Darrelle London - Wildy's World Artist Of The Month, June 2009

Darrelle London is one of the biggest surprises of 2009 for us at Wildy’s World, and we just couldn’t resist making her Wildy’s World’s Artist Of The Month for June, 2009. London is one of those artists who will continuously surprise you. With a voice that recommends an innocent sweetness she can hit you with an acerbic lyrical rush that will leave you breathless; all done with the impish smile of a child. London could be ultra-subtle younger musical cousin of Nellie McKay. Both artists have expansive musical and songwriting talent; employ wit in their songs and can deliver knockout blows with a smile, but where McKay is in your face London is subtle and refined.

With classical training in both piano and voice, Darrelle London quickly began to write her own material. Conquering the restaurant circuit in southern Ontario, London quickly became a force on the Toronto Indie scene. She has since gained significant airplay on college radio in Canada, and has made appearances at WinterFolk, International Pop Overthrow and IndieWeek Canada. London draws audiences in with her cute demeanor and blows them away with a distinct pop musicality and thoughtful and incisive lyrics that keep listeners on their toes. There is no such thing as a boring performance when it comes to Darrelle London; she enjoys performing and writing and it shines through on every note of every song.

Darrelle London gave up law school to pursue a career in music. It won’t be too long before that decision is officially vindicated. It’s rare for a talent of this magnitude to come along, encompassing songwriting, performance, personality, charisma and a pop sensibility that may just rival that 60’s quartet from Liverpool. Check out Darrelle London’s debut CD, Edible Word Parade, and you’ll see what I mean. Darrelle London currently has a handful of shows scheduled for Toronto and London, Ontario throughout the summer. Keep checking her website for more dates. We’ll be talking more about Darrelle London as the month progresses, so make sure you take the time to check her out. Learn more at http://www.darrellelondon.com/ or www.myspace.com/darrellelondon. You can also check out videos for her songs Understand and Two Roads on YouTube.

Review: Angi West - Love Is A Special Way Of Feeling

Angi West - Love Is A Special Way Of Feeling
2009, Angi West

Familiar to readers of Wildy's World from her background vocal work on Jar-E's Chicas Malas, Angi West is as distinctive in appearance as in sound. West looks like a large child or a doll on first glance, although her eyes reveal a depth and maturity that her features can't convey. It's when West opens up her mouth and sings that you realize that you're dealing with a distinctive voice; an artist. West's latest CD, Love Is A Special Way Of Feeling, displays West as she is, an eclectic and quirky artist with a sound you won't soon forget.

West's songwriting and performing style falls somewhere between Kate Bush, Tori Amos and Liz Story. West has operatic training and writes in a semi-Baroque style that includes aria-style runs and resolutions. Genres don't really exist as hard boundaries for West; they're more like a palette where the colors have all mixed to create something you've not quite seen before. West can be lyric and sweet or jarring and quick and has a frenetic, almost stream-of-conscious tendency in her lyrics. The album opens with Your Hands. While this song is difficult to read, it sounds like someone in an abusive relationship who finds solace in the striving to save her partner from himself. It's a jarring narrative sung in West's occasionally sweet, occasionally troubled voice. Same Speed is about bonding with people like yourself. In this case two school mates who aren't as physically gifted as their peers find solace in one another. The song is written almost in the voice of a child, working up to a sort of fumbling, clumsy affection.

Lucy And Linnea is a modern folk opera with a discordant, ambient underscore. The song presents a powerful voice for moving forward in the wake of mistakes. ("So we leave the wrong and take the right / and the darkness to the night."). No One is a rebelliously optimistic love song built on sparse instrumentation and a strong if unusual melody. Let Them Sleep incorporates a bit of an Appalachian feel that refers to a grand love that calls to us all, although some sleep through the call. Instead of proselytizing others, West admonishes those in the know to let the sleepers slumber. One Hand is a straight-up Rock/Pop song with Tori Amos style piano construction that is instantly recognizable.

West has a little vocal fun on Brand New Face, a delightful round with some wonderful harmonic intricacies woven around an incessant but vaguely muted rhythm. Coming out of this West springs to the theatrical side, offering up Carter's Song. This grand love song matches the complication of the emotions it carries with an intricacy of composition that's appropriate to back up a highly poetic set of lyrics. I'll Wait goes for deep devotion in a love song strongly reminiscent of Kate Bush. For all that's come before, Angi West saved the best for the last full song on the album, Home In Heaven. This highly intriguing tune sound Celtic in origin, and West finds male voices to recreate the hum of a bagpipe underneath. The song is aurally stunning as an essentially A Cappella piece. West has a bit of fun with listeners with a hidden track that gives the album it's name, Love Is A Special Way Of Feeling. It's West and a bunch of (presumably) friends singing together at a party; a kitchen party song where the chorus is easy and everyone chimes in a verse, for better or for ill. Innuendo and wit vie with "really good attempts" for an experience that's fun to listen to (and probably even more fun to participate in).

Angi West is a ferocious songwriter, honest and forthright to her core as an artist, singer and songwriter. Love Is A Special Way Of Feeling is unique in sound and approach and driven wholly by the personality and charisma of west. Her voice is distinctive and memorable and a pleasure to listen to. The original song construction fed by Opera, Appalachian Folk, Americana and whatever bits of musical stew West can find is unlike most anything you've likely heard. Love Is A Special Way Of Feeling will grab your attention and hold it though many listens. Bravo.

Rating: 4.5 Stars (Out of 5)

You can learn more about Angi West at http://www.angiwest.com/, angiwest.blogspot.com, or www.myspace.com/angiwest. You can purchase a copy of Love Is A Special Way Of Feeling at www.cdbaby.com/cd/angiwest2.

Review: The Source - Prickly Pear

The Source - Prickly Pear
2009, Under The Sun Records

The Source is a Los Angeles based Progressive Rock band that could have just walked out of the 1970s. With the expansive creative edge of Yes, the experimental tendencies of King Crimson, and the willingness to mix things up in unusual fashion, The Source might just be one of the best things to happen to Prog in twenty years. The Source’s sophomore album, Prickly Pear was released earlier this year and continues to build on the sterling reputation The Source has developed.

Prickly Pear opens with Promised Land, a highly intricate Progressive Rock piece reminiscent of early Yes but with a bit of a lean toward Jazz flavoring. Star Dreamer plays within the Prog sphere with elements of Queen's sound. Until Morning Time continues the sonic experimentation with an eleven minute opus that sounds like early Styx and Yes jamming together. The song is very mellow and lyric in the vocal passages but turns downright medieval in the instrumental breaks. This is a complete rock symphony with multiple movements but retains a sense of continuity throughout. Thin Air sticks a little more to traditional Art Rock structure, but even at five minutes finds time for some musical exploration. Prickly Pear closes out with Castles In The Air, a fifteen minute magnum opus that ranges from ambient, melodic Rock to serious Prog. There is a clear Yes (read, Steve Howe) influence here, particularly in the guitar work.

The Source is one serious Prog band in the tradition of Yes and King Crimson. Prog is making a comeback in general, particularly in the thrash/punk realm where bands like Iwrestledabearonce and The Devil Wears Prada have incorporated the symphonic structures to devastating effect. The Source are highly traditional and very creative as practitioners of Prog. Longtime fans of the genre will love The Source, and Prickly Pear is a great introduction.

Rating: 4 Stars (Out of 5)

You can learn more about The Source at http://www.thesourcerocks.com/. You can purchase a copy of Prickly Pear at www.cdbaby.com/cd/sourcerocks2.

Review: Frank Sinatra - Classic Sinatra II

Frank Sinatra – Classic Sinatra II
2009, Capitol Records

It seems that the traditional music industry survives these days by re-packaging music fans already have and throwing in one or two tidbits they don’t. The latest example is Frank Sinatra’s Classic Sinatra II, due June 2, 2009 on Capitol Records. The album is drawn from Sinatra’s concept albums recorded for Capitol between 1954 and 1961 plus a handful singles, and of course, one previously unreleased track. So for a list price of $18.98 you can get twenty songs you may already have and one you don’t. If you’re into renting your music (digital downloads), this presents no problem, you can simply download the new song. If, like me, you prefer to own your copy, you’ll have to lay down the cash for the CD if you want the new track.

All of that being said, Capitol has put together a pretty nice collection in Classic Sinatra II. The set features some big hits from that era, including Love And Marriage; High Hopes and (Love Is) The Tender Trap. Also included are standards such as Pennies From Heaven, Moonlight In Vermont, All Of Me, Love Is Here To Stay and Just One Of Those Things. Of course, if you’re a big-time Sinatra fan then you’ll buy the album just to have This Can’t Be Love, which has not been previously released. The song only clocks in at 1:40 and is over pretty much before you know it, but reflects Sinatra singing with a big band and in perfect form.

If you’re a Sinatra fanatic, you’re going to go buy this CD no matter what anyone says. If you don’t really know a lot about Sinatra and want to be introduced to his music, Classic Sinatra II is a great place to start (and I would suggest supplementing it with Classic Sinatra (1953-1960), the 2000 release also on Capitol Records. It’s a great collection, but it really depends on how much of this material you already have and whether you have to have that new song…

Rating: 4 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. Classic Sinatra II is due for release on June 2, 2009. You can purchase a copy of Classic Sinatra II at Amazon.com, or you can download it through Amazon MP3.

Review: Margot Malia - Lava Moon

Margot Malia - Lava Moon
1999, Margot Malia

Margot Malia Lynch is a native of Greenfield Center, NY (just over the hill from Saratoga Springs) who spent much of her life playing the music of others as a classically trained pianist and violinist. It wasn't until her late 20's that Malia picked up a guitar and started writing songs as a catharsis from a failed long-term relationship. Malia recorded her debut EP, Lava Moon, in Boston in 1999. Lava Moon has never before been reviewed and has only been available at local shows in Upstate New York over the last ten years. Malia is finally contemplating the writing and recording of a new project and thought it might be time to dust off Lava Moon for a wider audience.

