Review: David Sinclair Trio - Threewheeling

David Sinclair Trio - Threewheeling
2008, Nova Tunes/Critical Discs

West London’s David Sinclair is a journalist, author, singer and guitarist. He continues his double life with his new disc with the David Sinclair Trio, Threewheeling. Due for a spring, 2009 release, Threewheeling brings a live, lo-fi sound to complement solid Rock songwriting.

Threewheeling opens with London Dust, a catchy and memorable rock tune with shades of Americana in its lineage. Your World Mystifies Me has a feel like REM on steroids, aggressively and plaintively melodic all at once. The David Sinclair Trio appears to have gone for a live, in-studio sound that borders on garage throughout Threewheeling. It makes for a great listen because this is essentially the sound you might get at a show, and it works for DST. Eight Rounds Later is a rockabilly tune about a night out on the town. Think Georgia Satellites on this one. Feedback wants to be a combination of Rock and Americana but has an almost punk sensibility to it. Clicks is a little more mainstream sounding, like something that might have been played on the radio in the final days before Grunge roared out of Seattle. Other songs of note are Share My Cab, Just Struck Gold and Was I Strong Enough.

David Sinclair Trio is a bit rough around the edges but finds a very cohesive and enjoyable sound on Threewheeling. The intersection of Rock, Americana , Grunge and Garage is where David Sinclair Trio meets, and if they don't hit on every single song then they do on most of them. David Sinclair Trio has a bright future.

Rating: 3.5 Stars (Out of 5)

You can learn more about David Sinclair Trio at www.myspace.com/davidsinclair, http://www.davidsinclairuk.com/, or http://www.davidsinclair.blogspot.com/. You can download Threewheeling at www.indiestore.com/davidsinclair.

Dan Holt - New End Of The World Blues
2008, Screaming Ray Recordings

Euclid, Ohio’s Dan Holt has been making music for nearly 30 years now. He’s familiar to fans in the Midwest US as a former member of blues outfits Five Believers and Vertigo Men. Holt’s latest solo release, New End Of The World Blues was released in 2008.

I have to admit that I didn't really connect with this album. New End Of The World Blues is an acoustic blues album that is essentially just Holt on guitar and vocals. Holt is amazing with the guitar in his hand. Some of the things he does on the album are jaw-dropping with regard to intricate arrangements and guitar work. As a vocalist he has a good voice, but the energy level and charisma that comes through on his guitar just isn't matched by his voice. As much as I enjoy the acoustic blues style, Holt is an artist who would benefit from creating and recording with an ensemble. Nevertheless there are a few highlights here that I'd like to mention. What Do You Want From Me is my personal favorite, in a Hank Williams Sr. meets Muddy Waters moment. Chronic Depression is an amusing patois of Country and Blues. Get In My Car is a prime example of the impressive guitar work Holt is capable of. For much of the rest album I simply listened to the guitar work. From that perspective it’s a great album, but the vocals did grate on me a bit and the uniformity of dynamic and sound made it difficult for me to really get into this CD.

I am not knocking Dan Holt. He has a decent enough voice, but every once in a while as a listener you come across a voice that just doesn't sit with you, and that was my experience here. Don't let that stop you from checking him out, because you're likely to have a different reaction than me, but if you're looking for some amazing acoustic blues guitar work, then New End Of The World Blues is definitely worth your time.

Rating: 3 Stars (Out of 5)

You can learn more about Dan Holt at http://www.danholt.com/. You can download New End Of The World Blues at Amazon MP3 or iTunes. If you want a hard copy, you’ll have to attend one of Dan Holt’s shows, but if you contact him through his website perhaps he’ll hook you up.

Review: Lindsay Katt - Picking Out Boxes

Lindsay Katt - Picking Out Boxes
2009, Lindsay Catalanello

Lindsay Katt is a New York City based singer/songwriter with a reputation for honest and intelligent lyrics and an ability to highlight beauty in the mundane. Her debut CD, Picking Out Boxes, is a stark and ultimately welcome reminder that truth and beauty can coexist in art and music.

Lindsay Katt opens with My Happy, a jaunty pop/rock tune with orchestration that is introspective and energetic and ultimately listenable. The chorus is particularly memorable and Katt gets particularly creative on the bridge. Katt makes the case for pop realism while staying clearly in a very commercial sound. Out & About is about love and taking leaps of faith. The universal theme of taking risks for gain is portrayed perfectly in a highly intelligent pop song with distinct commercial punch. Wretched Unbelievers is a catchy tune that sounds a bit like Sarah McLachlan with instrumentation similar to what McLachlan used on her earlier albums and the same sort of ethereal vocal structure.

Fairly is a wonderfully lilting pop tune that you won't be able to get out of your head, showing off Katt's voice to great effect. Heart Place finds Katt sounding a great deal like Feist in what may be the most commercial sounding track on the disc. The interesting thing about Katt's music is that her commercialism seems to be almost by accident. The songs on Picking Out Boxes are incredibly intelligent lyrically and almost aesthetically melodic. The energy that Katt injects both in the music and through her voice turns even the most mundane musical line into gold. Add into this what be one of the more sultry and sweet voices in pop music and you border on not just a performance but a musical experience.

Andie Ann is presented in a vibrant and dark musical arrangement with full orchestration that is as beautiful as it is unsettling. The layered vocals and orchestra work together to create a song that soars in the shadowy dark chords the song is written in. Pretty In A Paper Bag opens as a plaintive piano tune and turns into a swaying pop song that eschews the term love while defining it. This may be the best writing on the album and deserves to be heard far and wide. Two Little Birds opens out into a straight up pop/rock song that is perfect for pop radio. The imagery here is distinct and unusual and represents the unsettled nature of ambiguous relationships perfectly. The album closes out with Promises and Yellow Tail, but highly introspective and worth checking out.

Lindsay Katt has something special going on. Her raw talent and the sporadic cultural isolation growing up in the mountains of Montana have conspired to create a distinctive and original voice, both literally and figuratively. Picking Out Boxes is powerful and lovely debut from an artist we hope we'll be hearing much more from in the future. Lindsay Katt is the real deal.

Rating: 4.5 Stars (Out of 5)

You can learn more about Lindsay Kat at www.myspace.com/lindsaykatt or http://www.lindsaykatt.com/. You can purchase a copy of Picking Out Boxes at www.cdbaby.com/cd/lindsaykatt, or you can download a copy from iTunes.

Review: Just Like Heaven - A Tribute To The Cure (Various Artists)

Various Artists – Just Like Heaven: A Tribute To The Cure
2009, American Laundromat Records

American Laundromat Records presents a paean to one of the most influential British bands on the 1980s and 1990s, The Cure, entitled Just Like Heaven: A Tribute To The Cure. Featuring some very well known names in Indie Music, Just Like Heaven covers the best of The Cure. Like most tribute albums it’s a mix of brilliant covers and reinterpretations with some unfortunate matches of song and artist, but on the whole it is very well done.

Joy Zipper opens things up with Just Like Heaven in a reverential version that doesn’t stray far from the original. Tanya Donelly & Dylan In The Movies pair up for The Lovecats. Donelly is in fine vocal form here and Dylan In The Movies vocalist Brian Sullivan has one of the more distinctive voices in Rock N Roll, falling somewhere between Brad Roberts (Crash Test Dummies) and Tom Waits. L.A.’s Kitty Carlyle provides a sharp rendition of In Between Days with stellar lead vocals. Dean & Britta’s cover of Friday I’m In Love sounds like an unfortunate match. The song ends up sounding a bit like elevator music, giving up all of the joy that ran through the original. The vocalists here are competent, but just don’t have the range for this particular arrangement.

One of my two favorite songs on the disc is Luff’s cover of Jumping Someone Else’s Train. It’s a dark and moody interpretation full of sonic dissonance (particularly in the guitar). The Submarines falter on Boys Don’t Cry, offering a sonically okay but relatively lifeless reading. My other favorite is Elizabeth Harper & The Matinee’s rendition of Picture Of You. It starts with Harper’s voice which is absolutely gorgeous, but the vibrancy of this recording is undeniable. It might even be better than the original. Cassettes Won’t Listen chip in with a very peppy version of Let’s Go To Bed that’s a fun listen and makes me want to run out and see what else they’ve recorded. The album also includes covers by The Brunettes, Devics, Julie Peel, The Poems, Grand Duchy and The Wedding Present (High, at warp speed).

Just Like Heaven: A Tribute To The Cure is a strong set of covers that run the range from incredible to forgettable. Elizabeth Harper & The Matinee and Luff are particular finds, and Tanya Donelly, Joy Zipper and The Wedding Present can always be counted on for great performances. Cure fans will love this.

Rating: 3.5 Stars (Out of 5)

You can learn more about the compilation Just Like Heaven: A Tribute To The Cure at www.myspace.com/atributetothecure or http://www.alr-music.com/, where you can purchase a copy of Just Like Heaven. You can also pick it up at Amazon.com or as a download through iTunes.

Review: Paulina Logan - Wallflower

Paulina Logan – Wallflower
2007, Paulina Logan

Ukiah, California’s Paulina Logan is blazing a trail of original thought in music, following in the footsteps of artists such as Ani DiFranco, Sarah McLachlan and India.Arie. Logan mixes deep lyrics and a musical patois of Country, Americana and Rock for an intriguing but vaguely unsettled sound. Wallflower, her first full-length album (third release) runs the gamut between Pop to Country and even a bit of Celtic thrown in.

Wallflower is a very unusual album in that it never really settles into a sound. It’s hard to tell from just one album whether Logan is still casting around for a sound or whether she simply chooses not to be bound by a genre. The result is an uneven yet entertaining collection of songs. Wallflower (the title track) is dark and confrontational, coming off as very cold with all of the electronic instrumentation and light-industrial influences. Sorry is a decent pop song with Americana undertones. Letter breaks into the Celtic/Country realm in a surprising and pleasant turn. Logan’s Too Far Gone has a Country/Folk vibe and an almost Reggae-like rhythm that made me chuckle at first until I realized it worked. The second half of the album was pleasant but unremarkable, although Scared expanded Logan’s stylistic repertoire a bit further by including a rap.

My first guess is that Logan is still searching for her sound, although I wouldn’t entirely rule out the stylistic choice argument. Wallflower has its highs and lows; there are some great songs here and some I would probably skip over on future listens, but it’s clear that Logan is talented with an authorial voice that is likely to produce more good material over time. Wallflower is a positive introduction to Paulina Logan for those of you haven’t heard of her before. Check it out.

Rating: 3 Stars (Out of 5)

You can learn more about Paulina Logan at http://www.paulinalogan.com/ or www.myspace.com/paulinalogan. You can purchase a copy of Wallflower at www.cdbaby.com/cd/paulina3, or you can download it through iTunes.

Review: Robert Joseph Manning, Jr. - Catnip Dynamite

Roger Joseph Manning, Jr. – Catnip Dynamite
2009, Oglio Records

Roger Joseph Manning, Jr. has quite the Rock N Roll resume: Keyboard player for Beatnik Beatch, Jellyfish and Imperial Drag, and highly involved in The Moog Cookbook. Manning has also done session/tour work with Beck and French group Air. These days Manning does session work and composes soundtrack (Sophia Coppola’s Lost In Translation) as well as writing commercials for VH1, Comedy Central and the like. Somewhere in there he also found time to write and record a new solo album entitled Catnip Dynamite. True to its title, the album is intoxicatingly good.

Catnip Dynamite is retro-rock with a modern edge. The harmonies here evoke thoughts of The Beach Boys, Queen and Styx. Manning is a highly accomplished songwriter, presenting intricate and interesting song construction, lyrical content and melodic flow throughout the album. The other interesting facet of the album is the recurrence of philosophical/religious imagery and themes throughout the album. I don’t get the feel that this is a religious album, but some of these deeper concepts certainly appear to be weighing on Manning at this point in his life; at times in serious terms and perhaps at times with ironic intent. The album opens with The Quickening, where Manning sounds more than a little bit like Prince vocally. The harmonies transform from a Brian Wilson-era Beach Boys sound to Freddie Mercury led Queen. This is a great pop rock song that would fly on commercial radio in almost any era. Down In Front is a retro-mod rock tune similar to bands such as Woodward or Tally Hall. My Girl has a strong bubblegum pop feel without being frivolous.

One of my personal favorites here is Imaginary Friend. The song is an amusing listen but the sound is like what you might get if The Doors sat down and jammed with They Might Be Giants. Perhaps the piece-de-resistance here is Haunted Henry, an amazing tale of a veteran ravaged by the ghosts of his experiences. This is an extremely melodic piece with Brian Wilson harmonies that doesn’t come across as overtly anti-war but certainly makes strong points about the cost of war for those who come back home. Haunted Henry is sonically gorgeous. Tinsel Town is a fun song that berates celebrity culture and our fascination with it. You should also be certain to check out The Turnstile At Heaven’s Gate. Reflecting on the concept of reincarnation and the judgments of an afterlife, Manning has crafted a melodic/harmonic mix that sounds like The Beatles meets Queen.

Survival Machine opens with faux harpsichord in a piece vaguely reminiscent of Suite Madame Blue, but that’s just a warm up for Living In The End Times; possibly the greatest apocalypse song ever written. Here Manning mixes tremendous harmonies with a tongue-in-cheek glam rock swagger. The album closes out with four live tracks. Drive Thru Girl is a campy ode complete with kazoo orchestra that you just have to hear. You Were Right sounds like something that might have come out of a Supertramp session, and Manning’s live take on Elton John’s Love Lies Bleeding sounds a bit like Billy Joel covering Elton John.

Catnip Dynamite is so good it’s exhausting. You can listen to this album casually but you won’t get everything out of it that you might. Manning has always had a taste for classic rock and interesting compositions, but Catnip Dynamite represents a plateau in his career. Having been familiar with much of his work prior to this, I think it is safe to say that Catnip Dynamite may be the best he’s written/recorded to date. Don’t miss Catnip Dynamite, a Wildy’s World Certified Desert Island Disc!

Rating: 5 Stars (Out of 5)

You can learn more about Roger Joseph Manning, Jr. at http://www.rogerjosephmanningjr.com/ or www.myspace.com/rogerjosephmanningjrmusic. You can purchase a copy of Catnip Dynamite on Amazon.com, or you download the album through iTunes.

Review: No - Paris-Chicago

No - Paris-Chicago
2009, Olivier Nataf

French singer-songwriter Olivier Nataf recently moved from France to Chicago, Illinois, celebrating with the release of Paris-Chicago. A mix of singer-songwriter pastiche, good old Chicago-style blues, soul, funk and Rock N Roll, Paris-Chicago is very familiar and very new all at once.

Grooving on a hot electric blues vibe, No creates a highly listenable and occasionally danceable album in Paris-Chicago. Opening with Laisser-Moi Passez, No kicks in a funky backbeat and a catchy melody to draw the listener's attention from the opening notes of the album. Nataf has a very pleasant voice and sounds more like a folk singer than a blues vocalist, but he makes the songs work very well. Paris-Chicago has a hot-n-cool feel to it, channeling a bit of B.B. King in the process. Plus En Enfant opens with a complex acoustic part and sticks with the acoustic gig throughout. Je Mais Que Tu Alors... Just Me sounds very familiar from the outset, borrowing the same chord progression and nearly the same style of Stray Cat Strut. My favorite song on the album is Les Vendeuses De Charme, with its classical guitar opening and reggae rhythms. Respect is a sweet sounding ballad and a great balance to the more upbeat material on Paris-Chicago for the first minute, before breaking into an upbeat rock tune. No closes out with two covers, a blues cover of Stevie Wonder's Higher Ground, which I liked, and a highly intriguing blues rendition of The Eurythmics' Sweet Dreams. This was the highlight of the album; a wholly unexpected and eye-opening interpretation that practically redefines the song.

No took a few listens. Paris-Chicago was one of those albums I didn't like much upon first listen, but it grew on me. My French isn't anywhere near as good as it once was as I just haven't used it in many years, so I can't really comment on the lyrical comment, but Paris-Chicago is a highly enjoyable listen. Be sure to say yes to No.

Rating: 4 Stars (Out of 5)

You can learn more about No at www.myspace.com/nothefrenchsinger or http://www.website-no.com/. Currently, Paris-Chicago is available as a download only through No’s store, but will soon be available through other outlets and as a physical CD.

Review: Hudson Rail Company - Hudson Rail Company

Hudson Rail Company - Hudson Rail Company
2008, HRC Inc.

Hudson Rail Company is a neo-Classic Rock Quartet based in Jersey City, New Jersey. Raised on bands such as Led Zeppelin and The Rolling Stones, Hudson Rail Company marches to a similar beat to these bands and modern classicists Black Rebel Motorcycle Club. Their self-titled EP, released in 2008, is a solid collection of classic rock influenced songs sure to satisfy both Classic Rock and Modern Rock fans.

Hudson Rail Company opens with City By The Ocean, a straight up classic rock song with a groovin' bass line. You'll find yourself dancing and singing along to this highly commercial offering. Take Their Toll sounds a bit like a stripped down Live, with LV Leigh Wilson sounding a lot like Ed Kowalczyk Mystery Madonna finds Hudson Rail Company in a similar mold, although the guitar work here reminds me a bit of Lowest Of The Low (but still with Ed Kowalczyk on vocals. Wisdom sounds very radio ready, with some great guitar work by Arun Viswnathan. Superstar Tonight brings a bit of the rock star glam feel to a modern rock arrangement in a song that seems like it should be a concert favorite. Hudson Rail Company saves the best for last on Friend Or Lover.

Hudson Rail Company brings a classic rock feel into the modern era with songs built on steady, classic rhythms and lots of guitar. Hudson Rail Company is a solid Rock N Roll EP, definitely worth a listen.

Rating: 3 Stars (Out of 5)

You can learn more about Hudson Rail Company at http://www.hudsonrailcompany.com/ or www.myspace.com/hudsonrailcompany. You can purchase a copy of Hudson Rail Company at www.cdbaby.com/cd/hudsonrailcompany2. Hudson Rail Company was recently chosen to open for Kevin Costner & Modern West on Friday, May 8, 2009 at The Starland Ballroom in Sayreville, New Jersey. We have one pair of tickets to give away. Please email wildyscontests@gmail.com with a subject line of Hudson Rail Company contest. Entries will be accepted through April 30, 2009. One winner will be chosen at random.