Lava Moon is a picture of the artist as an early work in progress. The album features just Malia and her guitar, and Malia's guitar skills at the time didn't extend beyond chord changes and strumming, but show a definite ear for melody and progression in songwriting. Malia's voice is warm and sensuous throughout, alternately taking on the earthy quality of a Grace Slick or the flighty quality of Tori Amos. Lava Moon itself is a treatise in Feminist and Naturalist ideology (treating them as intertwined rather than as distinct). Lava Moon is about the empowerment of women; the finding of value in self rather than in the projections of society and a connection to the natural world. The album opens with Be A Light Unto Yourself. This is a great start that will earn comparisons to some of the more rambling material from Jefferson Airplane. The song itself is limited by the sparse instrumentation and would be interesting to hear how Malia might re-interpret it ten years on.

Power is a song of thanks to the divine feminine aspect, focusing on lava as a source of power or almost a life's blood for the earth. Multi-dimensional opens as a feminist treatise but becomes more of an encouragement for self-empowerment. The song is written for female listeners and beseeches listeners to see themselves as more than objects of society's fancy. I would guess this might have been one of Malia's early attempts at songwriting as it's clear she was more focused on message than musicality here, but the song has real potential. Tyger is in the same boat as Be A Light Unto Yourself; a promising song limited by the instrumentation here. Pele might be the most intriguing song on the CD. Pele (volcano/goddess) is representative of the power of women, the planet and all of nature. Lava is the planet's lifeblood (a theme also in Power, and the volcano's core is compared to a womb. This mostly spoken-word piece is dynamic and engaging, and gives you an idea of how Ani DiFranco might have sounded if she grew up 20 years earlier.

Lava Moon is an early rough sketch of an American Primitive musician. Malia was still very much learning her craft at the time Lava Moon was made, and yet she showed very strong potential as a songwriter and performer. Lava Moon is the sort of introduction that leaves us here at Wildy's World very curious about the future of Margot Malia. I don't know if significant popular reach is likely (although it's impossible to tell what's transpired artistically in ten years without hearing new material), but Malia is a distinctive, artistic voice as a songwriter, and her voice is definitely a draw. Lava Moon is worth investing a little bit of time in, although it's probably more for the ladies (if you're a member of the He-Man Woman Haters Club you definitely won't like it). Here's hoping Margot Malia treats us to new material soon.

Rating: 3.5 Stars (Out of 5)

You can learn more about Margot Malia at www.myspace.com/margotmalia or http://www.margotlynch.com/. Lava Moon is available directly from Margot Malia. Contact her through her MySpace page for additional information.

Review: Iwrestledabearonce - It's All Happening

Iwrestledabearonce - It's All Happening
2009, Century Media

Iwrestledabearonce is part of the new movement in Punk/Thrash/Hardcore Rock toward the compositional elements of Progressive Rock. The Louisiana quintet is perhaps the most original and unique punk act to come along in the new millennium. Iwrestledabearonce is distinctive on so many levels its hard to know where to start. You'll hear comparisons to The Devil Wears Prada, but Iwrestledabearonce is bigger, faster, harder and more creative. Iwrestledabearonce's debut album, It's All Happening, will be released on June 2, 2009. Are you ready?

Iwrestledabearonce is a thrash metal band unafraid of incorporating electronic music into their sound and also has some serious Prog tendencies. I personally am not big on the screaming thing, but Krysta Cameron is a very sound vocalist when singing. You'll need a lyric book to follow along, and the songwriting can be downright chaotic, changing from stave to stave and even measure to measure between lyric, melodic rock and Thrash/Prog. You Ain't No Family establishes the base sound, but it's the second track, White Water In The Morning that truly throws down the gauntlet for listeners. The song is completely over the top, with Krysta Cameron really getting her scream on (particularly in the second half of the song). Danger In The Manger is manic and maniacal; have fun trying to keep up. Tastes Like Kevin Bacon is all over the map and would appear to incorporate a distinct sense of humor but remains undecipherable in at least some portions of the song. Other highlights include Pazuzu For The Win, Eli Cash Vs. the Godless Savages and See You In Shell.

Iwrestledabearonce is going to be huge. Sitting at the forefront of a new movement in hardcore music, this Prog/Thrash behemoth is just a little bit faster and a little bit better than anyone currently on the scene. That's not to say other bands won't catch up, but the chaotic nature of the songwriting is bound to make bands like Yes and King Crimson applaud in appreciation. It's All Happening is a pretty heavy record and won't be appreciated by everyone, but the Artpunk crowd should elevate Iwrestledabearonce to icon status.

Rating: 4 Stars (Out of 5)

You can learn more about Iwrestledabearonce at http://www.iwrestledabearonce.com/ or www.myspace.com/iwrestledabearonce. You can order copies of It’s All Happening at Amazon.com, or download the album through iTunes.

Review: Vanessa Williams - The Real Thing

Vanessa Williams - The Real Thing
2009, Concord Records

Vanessa Williams has had it all at one time or another. Miss America, Movies, Broadway (Kiss Of The Spiderwoman), a recording career, Television (Ugly Betty). Her voice has always been among the best in the business. Back in 2009 with an album of standards and should-be-standards, The Real Thing, Vanessa Williams proves for any who hadn't figured it out thus far that she might just be one of the most versatile and pre-eminent talents in entertainment.

The Real Thing is produced by Kenny "Babyface" Edmonds, and allows Williams to shine like the sun. Unlike many of the R&B/Pop artists of today, Williams doesn't need to impress you with meaningless runs and coloratura gloss. Digging in to a mix of Pop, Jazz and R&B, Williams' voice is more than enough in its natural state. The Real Thing opens with Breathless, a great, old school Pop/R&B ballad that finds Williams in perfect voice. Hello Like Before is a classic ballad in the vocal standard school of singing. You could picture Williams singing this one in a 1940's nightclub as easily as in the present day. I'd actually never heard this song before and was very impressed with the songwriting, so I was thoroughly unsurprised to find it was penned by Bill Withers.

Loving You finds Williams opening up her voice just a bit. The rendition here is a little bit raw and sounds amazing. The Real Thing could as easily be a jazz standard as a Broadway tune with its swanky attitude and sensuous nature. Close To You finds Vanessa Williams skating as close to vocal perfection as it’s possible to get. Make sure to check out October Sky, Williams' duet with Javier Colon, and Come On Strong. Come On Strong is the sort of song that could easily be dropped into any one of a dozen classic Hollywood romantic films and would seem perfectly at home.

Vanessa Williams is a consummate performer, and The Real Thing reflects that fact. Vocally flawless with near-perfect instrumental backing, Williams shines under the steady hand of Babyface Edmonds. I felt there were two or three songs on the album that, while nice tunes, weren't necessarily chosen well. Even on these Williams is able to make the mundane memorable. If you aren't familiar with Vanessa Williams as a singer, this is the perfect chance to get to know her.

Rating: 4 Stars (Out of 5)

You can learn more about Vanessa Williams at http://www.vanessawilliams.com/. You can purchase a copy of The Real Thing at Amazon.com or download it through Amazon MP3.

Review: Kat Edmonson - Take To The Sky

Kat Edmonson - Take To The Sky
2009, Convivium Records

Austin, Texas-based Jazz siren Kat Edmonson makes an exciting debut with Take To The Sky, an album of 9 reinterpretations of jazz standards and pop hits. Released digitally earlier this year, the album is available on CD for the first time on June 2, 2009. Mixed by super Engineer Al Schmitt (19 Grammy’s), Edmonson has an extremely talented band to back her up. Drummer J.J. Johnson (John Mayer, Charlie Sexton); bassist Eric Revis (Branford Marsalis Quartet) and pianist Kevin Lovejoy (Spoon, John Mayer) are joined by guests John Ellis (Charlie Hunter) and Ron Westray (Wynton Marsalis) in providing a tight and original tapestry in support of Edmonson's stunning vocals. Engineer Schmitt, who's worked with the likes of Frank Sinatra, Barbra Streisand and Sam Cooke, describes Edmonson as "the best new jazz singer I have heard in years".

Kat Edmonson is a once-in-a-generation voice. With a sound reminiscent of the great female jazz vocalists of the 1920’s and 1930’s, Edmonson is a treat for traditionalists, yet has just enough quirky pop sensibility to traverse the generations in between. Take To The Sky opens with Gershwin’s Summertime. The arrangement here is unusually dark, allowing Edmonson to be the only light you hear for the first two minutes of the song; she shines in a gritty and nuanced performance. The Cure’s Just Like Heaven gets a jazz/samba treatment here. I have to admit it took a few listens for me to really get this song, but it’s probably one of the finest covers I’ve heard. Edmonson is seraphic on Cole Porter’s Night And Day and turns in an incredible performance on Henry Mancini’s Charade.

Edmonson plays chameleon on the Cardigans’ Love Fool, sounding so much like Nina Persson that even fans of the band may be fooled. Edmonson projects a steely vulnerability on this song that is engaging. Angel Eyes (Brent/Dennis) is a popular selection that’s been covered by the likes of Sinatra, Duke Ellington, Ella Fitzgerald, Willie Nelson and Ray Charles and even Sting. Edmonson gives it all she’s got and comes up with a terrific reading of the song. My personal favorite song on the disc is Cole Porter’s Just One Of Those Things. If Porter were able, he would give Edmonson a standing ovation for a modern reading that never loses sight of the spirit of the original. Carole King’s One Fine Day becomes a slinky, taunting song much more fitting to the song’s intent than the bouncy Chiffons version. The album closes out with John Lennon’s (Just Like) Starting Over. Edmonson has recreated the song as a contemplative love song; a true jazz standard. It’s so good you’ll wonder how you ever heard it differently.

Kat Edmonson has a passion for Jazz, and the sort of vocal talent that would rise to the top of most any set of contemporaries of any era since Jazz music was born. The ironically quirky nature of her sound also practically guarantees that if Edmonson ever crosses over to the Rock and Pop worlds she’ll have success as well. The pure creativity and vision on Take To The Sky is stunning; its one thing to be able to cover songs well without sounding like a karaoke performer, but it’s something else again to be able to recreate well known songs in a way that makes them your own without losing connection to the spirit of the original. Kat Edmonson is a vital talent, and Take To The Sky is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Kat Edmonson at http://www.katedmonson.com/ or www.myspace.com/katedmonson. You can purchase a copy of Take To The Sky at Waterloo Records or as a download on iTunes.

Review: Aaron Barnhart - Missing Pieces

Aaron Barnhart - Missing Pieces

2009, Bonded Records/Fontana Records/Universal Music Group

Aaron Barnhart is on a track for big things. His debut album, Missing Pieces, came out in May on “Indie” label Bonded Records. Indie is in quotes because Bonded is owned by UMG, but that’s an article for another day. Barnhart is being put out there as the next teen dream, and he may well be. With production by Stuart Brawley (Michael Jackson, Don Henley, Celine Dion, Josh Groban), it’s clear that the folks at Universal Music are betting heavily on Barnhart’s success.

Missing Pieces opens with Day In Day Out, featuring a hook-filled, alt-pop melody that will stay with you. Barnhart has a voice you want to listen to and has a very radio-friendly writing style based in piano-fueled Rock and ballads. Missing Pieces is a song of angst; a passive generational missive on all that isn't happening. Barnhart sounds a bit like John Ondrasik of Five For Fighting here. Painkiller is a non-traditional love song written in a Southern Rock style that you won't soon forget. One More Second Chance is fairly typical as a ballad except that it sounds like it might have been originally written as a country tune.

The Water's Edge is my favorite song on Missing Pieces, an impassioned tune that longs for redemption in the revival of a failed relationship. The Water's Edge is a beautiful piano-based ballad that misses the syrup boat and may gain a lot of attention for Barnhart. Another Day is a close second for favorite song; a 1970's style rock tune with orchestral aspirations where Queen meets Chicago. The vocals here show Barnhart as his most dynamic.

Aaron Barnhart has an ability to connect with the listener even though a medium as cold and distant as a CD. His voice, at his best, is highly memorable, particularly as he moves into his upper range. Missing Pieces is aptly titled. When songs work they're amazing, but there are a few songs here that just don't. Barnhart's sound has distinct commercial potential, and his continued development as an artist will give him great opportunities to realize that potential. Missing Pieces is a strong start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Aaron Barnhart at www.myspace.com/aaronbarnhart or http://www.aaronbarnhart.com/. You can purchase Missing Pieces at Amazon.com, or download the album through iTunes.

Review: Monica Attell - You're Popular [EP]

Monica Attell - You're Popular [EP]
2009, Monica Attell

As lead singer, keyboardist and sometime flute player for NYC stalwarts Beta Zane, Monica Attell was a fierce musical vortex on stage. These days, the Stamford, Connecticut singer/songwriter has more appreciation for the subtlety and artistry of her creations. The kid-sister of Comedy Central's Dave Attell released her third solo-project, You're Popular earlier this year. You're Popular continues Attell's transformation from Rock Goddess (Beta Zane) to geek-pop princess (2006’s Band Geek) to mature singer/songwriter. While we're not quite willing to call Attell a 21st Century Sandra Dee, the comparison isn't too far off the mark.

You’re Popular opens with Honestly, a 1950’s throwback reminiscent of Sandra Dee or any one of a number of the fair-circuit pop stars of the era. Side-Steppin’ breaks into the late 1960’s and early 1970’s with a combination of classic R&B sound and some serious funk riding underneath. Attell’s clear, sweet and every-so-slightly nasal vocal sound is reminiscent of the early days of Rock N Roll, and gives her a distinctive sound. Sunny Day Fantasy is a great 1960’s style girl-pop song and would fit right into the radio playlists of that era. Waiting is more of a traditional pop/rock love song that is sweet but doesn’t have the same nervous energy to it that is apparent on the first three tracks. You’re Popular is more in line with Attell’s two previous projects, the aforementioned Band Geek and last year’s My Bully EP, having a comedic bent to it like a cross between Meryn Cadell and early Barenaked Ladies.

After hearing Attell’s last three projects, and being loosely familiar with her stint in Beta Zane, I’d draw the conclusion that she’s still searching for something musically. Attell has a distinctive sound and style as a vocalist and is highly talented both on keys and the flute. Her ability to capture catchy melodies and memorable hooks in song is well documented across three CDs and countless live shows in the greater New York Metropolitan region, but a cohesive style or direction remains elusive. You’re Popular spends three songs exploring styles and eras that are highly appealing to the ear, and Attell provides some great material, but is drawn back to the witty, quasi-novelty pop realm before she’s done. Whatever you might make of it, it’s very clear Monica Attell is a very talented writer and performer. You’re Popular, while not her best work, is a very strong offering and an experiment at branching out and becoming a more complete and stylistically diverse songwriter; a transitional project that should lead to great things down the road.

Rating: 3 Stars (Out of 5)

You can learn more about Monica Attell at www.myspace.com/monicaattell. You’re Popular is available at electronic outlets such as iTunes. No word on traditional CD copies at this time.

Review; Big Bob Young - Hard Way To Make A Dollar

Big Bob Young - Hard Way To Make A Dollar
2009, A Man Around The House Records

Big Bob Young is a blue collar songwriter who never became a professional musician until the age of 27. Now 53 with his children grown, Young is making time for his first love, music. On his way to today Young has been an airman, a soldier, a farrier, a student, a clown, a telegram singer, a father and husband, a jazzman and a country band leader, and the tough-nosed songwriter with the well-worn voice has a lot to say. Young's backing band includes Michael Webb (Gary Allan) on anything with keys, Rick Lonow (Poco) on drums, Carlton Moody (Burrito Deluxe) on acoustic guitar/mandolin and Colin Linden (Bruce Cockburn) on guitar, slide and Dobro. 2009 sees the release of Big Bob Young's debut album, Hard Way To Make A Dollar.

Hard Way To Make A Dollar is a working man’s album; there’s no pretense or glitz, just no-nonsense story telling and a delicious blend of Country, Blues and Rock N Roll. With a sound more akin to Austin, Texas than Tullahoma, Tennessee, it’s easy to see that Big Bob Young’s style could have broad appeal. Hard Way To Make A Dollar opens with Ship Of Fools, a smooth Blues/Country mix featuring strong guitar play and a highly memorable melody. Best Of A Bad Situation is built on a blend of Country, Blues and early Rock N Roll sounds that would feel right at home in any old-school honky-tonk. Somewhere Tonight is one of those songs that will resonate with a lot of people. It’s about the power of faith or prayer. Young tells a moral in song without making it an issue of one particular religion; yet displays how faith-in-action has the power to change lives.

Hard Way To Make A Dollar is a great honky-tonk style tune about a waitress working hard to make ends meet. The song has a gritty realism without losing the heart of the protagonist and is touching while asking no sympathy. Mississippi Nights is a classic could love/tragedy song that regrets the one who got away. Young even gets in a bit of Swamp Country on Green County Stomp. Perhaps the most intriguing tune on the CD is I Call It Love, which ends up sounding like classic Van Morrison. I Call It Love is profound and sweet without becoming syrupy or cliché; A ballad not so much about a person or particular instance but the many faces of love. The most entertaining song on the disc is Can I Take You Home; a bit of New Orleans seeps into this witty and intelligent come-on song. The album closes out with Stand Up, a gospel tune straight out of the old south.

Throughout Hard Way To Make A Dollar, Big Bob Young is a gruff-but-friendly story teller with an easy approach and an insightful eye. The songs presented here are rooted firmly in country music, but make free use of Rock, Blues and even Gospel as each song warrants. As a story-teller, Young is on a par with Springsteen. Musically, the selection here is dynamic enough to keep even the most jaded listener interested. Hard Way To Make A Dollar is a must-hear CD, a Wildy’s World Certified Desert Island Disc. Make sure you take a little time to check out Big Bob Young.

Rating: 5 Stars (Out of 5)

You can learn more about Big Bob Young at http://www.bigbobyoung.com/. You can purchase a copy of Hard Way To Make A Dollar at CDBaby.

Review: Doyle Lawson & Quicksilver - Lonely Street

Doyle Lawson & Quicksilver - Lonely Street
2009, Rounder Records

In an era when no one artist stays dominant in any musical category for more than an album or two, Doyle Lawson & Quicksilver's longevity and persistence is astounding. Inspired early on by the legendary Bill Monroe, Lawson has built a 30-year recording career with Quicksilver, and to say it's a highly decorated career is an understatement. Between the years of 2001 and 2007, Doyle Lawson & Quicksilver is the only group to take home the Independent Bluegrass Musician Association's award as Vocal Group Of The Year, racking up a total of 14 IBMA awards in the past 13 years. Lawson himself has been a fixture in the bluegrass world for 45 years, receiving multiple GRAMMY nominations and a National Endowment for the Arts National Heritage Fellowship, the highest honor affords by that organization to traditional folk artists. 2009 sees the release of Lawson's latest release with Quicksilver, Lonely Street. The awards will come, but for Dawson it's always been about one thing: the music.

Even 45 years into a storied career, Doyle Lawson has a classic Country voice that’s as clear and true as ever. Lonely Street opens with what can only be described as a prologue in Monroe’s Mandolin. An open tribute to Bill Monroe and the foundation he laid for bluegrass pickers everywhere, Lawson gives a master class in the high lonesome sound that was Monroe’s trademark. It’s a fitting tribute, and the instrumentation and harmonies here are gorgeous. Sound aside; Lawson knows a thing or three about story telling in song. Best example might be Johnny & Sally, which follows a classic formula for the style and yet manages to be sweet in an old-fashioned sense. It’s a witty tune about forbidden love and the good things that come out of it sometimes. The Human Race is a philosophical tune that reminds us what’s important while also reminding us how short-sighted people can be at times. (“Are we losing the human race / Do we ever really learn from our mistakes / Who’s ahead, who’s behind, will there ever be a finish line / are we losing the human race?”).