Review: Jesse Dee - Bittersweet Batch

Jesse Dee – Bittersweet Batch
2008, 7not Records

Boston native and Burlington, Vermont resident Jesse Dee has a love for classic soul music that shines through everything he sings. Notably an artist and graphic designer, Jesse Dee made the decision to make a career of music. He’s already open for R&B Legend Al Green, and credits influences such as Otis Redding, Sam Cooke, Etta James and the old Chess vocal groups as influences. Jesse Dee is a former member of college favorites Decifunk, and also has done time with The Dirty Whites and Sea Monsters. Jesse Dee’s solo debut album, Bittersweet Batch, hit shelves in September of 2008. If it’s any indication you’ll be hearing a great deal more of Dee in the future.

Jesse Dee is the real deal. You won’t hear the sort of aural airbrushing on Bittersweet Batch that is some common these days. Dee’s voice is highly emotive and textured, with the sort of vocal flaws that made the classic R&B and Soul singers so distinctive and interesting to listen to. The album opens with Alright. Dee’s rough-velvet voice is right up there with Melinda Doolittle for bringing classic soul back into the spotlight. Slow Down is one of my favorites in the album, with a highly positive message and a great arrangement. This song will stay with you. Over & Over Again sounds like classic Motown, complete with Stax horns. Dee brings the funk on Reap What You Sow, a must-listen song. My Two Feet brings in the sounds of New Orleans on a great classic pop song. Dee revisits New Orleans on New Blades Of Grass; a song about Hurricane Katrina and about the will of New Orleans residents to rebuild and survive that tragedy. Be sure to check out Alive & Kickin’ as well; the biggest soul/rock/gospel/roadhouse sound on the album.

Jesse Dee kicks it old school on what may be the most traditional Soul/R&B release of the year for 2008. If you are a fan of these genres then Bittersweet Batch is a must-have disc.

Rating: 4 Stars (Out of 5)

You can learn more about Jesse Dee at http://www.myspace.com.jessedee/, where you can purchase a digital download of Bittersweet Batch.

Review: Steven Finn - Houdini's Blues

Steven Finn – Houdini’s Blues
2008, Steven Finn/Herding Cats

Steven Finn was inspired to make music by Bob Dylan’s Hey Mr. Tambourine Man. Influenced heavily by Sonny Boy Williamson and Sonny Terry, Finn gets a lot of blues mixed in with a distinctive singer/songwriter style. The Manchester, England native and London dweller released his solo debut in 2008. Houdini’s Blues will make listeners sit up and take notice.

Steven Finn might be one of the best young acoustic blues guitar players on two legs. His guitar play is inspired by some of the greats, and he does them proud. Finn’s singer/songwriter style is very clean and fresh and well worth listening to. In general I enjoyed Houdini’s Blues but I did have one issue. When it comes to the blues material Finn’s peers are a who’s who of blues guitarists, but on the vocal side Finn just doesn’t seem credible. He has a very pleasant voice, one that is highly enjoyable to listen to, but it’s just not a blues voice. This is perhaps a bit short-sighted on the reviewer’s part, but it made the blues offerings here sound a bit out of synch.

The album opens with Houdini’s Blues (title track) in a plaintive, passive acoustic blues arrangement. The guitar work and composition are top notch, but Finn’s lyric voice just doesn’t sound like that of a blues singer. Finn runs into this same trap on songs such as Dream Song #1 and Talktown, although the latter gets an extra kick of life from some hot harmonica play (also by Finn). The singer/songwriter material works perfectly here. Heroes & Movie Stars is a great example of a song that connects Finn to the listener in classic story teller fashion. Strong Storm Rising is my personal favorite in a song that I could picture getting covered repeatedly in the Folk world. All Come To Reap The Goldrush is right there with Strong Storm Rising for quality of songwriting and performance.

Steven Finn has a great voice, great songwriting skills and performance/presentation style that puts the listener at ease. As an acoustic blues guitar player he would appear to be right there with the best of the class. There is a bit of a believability issue when it comes to the vocals on his more blues oriented material. Finn’s lyric voice is still great but sounds a little out of place on the blues tunes. Either way, Houdini’s Blues is a strong, strong showing. We look forward to hearing more from Finn in the future.

Rating: 3 Stars (Out of 5)

You can learn more about Steven Finn at www.myspace.com/stevenfinn. You can purchase a copy of Houdini’s Blues at www.cdbaby.com/cd/stevenfinn.

Review: Spinous - Searching For You

Spinous – Searching For You
2008, Spinous

Spinous is a singer/songwriter and multi-instrumentalist based in London, England. Spinous released his debut CD, Searching For You, in 2008 and has received a lot of critical buzz, even winning a Grindie Award from RadioIndy.com. Spinous has a very Vegas lounge singer feel to his performance style, and sounds remarkably like David Bowie vocally.

Spinous opens with Let Love Rule, a strange, orchestral Bowie experience that is an appealing listen even while disjointing the listener a bit. I found Ana to be highly enjoyable compositionally, but the real highlights come in the second half of the album. I Can’t Say Goodbye is probably one of the more intriguing compositions on the album, although the lyrical flow is a bit forced at times. But it’s All The Things that hits all of the right notes. This is by far the best composition on the album; a strong, complex rock arrangement complete with horns, great harmonies and a driving beat. The rest of Searching For You borders on a meld of dance and Rock material that is pleasant to listen to but doesn’t really stand out.

Searching For You has some real high points, but as a whole fails to distinguish itself or the artist, Spinous, as must listen. Hearing All The Things will make you realize that Spinous has the ability to write great Pop/Rock songs and leaves great hope for future releases. Searching For You, as a whole, is a decent listen.

Rating: 2.5 Stars (Out of 5)

You can learn more about Spinous at http://www.spinousonline.com/ or www.myspace.com/spinous. You can purchase Searching For You in Spinous’ Online Store, or download the album from Amazon MP3.

Review: Zac Mac Band - Under The Radar

Zac Mac Band – Under The Radar [EP]
2009, Night Train Records

The Zac Mac Band has taken Boston, and now they’re ready to take on the world. Lead singer, songwriter, pianist and sometime guitar player Zac McIntyre was a finalist in 2008’s Great American Song Contest, and towers above the competition (he’s 6’10”). Inspired by bands such as Led Zeppelin, Coldplay, Chris Cornell, Collective Soul, The Killers and Snow Patrol. McIntyre writes intelligent and catchy mellow rock songs that get stuck in your head. The Hope, Maine native is a veteran of bands such as North Of Nowhere, The High End and Johnny Rainfield, but appears to have found a sound and style with the Zac Mac Band that is his own. ZMB’s latest release, Under The Radar, hit stores in March of 2009.

McIntyre has a very enjoyable voice. The songs on Under The Radar have a much laid back, nearly repressed mellow sound (think Barenaked Ladies’ Maybe You Should Drive album for comparison). McIntyre writes serious songs, but is not afraid to weave humor into the fabric of a song where appropriate. MySpace Heartbreak hits both serious and ironic notes in a New Wave/Pop tune about Post-relationship neurosis in a digital age. Highest Level is a treat for the ears; a modern mellow rock tune with a chorus worthy of Alan Parsons. Loaded Gun I didn’t connect with as well. Considering the subject matter the song is remarkably passive; the narrative and affect just don’t match at all. There is some Roy Orison inspired guitar work here and the song comes off sounding a bit like a John Mayer tune. 15 Songs On The Radio, on the other hand, is an inspired bit of writing. McIntyre takes us inside his head and the struggle to keep striving for your dreams when the possibilities are so limited (“So many other bands / they’ve got the same plans / and there’s only 15 songs on the radio.”) Anyone who has ever tried to make it in the music industry, or even stood in front of a mirror, air guitar in hand and wished will appreciate the sentiments here. Roll Me Over closes out the set in a somewhat generic Alt/Pop tune ala Dog’s Eye View or Matchbox 20.

The Zac Mac Band has a future. Under The Radar is a bit uneven but shows flashes of brilliance (MySpace Heartbreak, 15 Songs On The Radio). Don’t be surprised if these guys are household names down the line. For now, Under The Radar is a great way to get to know Zac Mac Band. Check it out!

Rating: 3 Stars (Out of 5)

You can learn more about the Zac Mac Band at http://www.zacmacband.com/ or www.myspace.com/zacmacband. You can purchase a copy of Under The Radar at www.cdbaby.com/cd/zacmacband.

Review: Kicksville - The Singles: Season 1

Kicksville – The Singles: Season 1
2009, Ropeadope Digital

Kicksville is a musical collective of sorts, mixing organic and electronic instrumentation to cover some classic (and occasionally obscure) songs while rolling out some originals along the way. Current membership count is at 58, spanning 12 cities and 3 continents. This new musical underground started releasing weekly singles on their website in December of 2008. The Digital album The Singles: Season 1 consists of 13 tracks, available individually or as an album download. “Season 2” will begin on the band’s web site on April 25, 2009.

Season 1 opens with Phatty, an instrumental bit of musical madness in the same vein as The Miami Vice Theme. It’s not Jan Hammer, but it will definitely get your feet moving. Walking In Your Footsteps is one of two Police covers on the album and includes a verse I hadn’t heard sung before (although I believe it was included in the lyrics of the original liner notes on Synchronicity). This is a decent cover, but Kicksville trades some of the panache of the original for a dance beat. This is one of those songs that you don’t cover unless you can either nail the song as originally done or you really make it your own. Kicksville doesn’t quite manage to do either, but it’s still a pleasant listen. Backdoor Man is interesting for the mix of Country and Electronic styles. Kicksville’s cover of The Talking Heads’ Once In A Lifetime is enjoyable although it does sound a little bit canned, as if perhaps the producer suggested the song but the vocalist never fully bought into it. I liked their take on The Police’s Invisible Sun, although it does create a bit of cognitive dissonance. The song itself is contemplative and paranoid, whereas the vocals here are spoken/yelled in an urgent/angry tone that isn’t convicted.

The Singles: Season 1 is a mixed bag of songs, both literally and musically. Perhaps it’s the disconnection of having such a large group of musicians working together around the world, likely sending files back and forth rather than sitting down together in a studio, but there just isn’t the organic feel of a band here (yet). Kicksville is ready to embark on Season 2, and it will be interesting to hear what the explosive growth in the population of Kicksville will do to their sound. There is definitely some good stuff here, and some stuff you’ll have to wade through to get there, but as a musical/sociological experiment it is interesting to observe. There is a wealth of talent here. We’ll see where they go.

Rating: 2.5 Stars (Out of 5)

You can learn more about Kicksville at http://www.kicksville.com/ or www.myspace.com/kicksvilleband. You can download The Singles: Season 1 via Ropeadope Digital.

Review: Pastora - Music Minus Film

Pastora – Music Minus Film
2008, Pastora

Brooklyn-based singer/songwriter/producer Derek Buckner is Pastora, an ambient alternative collective of one. Best known as vocalist/guitarist for alt-country faves Sugarpine, Buckner has also previously released albums under his own name and Aquaboy. Buckner’s latest, as Pastora, is Music Minus Film.

Buckner is quite original and vibrant at the front of Sugarpine, and so I was expecting some of that same energy to come across on Music Minus Film. The album ranges through the realms of Electronica to the occasional singer/songwriter piece done in electronic garb. In general I just didn’t feel the vibe on this album. The energy just didn’t come across, as if this process were more of an academic one for Buckner than done out of love for the music. The one real exception on the album is El Contador, which does come across with a sort of muted mischief. Buckner channels Mark Knopfler just a bit here, right down to a parallel subtle guitar style (not quite the same but close). The rest of the album just passed for me without even really noticing the change in songs. The listening wasn’t an unpleasant experience; it just didn’t leave much of a distinct impression either way (except for El Contador).

Make sure you check out Pastora’s Music Minus Film. Just because I didn’t get doesn’t mean you won’t.

Rating: 2.5 Stars (Out of 5)

You can purchase a copy of Music Minus Film at www.cdbaby.com/cd/pastora.

Review: Alyse Black - Too Much & Too Lovely

Alyse Black – Too Much & Too Lovely
2007, Little Cherubine Records

Seattle’s Alyse Black is a master of misdirection. Anyone who has heard her sing and play knows she’s headed for big things, but she almost missed her calling. A completed but never submitted application to Juilliard was the first step to business school and the corporate world, but Black just couldn’t hide from her muse. Alyse Black sings with the soul of Billie Holliday, the panache of Tori Amos and the whimsical glee of Regina Spektor. Her latest release, Too Much & Too Lovely is a smashing introduction to an artist who defies genre and description.

Imagine Sarah Slean meeting Fiona Apple and Tori Amos for lunch, and Billie Holliday and Regina Spektor stopped over to the table to say high. Somewhere in there you’ll find most of the qualities that Alyse Black brings to Too Much & Too Lovely. Her voice is drop-dead gorgeous, with a strongly sensuous sound that hearkens back to the great ladies of jazz. The music is decidedly modern with serious nods to that other era. Emeline opens the set as a peppy pop/rock song with an almost campy Vegas feel to it. Wouldn’t It Be Nice is the sound you’d get out of Norah Jones if she could project attitude. Complete With Sound Effects is one of the high water marks of the album. The song takes on consumerism and all of the bells and whistles that get people to needlessly open their wallets; or it could be a neat little indictment of the music industry.

Sally All My Days is a song about the sort of love that can move the world. In this case it’s about a sister, but the song is particularly touching and honest. Shy captures the stage in a relationship where fear and excitement wrestle for dominance perfectly, while Love Tonight? is full of the confidence of love. Be sure to check out Call It Quits, a bit of Tori Amos-style musical pathos that questions a relationship simply on the basis that so many fail. I particularly enjoyed This Machine with its 1970’s Captain and Tennille-style vocal line set against the edgy alternative piano rock compositional style. And don’t miss Too Much & Too Lovely (the title track). Don’t be surprised if this song eventually works its way into the standards songbook.

Alyse Black’s voice and style will garner her significant attention, but it’s her songwriting that seals the deal. Black brings a direct subtlety to her lyrics and backs it up with a panoramic musical experience that runs from jazz to blues to rock and even incorporates the occasional quasi-classical theme. The result is an album that spans genres and sounds to the point that it borders on transcending popular music. There are a couple of slow moments on Too Much & Too Lovely, but on the whole the album is excellent.

Rating: 4 Stars (Out of 5)

You can learn more about Alyse Black at http://www.alyseblack.com/ or www.myspace.com/alyseblack. You can purchase a copy of Too Much & Too Lovely at www.cdbaby.com/cd/alyseblack.

Review: The Riverboat Gamblers - Underneath The Owl

The Riverboat Gamblers - Underneath The Owl
2009, Volcom Entertainment

Denton, Texas based The Riverboat Gamblers come blasting out of the Lone Star State with some of the most honest and pure punk/pop/rock of the year to date. Their debut album, Underneath The Owl mixes that punk grit and toughness with a strong commercial leaning and big hooks. The result is an engaging album that is likely to do great things for the bands’ long term prospects.

Underneath The Owl opens with DissDissDissKissKissKiss, with guest Todd Congellier). Its a highly kinetic performance that has strong roots in punk rock but maintains a tenuous hold on pop song structure. A Choppy, Yet Sincere Apology follows; a peppy, poppy rock song that's good for dancing (preferably pogo-style). The Riverboat Gamblers are punk band with their feet firmly in the pop world or they are a renegade pop band constantly on the verge of flying off the handle and slam dancing the crowd. Underneath The Owl is that sort of listening experience. The energy here is incredible, the songwriting is average but you won't care as you're swept up in the raw testosterone and vinegar The Riverboat Gamblers deal in. Alexandria is a lively listen with some strong pop sensibilities, and Sleepless has the incessant, angst-filled energy that is missing from so much of modern rock. Other highlights include Keep Me From Drinkin', Steer Clear and Victory Lap.

The Riverboat Gamblers may not win any prizes for intellectual songwriting or pithy nuance, and I doubt they care. They'll just crank it up to eleven and blow the bloody roof off and dare you to keep up. Underneath The Owl is good time Rock N Roll for the masses. This is a highly commercial release that the Pop and Rock world won't see coming. If you're looking for fun, call The Riverboat Gamblers. They won't let you down.

Rating: 4 Stars (Out of 5)

To learn more about The Riverboat Gamblers, check out http://www.theriverboatgamblers.com/ or www.myspace.com/theriverboatgamblers. You can purchase a copy of Underneath The Owl at Amazon.com or wherever music is sold.

Review: Spy For Hire - Speak In Numbers

Spy For Hire - Speak In Numbers
2009, Architek One

Columbus, Georgia’s Spy For Hire creates a highly polished and melodic sound on Speak In Numbers. Fans of 1980's pop icons Hall & Oates will dig their brand of Rock N Soul done up for a new generation. Speak In Numbers opens with As Good As New with smooth vocals, great harmonies and a tight-as-anything arrangement. Lead vocalist Ryan Rulon is a crooner on Luck as a salve to the driving rock beat and on-the-edge-of-jangly guitars. The Moontower puts of a 1970's AM Radio feel with some modern rock drive and an eminently memorable chorus. The Line grows from an interesting guitar line into an Adult Contemporary/AAA thought provoker, all with that highly smooth and melodic sheen that covers everything Spy For Hire touches. There's Your Mistake has a distinctive Tears For Fears vibe. Other highlights include Friends And Neighbors, Motorcycle and First Weeks On The Island.

Spy For Hire puts forth an incredibly polished and consistent performance on Speak In Numbers. if anything, the album is perhaps a bit too polished. There are clear signs of a more Rock N Roll tendency to the band that they've been greatly glossed over with production values. Speak In Numbers is a strong release with solid songwriting, great vocals/harmonies and is a pleasant listen, but could use a little more dynamic variation here and there. Great 1980's pop with a modern edge.

Rating: 3.5 Stars (Out of 5)

You can learn more about Spy For Hire at http://www.spyforhire.net/ or www.myspace.com/spyforhire. Speak In Numbers is currently only available in the Atlanta area and at shows, but if you contact the band through their MySpace page I’m sure they’ll work something out.