Lawson & Quicksilver brings us through Old-time country (Yesterday’s Songs), Gospel (When The Last Of Our Days Shall Come) and a good old back porch, flat-picking instrumental (Down Around Bear Cove). An added treat are the two covers presented here. Porter Wagoner’s Big Wind goes back to Country’s early roots for a classic rendition of a great song. Marty Robbins’ Call Me Up And I’ll Come Callin’ On You might quietly be one of the best songs in the Country Music Canon. Lawson puts his own imprint on the song without losing its spirit.

The respect Lawson receives in the industry and the awards that he’s received are a testament to the quality of the music he makes. Doyle Lawson & Quicksilver are legends. As Lawson moves into the latter half of his fifth decade in music, he shows no signs of slowing down. Lonely Street shows a performer and band at the top of their game.

Rating: 4.5 Stars (Out of 5)

You can learn more about Doyle Lawson & Quicksilver at http://www.doylelawson.com/. You can purchase a copy of Lonely Street at Amazon.com.

Review: Irene And Her Latin Jazz Band - A Song Of You

Irene And Her Latin Jazz Band - A Song Of You
2009, Irene And Her Latin Jazz Band

Irene Nachreiner is a multiple-threat artist; vocalist, pianist, songwriter, dancer, screenwriter, actor, and Improv comedy all find homes on her curriculum vitae. She started singing jazz several years ago after meeting acoustic guitarist Marco Tulio (Pat Metheny, Thalia) and drummer/percussionist Cristano Novelli (Milton Nascimento, Diego Torres). Irene And Her Latin Jazz Band's sophomore CD, A Song Of You, features a mix of originals and covers and the exquisite play of her backing band. Aside from Tulio and Novelli, sitting in for this album is pianist and Berklee grad Rique Pantoja (Chet Baker, Milton Nascimento, Steps Ahead, Ricardo Silveira, Carlos Santana).

A Song Of You starts off with the seeds for success, decent original material, some classic covers and a group of A-List backing musicians. Irene Nachreiner gives each song here a technically perfect reading, yet never seems to capture the vim and vigor of her band. Nachreiner’s voice is decent but doesn’t project the sort of charisma needed to pull off songs like S’Wonderful (George & Ira Gershwin); Triste (Jobim); It’s Too Darn Hot (Cole Porter) or Bin Bom (Joao Gilberto). There are a few nice moments here; the title track is a pleasant listen and South Seas Samba has a certain charm to it. Even La Foule is interesting, although perhaps more for the courage it takes to cover such a song.

Nachreiner misses the boat on Fragillidad, the Spanish version of Sting’s Fragile. The original version is an urgent and reverent plea; here it is presented as a hip Latin/Vegas hybrid that’s almost campy. It comes across as technically perfect without the heart or sense of purpose that’s embedded in every note of the song. Likewise Change The World, the song made famous by Eric Clapton comes across like a version you might hear on one of those CDs they sell at Party Warehouse where unnamed performers sing pop hits.

Through it all the backing band is nothing short of inspired. Nachreiner is a solid vocalist with a decent voice, but just doesn’t project the performance style on CD that sells listeners on a song. A Song Of You is a pleasant listen, more appropriate for the dinner hour than serious listening. If you’re more into the instrumental side of things then there is a lot hear to dig into. Irene & Her Latin Jazz Band have created a CD that’s pleasant to listen to but just doesn’t hold the listener.

Rating: 2.5 Stars (Out of 5)

You can learn more about Irene And Her Latin Jazz Band at http://www.irenesings.com/. You can purchase a copy of A Song Of You at www.cdbaby.com/cd/irenesings3.

Review: Elvis Costello - Secret, Profane & Sugarcane

Elvis Costello – Secret, Profane & Sugarcane
2009, Hear Now

Elvis Costello is a pretty nuanced songwriter and performer for someone who started out his career as a punk rocker. Costello was never truly punk, and quickly became one of the pioneers of the style called “New Wave”. From the perspective of thirty or so years later, it’s very clear that there is no single, viable classification for Costello (nee Declan Patrick MacManus). Costello is a musician first and foremost, and in the same vein as artists such as Sting and Billy Joel, has continued to create himself (and his own musical cannon) with each successive album. Costello’s newest album, Secret, Profane & Sugarcane, returns to the acoustic roots of a genre known as Americana. Mixing country, bluegrass and folk, and working with super-producer T-Bone Burnett, Costello has managed to create an instant classic.

Secret, Profane & Sugarcane opens with Down Among The Wine and Spirits, with Costello sounding like he was born of a union of folk and country styles. Complicated Shadows is presented here in much the same fashion, but sounds like classic Costello with a string-band arrangement. The snappy hooks, muted anger and mild rock swagger are all here. I Felt The Chill is a bit more traditional in sound, and marks Costello’s second recorded collaboration with Country legend Loretta Lynn. My All Time Doll sounds a bit like something you’d expect from Kurt Weill if bluegrass and country were his genre. It’s an especially dark song of obsession. Costello offers up a special treat with Hidden Shame, a song Costello originally wrote for Johnny Cash (released on Boom Chicka Boom).

Her Handed Me a Mirror is from the project “The Secret Songs”, songs Costello has written about Hans Christian Andersen for the Royal Danish Opera’s bicentennial celebrations in 2005. This particular song is about Andersen’s fascination with singer Jenny Lind. How Deep Is the Red stays with this topic in a song of deep longing that is touching. Lind rears her head again on She Was No Good, a musical look at the reality behind her somewhat beatific reputation.

Costello wrote two songs with producer Burnett for the album. The first, Sculpture To Sugarcane sounds like the theme song on an old-school southern politician and fits in well with the sort of material Randy Newman has been writing for years. The other Burnett collaboration, The Crooked Line, is a song about fidelity that lacks Costello’s usual vitriol or ironic slant on the subject. Costello closes out with an interesting selection, a Larry Coleman and Joe Darien waltz entitled Changing Partners that Costello first heard performed by Bing Crosby many years before. It’s done as a classic country tune here and is better for the treatment.

As a music fan I caught on to Elvis Costello quite late. In his 1980’s heyday I had my head stuck firmly in the clouds of arena rock, but the man is a consummate performer and musician. If you just look at the list of people he’s written songs for and with you’ll understand the sort of esteem Costello has from his contemporaries. Secret, Profane & Sugarcane is the sort of album that no established artist has to make. It’s brave; a risk. It fits perfectly with the profile and persona Costello has built/cultivated over the course of his career, and it’s a smashing success. Secret, Profane & Sugarcane is a smash; a Wildy’s World Certified Desert Island Disc, and yet another reason for artists of this generation and the next few to follow to cite Costello as an influence.

Rating: 5 Stars (Out of 5)

You can learn more about Elvis Costello at http://www.elviscostello.com/. Secret, Profane & Sugarcane will be released on June 2, 2009. You can purchase Secret, Profane & Sugarcane at any Starbucks store, at Amazon.com, or download it through iTunes.

Review: Karate High School - Invaders

Karate High School - Invaders
2009, Eyeball Records

Hailing from the Northern California's Bay Area, Karate High School are fans of many disparate types of music. These interests and influences work into their music and combine in unusual and delightful ways on their third album, Invaders. The album was recorded in front man Paul McGuire's childhood bedroom without high tech equipment or even much of a budget. The result is a pop hook driven album that will play well with modern rock fans. Focusing more on process than outcome, Karate High School may have accidentally created one of the big breakout rock albums of the year.

Invaders opens with the quirky Zombies Everywhere, a horror movie compressed into a four minute pop/rock song. Big harmonies, big guitars and hooks that are as lethal as the song subject make this a can't miss. One Trip Around The Sun sticks with the same musical formula (minus the undead protagonists) for a highly commercial sounding side. Aside from the addictive choruses and hooks, Karate High School has McGuire's strong, clear voice going for them. Punk Rock Uniform is highly melodic pop number that maintains the momentum and energy seen thus far on Invaders.

Fell In Love With A Robot is a tongue-in-cheek look at robot-human relations featuring Barenaked Ladies style wit and some nifty electronic accents. That wit turns self-deprecating on You're Not Fooling Anyone (Except Me), with a mid-tempo verse and high-energy chorus and impressive harmonies. Failure Is Officially An Option is a wide-ranging and unusual piece that goes a bit beyond the pop/rock mold and shows some almost progressive tendencies. Invaders closes out with Dear You, It's Me; a song written to a former flame after lives and people have long moved on. Other highlights include Under The Microscope, The Horror Show and Under The Microscope.

Karate High School is a name you're likely to hear a lot over the next few years. There's enough populist sound here to get them the attention of radio, and enough variation from that sound to draw in folks who have forsaken commercial radio and their 25 song formula. Invaders is a thrilling album full of distinct pop sensibility and a songwriting talent beyond the years of the band. Big things are ahead for Karate High School.

Rating: 4.5 Stars (Out of 5)

You can learn more about Karate High School at www.myspace.com/karatehighschool. You can purchase a copy of Invaders through Amazon.com or download it through Amazon MP3.

Review: Spring Creek - Way Up On A Mountain

Spring Creek - Way Up On A Mountain
2009, Rebel Records

Something special happens when Appalachian bluegrass hits Rocky Mountain air, how else can you explain the burgeoning neo-traditional bluegrass scene out west? It's hard to think of a band that better personifies that scene than Spring Creek. Based in Lyons, Colorado, Spring Creek is the only band to ever win the band competition at both the Telluride and RockyGrass Festivals in the same year. 2009 sees the release of their label debut, Way Up On A Mountain, featuring 8 original songs and covers of Bill Monroe and Ricky Nelson.

Spring Creek establishes the framework early with My Love Is Way Up On A Mountain, going traditional hard and early. The musicianship here is top notch, and the harmony structures are impeccable. Fingerpickers will be highly impressed by both the technical and expressive qualities of the guitar and banjo work. Another Lonesome Night, featuring Jessica Smith on lead vocals, sounds like something you might have heard on the Grand Ol' Opry. Smith's voice has a distinctive edge to it that makes her instantly memorable, but there isn't a voice here you couldn't spend hours listening to. My favorite song on the disc is Tangled In The Pines, with its wonderfully dark shading and traditional sound.

Spring Creek takes a trip down instrumental lane with a touch of Jazz on Cuba Vera Swing before blasting off into Try And Catch The Wind, perhaps the highest energy song on the disc. Lonesome Town is a sweet and sentimental song with a 1930's vocal group touch. The instruments are mostly background as the full quartet shows off their impressive pipes and ability to harmonize. Slow Down is a up-tempo waltz about taking things slow. The song is very intelligently written and hits a less-is-more vibe on instrumentation that is delightful. Be sure to check out the rip-roaring dueling violins on In Despair, 'Til You Come Back To Me and Drivin' Me Crazy.

There has been something of a Renaissance in Bluegrass music the past few years, and a lot of bands are rediscovering the joys of back porch picking styles, but few have done so with the energy, talent and pure joy of Spring Creek. Way Up On A Mountain is not only a great introduction to Spring Creek but to Bluegrass itself. This one's going to end up on a lot of year-end lists, and might even have an award or two in its future.

Rating: 5 Stars (Out of 5)

You can learn more about Spring Creek at http://www.springcreekbluegrassband.com/. You can purchase a copy of Way Up On A Mountain through Amazon.com, or download it through Amazon MP3.

Review: Honor By August - Found

Honor By August - Found
2009, Honor By August

Based out of Washington, D.C., Honor By August has culled a reputation as one of the last bastions of mainstream Rock N Roll. In a day and age when most bands are looking to enhance their genre hyphenation by incorporating disparate sounds into songs, Honor By August offers a refreshingly classic pop/rock sound based on melody, harmony and great hooks. These efforts have already garnered Honor By August significant attention, winning the Billboard World Song Contest, gaining exposure on ESPN and sharing the stage with artists such as Bon Jovi, Hootie & The Blowfish, Edwin McCain, Peter Frampton and Third Eye Blind. Honor By August's sophomore album, Found hits the streets today. Honor By August might really be the next big thing.

There's a certain knack to songwriting in an ensemble; some groups never have it, some develop it over time, and some just click. Honor By August seems to have a magical connection wrapped up in their creative process that turns hooks into phrases, phrases into songs and songs into gold. Similar to bands like Matchbox 20, Semisonic, Hootie & The Blowfish and Third Eye Blind, there is a distinct pop sense that runs through everything they touch. Listen to the soaring choruses, bright melodies, gorgeous harmonies, intelligent and heartfelt lyrics, or any other quality you want to choose and there's a bit of magic there. Opening with the title track, Found is pure pop rock right from the start. Even amid the high quality songwriting and performances on Found there are distinct high points. Johnny (Pass Me Another) explores barstool camaraderie in an intelligent and emotional story song that is miles above the usual pop fodder. There You Were is the sort of love song that melts hearts. It's not a sappy ballad, but a mid-tempo Pop/Rock tune with a soaring chorus that is bound to be on most every mix tape made in 2009.

Say That It's Over is a catchy plea to put an end to war, complete with a chorus reminiscent of Toad The Wet Sprocket on steroids. Hometown Heroes takes the pop sensibility to a new level on a song that will be new to listeners but is instantly recognizable nonetheless. It details one of the dreams of any performer: coming home a star. Awake & Alive, the closer, is a poignant and quiet moment of reflection on origins and identity before Honor By August says goodnight. Other highlights include Half A Day Away, See This Through and Love Lies Awake.

Honor By August has a distinct polish to them that belies their Indy status. Found is the sort of album that makes major labels come calling. With the right exposure and a lucky break or two Honor By August could be one of the most popular bands of 2009. Found leaves me very excited for the future of Honor By August, and wanting to track down their first release. Don't pass this one by.

Rating: 4.5 Stars (Out of 5)

You can learn more about Honor By August at www.myspace.com/honorbyaugust or http://www.honorbyaugust.com/. You can purchase Found at www.cdbaby.com/cd/honorbyaugust2.

Review: Larry McDonald - Drumquestra

Larry McDonald - Drumquestra
2009, MCPR Music

Larry McDonald is a near-legendary figure in Reggae music, with a career spanning four decades and professional associations with the likes of Bob Marley, Peter Tosh, Bunny Wailer, Gil Scott-Heron and many others. On June 2, 2009, McDonald releases his first solo album, Drumquestra. With Drumquestra ull of primal rhythms, Reggae and dance tracks, McDonald is like a professor illustrating the connection between our musical origins and the music of today. With McDonald's 20-piece drum orchestra and guest appearances from Dollarman, Toots Hibbert (Toots And The Maytalls), Ras Tesfa, Shaza and Mutabaruka, McDonald gets back to the roots of Reggae while highlighting its role in current popular music.

Drumquestra opens with Head Over Heels, a mid-tempo dance oriented tune featuring Dollarman on vocals. This is one of the more rhythmically straight forward songs on the album and has the earmarks of a single. Brother Man is a hopeful rhythmic rap with a positive message of peace, love and harmony. This is a potential hit as it is, and with the right mix could have serious legs on the club scene. Shaza And Terri Lion add their talents to this one. World Party seems like to do well on the dance scene, while Drums Say traces the branches of rhythm back to their very roots. Toots Hibbert lends a hand on Set The Children Free in a classic-sounding disco tune.

The highlight of the album is the title track, Drumquestra (Dawn Always Comes). Recorded in the Green Grotto Caves at Jamaica's Runaway Bay, Drumquestra plays more like an interpretation of the rhythms of the natural world than a man-made creation. Be sure to also check out Backyard Business; Got Jazz?; Mento In 3 and No More.

Larry McDonald has created an album full of the spark of life in Drumquestra. Whether hitting on a dance groove or natural rhythms, Drumquestra is an absolute pleasure. Consider this one highly recommended.

Rating: 4.5 Stars (Out of 5)

You can learn more about Larry McDonald at www.myspace.com/larrymcdonald1. You can download Drumquestra at Amazon.com or through iTunes. Larry McDonald is also founder of New York City based bands The Rocksteady 7 and Dub Is A Weapon.

Review: Future Future - Future Future EP

Future Future - Future Future EP
2009, Future Future

Brothers Jordan (vox, guitar, keys, bass) and Jamie (drums, percussion) Lawlor have become. Growing out of the Jersey punk scene, the teen duo has managed to craft a sound reminiscent of classic British New Wave while keeping their feet firmly planted in their punk roots. Experimental to the core, Future Future has crafted a sound wholly from their own environment, right down to the broken Rhodes Piano and Theramin-in-plastic-baby-head combination. Their debut EP, Future Future will startle you awake with its fresh mix of old and new sounds; just enough edge to get a basement party going, just enough electronic rhythm to hit the clubs, and just enough pop sensibility to give this project real commercial oomph.

Future Future opens with Television Glow, sounding like a U2 rock anthem done in New Wave style. Television Glow has real potential for radio as presented here. Teeth finds Future Future dwelling in the fuzzy land of electronic rock. My Machine stays with that buzzy chic but restores some of the pop sensibility from the first track for an incredibly balanced and listenable song. This one has radio written all over it. Dr. Albert is a paean to the Albert Hofmann, the creator of LSD, and is written in surreal and blocky chord changes with psychedelic flourishes. Hard To Exist takes the fuzzy/noise aesthetic and mixes it with a Smiths-esque depressive style and strong harmonies to create an experience that is as disjointed as it is melodic. The final track (Alone) sounds like a demo recording, featuring Jordan Lawler solo on acoustic guitar and voice. From a raw songwriting perspective this is the best tune on the album; hopefully Future Future will flesh this one out and feature it in the future.

Future Future has the chemistry of family and a tendency toward soaring pop songs gussied up in fuzzy/electronic effects. The Future Future EP is a bit uneven but shows great promise, and when they're on, they're definitely on. Make sure you check these guys out!

Rating: 3.5 Stars (Out of 5)

You can learn more about Future Future at www.myspace.com/futuretwice, where you can purchase a copy of the Future Future EP.

Review: Hyperpotamus - Largo Bailon

Hyperpotamus – Largo Bailon
2009, Hyperpotamus

Hyperpotamus is Madrid’s own Jorge Ramirez-Escudero, a one-man vocal band who eschewed rock bands for the subways of Madrid. Within six months of that decision Hyperpotamus was playing to crowds in excess of 1,000 people, and now tours all over Europe and the United States. His debut album, Largo Bailon, documents the distinctive sound and vocal style of Hyperpotamus. The only instrument found on the entire album is Ramirez-Escudero’s voice.

Largo Bailon opens with A Melancholy Hyppo, which sounds like what might happen if you out the Beach Boys in a room with Bobby McFerrin and a large amount of hallucinogenic comestibles. Dinamo Domino takes on a dance beat and some funky chord work to create an unusual and joyous arrangement. Throughout Largo Bailon, Hyperpotamus creates a vocally powered landscape that draws from Jazz, Rock, Pop, R&B and Jazz, even creating some unusual and almost whimsical transitions such as in The Early Bird Catches A Cold. The Unhappy Hedonist has an almost robotic sound contrasted with wonderfully odd harmonies over the top. What starts out as a relatively simple rhythmic chant ends up as the most beautiful textured and complicated piece on the album. Ramirez-Escudero has quite a vocal range to sing all of the parts presented here, and it’s clear that short of hiring other singers to work in ensemble the sounds found here could never be re-created on stage, but Largo Bailon is an experience worth having. Other highlights include the deliriously weird Peloto, the frenetic Beach Boys meets Ladysmith Black Mambazo sound of Toy Soldier's Day Off, the lyric Wreck Divine and Vista Desde El Bachibato.

While Hyperpotamus could never recreate the sounds on Largo Bailon onstage without expanding into a full ensemble, Largo Bailon might be one of the most pleasant musical surprises of the year. A Capella projects are often relegated to the ranks of college choirs covering popular tunes or whatever Bobby McFerrin is working on these days, but Largo Bailon is original, pleasing to the ear, unique and just plain good. Hyperpotamus, with the right exposure, could be a sensation!