Review: Peelander Z - P-Pop-High School

Peelander Z - P-Pop-High School
2009, Eat Rice Records

This would have been a great review to run on April Fool's Day, because people unfamiliar with Peelander Z would think it was a joke. Peelander Z is "New York City's Japanese 'action comic' punk band". The band is made up of founders Peelander-Yellow (Kengo Hioki; guitar and vocals); Peelander-Red (Kotaro Tsukada; bass) and newcomer Peelander-Green Akihiko Naruse; drums). All claiming to be from planet Peelander, the trio met in New York City and have formed one of the most original and dynamic rock acts the city has to offer. Peelander Z's latest album, P-Pop-High School was released on April 14, 2009, and is rumored to be a great soundtrack for human bowling, limbo dancing or wresting (professional or otherwise).

Let's Go! Karaoke Party is full of an almost drunken joy and just a bit of punk spirit. Imagine Green Jelly (originally Jello) crossed with The Ramones with an inebriated John Belushi Samurai on lead vocals and you have an idea of what to expect. The combination is so ridiculous and original that it works. The lyrics are bound to get classified as bordering on novelty, but the music is the real deal; Peelander Z could stand up to the best punk bands in New York City and their sense of joy at playing music shines through every power chord. I'll admit I had a hard time understanding some of the vocals, but it really doesn't matter. This is not a band you listen to for the pithy nuances and lyrical subtleties. Peelander Z is a band you listen to at high volumes, preferably with a hundred or so of your closest acquaintances in spirit-filled environment. The stage show Peelander Z puts is rumored to run just shy of madness, and if the music is any indication you can see.

Check out Pillow Pillow for a display of pure exuberance you won't find this shy of The Barenaked Ladies or They Might Be Giants. Even subjects like Duct Tape and Autograph(s) become potent song fodder for Peelander Z. Make sure you check out Ninja-High School, Panda-Ill, Give Me Your Smile and Pho!

Peelander Z is unique and original. This is a band that will put a smile on the face of the most skeptical audience member, even through the cold and impersonal portal of CD/MP3. If you experience P-Pop-High School, do so with just one expectation: You will be entertained. It's not life-changing music and it won't necessarily make the world a better place, but as music therapy it’s a place to lose yourself for an hour and just remember why you liked music in the first place. Very well done.

Rating: 4.5 Stars (Out of 5)

Yu can learn more about Peelander Z at http://www.peelander-z.com/. You can purchase a copy of P-Pop-High School at www.cdbaby.com/cd/peelanderz4.

Review: Pia Mater - The Living Legends

Pia Mater - The Living Legends
2009, Brain Food Music

Pia Mater rode the tiger. The band formed at the Rochester Institute of Technology in the fall of 2004, slowly building a song and repertoire that has seen them garner consistent crowds and praise in upstate New York. In December 2008 they released their debut album, The Living Legends. Personnel changes and many gigs have seasoned the band, and they are ready to step out of Western New York’s wintery shadows and present themselves to a larger audience.

Pia Mater hits the highs and lows on Living Legends, vacillating between songs that make you sit up and take notice to more obscure musical explorations that take some serious listening. What is certain is that an hour spent with Pia Mater is bound to be enlightening. Piledriver is a great start, featuring attention-getting guitar work and a punk feel. Mirror Images runs to the other end of the scale, a well-intentioned but unremarkable pop construction that slides by almost without notice. China Girl is a catchy post-punk tune full of fuzzy guitars and a lively bass line. Pia Matter runs the Progressive Rock route on Salsa, opening with some faux flamenco guitar and winding up in a power-chord driven chorus before settling into a reggae backbeat filled out with vibes and a funky, almost independent bass line. Moses Walks Along In The Desert is my favorite song on The Living Legends, between the lively bass line, the funky and intricate guitar work and Red Hot Chili Peppers-like precision, this song is a winner all around. Also be sure to check out Take Me To The Doctor and 5 In 6.

Pia Mater has an interesting sound that's part funk, part alt-rock and all energy. Pia Mater enjoys what they're doing, a fact that shines through clearly on The Living Legends. There are a couple of rough spots here, but all in all it's a great effort. Check it out!

Rating: 3.5 Stars (Out of 5)

You can learn more about Pia Mater at http://www.piamatermusic.com/ or www.myspace.com/piamatermusic. You can purchase a copy of The Living Legends at www.cdbaby.com/cd/piamater.

Review: Family Order - Family Order

Family Order – Family Order
2008, Family Order

Chicago hipsters Family Order have a new sound you’ll find intriguing. Referring to themselves as a classical jam band, Family Order brings a love of unusual chord progressions and rock instrumental music on their debut album, Family Order. The 7-track EP, released in 2008, has garnered them significant attention at home, and the band is starting to branch out across the Midwest. Keyboardist Eitan Bernstein and drummer Charlie Dresser began writing together in 2006, and pulled in bassist Ben Smith and guitarist Dan Guzman to fill out the sound on stage.

Falling somewhere between King Crimson and Maurice Jarre, Family Order constructs neo-classical/jazz/rock jams with a strong Progressive bent on their self-titled debut. Cantstandya is built on long, undulating keyboard runs interspersed with nouveau jazz breakdowns. There is funky heart to the music that drives it along its merry way while musical chaos plays just at the edges of the soundscape. Even the musically introspective middle of the pieces serves the freeform feel of Cantstandya. Marvin is nine minutes and twenty seconds of ethereal construction that is interesting to listen through. High Gleamin' Beams has an almost Easy Listening gone modern sound with some interesting voiceovers popping up at points throughout the song. Jack Buckingham has a wonderfully oceanic quality, like being rocked by wave after wave of sound; always gently but with perceptible force. Funky Republican possesses a circular, cyclic nature where the theme never seems to progress; this may an artistic political statement. Invention is a reprisal of Cantstandya in a fitting epilogue to the album.

Family Order has crafted seven unusual and highly interesting compositions for their debut. Family Order is the sort of rock instrumental CD that you can't relegate to the background. The songs will tug at you and demand to be heard in the same fashion that a Miles Davis or Yes album will do. Not everyone will dig it, but those who really get into the composition and construction of music will have a field day.

Rating: 3.5 Stars (Out of 5)

You can learn more about Family Order at www.myspace.com/familyordermusic, where you can find a link to download Family Order for free for a short time. CDs are currently available only at live shows but will soon be available for purchase via PayPal on the band’s MySpace page.

Review: Playing For Change - Songs From Around The World

Playing For Change - Songs From Around The World
2009, Hear Music

Playing For Change is the brainchild of Grammy Award winning producer Mark Johnson. Johnson was on his way to work one day in New York City several years ago and witnessed the tangible response a group of New York City subway denizens had to two musicians on a subway platform. Johnson was reminded in that moment of the power of music to change people, events, etc. From that moment came the seeds of Playing For Change. Traveling first around 4 major cities in the US and eventually around the world, Johnson and his team spent several years filming/recording unknown musicians from the four corners of the earth. On April 28, 2009, Songs From Around The World will become available for sale, and it may just be a life-changing experience for some.

Songs From Around The World opens with Stand By Me, a classic folk take on the Ben E. King/Leiber & Stoller classic with elements of Soul, Reggae and Gospel woven in. The video for this song has been making the rounds on YouTube for months. The singers are Roger Ridley, Grandpa Elliott and Clarence Bekker, performing with a truly international band. The Playing For Change band next tackles Bob Marley’s One Love in an arrangement that sounds like Appalachian Blues gone Reggae (if there is such a thing). The vocal arrangement here is primo, and the instrumentation is as down home as it can get. Marley’s War/No More Trouble is one of the more enjoyable songs on the disc, featuring vocalists including Bono and Bob Marley, but the highlight is the cover of Peter Gabriel's Biko. Performed in an Americana arrangement, this rendition puts a fresh spin on the song while staying true to the spirit of the original. Afro Fiesta's rendition of Tracy Chapman’s Talkin' 'Bout A Revolution is inspired, and Keb Mo' is his incomparable self on Better Man. Another highlight is the Omagh Community Choir's rendition of Love Rescue Me. The album closes out with the Playing For Change band giving a standing-O performance of Sam Cooke’s A Change Is Gonna Come. The accompanying DVD features videos of several of the songs on the CD.

Playing For Change is an acknowledgement of, and a testament to the power of music to change the world. Johnson is witness and messenger to the power of music, seeing an esoteric performance in a subway bond together a hundred or so hard-nosed New Yorkers. Grammy Awards aside, this may be his legacy. The album itself is a great listen and highly recommended for roots music fans, or fans of great music, whatever the ilk. Even on the slower songs the artists on Songs From Around The World give their all; the energy and joy in this music is undeniable.

Rating: 4 Stars (Out of 5)

You can learn more about Playing For Change at http://www.playingforchange.com/. Songs From Around The World goes on sale April 28, 2009. You can pre-order your copy from Amazon.com.

Review: James Grande - Start The Show

James Grande - Start The Show
2009, James Grande

Narragansett, Rhode Island’s James Grande has a lot to say. Mixing the hooky musical panache of Weezer and the smooth vocal approach of Dave Matthews, Grande has been generating some buzz in New England. His self-produced, self-released debut album, Start The Show is sure to garner Grande some attention in a widening arc.

Grande's The American Rockstar is a tongue-cheek glamorization of the life of a popular music flavor of the month. To Honor plays like a tribute to the people who fight wars while a left-hand jab at the reasons for those same wars. Its a bit obscure in point of view but well written for all of that. Together And Alone is a modern love song for the disaffected, dealing with some of the classical themes of love from a professorial perspective. Over And Over is bound to be included on mix-tape and dedication lists as a sweet love song that goes a little bit deeper than your usual sugary ballad. Burn This Bridge is the most memorable song on the disc; an invitation to recovery from sorrow or a precipice before the fall, depending on how you hear it. Hello, Goodbye closes out the album on a poignant note and in a minimalist arrangement that leaves a strong impression.

Start The Show is a strong effort from James Grande. Aside from the last song there aren't any real wow moments on the disc, but every song is consistently well-written and performed. Grande comes across as a little young in the lyrical aspect, but this will grow as he does and isn't really a big deficit. The songs are well crafted and accessible without really grabbing hold of the listener. Start The Show is a pleasant listen.

Rating: 3 Stars (Out of 5)

You can learn more about James Grande at www.myspace.com/jamesgrande. You can purchase a copy of Start The Show at www.cdbaby.com/cd/grandejames.

Review: On Ensemble - Ume In The Middle

On Ensemble - Ume In The Middle
2009, On Ensemble

On Ensemble is a rarity in the realms of popular music; they are wholly original. Ostensibly a Taiko ensemble (ancient Japanese drumming), On Ensemble mixes that venerable art with Hip-Hop, Rock and electronica to create sounds very few people have heard before. Lauded by Modern Drummer magazine for their groundbreaking work, On Ensemble members individually have heady resumes, having music featured on the TV show Heroes, in the David Mamet movie Redbelt, and even performing with Stevie Wonder at the 2008 Democratic National Convention. On Ensemble's latest effort, Ume In The Middle will be available May 5, 2009. It's sure to be a big seller in the World and New Age genres, and is a great opportunity to check out both an ancient musical style not often heard in the west and new construct sprouting from it that's worth noting.

Ume In The Middle opens with the dark and ominous Yamasong, with its shadowy ambient sound based in crawling progressions and traditional chants. Hisashi is a rhythmic exploration lead by traditional Japanese flute. This song sounds like the sort of music that gets written for background to introductory scenes in feature films set in Japan. Waiting takes a big jump into the twenty-first century, mixing Taiko with electronica to create a rather funky mix. The vocals here are more in the Pop/R&B realm with some pretty neat harmonies going on. Hiroya vs. Miniboss gets into the techno realm, bordering on light industrial at times. Techies will get a kick out of of Butoh-bot Malfunction, a sonic exploration of the breakdown of modern machinery. This is probably one of the more imaginative compositions in the album while being resolutely one of the least musical. It isn't until the eighth track, Bounce Back that On Ensemble breaks somewhat free of the electronic universe in which they've ensconced themselves. Bounce Back is still strongly electronic but at stays with the traditional style of their musical roots. The album closes out with a Campagna remix of Yamasong.

On Ensemble is intriguing, although I felt they spent a little too much time in the electronic universe and not enough exploring the many shoots and branches that run from their roots. Nevertheless, Ume In The Middle is an intriguing and interesting listen. Electronic music fans are likely to go nuts over Ume In The Middle while traditional Taiko followers will likely view it with suspicion on their way to acceptance and enjoyment. The composition and presentation are inspired.

Rating: 3.5 Stars (Out of 5)

You can learn more about On Ensemble at http://www.onensemble.org/ or www.myspace.com/onensemble. You can purchase a copy of Ume In The Middle at www.cdbaby.com/cd/onensemble5. You'll be able to find the CD in stores as of May 5, 2009.

Review: Marianne Kesler - Pear In The Pink Thing

Marianne Kesler - Pear In The Pink Thing
2007, Cool Spirit Publishing

Ohio native Marianne Kesler has been a darling of the folk, coffeehouse and college circuits for the better part of two decades. Starting out in 1993, Kesler has culled a reputation as a highly personal, and personable, songwriter whose imagery shines through her songs. Pear In The Pink Thing is a collection of ten original tunes and 2 Neil Young covers; Kesler went for a stripped down motif this time around to make the songs more reproducible in a solo-live setting. The result is a sonically gorgeous and highly intimate set that is as artistically articulate as it is accessible.

Mystery starts things out in a fine, pop-laden folk arrangement about coming out of your shell and being your own person, and not justifying it to the world. This song is a tremendous declaration of self without sounding imposing or in-your-face; it's all about the protagonist and no one else. Kesler has one of those voices you could listen to all day, the perfect mix of sultry, sweet and an earthy stillness that is comforting. Every Time is a perfect example of this mix in a song that is by turns sultry, vulnerable and verging on frustration. Poets Dream is structured like a dream, opening with tendrils of thought said to music that coalesce into a coherent idea before fading away into fractal thoughts.

My favorite song on the disc is Catch Me If You Can. There is a certain pathos to this song; The protagonist is a leaf or a bit of dandelion fluff or a person whose thrill is being chased. There is a daring quality to the song that seeks to be caught and loves the chase, but the chase is much too interesting here, and you know inevitably that once captured there will soon be another chase, if it ever stops in the first place. 2 O'Clock is another must-hear, written in a classic finger-pick arrangement, this might be the best writing on the album. Kesler's inclusion of Ohio had more to do with it being associated with her home state than anything else, but it is particularly apropos in our current timeline. Kesler's reading of the song is impeccable, adding a little more swing to it than the original but staying with the same essential flavor. The Needle And The Damage Done was chosen in tribute to Kesler's father and his struggles with drug addiction. That personal investment shines through on a rendition that is practically electrifying.

Marianne Kesler is a first-class talent. Kesler doesn't need to be flashy to get your attention; her strong, clear voice relays thoughts and emotion in gorgeous tones that leave you on the edge of your seat. As a songwriter Kesler's work is top-notch. Pear In The Pink Thing is a second coming-of-age album. Most artists who record for any length of time will have more than one. Kesler has always been a strong songwriter with highly personal songs, but with Pear In The Pink Thing she has crossed the line from good to great. I won't be surprised if Kesler is eventually considered one of the essential female singer/songwriters of folk music.

Rating: 4 Stars (Out of 5)

You can learn more about Marianne Kesler at http://www.pearinthepinkthing.com/ or www.myspace.com/mariannekesler. You can purchase a copy of Pear In The Pink Thing at www.cdbaby.com/cd/kesler6, or you can download the album through iTunes.

Review: The Kokoon - We Didn't Go

The Kokoon - We Didn't Go
2009, New Average Records

Berlin natives Danyx Simone and Dirk Henry form the on-the-edge modern rock duo The Kokoon. Together since 2000, The Kokoon has three releases to their credit. Their latest, We Didn't Go, is a five-track EP that gives an accurate feel for their musical style and flavor. Simone, a former ballet dancer, and Henry write highly personal story-songs with character development and plot lines, with Simone throwing himself into the vocal performances like he's telling his own stories.

The EP opens with the title track, sounding a bit like late David Bowie in an urgent statement set to music. Life Seems So Delicate has a New Order feel to it, easily translating from Rock to Dance in its current arrangement. Charms opens with a galloping drum rhythm juxtaposed on a form-resistant musical arrangement that only comes into compliance with much coaxing. Even once rhythm and song come together it’s an uncomfortable truce. This song just never feels like it quite gets together. Mania, on the other hand, is the most highly structured song on the disc. This moderate pop number would make for a low-charting single with moderate to heavy radio play in the right markets. Ready To Go breaks down completely into aural components before coalescing into an ethereal and spacey mellow-rock vibe.

The Kokoon is an interesting listen. I can't say that We Didn't Go will be a regular listen, but I heard enough here to make me want to check out their other recordings. This is one of those bands that intrigue you with the quality of what they do even if you can't say you love it. They may be victims of their own perfectionism, as it’s apparent that these songs have been worried over until they were perfect copies of what the artists heard in their heads. This isn't necessarily a bad thing but can sometimes rob a song of the spontaneous sparks of personality that even songs are prone to. We Didn't Go is a good and interesting effort that will make you hunger for more.

Rating: 3 Stars (Out of 5)

You can learn more about The Kokoon at http://www.thekokoon.com/ or www.myspace.com/thekokoon. You can download a copy of We Didn’t Go from Amazon MP3.

Review: P Bailey - Find Me Somebody

P Bailey - Find Me Somebody
2009, P Bailey

Montreal's Paul Bailey is a purveyor of highly produced, electronic pop that ranges from mellow ballads to mid-tempo dance music. Originally from the UK, Bailey found his love of music early on. His latest release, Find Me Somebody, is a hybrid of R&B and electronic music forms.

Opening track Mystery is firmly ensconced in synthesizer and electronic effects. P Bailey even gives his voice the full electronic effect. It's a marriage of organic and electronic where electronic is the dominant partner. The song itself is fairly basic Pop/R&B, but the arrangement is too divorced from the human component to have a lot of life. The remix of Find Me Somebody has more energy and drive but still feels somewhat automatic. Beautiful (Marlon G'z Buzz Mix) is designed for the dance club, and may find some limited play there. Part Of Me (Smooth Vocal Mix) is the first track on the album that sounds real or alive at all. Up until this point anything you've heard could have been completed entirely by computer. P Bailey's vocals here at least sound like he's feeling some of what he's singing.

Melody is built around an interesting piano line, but once again the technology takes over and the artist becomes lost in it. Bailey hits a little closer to home on I Want U and It's All That, but there is still this pervasive lack of persona that runs through most of the album. Find Me Somebody shows some talent for production, but the compositions come across as flat to lifeless. The occasional expression of personality is swallowed in the technology he uses, not just blurring the line of humanity but in most cases stamping it out completely.

Rating: 2 Stars (Out of 5)

You can learn more about P Bailey at www.myspace.com/wwwmyspacepbailey. You can download Find Me Somebody at www.mynoisyplanet.com/PBailey.

Review: Black Suit Youth - East Of Eden

Black Suit Youth - East Of Eden
2009, Black Suit Youth

Black Suit Youth is one of the first few bands we reviewed here at Wildy's World. The Long Island Band personifies the DIY ethic, self-releasing their own album (Our Future Is History) and taking significant pride in the fact that they own their own destinies musically. They're back in 2009 with a four-song EP entitled East Of Eden and an edgy sound perfectly balanced by a refined pop sensibility that wasn't as clear on their debut. East Of Eden finds Black Suit Youth singing and screaming their way into your mind to hard yet surprisingly hook-heavy Pop/Rock songs that is likely to make Modern Rock music programmer salivate with glee.

Black Suit Youth kicks it into gear with Scarecrow, a guitar-driven rocker with a big chorus and harmonies that are more likely in an arena-rock act. The catchy melody and pop-style arrangement make this a song that could easily cross over to popular radio. It Takes Two To Strangle keeps up that Pop gravitas in a driving rock song that is highly commercial. This sense of Pop/Rock drama was present on Our Future Is History but wasn't as prevalent or refined. To say that Black Suit Youth has kicked things up a notch is an understatement. East Of Eden sticks a little closer to the Modern Rock bone, but can't avoid this new and addicting vein in Black Suit Youth's sound. East Of Eden is destined to be a concert staple and might just end up as a generational anthem. The last track is a non-LP version of Here Goes Nothing. Keeping with the strong pop presentation, it’s almost if Black Suit Youth has stolen the pop sensibilities of The Gin Blossoms (we wondered where they went) without losing any of the edge they previously possessed.

Call me highly impressed. From Our Future Is History I would have picture any sound migration for Black Suit Youth to be toward the harder end of the spectrum. Instead, Black Suit Youth has found a golden pop pen to write their hard-edge, guitar driven songs with. East Of Eden is a transformational release for the band. If they keep this up they're going to end up with an awful lot of hits.

Rating: 4.5 Stars (Out of 5)

You can learn more about Black Suit Youth at www.myspace.com/blacksuityouth, where you can purchase East Of Eden on CD. You can also download it through iTunes.

Review: Jean-Pierre Simons - Sentimentally... To Africa

Jean-Pierre Simons - Sentimentally.... To Africa
2009, Jean-Pierre Simons

Jean-Pierre Simons is a citizen of the world, quite literally. Born in Cameroon, Simons lived in Paris for a number of years before settling in the San Francisco Bay area of California. His music encompasses African, Latin and European musical styles with a strong emphasis on classic American Pop music. His debut album, Sentimentally... To Africa, features 6 songs in English and 7 and French, all highly listenable and enjoyable. Simons has a sense of melody and rhythm that is impeccable, and a top-notch band backing him up. The result is an album you won't want to put away.

Sentimentally... To Africa opens with the title track, sounding like something that might have been a Paul Simon outtake from his Graceland sessions. Simons creates a very similar Pop/Rock/African traditional hybrid sound throughout much of the album. Take My Love is a great love song in the same vein, a highly infectious bit of pop music with African rhythms, horns and the electric guitar sound common to Simons albums of that era. Aime-Moi (Love Me) and Un Amour Impossible (An Impossible Love) are the first two French language songs on the album, both staying well ensconced in pop style with the essential African flavor that runs through the album. Une Place Au Soleil (A Place In The Sun) features some the best overall arrangement on the album, layering acoustic sounds in a song that touches on Pop, World and Jazz without quite giving in to any one style. My favorite song on the disc is Baobab-Tree, which will have you up and moving you feet even if you're not prone to dancing. Other highlights include Change In My Life, On Danse and Like A Friend.

Jean-Pierre Simons has the perfect blend of Pop and World styles on Sentimentally... To Africa. If it weren't for that Paul Simon guy we'd be talking about Simons' groundbreaking mix of styles, as it is its still a fine album that is highly accessible and commercial without trying to be either. This is feel good music you can move to, and no matter what language Simons is singing in, that feel good vibe is universal. Highly recommended.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jean-Pierre Simons at http://www.jeanpierresimons.com/ or http://www.sighes.com/. You can purchase a copy of Sentimentally… To Africa at www.cdbaby.com/cd/jeanpierre2.

Review: Fugitive Kind - You're Being Watched

Fugitive Kind - You're Being Watched
2009, Fugitive Kind

Fugitive Kind lead singer Lydia Marsala sounds like the mid-point of a triangle between Milla Jovovich, Chrissie Hynde and Johnette Napolitano. Her voice is alternately deep and sultry or high and heavily soaring. No matter what range she's in she's distinctive, and she is the perfect balance for the heavy guitar rock that supports her on You're Being Watched. Comparisons to Queens Of The Stone Age, Muse, and Live should be expected, but there is a pulsing mix of energy that develops between Marsala's vocals and the instrumentation that is more than just friction.

You're Being Watched opens with a funky guitar rocker called Little Piece. Marsala throws herself into the vocal line like it’s her life's only purpose; the band answers in kind in a performance full of anxious, nervous energy. This is perhaps the catchiest opening track I've heard yet this year; a great rock song that would get airplay on chutzpah alone. It's been a while since a female rock vocalist could push this much personality through a song (think Gwen Stefani before she went Hip-Hop/Pop). Over-Thinking It has a big, Modern-Rock sound and a vocal style that has a shade of Tanya Donnelly to it. Don't Waste My Time, my second favorite song on the CD, is a great Modern Rock anthem with an almost punk/dance vibe going on. Break Now is my favorite, and the by far the heaviest song on the disc. This song should be a Modern Rock hit. Wait has an interesting heavy ethereal rock sound that is a great change of pace, and Good-Bye Song is a nice closing song, bringing out all of the best qualities in Marsala's voice.

Fugitive Kind is a great rock band musically, filling tight arrangements with layers of sound that are interesting, rhythmic and, if not original, at least well done enough to make them worth listening to. Lydia Marsala's voice woven into the instrumental net built on You're Being Watched elevates them to something special. Marsala has a great voice, but there's something about the mix here that pushes everything up a notch. The album itself is a bit uneven in its flow at times, but well done throughout. In the old days of LPs you could have done a heavy and soft side with this material. For now, You're Being Watched is a great start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Fugitive Kind at www.myspace.com/fugitivekind or http://www.fugitivekind.com/. You can purchase a copy of You’re Being Watched at www.cdbaby.com/cd/fugitivekind2, or you can download it from iTunes.

Review: Broadcast Live - Boomerang Metropolis

Broadcast Live - Boomerang Metropolis
2009, Rebel Army Media

The Albany, New York region has long held a relatively un-noticed well of musical talent (perhaps due to its relative proximity to New York City). Artists such as Sirsy, Rosanne Raneri, Denise Culhane, Matt Smith, The Figgs, The McKrells, Katie Haverly, Eric Margan & The Red Lions, Peter Davis, John Nazarenko and Jeff Halstead have been consigned to trying to go outside of the area to gain significant attention or accepting the local market as something of a boundary. Some have done well for themselves; The Figgs have been together for close to twenty years now with multiple releases to their name and an extended gig as Graham Parker's touring band. Sirsy has made a long and successful career as a highly sought after Indie Act on the Eastern seaboard with significant critical acclaim. Matt Smith left for New York City and wound up as a highly sought after session guitarist. Nazarenko and Halstead still make music and double as educators. The McKrells are still together although not in their original and most dynamic form. Peter Davis continues to teach and play music running the gamut from Dixieland Jazz to country, folk and Rock N Roll. Denise Culhane had her career interrupted by health issues but continues to make music. Even some solo musicians have caught on, with two Saratoga Springs natives catching on with big bands. Dorian Crozier spent some time as touring drummer for The Rembrandts and has recorded with numerous artists, while Scott Underwood is the drummer for Train.

The point of all of this is that there is a wealth of under-noticed talent in the Albany region. I am certain there are several I have forgotten or overlooked as I haven't lived in the area in a few years, but the area continues to have a vibrant music scene. The latest band to make some big noise out of this small market is Broadcast Live, with their heavy dose of social commentary and atypical mix of Hip-Hop, Rock and Pop. Lead singer and resident urban poet laureate Victorio Reyes lists influences that range from KRS-One and Dead Prez to Bob Dylan, Bob Marley and Tracey Chapman. Even some of his raps have a very musical quality to them; spoken word with the cadences of a singer. The band is filled out by Gaetano Vaccaro (guitar, drums, and bass); Seantel Chamberlain (drums, bass, guitar, vox) and Jory Leanza-Carey (drums, guitar, vox). Suffice it to say that a live show could be interesting with members playing musical instruments both during and between songs.

To the music; Broadcast Live is as groundbreaking and unique in sound as Gym Class Heroes were when they first appeared on the scene, but with a wider range of sounds and more powerful social slant. Boomerang Metropolis opens with the title track, which compares landlords and bankers to drug dealers, implying that all trap people into need based relationships that working folks can't afford but can't afford to get out of. This song appears to be about the current "gentrification" trend in New York City where landlords buy cheaper properties in poorer neighborhoods and start the process of raising rents. This has the net effect of pushing the working class, the poor and a disproportionate number of minorities to furthest edges of the City and beyond. This isn't happening just in New York, but New York might be the place where it is most apparent.

One Metaphor sounds like a mellow pop song from the outset, an autobiographical soliloquy about the cathartic effect of writing for Victorio Reyes. It is a reminder that communication can be the most important means to overcoming adversity and moving beyond wherever you are. Spoken Vision is a musical call for unity that is a highly infectious listen. This song is radio-ready and could be a potential hit. A Bronx Tale is about doing the right thing, the best way you can, regardless of the cards you've been dealt. It's a sweet musical arrangement with some great piano work and a strong melody in the chorus. Commonplace attacks the mindset of prejudice, excusing no one in the process. Perhaps the biggest surprise of the album is the thrash-punk mayhem of Harry Potter Is Black, which closes out with something that sounds like Dobby The House Elf beat-boxing. Pledge Of Allegiance is done Body Count style, turning from the ideological roots of the US to an ironic statement of the darker hours of our collective history. Other highlights include the singer/songwriter style of New Orleans, Semiautomatic and Willie Lynch.

Broadcast Live takes you down to street level; not the glorified Gangsta culture version, but the real people trying to live day-to-day street. With songs yearning and entreating for social justice, Broadcast Live initiates a new-sounding hybrid of Hip-Hop, Pop, Latin and Rock that is bound to garner critical attention and praise. The music is organic from start to finish; the songs alive with real people and real places. You can't help but caught up in Boomerang Metropolis. Well done.

Rating: 4 Stars (Out of 5)

You can learn more about Broadcast Live at http://www.broadcastlive.org/ or www.myspace.com/broadcastlive. You can purchase a copy of Boomerang Metropolis at www.cdbaby.com/cd/boomerangmetropolis3.

Review: Abi Robins - Hey, Sunshine (The EP)

Abi Robins – Hey, Sunshine (The EP)
2009, Morning Bird Records

Abi Robins is a singer/songwriter originally from western Kansas and currently based in St. Louis, Missouri. Fans might recognize her as one half of the duo The Winter Wakeup. Robins is a classic singer/songwriter with intelligent and emotion-driven lyrics and a talent for crafting pleasant sonic structures around her lyrics. 2009 sees the release of Robins’ 2nd EP, Hey, Sunshine; on her own Morning Bird Records.

Speechless is an articulate and intricate soliloquy by someone viewing a relationship gone sour from two angles; intellectually understanding that things can’t, or won’t work out, but still being invested in that relationship. It’s an emotionally and intellectually honest song about love, lost and the helpless feeling that sometimes pervades a relationship. The song is very well written, accented with Dylan-esque harmonica and a subtle, layered-sounding acoustic guitar base. Russian Roulette is at the other end of a relationship cycle, about taking a chance to see where things go. It’s a bit cynical in outlook but very well written. Sunflowers is another introspective relationship song that is a pleasant listen but a bit harder to follow. Plans is about an unexpected relationship and the joys that it brings, and is my favorite song on the disc. There is a vulnerability here that is not present on the first three songs that is tangible. Hey, Sunshine is a plaintive and wistful platonic love song that could just as easily be written from mother to child as to an ex. Robins is at her most affecting here, the emotion in the song as real as the sounds that reach your ears.

Abi Robins has something as a songwriter and performer; her songs are enshrouded in a blunt yet indirect honesty that is endearing and makes for interesting listening. Robins’ voice is pleasant and her guitar playing/composition is strong, although she might benefit from collaboration with other musicians, as the sound and mix are too consistent on this EP; there isn’t much change in dynamic or sound across the five songs on Hey, Sunshine (The EP). All in all, Hey, Sunshine is a strong release, and Robins is a very promising talent.

Rating: 3.5 Stars (Out of 5)

You can learn more about Abi Robins at www.myspace.com/abirobins or http://www.abirobinsmusic.com/. I was not able to locate an online outlet for Hey, Sunshine (The EP). You can currently stream the songs on either Robins' MySpace or personal web page. Contact Robins through her MySpace page for purchase information.

Review: Brett Terry - Instant History

Brett Terry - Instant History
2008, Brett Terry

Today we have a treat for you. Some of you are familiar with Canadian alt-country legends Blue Rodeo, and all of you at least know who The Beatles are; well imagine the two bands played and wrote together. Somewhere in there you'd start to hear something like Mystic, Connecticut's Brett Terry. Terry's sophomore album, Instant History, is a hyper-enjoyable mix of Pop/Americana that will appeal to fans of The Beatles, Blue Rodeo, Wilco, The Skydiggers/Cash Brothers, and Ryan Adams (among others).

Instant History opens with Alexander Street, an Southern Rock styled anthem for a place where folks wait for the world to change without ever taking initiative. Unharmed has a wonderful lullaby quality to it, fleshed out with jangly guitar and some nice vocal harmony work. Rock Star is a bit of ironically inspired songwriting, painting the caricature that grew out of the lifestyle of 1960's and 1970's rock icons and persists even today. Sister is one of my favorite tracks on the CD, along with If I Needed Someone. Beatles fans will hear very familiar style harmonies on these two songs. The album closes out with Slow Moving Train, perhaps the most on-point performance on the disc.

Brett Terry has a familiar, comfortable style and sound that will appeal to fans of Americana, and enough Beatles influence to appeal to fans of that band as well. Terry is a niche sound, but in large enough niche to garner significant attention. There's a slightly primitive quality to the sound that is endearing, suggesting Terry is comfortable allowing the songs to be what they are rather than over-producing them into something else. Instant History is an honest and enjoyable work with strong songwriting and a solid performance.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brett Terry at http://www.brettsongs.com/ or www.myspace.com/brettterrymusic. You can purchase a copy of Instant History at www.cdbaby.com/cd/brettterry2.

Review: Eric Margan & The Red Lions - Midnight Book

Eric Margan & The Red Lions - Midnight Book
2009, Eric Margan

Eric Margan & The Red Lions originated in the Albany, New York area and has recently migrated to New York City. Margan's previous band, Aficionado was a popular cover band in that market, but Margan felt the need to follow his own muse. The College Of St. Rose grad has found a significant following for his new band in the Albany market and is ready to take on the world with their debut album, Midnight Book, which chronicles a relationship from its earliest beginnings to through the end and aftermath. This is not an album you can pick and choose from, but each song is like a chapter in the story that loses something without the context of the rest.

An Ocean Blue represents the boundless opportunities at the beginning of a relationship, with no obstacles on any horizon and beauty is personified in each moment. The arrangement is reverent and full of awe, buoyed by full orchestration. I'll Never Know sounds like something out of a French or Italian Film, complete with martial themes and a "Men are from Mars, Women are from Venus" theme, while Disintegrate marks a turning point between growth and decay. Old Man River is my favorite song on the disk, full of dark and unsettling themes representing the creeks that run into the river that finally tears the relationship apart. What's most interesting is that even the notes of anger that occur appropriately in the process of this storied relationship are more reflective than full of the fire of the moment. If there is any knock on this recording at all, its that it could use that fire in a couple of spots, even if only to provide shading to the more pensive aspects of the relationship. Other highlights include Down The Water, The Blues Will Have To Do, Midnight Book and Without The Sun.

Eric Margan & The Red Lions tells a cohesive and vibrant story of one relationship on Midnight Book. With arrangements that give tribute to some of the later, orchestra-enhanced Beatles compositions, Margan paints the rise and fall in masterful musical brush strokes. There's no doubt that Margan has big things in front of him. Midnight Book should do very well although it can't really be considered a pop record. If we had any wish for the record at all it would be to hear a little more of the raw emotional impact of the relationship in the songs, even if only once or twice. Margan's writing is masterful, but he's writing here from the reverie of time gone by. The picture is gorgeous and sonically pleasing, but absent the extreme highs and lows that were doubtless a part of it all. Even with that, Midnight Book is an excellent debut.

Rating: 4 Stars (Out of 5)

You can learn more about Eric Margan & The Red Lions at http://www.ericmarganandtheredlions.com/. You can purchase a copy of Midnight Book at www.cdbaby.com/cd/emarganrl.