Rating: 4.5 Stars (Out of 5)

You can learn more about Hyperpotamus at www.myspace.com/hyperpotamus. You can catch streaming video at www.youtube.com/hyperpotamusic. Copies of Largo Bailon may be purchased at www.cdbaby.com/cd/hyperpotamus.

Review: Creative Belfast Presents: Sounds Of The City

Creative Belfast Presents: Sounds Of The City
2009, Creative Belfast

Belfast has something of a history for providing distinct musical talent to the world, with the most notable alumni of that city being the one and only Van Morrison and film composer David Holmes. Creative Belfast is a city-wide initiative to help promote the next generation of Belfast artists to the world. Their latest compilation, Sounds Of The City, collects fifteen of the most popular and/or most inspiring bands currently active on the Belfast scene onto one CD. Everything from country to Rock to Electronic/Dance music is represented here.

If the purpose of Sounds Of The City is give a stage to the wide array of talent in Belfast then it is a strong success. If the intent was to put the best foot forward of every band then the results are somewhat mixed. There's not a dud on the compilation, but some bands definitely made the most of their placement while others offered up decent but not highly memorable songs. The biggest find on the CD is Eilidh Petterson, with a sweet, pure voice and a lyrical acumen for capturing people, places and moments in song. Her original tune, Still Learning is particularly touching. Ben Glover has some name recognition outside of Ireland and gives the expected subtle and nuanced performance on Mercury Is Falling. Anthony Toner, like Eilidh Patterson, gives a performance that makes you want to go find his CD. Sailortown is a great story song and highlights his highly enjoyable voice perfectly.

Escape Act adds a highly listenable entry in the form of Cabin Fever. The song has a distinct pop sensibility that gets stuck in your head. Rock instrumental fans will want to check out ...And So I Watch You's Set Guitars To Kill for a little song with big Prog dream and a touch of Zappa spirit. Other highlights include Ken Haddock's Your Sonnet, Bap Kennedy's America, The Beat Poets' Staring Stars Down and General Fiasco's Rebel Get By.

It's very evident that Belfast has a thriving music scene. There are three artists on this CD (Eilidh Patterson, Ben Glover and Anthony Toner) who are clearly ready for the big time. Several other artists here show distinct promise. Of course the City of Belfast would love it if you came and stayed awhile to check out the local music scene, but most of us can't just do that. Instead, make sure to check out some of the folks immortalized on this collection. Sounds Of The City is a worthwhile venture, and sure to do collateral damage to your CD/download buying budget.

Rating: 3.5 Stars (Out of 5)

Be sure to check out the individual artists featured on Sounds Of The City on the World Wide Web. Or if you’re in Belfast, check them out in person.

Eilidh Patterson
Ben Glover
Anthony Toner
Escape Act
And So I Watch You
Ken Haddock
Bap Kennedy
The Beat Poets
General Fiasco

Review: Puppetbox - Puppetbox

Puppetbox – Puppetbox
2007, Puppetbox Records

Puppetbox is the sort of band that makes you sit up and pay attention. Whether it’s the mix of electronic and organic (though still electric) instrumentation, the kazoos or the threat of total domination of the masses, there’s something special about this Brooklyn quartet. Ultimately it might be the fact that rather than writing for a market or niche, Puppetbox makes music that they would love to listen to. On their debut album, Puppetbox, Katie Johnston (vocals, accordion, guitar, kazoo); John Payne (guitar, vocals); Chris Tempas (synth, programming, vocals) and Mark Annotto (drums), let loose a storm of electronic/pop/rock/geek/buzzy sounds that will make you want to dance, swing, sway and otherwise have a good old time.

Puppetbox opens with Done By Numbers, a fairly straight-forward rock song with new-wave accents. Things get a little more interesting on the angry and intense Wifey. The chorus is highly memorable and has real commercial potential. Things get downright lethal on Kill You Dead, a highly commercial rocker with a serious new wave edge. Blue Or Black is a left turn from Puppetbox, introducing Katie Johnston as a lead vocalist and going for a more melancholy, quiet sound. Fire In My Loins is a mid-tempo rocker that doesn’t carry the energy the title might imply. Kimberly is another mid-tempo rocker with better results, although the energy level is still a bit flat here. The live track, Green Means Go, gives the distinct impression that as a live band Puppetbox comes across as a dynamic punk/new wave hybrid that plays well together.

Puppetbox seems to have good chemistry live, and it carries over onto the album at times, but there are also stretches that are flat. Puppetbox is a 50/50 affair, with about half of the material sounding like it had real energy invested in it and living up to the dynamic promise of the band, with the other half sounding like it might have been recorded in a low energy phase for the band. I suspect the energy level will be higher live, but it would be nice to hear more of those dynamics poured into the CD.

Rating: 3 Stars (Out of 5)

You can learn more about Puppetbox at http://www.thepuppetbox.com. You can purchase a copy of Puppetbox at www.cdbaby.com/cd/puppetbox2.

Review: Herm - Monsters

Herm – Monsters
2009, Catchy Go Go Records

Irish singer/songwriter Herm (aka Kevin Connolly) is as enigmatic as they come. Busting genres as easily as Frankenstein breaking through walls, Herm defies categorization with wonderfully melodic and unusual songwriting. Because of his originality and talent, Herm also tends to attract high quality musicians who thrive on and contribute to the creative milieu, creating an artistic snowball effect that is only to the listeners benefit. The net effect is immediately apparent on Herm’s full length debut CD, Monsters, release in 2009 on Catchy Go Go Records. Herm began writing songs at the age of eight (a tune about alcohol addiction) and has never looked back.

Monsters opens with the dark, Americana of The Way, sounding like the Skydiggers/Cash Brothers in minor keys. Kevin Connolly has one of those voices that isn't pretty, per se, but is very enjoyable to listen to due to all of the character and nuance it expresses. The rhythmic, urgent and slightly creepy nature of the opening track is a great start, putting the listener on notice that the expected can't be found here. Year Of The Horse finds Herm in an exquisite duet with Nina Haynes. There's almost a baroque feel to the sound as violin and cello accent acoustic guitar, piano and percussion. Monsters is an amusing, well-crafted song about prejudice and fear. The song title was adopted for the album title because the songs presented here all took on a life of their own and became at times unrecognizable from their original forms.

Rosemary is something of an alternative love song focusing on obsession and unhealthy relationships. The song has a swaying, good time quality that belies the uncomfortable subject matter. The Long Way Down has a demented, slightly creepy sound to it and is one of the more compelling listens on Monsters. Be sure to check out Cellar Door, which continues the creep factor in Hitchcockian fashion. My favorite song on the disc is The Best Bit, a wonderful diatribe on relationships built on a lyrically dense and urgent vocal line that sounds like a cross between The Beastie Boys and Beck. The guitar and bass here are full of funk, making for a highly danceable, highly entertaining track.

Herm is an artist who is hard to pigeonhole. There is no specific marketing niche that he fits into, yet I suspect that with the right exposure he'll develop broad appeal. The music is sufficiently dark to appeal to fans of Goth styles, with enough wit to draw a lighter crowd, and just off the wall enough to shock listeners out of their pre-conceived notions about what rock music should be. Monsters is an outstanding debut.

Rating: 4 Stars (Out of 5)

You can learn more about Herm at http://www.herm.tv/ or www.myspace.com/hermwork. You can purchase a copy of Monsters at www.cdbaby.com/cd/herm.

Review: The Owle Bird - The Absence Of

The Owle Bird – The Absence Of
2008, Muddled Shoe Records

The Owle Bird’s biography simply states “The Owle Bird is a strange machine…” The Toronto quintet brings one of the more unusual sounds as they delve experimentally into incorporeal soundscapes and poetry. Comprised of Lisa Conway (vox, piano); Dan Stadnicki (drums); Cory Latkovich (cello); Tony Wallace (violin) and Jordan Howard (guitar), The Owle Bird finds musical solace on the far periphery of musical pop culture. The Owle Bird’s debut album, The Absence Of, was released in 2008 and is truly something to behold.

The Owle Bird lives in a world of structured chaos. Dissonance and conflict are equal partners with harmony on The Absence Of. The album opens with When You Became Ill/Old Man The Gravedigger, a meandering nine minute composition that plays like a dramatic funeral dirge that turns into a somehow hopeful yet demented musical monologue. Lisa Conway surfs the subdued cacophony of sounds with an amazing voice that mixes elements of Fiona Apple, Briana Corrigan and Margo Timmons. Machines is a similar construct, with the arrangement representing a rather messy, perhaps real-life picture and Conway providing the melodic seam that holds it all together.

Because of the bleak soundscapes, there is a strongly depressive or at least melancholic feel to The Absence Of. Oh How I Miss The City is a prime example, sounding like a soliloquy from a Broadway show in purgatory. The song stays away from some of the heavy dissonance of previous compositions on the album, but maintains a dark and foreboding sound that occasional gives way to passages of hopeful yet cynical light. Jewelled Beasts stays with this more lyric sound but retains the dark underbelly that seems to run through all of the songs The Owle Bird presents here.

The highlight of the album is Monsters, a musical bloodletting of childhood fears in a disturbing orchestral arrangement that grows from a pizzicato base (perhaps meant to indicate the creeping of the villains of the song). Lisa Conway particularly shines on Crows, opening in a trio of her voice, cello and violin that gradually extends to the full instrumentation of the band. The Last Hurrah is interesting. The song starts out as a quiet beauty, but there is a rhythmic under-life here that tells a different story. The drums tell a story that’s almost savage, perhaps from distant memory. This is The Owle Bird at their most prolific and melodic; having taken the near-chaos that pervades their music and pushing it down to a highly subtle and more compelling level.

The Owle Bird isn’t for everyone. Fans of New Classical dissonant styles will get a real kick out of this Chamber Folk/Rock hybrid. The band is incredibly tight and disciplined, particularly when creating sounds that may be unpleasant but lend to the overall atmosphere of a song. The tie that binds it all of course is Lisa Conway’s voice, an angelic overseer that brings sense and order to even the most disturbed and roiling passages. The Absence Of is compelling and original and highly recommended.

Rating: 4 Stars (Out of 5)

You can learn more about The Owle Bird at www.myspace.com/owlebirds or http://www.muddledshoerecords.com/, where you can purchase a copy of The Absence Of.

Review: Sound Liberation - Open Up Your Ears And Get Some

Sound Liberation – Open Up Your Ears And Get Some
2008, col legno Beteiligun

New York City’s own Sound Liberation isn’t just the name of a band, but a musical philosophy that runs all through their second album, Open Up Your Ears And Get Some. Classical, Jazz, Rock, Rap, Folk and anything else you can find in the musical cupboard might just show up in one of the thirteen tracks presented here. Sound Liberation has been together since 1996, playing such venerable NYC clubs as Joe’s Pub, The Cutting Room, The Knitting Factory and The Blue Note. They’ve also played some prestigious gigs around the globe, including the Blaine Jazz Festival (Blaine, Washington); the Etna Music Festival (Catania, Sicily); The Outreach Festival (Schwaz, Austria) and the Peekaboo Festival of New Music and Theater.

You just can't put a name or definition on what Sound Liberation does on Open Up Your Ears And Get Some. Listeners who don't know the score will come away thinking Sound Liberation is the most unfocused band they've ever heard. I picture the members of Sound Liberation sitting around in a musical writer's circle playing musical truth or dare, because no genre boundary is respected or detected here. Violin and cello intermix with electric guitar, flute, drums, bass and a host of other instrumental touches to create a recording as alive as creation itself. The album opens with Prelude 21st Century, a funk laden Baroque Rock instrumental that sounds like it might have been culled from an old silent film and married to its more modern elements. Which Of The Days is a hard-core rap tune done in organic instrumentation including Jethro Tull style flute riffs. Ashes' early moments revolve around a bass/cello duet that sounds like the product of a Steve Howe/Yo-Yo Ma collaboration.

Sound Liberation gets to rock out a tad with Oh Come To The Window, complete with lyric Italian vocal line. Like I said, no boundaries respected or detected. Be to check out Mozart and 21st Century Klezmer, one of the oddest and most amusing pieces I've heard since starting this blog over a year ago. Other highlights include the impressionist flavor of Infinity, the faux Flamenco of Unutterable and the Techno flavored Let Go Of My Soul.

Sound Liberation creates a widely variable and original tableau on Open Up Your Ears And Get Some. You can't help but be intrigued by such an ambitious and original cycle of songs. Even if you end up not liking the album, you won't feel cheated. Sound Liberation always keeps things new and interesting.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sound Liberation at www.myspace.com/soundliberation or http://www.soundliberation.net/. You can purchase a copy of Sound Liberation from Amazon.com.

Review: Strange Habits - Strange Habits

Strange Habits – Strange Habits
2009, Strange Habits

Strange Habits is a Detroit-area Rock trio with Funk and Reggae on the brain. Playing the Motown seen for the past seven years and have started to receive some regional and international recognition. Particularly known for an on-stage stunt called “the one man band”, where their drummer plays drums, guitar and bass all at once, Strange Habits strives to put on a great show to complement great music. Eric McGuire (bass, vocals); Eric McCauley (guitar, vocals) and Sheel Doshi (drums, vocals, keys) look not just to entertain you, but to immerse you in their own distinct musical culture. Their self-titled album, released in 2009, has much to offer.

Strange Habits opens with Sunshine Wrecking Ball, a Reggae inspired rocker with a vibrant bass line and an almost mellow-Sublime vibe. Silence Of Stone is a big guitar rocker reminiscent of early Pearl Jam. The highlight of the disc is Butter Noodles, with its grunge feel, pop hooks and vibrant rhymes. Butter Noodles is bound to be a concert favorite and may have real commercial potential. Nature opens with a ska-feel before turning into a churning rock guitar bridge. Strange Habits finds a grungy-punk sound for Bullets In My Pocket, a song about a disturbed individual with a mission of revenge, before closing out with the acoustic Take Over My World, a pleasant and lively listen.

Strange Habits has a very home-grown feel to their music, inspired by Reggae, Grunge, Folk and a bit of Punk. Their self-titled debut album is a pleasant listen that refuses to sit still or fall into one category. Strange Habits is definitely worth spending some time with.

Rating: 3 Stars (Out of 5)

You can learn more about Strange Habits at www.myspace.com/strangehabitsmusic. I was unable to find an on-line outlet for the CD Strange Habits, but if you contact the band their MySpace page I’m sure they’ll be happy to hook you up.

Review: Sideways Reign - A Stand For All Stages

Sideways Reign - A Stand For All Stages
2008, Sideways Reign

Union, Washington’s Sideways Reign dropped their second album, A Stand For All Stages in 2008. Led by cousins Justin Stang (lead acoustic guitar) and Casey Dehe (vocals and electric guitar/bass), Sideways Reign has a family feel. With roots in both Washington and New York states, Sideways Reign has multi-regional appeal and an electric (so to speak) live sound.

A Stand For All Stages is one of those rare albums that I find to be a pleasant listen but can't really come up with much to say about after the fact. Vocalist Casey Dehe is good but doesn't really stand out. The same can be said for the songs themselves. Similar to a film underscore that plays in the background but doesn't really draw attention to itself, Sideways Reign fills in the sonic gaps in the background without ever really stepping forward to claim the spotlight. The album consists of eleven acoustic-electric turns that manage to set you at your listening ease without making a distinct impression or impact. I even had a hard time picking a stand-out song, although Rebels Rise edges up on the basis of a slightly different style, incorporating a slice of reggae into the mix. Settle On mixes a hint of funk in, and Love Song Suicide gets points for sounding more like a pub tune than the lyrics would justify, but in the end Sideways Reign just doesn't manage to stand out.

Rating: 2.5 Stars (Out of 5)

You can learn more about Sideways Reign at http://www.sidewaysreign.com/ or www.myspace.com/sidewaysreign. You can purchase a copy of A Stand For All Stages at www.cdbaby.com/cd/sidewaysreign.

Review: Elton John - The Red Piano

Elton John - The Red Piano
2009, Island/Mercury

You might not have been able to make the trip to Las Vegas to see Elton John's standing show, but no matter. Island/Mercury brings the show home to you on The Red Piano, released on DVD and BlueRay this month. John's Vegas show (also entitled The Red Piano) saw a run of over 200 sold out shows, breaking attendance records on the strip and raising the bar for the next generation of house performers there. It's easy to see why, John has had a long and storied career full of gold and platinum records and continues to outsell acts less than half his age in a dramatically changed music marketplace.

The DVD features fourteen tracks; some of the biggest hits of Elton John's career, including Bennie And The Jets, Daniel, Rocket Man, Candle In The Wind, B!tch Is Back, Saturday Night's Alright For Fighting and Your Song. Sadly, Goodbye Yellow Brick Road isn't included here. For the enhanced experience, pick up the BlueRay version, featuring a 50 minute documentary The Life And Legacy of Elton John, as well as original stage projections created for the show by David LaChappelle. While there are some definite gaps in the material offered in this performance, it is highly representative of Elton John and his status as one of the elder statesmen of Rock N Roll.

Elton John has 1Tony, 1 Oscar, 1 Golden Globe and 5 Grammys to his name. The Red Piano is a testament to the talent and showmanship that got him there. While not as over-the-top on stage as in his 1970's heyday, Elton John still gives a great show. The Red Piano is a must for fans, and a great introduction if you somehow don't know much about the artist. The Red Piano is highly recommended.

Rating: 4 Stars (Out of 5)

You can learn more about Elton John at http://www.eltonjohn.com/. You can purchase The Red Piano at Amazon.com or anywhere DVDs are sold.

Review: Scroll - Poultry

Scroll - Poultry
2008, Elphenty Records

Rocking out in Zagreb, Croatia is a band you’ve probably never heard before, because Scroll is for real. I thought to do a bio of them here, but none of their materials are in English, so I am at a loss. I can tell you that scroll is comprised of Mark Mrakovcic (vox/guitar), Filip Romac (guitar), Leon Culjak (bass) and Tony Mrakovcic (drums). Scroll released their debut album, Poultry, in 2008. You don’t want to miss this one.

Poultry is seasoned with impassioned and urgent emotions, from fear to desire and even love. These core human predicaments are wrapped in musical arrangements that range from folk-punk to Brit-Rock with stops at all point in between. Lead vocalist Mark Mrakovcic puts on a dynamic show ranging from lyric ballads to head-banging, pogo-dancing hardcore screams. The album opens with Bitterone, a lyrically dense folk/punk anthem. Mrakovcic puts in a soaring, over-the-top vocal that verges on a scream at times but never loses touch with the inherent musicality of the song. Scroll pulls out all of the stops on P.Ephenty in an urgent and vibrant rocker. Tales is a lyric, acoustic folk-rocker complete with orchestration. This one is built around a great melody and a simple arrangement that crescendos from a simple rhythmic progression to a nearly oppressive one.

Cou Rouge has a Ballroom Blitz type mania to it. It's irrepressibly catchy, and you'll find yourself hitting replay on it time and time again. Pieces is a great bit of songwriting; a highly personal and heartfelt tune that underscores the wide range of songwriting and performing ability from Scroll. Slow Motion Picture brings back the urgent energy in a cross between Brit Pop and Punk with a high commercial ceiling. Mrakovcic gives his most dynamic vocal performance of the disc here, and its easy to see that he has big-time front man stamped all over him. Poultry closes out with the melancholy diorama Blue Trains, offering a point of view on a moment in time that might otherwise be anonymous. The arrangement is simple and straightforward, and the melody doesn't stand out as remarkable, but there's a touch of poetic magnificence here that leaves an impression after the disc stops spinning.

Scroll is anachronistic and unique in a glutted market of alternative/post-punk rockers. Musically covering everything from Folk-Punk to classic rock & Pop, Scroll is bound to please a lot of people along the way. Poultry is a highly artistic and notable debut album that should lead to big things down the line, and lead vocalist Mrakovcic has all the qualities you want in a front man. Make sure to check out Scroll. At the very least you'll be intrigued to see what they come up with next.