Review: Queensryche - American Soldier

Queensryche - American Soldier
2009, Rhino Entertainment

Queensryche is back with their latest CD, American Soldier, released March 31, 2009. Opening with Sliver, Queensryche pays tribute to the men and women who are put in harms way while already beginning to question the reasons for that condition. Co-opting some stylistic elements from Hip-Hop, Sliver has a very edgy sound that is a bit out of the box but still essentially Queensryche. The band pulls no punches on the next track, Unafraid, looking at American culture from the perspective of those who are not privy to its benefits, contrasting that with voiceovers of interviews from an American soldier as well as a voiceover about the combatants in Vietnam. Queensryche is no stranger to concept albums, and it’s very apparent that there's a concerted message on American Soldier pertaining to the failings of foreign policy both to the country at large and the soldiers who represent her in the field. Somewhere along the way that focus on message has stolen a bit of the edge from the music. That's not to say it’s a bad album; quite to the contrary. From a sonic perspective this might be one of the more pleasing Queensryche albums since Empire, but there is a certain spark missing that would take a good album over the edge into greatness (Empire had that spark).

My favorite track on the album is A Dead Man's Words, which definitely has that spark and inspiration. This is one of the darker songs on the album, and even in its slower moments you can hear the vibrancy running through each note. Man Down gets close to what long time Queensryche fans are looking for. Vocalist Geoff Tate is at his absolute best here, and there is real drive to the song in spite of a slightly softer presentation. Other highlights include the haunting Remember Me, Home Again and The Voice.

American Solider is a treatise set to music. The message was most important in this record from start to finish, to the point that it appears to have sapped Queensryche of some of the raw power that is characteristic of their recordings. Whether there is a temporary coda or significant of the long term gentrification of the band remains to be seen. It's a good album; very sonically pleasing and full of the trademark sound of vocalist Geoff Tate, but lacks some of the fire and energy of earlier releases. American Solider is good, but not their best.

Rating: 3 Stars (Out of 5)

You can learn more about Queensryche at http://www.queensryche.com/. You can purchase a copy of American Soldier at Amazon.com or wherever music is sold. Downloads are available through numerous outlets, including iTunes.

Review: Antennas Up - Antennas Up

Antennas Up - Antennas Up
2009, Plastic Artifice

Kansas City, Kansas' Antennas Up brings the noise and the funk on their debut album, Antennas Up, due April 14, 2009 on the band's own Plastic Artifice label. Bassist/lead singer/self-proclaimed nerd Kyle Akers leads Antennas Up with a sort of anti-pop swagger that's refreshing. Antennas Up mixes a strong melodic sense with post-punk tendencies and a unique outlook to create a sound that skirts the edges of definition while remaining wholly accessible.

Opening with fuzz rocker Break Me Down, Antennas Up causes some obvious questions. The band apparently went through a raft of lead singers before Akers took over. The question is why it wasn't Akers from the start. Akers has a distinctive vocal style that is enjoyable to listen to, and shows flashes of range that are downright startling. High & Mighty Parade is funk-driven rocker built on big, organic rhythms. The compositional structure here is fairly simple and could be likened to organic dance music but is highly enjoyable. Antennas Up engages in some serious vocal harmonies here. Outta Sight heads straight for the disco dance floor. Funk is the flavor in another highly danceable tune. My favorite song on the CD is Agree To Disagree, which sounds like it could be a DeBarge outtake. Other highlights include Get It, She's Evil and PSA.

Antenna's Up goes with minimalist arrangements and a solid funk groove and strong vocals from Kyle Akers. Antennas Up is a highly enjoyable record. It may be a bit musically simplistic at times, but its danceable, melodious pop with a fuzzy-garage aesthetic that should garner significant attention. Check it out.

Rating: 3.5 Stars (Out of 5)

You can learn more about Antennas Up at www.myspace.com/antennasup or http://www.antennasupmusic.com/. You can purchase a copy of Antennas Up at www.cdbaby.com/cd/antennasup.

Review: Propagandhi - Supporting Caste

Propagandhi - Supporting Caste
2009, Smallman Records/G7 Welcoming Committee Records

Winnipeg rockers Propagandhi rip the roof off with their fifth album, Supporting Caste, released March 10, 2009. Recorded between their own Illegal Combatant Studios and the Blasting Room in Ft. Collins, Colorado, Supporting Caste is everything you've come to expect from Propagandhi, ranging from melodic punk rockers to thrash/metal influenced alternative folk. Producer Bill Stevenson (Black Flag, Descendants, Zeke, 7 Seconds) brings out the best in Propagandhi, highlighting both softer and heavier elements of their sound without ever overbalancing the project.

Supporting Caste opens with Night Letters, throwing down the gauntlet with heavy guitar and Speedcore rhythms. Supporting Caste bemoans the sacrifices made by everyday people for the glory of political and military leaders in an acerbic and intelligently written musical diatribe. Vocalist Chris Hannah is surprisingly melodic and listenable, possessing a voice that could easily carry more nuanced material. Tertium Non Datur is the most interesting composition on the album, with an incredibly vibrant and varied arrangement that will be fun for musicians to pick apart and recreate, but Dear Coach's Corner is my favorite song here. It's a musical open letter to Ron MacLean and Coach's Corner about the use of popular media to push propaganda and "right thinking". The song is intelligently written and highly melodic. Coming off that highly civil musical objection Propagandhi throws off all ties and rips into the thrash anthem This Is Your Life.

One of the more interesting (and disturbing) songs on Supporting Caste is Human(e) Meat (The Flensing of Sandor Katz), about a theoretical Vegan concept of poetic justice for a carnivore. Potemkin City Limits is an ode to small towns and how they suffer in hard times. Other highlights include The Funeral Procession, Without Love, Incalculable Effects and Celtic flavored The Banger's Embrace.

Propagandhi's Supporting Caste is their best effort yet. The wisdom of years meets with vigor of their youth for a dynamic creative wellspring of songs that beg to be heard. Longtime fans will be pleased that their edge appears none the worse for wear in spite of a more mature (yet still intelligent and confrontational) songwriting style. Don't miss Supporting Caste. It's a keeper.

Rating: 4 Stars (Out of 5)

You can learn all you want to know about Propagandhi at http://www.propagandhi.com/. You can purchase a copy of Supporting Caste directly from G7 Welcoming Committee Records.

Review: Abe's Logic - War's Ragin'

Abe’s Logic – War’s Ragin’
2009, Mad Chief Records

Abe's Logic is the musical extension of Abe Vandenberg’s multiple musical personalities. The Maui, Hawaii resident is a musical chameleon who can channel Lou Reed one moment, Dave Matthews the next, and traverse several other personae in the course of a few songs. Rock, Jazz Fusion, Folk; none of these are without of his reach at a given moment, in a given song, or even on a dime. What is certain is that as a listener, if you’re not paying attention, Abe’s Logic will leave you far behind. Vandenberg is getting ready to release his latest album as Abe’s Logic, called War’s Ragin’. Whether this is social or self-commentary is up to the listener to decide.

War’s Ragin’ opens with the Ski anthem Chipping’ Away. This is the sort of song that makes you want to get up and dance and is a great start to the album. There’s a rough edge to the music on War’s Ragin’ that is appealing. It’s not garage, exactly, but it has some of that same Lo-Fi charm. Even on songs such as I Stepped Into The Shade, where Abe’s Logic layers a lot of instrumentation to build a full sound there is still an aspect to it that is rough and primitive. The Prestige is very catchy; a bit frenetic. Vandeberg occasionally reminds me of the same urgent energy that drove some of the early They Might Be Giants recordings on War’s Ragin’. That nervous momentum is very apparent on The Prestige.

War’s Ragin’ is a delicious heartland-style rocker with big, jangly guitars and a chorus you can’t help but hum along to. The theme is the ease with which we can wrap ourselves in our loves and forget about what’s going on in the world at large. War’s Ragin’ is a song with strong commercial potential. It’s Not Just Me is written in much the same fashion and is quite catchy but doesn’t have quite the same oomph as War’s Ragin’. What We Crave develops a bit further into an interesting modal vocal harmony structure with that same heartland feel, taking a band like The Bears and adding Devo-esque harmonies into the mix. The sound stays fairly consistent through That Was Safe, with Abe’s Logic saving the curveball for All Of A Sudden, which sounds a bit like REM crashed the Abe’s Logic party. Abe’s Logic corrects course and gets back to the feel-good rock with moderate to serious themes on I Want It To Stay, which sounds like it would be a fantastic tune live.

Abe’s Logic offers up some classic American Rock N Roll with a hint of garage chic on War’s Ragin’. It's is one of those albums you walk away from more impressed by the sound than anything else, but Vandenberg is quite capable with a guitar in his hands, and has a strong, clear singing voice that is a pleasure to listen to. Lyrically interesting and intelligent, the somewhat darker elements of the narrative can get crowded out by the big, loud, jangly sound, but it’s a fun listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about Abe’s Logic at http://www.abeslogic.com/ or www.myspace.com/abeslogic. War’s Ragin’ is due for a late spring/early summer release. Keep checking Abe’s Logic’s website for details.

Inner Frequency - Surge
2008, Inner Frequency

Dallas, Texas quarter Inner Frequency come barreling out of Texas with their latest EP, Surge. If you haven't heard of Inner Frequency before then you're in for a pleasant surprise. Vocalist Cara Young has a smooth a smoky alto voice that is part Annie Lennox and part Johnette Napolitano, and the band has crafted a tight, melodic sound around her voice that is radio ready.

Imagine Maroon 5 with just a touch of angry chick chic of Ani DiFranco and you have the sound of the opening track, Big Talker. Written by Cara Young, who worked for a label in Nashville in the 1990's, Big Talker focuses on the glory hounds who work in the industry. Young acknowledges that there are a lot of good, hard working people in the industry, but the folks who make big promises to gain access to an artist and then never follow through are still out there. Sometimes, written by guitarist Luke Carnevale, is the song that got things started for Inner Frequency in 2005. The song starts out in happy times but sinks into a confused sort of depression. The EP closes out with Satellite, a solid song but perhaps not as dynamic or interesting as the first two.

Inner Frequency has a distinctive sound that will garner attention. Cara Young has a voice you'll find instantly recognizable once you've heard it. The songwriting team of Young and Carnevale shows real promise, and we at Wildy's World hope to hear more from them in the future.

Rating: 3.5 Stars (Out of 5)

You can learn more about Inner Frequency at www.myspace.com/innerfrequency or http://www.innerfrequency.com/, where you can purchase a copy of Surge.

Review: Dead Poets - Starving Artist

Dead Poets - Starving Artist
2009, Dead Poets

Mark-uz MidKnyte (Knyte) and Lazaros (Laz) combine their lyrical powers to form the duo Dead Poets. Bronx born and raised, their early influences include homegrown artists such as Brand Nubian and Main Source. Dead Poets is a blend of Knyte’s laid back, intellectual lyrical style and Laz’ more flashy, fiery persona. The mix is musical gold, as can be seen and heard on Dead Poets’ debut album, Starving Artist.

Starving Artist opens with Resurrection, a song about survival and renewal for both the artists and the genre of Hip-Hop. Starving Artist is about struggling to improve your place in life; stressing respect and hard work as a means to get where you want to be, whether in music or in life. Dead Poets spend a lot of time talking about the difficulties that exist in black culture and the inner city, but make the point that every person has a choice to stay where they are or work to improve their lot in life, even while berating the system that created the conditions that exist today. Tickled Pink is a fun love song featuring J-Rock that has serious potential for pop and urban radio as well as in the club scene. Denae and L'Monte pitch in on Irresistible, another potential smash on the club scene. J-Rock makes another appearance along with Tsi Labrev on Elbow Room, relying on a classic funk/soul sample and some of the slickest rhymes on the album.

The highlight of the album is Uncomplicated, featuring the soulfully gorgeous vocals of Sadie. The key here, as in most of the album is the struggle to do the right thing. Knight is talking to and about his young daughter here, re-committing to do the right things for and by her and paralleling this with the struggle that all people who try to live good lives face. There is always an opportunity to get ahead in life by cutting corners, but Knight tries to teach his daughter to succeed by being upright ("always follow your heart in a moment of truth"). Stoner's Paradise is either a love song of sorts, but it’s a question of whether it’s meant to be ironic or forthright. My first impression is that it’s an ironic poke folks who immerse themselves in the drug culture to avoid the realities and responsibilities of life, but after several listens I'm not 100% certain.

Tropicana is a pleasant change of pace, sampling a bit of Latin-flavored jazz for a feeling of lounge-cool juxtaposed against some of the hottest rhymes on the record. Dying is the most unusual song on the album. Based in classical piano, orchestration and some ethereal harmony vocals, Dying is a metaphor for the loss one oneself. The song is unusually poignant and haunting for the genre, and will stay with listeners long after the album has stopped playing.

Dead Poets take some of the better elements of Urban & Hip-Hop styles and wrap them around intelligent and well-wrought rhymes to craft a remarkable debut in Starving Artist. The album is atypical enough of the genre that it may have a little bit of difficulty gaining traction in the usual outlets, but has the potential to be accessible to folks who don't normally listen to Hip-Hop. Dead Poets struggle with the world as it is and continue to try to make the right choices; entreating others along the way to do the same. The pride present on Starving Artist is the dignity of human spirit to overcome, regardless of the obstacles that stand in the way. Redemption is a goal of every day; a mix of survival and conscience that Dead Poets expect from themselves, their children, and the world around them.

Rating: 3.5 Stars (Out of 5)

You can learn more about Dead Poets at www.myspace.com/deatpoetsmusic. You can download Starving Artist from iTunes, Amazon.com, Rhapsody or eMusic.

Review: Cinema, Cinema - Exile Baby

Cinema, Cinema - Exile Baby
2008, Digitone Records/The Lumiere Label

Brooklyn's Cinema, Cinema celebrated a new lineup and new direction in 2008 with the release of their third CD (and first full length release), Exile Baby. Paul Claro (drums) and Ev Gold (guitars/vox) navigate through ten songs that range from alternative rock to an ambient, avant-garde style that defies labels. The duo has showcased their sounds at numerous clubs around the New York City metro area and even at CMJ (for the third year running) in 2008.

Shine No. 1 is an ambient exercise that borders on aural psychedelia. Gold's vocals stretch to their limit as they soar over the musical landscape laid down here. RX is a driven modern rock tune full of jangly guitar and quasi-stream of conscious lyrics. Drydive builds from ethereal footstones into a driving, grungy rocker with a garage aesthetic. I Don't Wanna Be Your Boyfriend takes on a Punk aspect with a lot of sonic interference on guitar in a song that threatens to fly off the sonic rails at several points but never quite crashes. The sound throughout Exile Baby is lo-fi; the production values primitive, but the net effect is an intriguing and enjoyable listen. Other highlights include Hope Dies Last and Still/Life.

Cinema, Cinema brings the underground to your doorstep with Exile Baby. If you wonder what goes on in the basement studios and rehearsal rooms in a place like Brooklyn, this is a good example. A pop producer would do a lot with Cinema, Cinema's sound that might make them more commercial, but it’s highly questionable whether it would be an improvement in their sound. In artistic terms this is American Primitive music, and Cinema, Cinema has a unique sound that will appeal to folks in the Avante-Garde and Psychedelic music realms.

Rating: 3 Stars (Out of 5)

You can learn more about Cinema Cinema at www.myspace.com/cinematwice or http://www.cinemacinemaband.com/. Exile Baby can be purchased as a download through iTunes.

Review: Margo Reymundo - My Heart's Desire

Margo Reymundo - My Heart's Desire
2009, Organica

Margo Reymundo has already achieved a fair amount of success in the music world. Her first Spanish language album release independently spawned a #1 music video. Her Electronica project, Evolve, had a top-ten electronic album for 2008 in Happy Hour In The Gene Pool (Musical Star Streams). Reymundo has also appeared in Broadway and Off-Broadway productions of shows such as Saturday Night Fever, Selena Forever and Latin Heat. Focusing on her songwriting, Reymundo moved to L.A., teaming up with some of the best touring and session musicians on the West Coast to produce her latest album, My Heart's Desire. Contributors on My Heart's Desire have played/recorded with the likes of Sting, Frankie Valli, Phil Collins, Diana Ross, Diane Krall, Donna Summer, Edgar Winter, Dave Brubeck and Maynard Ferguson, to name but a few. The result is a sonically interesting album that blends Latin, Brazilian, Soul, Pop and Jazz into a highly enjoyable and commercial hybrid.

My Heart's Desire opens with the Latin Jazz flavored title track, a love song that's bound to be a wedding and mix-tape favorite. Reymundo's voice is a sultry and textured and a joy to listen to. There's an honest, open quality to her singing that is part intonation and part just the pure joy she emanates through her songs. Tell Me is a hopeful love song that gets a little heavy on the schmaltz but is well-written and performed. Reymundo's stunning cover of The Police's Wrapped Around Your Finger does Sting proud. Reymundo's sultry and ethereal interpretation brings a new and vaguely confusing level to the song.

My Heart's Desire is primarily an album of love songs, and at times strays into the cliché sounds you might expect to hear on Delilah. You Belong To Me is a distinct exception, probably the best original song on the album. I Saw You takes more of a dance approach while retaining some rock character to it and is bound to be a hit for Reymundo. You'll want to make sure and listen to Reymundo's cover of Bill Withers' Ain't No Sunshine, one of the better interpretations I've heard.

Margo Reymundo has a voice and a personality that is bound to lend to success. The material on My Heart's Desire ranges from too typical adult contemporary to on the edge Latin/pop/rock songwriting. It's a strong effort and a stepping stone into the future for Reymundo. I'll be curious to see what she does next.

Rating: 3.5 Stars (Out of 5)

You can learn more about Margo Reymundo at http://www.margoreymundo.com/. You can purchase a copy of My Heart’s Desire at www.cdbaby.com/cd/margoreymundo.

Review: This Blue Heaven - Quicksandglass

This Blue Heaven - Quicksandglass
2009, Green Door Six Music

Boston quintet This Blue Heaven has one foot in the 1980's golden era of pop/rock and the other in the neo-folk/rock of bands like Rilo Kiley and Death Cab For Cutie. With a new wave sensibility and a stack of melodies that just won't quit, This Blue Heaven grabs hold of the listener by the ears and won't let go. Their debut album, Quicksandglass is a throwback to a not-too-long-ago time when bands wrote albums, not just a series of disjointed singles for dissemination into the ether.

Quicksandglass opens with Bliss, hearkening back to a sound originated in the girl vocal groups of the 1960's and revived somewhat in the early 1980's. MacKenzie Outlund has an exceedingly warm and pleasant voice that is perfect for this material. The guitar work sounds like Brian May is sitting in, a credit to guitarist Stu Dietz. My Disgrace is a classic unrequited dysfunctional love song wrapped in a wonderful new wave arrangement and a sing-along vocal line. As Ever As Always continues in the New Wave vein with a slightly repressed rocker that would have been Top-40 material circa 1985. Any Other Way is another classic dysfunctional relationship pop song, wonderfully melodic and upbeat in spite of its somewhat dark lyrical nature.

But As Hard As You Try is a song that, released 25 years ago, would have been a monster hit. There's still strong commercial potential here, although obviously the musical mores of the day have change some in a quarter century. Think Corey Hart around 1985 and you have an idea of the sound here (with a female vocalist). Be sure to check out Insomnia, easily the darkest song on the album with a fuzzy soundscape that is memorable. Other highlights include This Time, Future World, When It Feels Like You've Never Been Gone and personal favorite Where The Living Starts.

This Blue Heaven has crafted a highly listenable and intriguing sound. Quicksandglass makes quite an impression, and there's every reason to think This Blue Heaven is here to stay. Make some time to check these guys out, it'll be worth it.

Rating: 4 Stars (Out of 5)

You can learn more about This Blue Heaven at http://www.thisblueheaven.com/. You can get the digital download of Quicksandglass from Amazon MP3. You’ll have to contact the band directly if you’re looking for a CD as we were unable to find any online outlets.

Review: Sons Of The Addicted - Fractal World

Sons Of The Addicted - Fractal World
2008, Phantasma Music

Ridgway, Colorado (pop. 750) is home to Sons Of The Addicted, a ready-for-primetime Modern Rock Act with a distinctive sound and a drive to succeed. Their debut album, Fractal World was released in 2008 and hits all of the right notes for Modern Rock radio. Led by writer/singer/lead guitarist Stosch Dembitsky, Sons Of The Addicted are carving out their own piece of the angst-driven hard rock pie.

Influences of or similarities to bands such as Incubus, Primus, Tool, Joe Satriani, Queensryche and Stone Temple Pilots are apparent through Fractal World, but Dembitsky's creative guitar styling and distinctive voice keep Sons Of The Addicted from falling into a sonic rut. The disc opens with guitar rocker Hold Onto Me, featuring Dembitsky's frantic guitar and vocal style. Lyrically dense, the song is almost a melodic rap tune. State Of The Union sounds like a laid back Queensryche tune, with Dembitsky even getting the same vocal intonation as Geoff Tate. Heroes Of Time hits on an Living Color style guitar riff and builds into an epic story song with its roots in Progressive Rock.

Your New Deal shows off the compositional and guitar-style choices that are somewhat unique to Dembitsky and Sons Of The Addicted. There's almost always something interesting going on in the guitar lines of each song on Fractal World. On this tune in particular Sons Of The Addicted remind me somewhat of the ill-fated collaboration of Les Claypool and Alex Liefson, Victor. Other highlights include Cheaters, Never Again, Grey Matter and Fractal World.

Sons Of The Addicted has a sound that is highly commercial yet musically challenging and unusual. Fractal World is a good start, although perhaps a bit uneven at times. Stosch Dembitsky is an unusual talent who is likely to be a fixture on the Indie music scene for years to come. Fractal World is a strong intro to Sons Of The Addicted.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sons Of The Addicted at http://www.sonsoftheaddicted.com/. You can purchase a copy of Fractal World through Amazon.com.

Review: Common Market - The Winter's End EP

Common Market - The Winter's End EP
2009, Hyena Records

Common Market's latest release, The Winter's End EP, breaks new ground for the Seattle-based Hip-Hop duo. Using their traditional bass of R&B and soul loops, Common Market adds synthetic sounds to create a more ambient sonic landscape on The Winter's End EP. RA Scion leads the way with intelligent and accessible rhymes, even singing at times while Sabzi provides well-sculptured backdrops for RA's diatribes.

Nouveau Depart opens The Winter's End as a funeral dirge that questions people's reliance on religion in the face of self-reliance. The song comes to a premature end with a hard transition into Escaping Arkham, a soliloquy of a suicide victim on the precipice of the hereafter. Brasso comes back with a synth-horn jazz hook that is thoroughly infectious in a bit of musical trash talk about avoiding death. Slow Down Moses is a highly introspective look at recovery from the self-imposed death of a family member that questions our cultural dependence on things like psychotherapy to get by. The Pictures Of My Delorean Gray is an instrumental with, of all things, a bouzouki (synthesized) that is an entertaining listen. The EP closes out with a radio edit of Brasso.

Common Market sets the bar high on The Winter's End EP. RA Scion isn't afraid to say what he thinks, but it's clear he thinks. The rhymes here are intelligent, well thought out and musical in their meter and cadence. RA uses the language he feels needed to present his ideas but doesn't use language simply for the sake of shock value, which is repressing. The music underneath is well constructed and a bit unique for the genre. I highly recommend The Winter's End EP. It varies enough from popular Hip-Hop to catch attention of folks who don't normally pay much attention to the genre, and so well done that even hard core fans will want to check it out.

Rating: 4 Stars (Out of 5)

You can learn more about Common Market at http://www.commonmarketmusic.com/ or www.myspace.com/commonmarket. You can get a digital download of The Winter’s End EP through Amazon MP3.

Review: Marian Call - Got To Fly

Marian Call - Got To Fly
2008, Marian Call/Quantum Mechanix

Marian Call is the fiery-haired chanteuse from Alaska responsible for last year’s Vanilla, Wildy’s World’s Album Of The Year for 2008. The Anchorage-based singer-songwriter has continued to branch out into the lower forty-eight, with recent or upcoming shows in Colorado and Texas. Her sophomore album, Got To Fly, is something of a geek tribute album. It includes all original material inspired by shows/movies/books such as Firefly, Star Trek, Lord Of The Rings and Battlestar Galactica, to name a few. Don’t write off Got To Fly based on her inspiration, the album is amazing.

Got To Fly opens with I'll Still Be A Geek After Nobody Thinks That It's Chic (The Nerd Anthem), a wonderfully retro-mod anthem that drops references to The Lord Of The Rings, Star Trek, Steven Hawking, Galileo and Van Gogh. The Nerd Anthem walks the line of novelty song but is just too well written to really be considered such. It doesn't hurt that it's call's dulcet voice singing the words, but the song is as much serious social commentary as it is a celebration of nerd-dom. Good Old Girl opens with a furtive passage that opens into a theatrical coffee house missive and the sort of affection that fictional characters inspire in fans. Call's harmony vocals are gorgeous. Don't Try is romantic advice for Firefly’s Simon Tam and Battlestar Galactica’s Billy Keikeya, but is a lovely ballad built on a plaintive piano and angelic vocals.
Dark Dark Eyes is a mix-tape love song if ever there was one; a classic folk ballad. Fans of Marian Call's first album, Vanilla, might be a little wary of an album with sci-fi and fantasy themes, but this isn't a hack tribute album. Got To Fly pays its tributes with the songwriting and performance quality we've come to expect from Marian Call. Call herself expressed a little trepidation how this album might be received, but that concern is baseless. Call is such a great storyteller, and the tributes or parallels are subtle and well-written such that most listeners won't get most of the references unless they are fans of the particular show, writer, etc. Vera Flew The Coop is an epic story inspired by Firefly, but again, unless you’re a fan of that particular show it’s just a highly interesting story song with Call's amazing voice lulling you in. The same goes for Its Good To Have Jayne On Your Side, which has a bit of an old-school country feel to it. Call has crafted another story song inspired by Firefly that is likely to be covered by other performers.

In The Black could be the anthem for the black sheep of family, but is also based on the television drama Firefly. Call weaves her story-telling magic in another song that is destined to be covered over and over. I wouldn't be entirely surprised to hear In The Black licensed for television or movies either; it's that well done. Got To Fly is the breakout song of the album. Call outdoes herself in a composition that is so complex and stylistically mixed its hard to keep up with. Lyrically dense, Got To Fly is a vocal master class from Call. Lesser vocalists couldn't even get through the song, but Call belts, coos and croons like the song is her second nature. I had this one on repeat for almost an entire day at one point as comprehension ran its course into awe. Call closes out with It Was Good For You Too (blues version), in a classic torch performance that will blow you away. Based on Firefly’s Yo-Saff-Bridge, It Was Good For You Too is destined to be a fan favorite. This is another song that is bound to be covered, licensed and spread virulently by suggestion.

When I first heard Marian Call was releasing a project that was a tribute to Sci-Fi/Fantasy television, movies and books, I have to admit I was a little skeptical. Most any other artist I would have simply let it pass, but I know some of McCall's work. Unless you’re a big fan of the material that inspired a particular song you'll never know the song is a tribute. What you will understand very quickly is that Marian Call is a rare talent. I don't know if there is anyone else currently in pop or folk music quite like her. Got To Fly is a highly limited release (1,000 CDs) without any current plans to reprint it, but if you're a fan of great songwriting and great performance you need this disc. Got To Fly is a surprising Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Marian Call at http://www.mariancall.com/ or www.myspace.com/mariancall. You can purchase a signed, limited copy of Got To Fly (only 1,000 copies made) through Quantum Mechanix.

Review: Harlan Flo - Wheels Of Time

Harlan Flo - Wheels Of Time
2008, Fuzz Junker Records

Harlan Flo is a dose of down and dirty blues with a classic rock feel, a modern rock edge and some of the hottest vocal harmonies going. The Chicago sextet features Berklee College of Music grad Patrick Dugan on lead vocals and guitar. Their debut album, Wheels Of Time, is a blast from the past with some present day twists. The guitar work is righteous and the arrangements will appeal to fans of 1970's electric blues.

Wheels Of Time opens with Battle Cry, a musical wolf in sheep's clothing. The first half of the song sounds like your prototypical 1970's blues/rock hybrid, but then you get to the searing duo guitar solos. The song rocks like nobody's business and the vocal trio of Amanda Riva, Sophia Hall and Jenna Liddle provide some of the hottest vocal support east of the Mississippi. Livin' is built around a clean blues sound and features a pretty funky/flighty bridge you need to check out. Dave Ross shows off some hot keyboard work here. Somethin' In The Night is pure roadhouse blues, while Groove Mood might just be the hottest tune on the album. Porcelain Flower is an obscure and gentle ballad built on harmonics and unusual progressions. This one will be an interesting study for the guitar players out there. Other highlights include El Chupacabra, Heard The News, and Wheels Of Time, with some of the hardest hooks on the album.

Harlan Flo mixes their blues bass with a strong melodic sense, great harmonies and some wicked guitar play. Wheels Of Time is definitely worth a listen or three, but you may not be able to stop there.

Rating: 4 Stars (Out of 5)

You can learn more about Harlan Flo at http://www.harlanflo.com/ or www.myspace.com/harlanflo. You can purchase Wheels Of Time at www.cdbaby.com/cd/harlanflo.

Review: The Apostrophe S - No Nature In Space (demo)

The Apostrophe S – No Nature In Space (Demo)
2008, Prisms And Chisels Inc.

Bethlehem, Pennsylvania’s mix a post-punk approach with a new wave melodic sound and just a touch of psychedelia to create a sound that sounds a bit like a lot of people and exactly like no one I know. Influences include Modest Mouse, The Flaming Lips, Weezer, The Pixies and The Cars. No Nature In Space is the band’s first full-length demo, mixing high energy with Lo-Fi antics. Let’s check it out.

Garage rock. Lo-Fi. Call it what you want, but there's a certain attraction to the raw form of Rock N Roll that is practiced by bands everywhere on their way to finding a sound. Some bands manage to stay within that sound and carve out their own niche, or a hybrid between Garage and something else. The rest of the bands that stay in the garage range never quite find the right mix of sound and style to declare themselves. The Apostrophe S is a band that is searching for that sound and style. There is an almost ambivalent feel that comes from their demo, No Nature In Space, as if there are strong desires for different directions in the band. The first breakthrough comes on Skeletons, the 6th track. Skeletons mixes a reggae sound with that lo-fi mystique behind one of the better vocal performances on the album. There is life and energy to the song that has been somewhat muted on the first five tracks. Ode To The Sea goes for a minimalist ballad that relies on subtle progressions and an almost ethereal air that reminds me a bit of The Rheostatics. Other songs of interest are Until I Find You, 423 and Untitled.
Assuming the mix of songs is somewhat progressive for time, it sounds like The Apostrophe S is searching successfully for their sound. I am not sure that they've found it yet, but it sounds like they've got a couple of possible directions that at least sound promising. Right now this is a good bar band, but perhaps not one you'd invite to a party, as there is a bit of a melancholy feel to a lot of their songs.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Apostrophe S at www.myspace.com/diamondvan.

Review: The Urgency - The Urgency

The Urgency – The Urgency
2009, Mercury Records

Coming out of South Burlington, Vermont, The Urgency isn’t exactly what you might expect. No Phish-style jams can be heard. There are no alternative jazz leanings in their sound. What you do get is a highly rhythmic, post-punk style with an energy level that matches their name. Add to that the musical theater influences vocals of Tyler Gurwicz and you have a sound that is wholly distinctive. Their debut album, The Urgency, will be released on April 21, 2009 on Mercury Records. The path from South Burlington to Brooklyn to the world stage seems an unlikely one, but in listening to The Urgency you get the feeling these guys were always headed for something big.

Subtlety is not a trap The Urgency falls into, as displayed on the opening trap, Fingertips, which sounds a bit like a meaty Police record. Lead vocalist Gurwicz sounds like a cross between a young Sting and a young Colin Hay, and the rest of The Urgency provides him with a wonderfully rhythmic and melodic backdrop against which to sing. Crimes is infectious and would like do quite well as a single. There's a theatrical element to this song that hearkens back to the arena rock days of concept albums and bands like Styx and Queen. Rooftops mixes a strong melodic mix with a great driving rhythm and Gurwicz’ soaring vocals. The Urgency just keeps getting better and better as you listen.

Hot Damn takes a half step back and then blows the roof off the whole thing with a bridge that explodes into a dark and rhythmic chorus. Slowing down a bit, The Urgency visits us with Memories, a classic-sounding heavy Rock ballad with a sing-song chorus that's worthy of a top-ten single. If you doubt the Police influence then listen to Stop, complete with the classic Reggae undertones from early Police records and a vocal line that Sting could sleep walk through. All We Are is The Urgency gone to The Edge, complete with screaming co-vocals. The song is well done but is very out character with the rest of the album, sounding a bit too formulaic. Move You is another step apart from the sound of the first seven songs, but at least keeps the atypical flavor of the rest of the album. Revolution lays it down in a full-bore modern rock instant classic, complete with ultra-dynamic vocal line and some incredible harmony work. Think Queensryche with Sting singing lead and you have the general idea. The Urgency closes out with the solemn and searching Lullaby, perhaps the best writing on the disc.

The Urgency officially hits shelves in a couple of weeks. It's unfortunate that they are probably 20 years too late to meet their maximum commercial potential. Nevertheless, great music will always find an outlet, regardless of the markets and mores of a given generation. Tyler Gurwicz may be the most dynamic new vocalist of the year (we'll see), but there's no doubt you'll be hearing a lot of The Urgency this year. The Urgency is an excellent debut album, worthy of high recommendation and praise.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Urgency on their home page or on MySpace. The Urgency goes on sale April 21, 2009. You can pre-order The Urgency at Amazon.com.

Review: John O'Hurley & Marston - Secrets From The Lake

John O’Hurley & Marston – Secrets From The Lake

2009, Little Giddings, Inc.

John O’Hurley is a man of many talents. He’s been on television and in movies since his run on a series of daytime dramas (The Edge Of Night, As The World Turns, Loving, The Young And The Restless) in the 1980’s. Best known for his role as J. Peterman on Seinfeld, O’Hurley was also a contestant in the first season of Dancing With The Stars. O’Hurley has hosted The Family Feud, been a guest co-host of Live With Regis & Kelly, and has even done voice work for shows such as Sponge Bob Square Pants, Father Of The Pride, Duck Dodgers and Buzz Lightyear Of Star Command. Oh yes, and then there are his professional theater credentials. He’s played Chicago’s Billy Flynn, as well as King Arthur in Monty Python’s Spamalot. Did I mention he’s also a well-known pianist and composer?

Secrets Of The Lake is the second collaboration between O’Hurley and renowned cellist Marston Smith. Their debut album, Peace Of Our Minds, as a big hit. It peaked at #13 on the Billboard chart for Alternative Classical music. Marston Smith has quite the impressive resume of his own, having recorded with the likes of KISS, Whitney Houston, Neil Diamond, Toni Braxton and Lionel Richie. Their second album, Secrets From The Lake, continues where Peace Of Our Minds left off.

John O'Hurley's compositions show the same dramatic flare that he displays on stage and screen. Even in quieter moments such as Forsyth Pond, O'Hurley captures a melody with theatrical implications. You can almost see the sunlight rippling on the water while a lazy bird rides the drafts overhead. Marston adds the perfect shading to this song. The title song, Secrets From The Lake, is full of cinematic themes and flourishes, like something that could have played in the closing credits of On Golden Pond. Waltz For The Man In The Moon is an inspired bit of writing, sounding like a lullaby. Marston steps forward to take the lead here in a warm and passionate performance, trading lines with O'Hurley's piano. My favorite track on the CD is Winterlake, with an ethereal, almost ambient synth wrapping itself around Marston's inspired cello play. Other highlights include Sailor's Suite, Variation On A Butterfly Aria and Cellian Cove.

John O'Hurley writes new age/classical compositions with the occasional touch of Broadway flair. O'Hurley's chops are undeniable, and Marston is a wizard with a bow in his hand. Secrets From The Lake is a thing of beauty; too good to just be background music and too alive to not listen to.

Rating: 4 Stars (Out of 5)

You can learn more about John O’Hurley and Marston at http://www.johnohurley.com/. You can purchase a copy of Secrets From The Lake at www.cdbaby.com/joam2.

Review: The No Tomorrows - Hanging In Space

The No Tomorrows – Hanging In Space
2008, Osiris Records

Hailing from Midlands, United Kingdom, The No Tomorrows come as something of a dichotomy. Punk rock sensibilities mix with that highly developed British melodic sense to create a sound that isn’t punk, isn’t pop and isn’t new wave, but somehow transcends all three into a highly accessible and enjoyable patois. Led by the distinct vocals and quasi-Andy Summers guitar style of Baz Kane, The No Tomorrows will make you stop and listen. Bassist/vocalist Tony Start and drummer/vocalist Peanut lay an incredibly tight and rhythmic base that allows Start to expound on his muse, and the listener benefits. Their debut CD, Hanging In Space, is pure DIY.

The more I listen to Hanging In Space, the more I am reminded of some of Andy Summers solo work. The feeling here is repressed energy. The No Tomorrows go for a very laid back sound, with very subtle guitar work. Baz Kane has a pleasant vocal sound but isn’t overpowering vocally, and that may drive the sound of The No Tomorrows as much as anything. The No Tomorrows sound entirely in their element on Live Today, an active rocker with a memorable melody that would work really well at college radio. The No Tomorrows pick up steam with We Are Free, getting into some real guitar-rock sound. This song actually sounds a bit like mid-career U2. Corporate Land starts out promisingly but falls into a repetitive trap. City Of Dreams is a highlight, one of the more enjoyable listens on the CD. Other highlights include Life After Midnight, Actions And Words and Folding Space.

The No Tomorrows take an interesting Lo-Fi, minimalist approach to Rock N Roll. It’s going to work for some and not for others. Hanging In Space suffers, at times, from a lack of energy, particularly on some of the slower, more languorous material. The songwriting is good, the sonic quality a bit fuzzy (stylistic), but I didn’t leave the listening experience a particularly strong opinion one way or the other. It was pleasant but didn’t make a distinct impression.

Rating: 3 Stars (Out of 5)

You can learn more about The No Tomorrows at www.myspace.com/thenotomorrows, where you can purchase Hanging In Space directly from the band using PayPal.

Review: New Vinyl – Makin’ It Easy / New Vinyl

New Vinyl – Makin’ It Easy / New Vinyl
2008/2006, New Vinyl

Tired of teeny-pop? Maddened over the state of Metal? Wondering what happened to good old fashioned guitar solos and rock music that kicked some tail? I’d like to introduce you to New Vinyl, a quartet out of Wakefield, Northeast, United Kingdom. If you’re a fan of bands like Woodward or Tally Hall, then you’re going to love these guys. Driving energy, harmonies, just a touch of post-punk flavoring and a love of the music they are playing set New Vinyl apart from the pack. Far apart. Today we are reviewing two recordings, Makin’ It Easy (2008) and the band’s self-titled EP from 2006.

Makin' It Easy

Two two-track single opens with Makin' It Easy, steeped in classic middle-America Rock N Roll with a dash of British Invasion frenzy thrown in, Makin' It Easy is highly melodic and as energetic as Rock N Roll should be. The song's vaguely reminiscent of Queen and The Beatles, or of modern acts Woodward and Tally Hall. Temptation is more of a post-punk anthem, although it holds onto that British melodic magic. Temptation is thoroughly danceable and is infectious as they come. This may have been a better choice for lead track.

New Vinyl [EP]

The self-titled EP opens with Stephanie, a wonderfully upbeat but dark anti-love song. The protagonist is neurotically obsessed with the object of the song in a love/hate sort of fashion in a highly entertaining song. I'd Rather Be Alone is a mellow and introspective tune that is quite lovely. Its interesting hearing this material as it stands in stark contrast to the later single. It’s as if New Vinyl was at first something of an Adult Contemporary act that has gone nearly punk. Call For Rebellion brings us back to reality. New Vinyl regains some of their swagger in a song that would fit in well with a 1980s British New Wave act such as A Flock Of Seagulls. London Don't You Know is the highlight of the two singles. New Vinyl captures a rough yet reserved sound I love, sounding very much like Canada's The Lowest Of The Low. The harmonies are right on here, the sound is a bit more layered than I'd have suspected, but the track is very well written, performed and produced. The last track, Untitled, is a bit of sonic experimentation that is highly entertaining.

New Vinyl appears to have found a sound that works very well for them. Eschewing the rather unfortunate Emo trends, New Vinyl makes strong, sonically pleasing rock music that plays on the edges of Punk, Prog and Glam. New Vinyl has the swagger that's been missing from Rock music the past few years. These guys are worth checking out, supporting, etc.
Ratings:

Makin' It Easy: 4 Stars (Out of 5)
New Vinyl: 3.5 Stars (Out of 5)

You can learn more about New Vinyl at http://www.newvinyl.co.uk/ or www.myspace.com/newvinyl1. Makin’ It Easy is available for download on iTunes. If you’re looking for a copy of the self-titled EP, I’d suggest contacting the band directly through their MySpace page.

Review: Electric Sorcery - Electric Sorcery

Electric Sorcery – Electric Sorcery
2009, Electric Sorcery

Electric Sorcery grows from the fertile musical stomping grounds of Northern Vermont. They are something of a local super group, collectively being veterans of Vermont acts such as Viscus, Cobalt Blue, The Myra Flynn Trio, Hoochie Lumbardo and Money Jungle. Derek Campbell (guitar, vox, harmonica, fife, theremin); Micah Carboneau (drums, vox) and Nathanael Reynolds (bass) deliver an eclectic and psychedelic rock mix on their debut album, Electric Sorcery.

Electric Sorcery opens with Mother Sea, a funky bit of early 1970's hard rock. Electric Sorcery plays on the same psychedelic plain as Jethro Tull, Deep Purple or Jimi Hendrix, although perhaps with not quite so much imagination. Law & Order is a frenetic rocker with a quasi-rap vocal that sounds a bit like Rush on Roll The Bones. A Switch In 9 Saves Time has manic guitar work and an infectious energy but never quite evolves into more than a showpiece. No Angel is an electric funk mind bomb, ala Hendrix, with subtle guitar work, some funky bass and an eclectic rhythm track. My favorite track on the CD, Life Goes On, is built on some dirty guitar work and a driven vocal that's part Red Hot Chili Peppers. Other highlights are Son Shadow and The Nubians.

Electric Sorcery plays on the same plane as Tull, Deep Purple and Hendrix, although perhaps not on the same stage (metaphorically). What Electric Sorcery does offer is an update of classic psychedelic sound with the heart of an original and the hip nature of an upstart. Electric Sorcery is a fun listen.

Rating: 3 Stars (Out of 5)

You can learn more about Electric Sorcery at www.myspace.com/electricsorcery. Electric Sorcery is currently only available locally in Vermont, but if you contact the band through their MySpace page, I’m sure you can work something out.

Review: The ConSoulTant - Spend The Night

The ConSoulTant – Spend The Night
2009, Raging Sky Records

Selita Boyd is no stranger to the stage or to music. The former Miss Black Georgia first runner-up and Georgia Tech cheerleader has been involved in the music industry since the mid-1990’s, when she worked for LaFace Records (founded by Antonio “L.A.” Reid and Kenneth “Babyface” Edmonds). Boyd was one of the first women in Atlantic to run a high-end digital recording studio, working with LaFace artists, but also artists from Block Entertainment (Bad Boy Records) and So So Def (including Raven Simone). She’s also an accomplished computer programmer, but music is her first love. In 2009, Boyd finally releases her debut album, Spend The Night, under her stage name The ConSoulTant. A mix of urban, pop, rock and jazz sounds, The ConSoulTant defies categorization with strong songwriting and a presence that will knock you out.

The ConSoulTant opens with Spend The Night, a heavy dance tune with a catchy beat. The voice isn't quite what you'd expect on a pop/dance record, being both a bit fuller and deeper than what you generally hear on these kinds of songs. Have U Googled Yourself 2Day is another solid dance tune. Musically sound, the song is a bit lyrically awkward. The ConSoulTant's voice opens up a bit more here and is really quite pleasant, although much more enjoyable in her upper register. Operator is a pop/dance hybrid featuring the reggae/rap of Tara Lynn. Lyrically lightweight, the song will do well in clubs but probably doesn't have a lot of legs outside their walls. Hanging In The Picture opens with an unusual rhythmic vocal cadence that is quite promising before falling into a musical rut that is stylistically indistinguishable from much of 1990's R&B Dance/Pop.

Dry Tears finds The ConSoulTant in her upper register with a song dedicated to those whose loved ones are serving in the military overseas. The song is a pleasant listen. The vocals are good, but the song is a bit stilted lyrically. Do You Still Love Me hits the dance floor with relationship issues. The ConSoulTant seems to excel at this sort of dance music where the lyrical content isn't as important and the vocal requirements are mid-range. Need Someone dazzles with some impressive vocal harmonies in a classic disco arrangement ala Donna Summer. One Step Away is the probable highlight for most: a classic love ballad without much affectation or over production. While this setting puts the ConSoulTant's vocal flaws more clearly on display, its the most honest and unfettered performance on the disc, and very much welcome for that. The disc closes out with remixes of Spend The Night and Need Someone.

The ConSoulTant is obviously very well connected in the music industry, and does have a certain level of talent, but Spend The Night just doesn't live up to the hype. The ConSoulTant has a pleasant but not overwhelming voice. The material is better than average but generally not self-distinguishing (the best moment musically on the disc is the sax work of Charles Robinson on the remix of Need Someone). Lyrically, The ConSoulTant is a bit awkward at times. She excels with the dance material.

Rating: 2.5 Stars (Out of 5)

You can learn more about The ConSoulTant at http://www.theconsoultant.com/ or www.myspace.com/theConSoulTant. You can purchase a copy of Spend The Night at www.cdbaby.com/ConSoulTant.

Review: Modern Science - Modern Science

Modern Science - Modern Science
2009, MIMORTL Records

Las Vegas-based duo Modern Science has forsaken their generation's obsessively melancholic musical angst in favor of old-fashioned fun-time Rock N Roll with a modern edge. Songwriter/guitarist/lead singer Kane Churko met bassist/backing vocalist Mike McHugh through MySpace in the midst of a troubled solo project entitled Mr. Kane. Finding an instant bond, the duo was born and took the moniker Modern Science as their own. Add in production from Juno Award winning producer, and father of Kane, Kevin Churko (Ozzy Osbourne, Shania Twain, Phil Collins), and the end result is an energetic and infectious collection of ten songs entitled Modern Science.

Modern Science is great for the first seven songs. There's an element of Devo-esque geek chic that runs deep below the surface of wonderfully constructed pop gems. Look Where You're Walkin' is funky and infectious bit of modern guitar Pop you won't be able to get out of your head. Every Little Thing has some serious hooks and is very danceable. I'm The One (Pick Me) is the highlight of the album. This song could be a top ten single on the Pop charts with the right support. It's that rare rock/pop song that would be as accessible to the club and dance scenes as it would be to mainstream and AAA radio. Release this in May and you have a potential "summer song" that will be around for years. Baby Please has a bit of a classic Motown sound to it and is highly entertaining and danceable. Modern Science changes the vibe a bit on the virulently electro-rock Whatever You Say, and then again as they bring the funk on U Funk Me Up. Even the modern rock meets Devo sound of Desperately fits perfectly with the dynamic Modern Science has established on their self-titled debut.

By the time we get to the last three songs it seems like Modern Science has exhausted their A material and picked out a few songs to fill out the album. While good, these last three just don't have the energy or urgency that characterizes Modern Science up until this point. While this may have been a conscious choice, and the songs themselves aren't bad, they are a bit of a come down from the first seven.

Modern Science has a great, catchy pop sound that is bound to grab some attention. If another golden age of Pop/Rock music is about to start then don't be surprised if Modern Science is one of the bands at the forefront. The first seven songs here are Desert Island material; the last three worthy listens. All in all, Modern Science is an outstanding effort. Make sure these guys are on your "got to check them out" list.

Rating: 4.5 Stars (Out of 5)

You can learn more about Modern Science at http://www.themodernscience.com/. You can purchase a copy of Modern Science at www.cdbaby.com/cd/modernscience.

Review: Taylor Brown - Bar Stool Ferris Wheels

Taylor Brown - Bar Stool Ferris Wheels
2009, Tick And Tack Records

Taylor Brown has music in his blood. The Kirkland, Washington-based singer/songwriter is the son of a Broadway singer and began performing himself at the age of four. Brown is thoroughly DIY, constructing his own home studio so that he could record his own material in his own fashion. The resulting debut album, Bar Stool Ferris Wheels is all Taylor Brown, all the time. The artist plays and sings all parts on the CD, recorded over a two-and-a-half year period. With a dense lyrical style reminiscent of Jason Mraz and a penchant for modern rock guitar, Brown has developed a sound with real commercial potential.

Bar Stool Ferris Wheels opens with a Ben Folds-style piano rocker called Coin Toss. Brown's voice is quite pleasant to listen to and the instrumentation is, if not unique, at least interesting. Coin Toss is a lesson in trading fate for chance and is well written, although perhaps a bit unfocused lyrically. Brown has major guitar skills, as displayed on What She Says. This catchy tune has the lyrical density of Jason Mraz tune and is accompanied by some amazing guitar work. This is probably the most likely single on the album with a very catchy melody and beat. Don't Look At The Sunshine is catchy in a disjointed fashion that would do quite well on what passes for pop radio these days. These Strange Worlds features some of the most frenetic guitar work on the album and is worth listening to for that alone. I enjoyed Faces Turning, although I still think Brown is pushing a little too much lyrical content into the song structure here. My favorite song on the disc is Flash Back. The song is presented in a strong arrangement with its pop sensibility intact. You still get that sense of lyrical hyperactivity here but you can hear Brown trying to pull back just a bit. Other songs of interest are That Way I Need You, Ode To Downs and The Days When I Was Young.

Taylor Brown has loads of musical talent, and as a composer I'd put him up against the best in pop music right now. Lyrically he has at tendency to try to do too much within the framework of a song. This isn't necessarily a fatal flaw but it does create some awkward moments on Bar Stool Ferris Wheel. Even with that said, it's a great debut. A little more time doing this and perhaps the opportunity to collaborate with other musicians will wear away the rough edges and I suspect Brown will be a top notch songwriter in time. For right now he's a talented rookie coming out of Spring Training ready to set the world on fire. This kid can't miss.

Rating: 4 Stars (Out of 5)

You can learn more about Taylor Brown at www.myspace.com/taylorbrownplaysmusic. You can purchase a copy of Bar Stool Ferris Wheels at www.cdbaby.com/cd/taylorbrownmusic.

Review: Jason Harrod - Bright As You Are

Jason Harrod - Bright As You Are
2007, Jason Harrod

Jason Harrod is familiar to many as one half of folk/pop duo Harrod And Funck, but has drawn rave reviews since setting out solo. Harrod's latest CD, Bright As You mixes Americana, Southern Rock and Blues across ten impressive tracks. Assisted by a top notch backing band featuring Phil Madeira (Mavis Staples, Al Green, Emmylou Harris, Buddy Miller), Harrod has created what has to be an early favorite for consideration on year-end Americana/Rock lists.

Bright As You Are opens with The Sun Is Up, a great bit of upbeat Americana. Harrod reminds me of a cross between Francis Dunnery and Del Amitri here, on what may be the best and most obvious potential single on the album. Kickin' Mule breaks out in a Southern Rock/Blues hybrid that is instantly memorable. Messed Up Everywhere Blues is a strong concert tune, with Harrod sounding a bit like Peter Gabriel on vocals. Night Fall On Me is a fun listen and For Your Time is a great straight-up folk song with both heart and mind in the composition. My favorite track on the disc is My Mad Girlfriend. This rocker with real pop sensibility has universal appeal and is destined to become a fan favorite.

Jason Harrod has some great things going for him. His songs are catchy and memorable, his voice is a pleasure to listen to, and he appears to have a touch for writing that is accessible and likable. Bright As You Are is highly recommended as a great listen; Jason Harrod is one of those artists you'll find yourself gravitating toward and looking for that next release. Excellent.

Rating: 4 Stars (Out of 5)

You can learn more about Jason Harrod at www.myspace.com/jasonharrodmusic or http://www.jasonharrod.com/, where you can purchase a copy of Bright As You Are.

Review: Sometymes Why - Your Heart Is A Glorious Machine

Sometymes Why - Your Heart Is A Glorious Machine
2009, Signature Sounds

I have been familiar with one-third of Sometymes Why for some time. Aoife O'Donovan is the beatific voice at the front of Crooked Still, whose album Still Crooked we have reviewed previously. Ruth Ungar Merenda (The Mammals) and Kristin Andreassen (Uncle Earl) were both new to me. When I sat down to listen to their sophomore effort, Your Heart Is A Glorious Machine, I expected high quality from what I knew of O'Donovan, but I have to say that I was blown away by Sometymes Why. Each member wrote and sings lead on three songs, with a shared harmony version of Concrete Blonde's Joey added in. Merenda, O'Donovan and Andreassen alternate songs, but I'll take them by singer/songwriter.

Ruth Ungar Merenda opens with Aphrodisiaholic, an amazing song with incredibly soulful vocals. This is a song that is destined to be covered from here to eternity. It's a love song and a come on all rolled into one, and Merenda is transcendent. This is a musical "Wow" moment you won't soon forget. Merenda gets into a Bob Dylan groove on Shine It. Her wonderfully textured voice supports a strong lyrical acuity. Merenda is a romantic (classical) story teller in song. Merenda's third contribution is Cold Feet Blues, in a performance that could have happened in Chicago night club circa 1933. Merenda is an amazing talent and shines on her contributions to Your Heart Is A Glorious Machine.

Aoife O'Donovan's silky smooth voice is a perfect complement to Merenda's when singing together, and an absolute pleasure to listen to when she's out front. Slow Down is a dark and moody composition that fits O'Donovan's voice perfectly. The song is very reserved and maudlin but with this deeply buried promise of something better to come. Diamond is a song that will appeal more to female fans than to us Neanderthal males, as the questions posed aren't ones that tend to go through our minds. But O'Donovan has managed to take a raft of questions that often occur in rapid fire succession without distinct answers and turn them into a rich and cogent lyrical tapestry. The arrangement is bare bones with gorgeous vocal harmonies from Merenda and Andreasson. O'Donovan's third contribution lends the album its title. Glorious Machine is a diva songwriting moment. O’Donovan sticks with her preferred minimalist arrangement style, working with Merenda and Andreasson to craft a rich vocal tapestry around an amazing lyrical concept.

Kristin Andreasson is the wildcard of Sometymes Why. The presumption is that Merenda's going to blow you away with raw talent and a level of vocal showmanship with few peers. O'Donovan writes gorgeous story songs and presents them with an earthy warm voice and natural arrangements that are as organic as they come. Andreassen has a knack for finding moments and making them come alive in her songs. My Crazy is a starkly beautiful and compelling musical play starring a victim of unrequited love. The character and mood that Andreassen builds both through her writing and performance is absolutely alive to the listener. The Stupid Kiss is about the consequences of crossing the friendship line. The protagonist thinks it can't happen to her, but it does, and Andreassen once again brings her alive. The Sound Asleep might be the most compelling composition on Your Heart Is A Glorious Machine. A lullaby for adults, Andreassen will lull you to sleep and walk you through a dream or two along the way.

The three voices that comprise Sometymes Why are a heavenly concoction. Songwriting aside, the vocal mix on Your Heart Is A Glorious Machine is an aesthetic, from the Wilson Phillips-esque cover of Joey to the ethereal layering of The Sound Asleep; you'll be floored by the sounds they achieve together. Your Heart Is A Glorious Machine is a powerful, moving and ultimately lovely record. Stylistically it's not exactly what you'd expect from Merenda, O'Donovan or Andreassen when with their usual bands, but you won't regret a moment. Your Heart Is A Glorious Machine is a Wildy's World Certified Desert Island Disc. Don't miss this one, folks. It's made me want to go out and find their first CD.

Rating: 5 Stars (Out of 5)

You can learn more about Sometymes Why at http://www.sometymeswhy.com/ or www.myspace.com/sometymeswhy. You can purchase a copy of Your Heart Is A Glorious Machine in Sometymes Why’s online store. You can also get a copy through Amazon.com. If you’re into renting your music, you can pick up the MP3s through AmazonMP3 or iTunes.

Review: Tony D'Mattia - fiZ

Tony D’Mattia - fiZ
2009, Tony D’Mattia

Tony D'Mattia has the market on radio-ready pop anthems practically cornered. His third album, entitled FiZ (also his stage name), is chock full of eleven highly polished pop songs that veer from straight up pop to R&B and even a bit of guitar rock. D'Mattia collaborated with Steve Holly (Wings) and producer/musician Bob Stander (The Platters, Paul Townshend) on the album, enhancing his pop tendencies without becoming a self-parody. D'Mattia displays grand ideals on stage and off, believing in the power of music to heal and change the world.

FiZ opens with This Is It, a positive rocker that's very catchy and radio-ready. D'Mattia stays upbeat through most of the album, whether in softer pop oriented tunes (High, Sending A Vine, You And Me) or more upbeat rockers (Take Me Back, No Words, Anything). The highlight of the album is the duet version of There with Janet Montalbo (amazing voice). This is a song that could be chart ready right now. If D'Mattia were to break out with a single from this album my first suspicion would be There, although Sending Is Vine is also incredibly catchy. D'Mattia also does a good job on the solo version of There that closes out the album, but the song just works better as a duet.

FiZ is a hard album to get a handle on. It's very well done: well produced, high-gloss pop music that is bound to make an impact in the commercial environment. If there is any complaint its that FiZ doesn't appear to have any rough edges. While it's a good listen, there's nothing here that makes you want to go seek out D'Mattia or his music. D'Mattia's voice is good but isn't terribly unique or interesting. The songs themselves are the sort of reusable pop format that radio thrives on but fails to make any real lasting impact. FiZ is a pleasant listen but just doesn't have that extra something that makes it stay with you.

Rating: 2.5 Stars (Out of 5)

You can learn more about fiZ at www.myspace.com/fiz. You can purchase a copy of
fiZ at www.cdbaby.com/cd/tdmattia2.

Review: Beati Paoli - A Sense Of Urgency

Beati Paoli – A Sense Of Urgency
2009, The Noising Machine

Beati Paoli is a Post-Punk/Modern Rock quarter from Des Moines, Iowa. With influences ranging from The Clash and The Talking Heads to The Smiths, The Cure and The Psychedelic Furs, Beati Paoli looks to set the rock world on its ear in fits of jangly guitar and retro-melodic anti-pop. On A Sense Of Urgency, Beati Paoli displays an unmistakable theatrical bent. This same quality has won over fans on the road as Beati Paoli has toured the US with bands such as British Sea Power, Man Man and Cursive.

A Sense Of Urgency opens with Rabble Rouse, an energetic, almost post-Beatles sounding bit of Brit Pop. A big, rhythmic chorus is the highlight of this song. Beati Paoli manages to maintain a strong melodic sense in spite of this highly rhythmic and repetitive arrangement. Maggie is a definite highlight, falling into something of an Elvis Costello groove (only slightly darker). Girl Friday fits perfectly into the whole Cure/Smiths feel. Also be sure to check out While We’re Young. Beati Paoli finds a real pop gem in this song, disguising it with an anti-pop feel that’s ironic, intentional or otherwise.

Beati Paoli strikes me as a band that would be a lot of fun live. There’s a fair amount of energy on A Sense Of Urgency, but there is a dark mood about the music that really runs counter to the inherent pop sensibility the band brings to the table. While ironic in small doses, the overall effect is more of a general ambivalence. I suspect the music comes alive in concert, and would recommend you reserve judgment until and unless you have the chance to see them live. In the mean time, it’s a decent album with some very good songs.

Rating: 3 Stars (Out of 5)

You can learn more about Beati Paoli at http://www.beatipaoli.net/ or www.myspace.com/beatipaoli. You can purchase a copy of A Sense Of Urgency at www.cdbaby.com/cd/beatipaoli.

Review: Iuengliss - Motion In Mind

Iuengliss – Motion In Mind
2009, Bocumast Records

Denver, Colorado’s Tom Metz transcends his own humanity to become Iuengliss, the melodic/electronic purveyor of digital ambience responsible for Motion In Mind. Experimental dance beats, ethereal vocals and a Hip-Hop energy are the components of Iuengliss’ electronic stew; you’ll be hard pressed to remember the last time you tasted music so good.

I use the food/taste metaphor because there is a real and substantive flavor evident on Motion In Mind. Ambient music can get caught up in its own ether and become disconnected from the listener, or so overpowering in rhythm and sound it becomes a wash that never soaks in. Metz has constructed music with a visceral essence that is inescapable. Motion In Mind doesn’t overpower the listener, but also does not fail to challenge the listener to try something new. Opening with Blubbles, Iuegnliss creates a virtual bubble chamber in music, with pockets of air bouncing off one another separated by the thinnest membranes of sound. Dark Motions has a wonderful, gloomy feel that is exciting, similar to the thrill/fear of walking down a dark street in an unknown part of town. Iuengliss even plays with Industrial themes on Another Time. Say Goodbye (Dark Mix) is the highlight of the album, mixing dreamlike staccato rhythms with a gorgeous, ambient vocal and a plaintive piano hook that gets stuck in your brain. Other highlights include Mend Right, Say Goodbye and the title track,

Iuengliss parts the waters of Electronica on Motion In Mind and crosses over into a truly Pop/Electronica realm with a highly accessible and credible album. Motion In Mind meets the listener with feet firmly planted, thrilling with tangible musical conversations that are sonically sound and structured like popular music. It’s a strong effort.

Rating: 3.5 Stars (Out of 5)

You can learn more about Iuengliss at http://www.iuengliss.com/ or www.myspace.com/iuengliss. You can obtain a digital copy of Motion In Mind through iTunes.

Review: Kim McLean - Rapunzel's Escape

Kim McLean – Rapunzel’s Escape
2009, Kim McLean

Kim McLean mixes Appalachian Country/Folk with an occasional dollop of Blues and a bit of sass on Rapunzel’s Escape. Perhaps best known as a songwriter, McLean is a pretty mean performer in her own right. Her soulful, homey voice is a pleasant listen. Her guitar skills are very apparent, and her attitude is the perfect mix of sass and maturity. Rapunzel’s Escape opens with Ain’t No Glory, the first single and arguable the most commercial track on Rapunzel’s Escape. Born To Be Happy sounds like the big winner here, however. Born To Be Happy is born for country radio, and McLean’s performance is the perfect mix of old country spice and modern Country’s pop orientation. My personal favorite song on the CD is Beautiful Goodbye. It’s a song about making the right decision in spite of what your appetites may be telling you, and how good it feels taking the right path. Cracks In The Concrete is a close second, mixing some old school country with a bit of Memphis Blues for the most entertaining and danceable track on Rapunzel’s Escape. Other highlights include Break The Glass, A Beautiful Day With You, Always Know and Because God’s Good.

Kin McLean is a talented singer and songwriter. Her ability to cover so much ground musically without ever sounding out of place is a true gift. McLean doesn’t so much bend herself to each style she plays; rather she makes each style and sound her own with a signature flair. There’s a bit of Bonnie Raitt in McLean, but with a wider musical range. Rapunzel’s Escape is destined to be featured on several year-end “Best Of” lists.

Rating: 4 Stars (Out of 5)

You can learn more about Kim McLean at http://www.kimmclean.com/ or www.myspace.com/kimmclean. You can purchase a copy of Rapunzel’s Escape at www.cdbaby.com/cd/kimmclean6.

Review: Lisa Bianco - Post Data

Lisa Bianco – Post Data
2009, Lisa Bianco

Lisa Bianco comes from the New York City Underground scene, mixing singer/songwriter themes with guitar rock, power pop and experimental rock tendencies. The resulting mix is a delicious mellow rock sound that is as energetic as it is cerebral. On her debut album, Post Data, Bianco tackles the evolving milieu between humanity and the digital world.

Bianco has garnered a reputation as an electric performer, honing her skills on the New York City circuit and recently embarking on an East Coast tour of the US and Canada. The songwriting style on Post Data is strongly reminiscent of The Cranberries. Bianco loves to play with guitar effects as well, and you’ll hear all sorts of interesting sounds throughout Post Data. The apex of the album is the last song, Post Data/We Communicate. Tackling the growing interpersonal disconnect that occurs as become more closely linked in a virtual world, Bianco shows the slippery slope from interconnectivity to isolation. Tumble Like Weeds opens the CD; a powerful song built in a simple arrangement that is a perfect pop setting. The first single from Post Data is Sideways, a musical vignette on tenacity and persistence in difficult times. My personal favorite track here is Catch & Weave. It’s Bianco breaking things down to their most simple, singer/songwriter level. Catch & Weave isn’t the flashiest song on Post Data, but it’s probably the best songwriting of the bunch. Other highlights include Something To Prove, Already Gone and As Good As It Gets.

Lisa Bianco has built an underground reputation, but it turns out she’s so underground she Pop. Post Data is a well-crafted, melodic and intellectual album with a lot of commercial potential. Fans of Chantal Kreviazuk, The Cranberries and Maren Ord will dig this big time.

Rating: 3.5 Stars (Out of 5)

You can learn more about Lisa Bianco at http://www.lisabianco.com/ or www.myspace.com/lisabianco. You can purchase a copy of Post Data at www.cdbaby.com/cd/lisabianco.

Review: Paul Turner - Clear Blue

Paul Turner - Clear Blue
2008, White Lotus Records

Sydney, Australia's Paul Turner took the circuitous root to a music career. While backpacking across America, Turner happened to hear Mason Williams' Classical Gas while staying in a San Francisco hotel. Falling immediately in love, Turner vowed to learn to play the song on guitar (he'd not played before). Returning home to Australia, he started guitar lessons. Upon conquering Classical Gas, Turner realized he'd found an avenue of expression he'd not imagined before. Soon Turner was touring as an opening act for bands like Midnight Oil and getting airplay from outlets such as Philadelphia's WXPN. In October of 2008, Turner released his debut album, Clear Blue, in the United States. One word: Wow.

Listening to Turner play guitar is revelatory. He dresses his brand of singer/songwriter rock with incredibly intricate and complex guitar parts, constructing songs that are epic short stories set to amazing guitar-based arrangements. Clear Blue opens with City Lights in a gorgeous finger-pick arrangement. Turner's voice is strong and clear and soars over the music like a bird over the ever moving streets his music seems to portray. Be Happy is a love song of sorts. It’s not your typical romantic ballad but much deeper, expressing a much deeper meaning of love that tends more to the universal than the individual. Turner delves deep again on Angels Cry, a lushly arranged song with deep philosophical roots. This might be the loveliest arrangement on the album, although it kept making me think of Seal's Don't Cry for some reason.

Love Meteorite is a must hear. The complex guitar work, amazingly memorable medley and intelligent lyrics make this song an absolute keeper. This is mix-tape material, but there may also be a religious sub-text here that's quite deeply planted if intentional, or perhaps quite telling if it is not. Room is my personal favorite on Clear Blue. The vocal is haunting on a par with Chris Isaak's Lady In Red, and the guitar/cello/voice arrangement is perfectly conceived and delivered. Other highlights include Come With Me, Carcassonne and the instrumental, Clear Blue.

Paul Turner is a distinctive talent. His writing and guitar play may take a musical background to fully appreciate, but are accessible to anyone with the time and space to listen. Turner's voice is hauntingly beautiful and soars over his songs in unrepentant fashion. It's really hard to think of contemporaries for Turner, because there aren't many writers/performers with the level of virtuosity that Turner shows on Clear Blue. Names like Paul Simon and Sting come to mind, but Turner also calls up folks like William Ackerman for his out-of-the-box guitar style. However you choose to classify him, you'll be happy you listened. Clear Blue is a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

Learn more about Paul Turner at www.myspace.com/musicbypaulturner. You can purchase a copy of Clear Blue at Amazon.com.

Review: Ray Charles - Genius: The Ultimate Ray Charles Collection

Ray Charles - Genius: The Ultimate Ray Charles Collection
2009, Concord Records

Ray Charles is a legend, an icon. His voice is instantly recognizable. Folks from 8 to 80 know who Ray Charles is. Even my two year old loves Ray Charles (particularly Hit The Road Jack). Charles has been the subject of numerous collections over the past several years, all claiming to capture the "best of" or the "essential" Ray Charles. Next up, on April 7, 2009, Concord Records releases Genius: The Ultimate Ray Charles Collection, twenty-one of Ray Charles most well-known songs from the classic period of his career.

From a sound quality perspective this CD is as good as it gets. The one live track, Hallelujah, I Love Her So is so crisp and clean that if you close your eyes you'd almost think Ray Charles was right in front of you performing. From start to finish we get Ray Charles at his Pop/R&B/Blues best. Not much of Charles' later material is represented here, but for casual and new fans that won't matter much. Hit The Road Jack is here, as is What'd I Say (Part 1). I Can't Stop Loving You, I've Got A Woman and You Are My Sunshine are also here. Of course no Ray Charles collection would be complete without Georgia On My Mind, Charles' signature song. And if you haven't heard Ray Charles' cover of The Beatles Yesterday you're in for a real treat, and of course the album closes out with America The Beautiful.

If you have never really listened to Ray Charles this is a good place to start. So many artists over the past two generations have been influenced by Charles it's impossible to come up with a number. If you are a long-time fan then you probably have all of the material presented here, but the sound quality might make it a nice addition to your collection anyway. Whatever your musical tastes, you can't afford to not be at least acquainted with Ray Charles.

Rating: 4.5 Stars (Out of 5)

You can learn more about Ray Charles at http://www.raycharles.com/the_man.html. Genius: The Ultimate Ray Charles Collection hits shelves on April 7, 2009. You can pre-order the collection at Amazon.com.

Review: The Westerners - Beautiful Departed

The Westerners - Beautiful Departed
2009, West Arts

Los Angeles based folk/pop/Americana outfit The Westerners wrote and recorded Beautiful Departed in memory of guitarist Joe West's daughter. West and vocalist LaDon Drummond form the heart and soul of The Westerners, employing elements of jazz, pop and ambient musical forms to create a melancholy tribute streaked with veins of joy, sorrow, anger and resignation. Beautiful melodies are couched in steady, rhythmic musical arrangements that draw on world elements and unusual instrumentation schemes. Beautiful Departed covers the darker and lighter elements of memories of a loved one lost.

There are highs and lows here, but they are more emotional than musical. This is a project that you really need to listen to all the way through. If you've lost someone dear to you then you will find much here to treasure. If you're blessed enough to never have experienced such a loss, Beautiful Departed won't have the same impact on you. This is a cathartic album, perhaps, and can be a tough listen for the emotional weight that it carries, but is quite well done.

Rating: 3 Stars (Out of 5)

You can learn more about The Westerners at www.myspace.com/thewesternersusa.com or http://www.thewesternersusa.com/. You can purchase Beautiful Departed at their website (using PayPal) or at CDUniverse.
When not singing, you can also catch LaDon Drummond in reruns of The Practice, Any Day Now and Days Of Our Lives.

Review: Telling On Trixie - Ugly, Broke & Sober

Telling On Trixie - Ugly, Broke & Sober
2009, Nicoletto Small Music

New York City rockers Telling On Trixie bring the anthemic power-pop on their sophomore album, Ugly, Broke & Sober. After being voted Logo's #1 band of 2007 for their self-tited debut album, it would be easy to understand a bit of a sophomore slump. Telling On Trixie never heard of such a thing. Rather than standing pat with the formula that worked the first time, the band stretches their boundaries on Ugly, Broke & Sober without abandoning the melodic spirit that got them where they are.

Ugly, Broke & Sober opens with Shooting in 60, an anthem for today's celebrity-obsessed culture. Crash Me Up is an interesting experiment. Telling On Trixie asked their fans to submit words or phrases to be turned into song lyrics. Crash Me Up is the resulting word jumble. The exercise, and song, works, sounding like a cryptic but mostly cogent lyrical construct. The strong pop/rock arrangement and harmonic dressing doesn't hurt either. The most pleasant surprise of the album is the very dark interpretation of Belinda Carlisle's Mad About You. The tenor and tone of this version implies pe