Rating: 4 Stars (Out of 5)

You can learn more about Scroll at http://www.scroll-online.com/ or on Facebook. You can purchase a copy of Poultry at CDFreedom .

Review: Spy The Thinker - Ruby Kill Club

Spy The Thinker - Ruby Kill Club
2009, Spy The Thinker

Jersey boys Spy The Thinker hit hard with their debut album, Ruby Kill Club, independently released in 2009. The hard-rocking trio draws comparisons to early Red Hot Chili Peppers and Incubus. There are no pithy nuances to be found here, just straight ahead alternative rock. Playing out in large local markets such as New York City and Philadelphia, Spy The Thinker has generated a fair amount of excitement for their live shows.

Ruby Kill Club opens with Wake Up, crusty pop/punk at it's finest. This is a highly commercial tune that seems to draw comparisons between fame and addiction, and is insightful and musical in spite of the crunch. Skipping Stones has a sound that reminds me of The Lowest Of The Low. Lead vocalist Matthew has a dynamic voice that's gruff and lyric all at once. After that things slow down a bit, with decent but not overly notable songs. Cloudless Cold is an interesting listen on the first go but doesn't make a lasting impression. Tourist practically dances out of your speakers in a catchy and moderately upbeat arrangement. The album closes with Nobody Buy Me, a lively rock song that hits the energy and interest level of the opening tracks.

Spy The Thinker finds the knack for highly listenable songs a few times on Ruby Kill Club, but also manages to create some pleasant but unremarkable moments here. The more introspective material is fine but just doesn't show the same type of intensity of energy as their better material. If Spy The Thinker could manage to maintain that energy level in the slower more thoughtful songs they'd have a killer album here. The material itself is good, but the presentation is uneven.

Rating: 2.5 Stars (Out of 5)

You can learn more about Spy The Thinker at www.myspace.com/spythethinker. You can purchase a copy of Ruby Kill Club at www.cdbaby.com/cd/spythethinker.

Review: Mark Northfield - Ascendant

Mark Northfield - Ascendant
2007, Substantive Recordings

Mark Northfield is a London based composer who writes alternative classical or Chamber Rock songs (as you prefer) with other vocalists in mind. Northfield had the revelation a few years back that he loved performing but perhaps didn’t have the front line voice required, and so resolved to write and record his songs with other vocalists out front. His most recent offering, Ascendant, takes full advantage of the vocal talents of no less than 9 vocalists (including himself) and one vocal ensemble.

Northfield takes art-pop Chamber music to a new level. Opening with Waiting For Green, Northfield paints a bleak and beautiful landscape in orchestration to counter an almost droningly depressed vocal line. This sounds like an off-off-Broadway piece. Resistance is another highly dramatic, melancholic piece that turns hopeful and back throughout. Highly melodic in dark and minor tones, the orchestration colors the vocal line. Northfield next offers an inspired Chamber Choral piece called The Calm, featuring Bryony Lang an The Pearsall Consort. It's a neo-classical exploration of melancholy bursting into expressions of beauty and stillness with an Anglican Church choir bent. This is the highlight of the CD and one of the most hauntingly beautiful choral pieces I've heard in some time.

Weight sounds like it could have been an alternate song or outtake from the Off-Broadway production The Last Five Years. You can almost hear shades of Sherrie Renee Scott in vocalist Bryony Laing (also featured on The Calm) who gives a gorgeous vocal performance. Zero lost me a bit lyrically but offers perhaps the most intricate and delicate arrangement on the disc. You'll also want to check out the faux-peppiness of Decidedly Dumb and the melancholy waltz, Luco.

Ascendant is a prickly CD. It's not easy to get to know; not an easy listen. You have to work for this one and that will turn a lot of the more casual listeners off. The effort becomes its own reward, however, as Mark Northfield has offered up several moment-stopping compositions mixed in on Ascendant. There are a couple of pieces here that get mired down in themselves, but on the whole Ascendant is a very strong listening experience. This one's for fans of Chamber music, The Cure, The Smiths and any other melancholic pop band of the last twenty years.

Rating: 4 Stars (Out of 5)

You can learn more about Mark Northfield at http://www.marknorthfield.com/ or www.myspace.com/marknorthfieldmusic. You can purchase a copy of Ascendant at www.cdbaby.com/cd/marknorthfield.

Review: Kaisor Sosa - Cop And Blow

Kaisor Sosa - Cop And Blow

2009, Kaisor Sosa

Kaisor Sosa, aka Ryan Glover, is one of the biggest names in underground rap in the Chicago, Illinois market. A previous semi-finalist in both Kanye West’s Chicago Idol contest and Rhymespitters II, Sosa is the only artist to ever reach the semi-finals in both. Sosa’s debut, full-length album, Cop And Blow was unleashed in early 2009.

Cop And Blow opens with two marketing songs, I Got Swag and Young Fresh 2 Def. The first is an introduction to Kaisor Sosa and the second is a "street cred" song. Unfortunately the marketing angle to these songs is so blatant that it draws attention away from any artistry that might be involved. Kaisor Sosa displays real enthusiasm for his music, but that's his prime selling point. From a rhythm perspective the music on Cop And Blow tends toward the more mundane, failing to really stand out in an over-crowded hip-hop field. As a poet/rhymer Kaisor Sosa is decent but not outstanding. The People (featuring Sticman) tries to ply a revolutionary message but comes across as xenophobic even when pointing out real social issues. Intentionally or not, Sosa falls into the clichés of race relations rather than attempting to offer new insight or solutions. You Don't Wanna See Me shows some potential and some thought that rises above marketable ideals, but on the whole Cop And Blow just seemed a little too contrived to hit home.

Kaisor Sosa has potential; his enthusiasm alone will sell some CDs and downloads, but this is a young artist trying on different voices and styles in search of one that seems like his own. Once he finds a voice he's comfortable with we'll start to see what he's really about. Cop And Blow is public viewing of this hip-hop dress-up session. Some things work to a point, but one gets the impression that Sosa is still a little too inured in pop culture images to really see himself. We look forward to seeing and hearing what he tries next, because there's a sense here that once he finds himself musically he'll have a lot to say.

Rating: 2.5 Stars (Out of 5)

You can learn more about Kaisor Sosa at www.myspace.com/kaisorsosa1 or http://www.kaisorsosa.com/. I was unable to find a purchase point for Cop And Blow, but you can email the artist through his website. Don’t use MySpace, as it appears he hasn’t signed in there in a while.

Review: Steve Lieberman - Diaspora; A Folk/Punk History Of The Hebrew Nation

Steve Lieberman - Diaspora: A Folk/Punk History Of The Hebrew Nation
2009, Steve Lieberman

The Gangsta Rabbi is at it again, this time with a musical telling of the travails of Israel and her children on Diaspora: A Folk/Punk History Of The Hebrew Nation. Diaspora is a highly interesting song cycle; based in Lieberman's trademark Garage sound, listeners will be extremely lost without a lyric sheet. Whether it's the vocal mix or issues of diction, I found it next to impossible to decipher the lyrics. Lieberman goes a bit further than just detailing the struggles of Israelites around the world; he assigns blame. Lieberman essentially chalks up all of Israel's struggles to sin; implying that each time Israel is separated from her land it is because her people weren't following God's will. Lieberman incorporates the flute into many of the songs here ala Ian Anderson, as always, and even plays with electronic instrumentation from time to time. Midianites comes across as a bit of cultural trash talk to all the peoples over time who scorned The Hebrew Nation but who found the end of their own cultural lines while Rachel's children continued on. Meri'bah-Kad'Esh caused me to chuckle a bit; it's a song about being freed from Egyptian dominance and sounds something like a polka.

The Fall Of Jerusa'lem introduces electronic instrumentation along with flute in bass in what becomes an interesting if slightly messy sonic stew. 4th Diaspora: The Endtime makes explicit what Lieberman has implied throughout; Israel constantly fights for her own survival because of her own sin, yet remains God's chosen people. The album closes out with For The Children Of The Ga'Za, reaching out to the innocent victims of Israel's on-going struggle with the Palestinians, bemoaning the deaths of innocents on both sides along the way.

Lieberman never fails to be provocative and straight-forward in song. Diaspora is no different. Lieberman tells stories drawn directly from the Torah colored by his own personal insights and beliefs. The result is a historical perspective with minimal political shading that is compelling for its willingness to share the blame. Diaspora is an interesting listen, but it is truly Lo-Fi and may just not fly for some listeners. Nevertheless, Lieberman is always worth a spin.

Rating: 3 Stars (Out of 5)

You can learn more about Steve Lieberman at http://www.gangstarabbi.com/ or www.myspace.com/gangstarabbi. You can also read reviews of Lieberman’s previous CDs Overthrow The Government and Psych Ward. You can purchase Diaspora or any of Lieberman’s other 15 albums by emailing him at SteveLieberman@gangstarabbi.com.

Review: Grateful Dead - To Terrapin: Hartford '77

Grateful Dead – To Terrapin: Hartford ‘77
2009, Rhino Records

1977 may have been the musical apex of the Grateful Dead’s career. The world of music was being roiled around them with the emergence of punk and disco as popular forms, but the Dead were at the height of their collective powers coming off a 2-year touring hiatus and on the way to recording what may be their best album, Terrapin Station. On May 28, 1977, Grateful Dead took to the stage of Hartford Civic Center in Hartford, Connecticut. The entire show has been preserved and remastered in the form of To Terrapin: Hartford ’77, released in April of 2009 on Rhino Records

To Terrapin: Hartford ’77 features Jerry Garcia, Donna Jean Godchaux, Keith Godchaux, Mickey Hart, Bill Kreutzmann, Phil Lesh and Bob Weir. The band floated through classic such as Bertha, Sugaree (nearly 20 minutes worth), Jack Straw, One More Saturday Night and Playing In The Band. The real treat for the crowd were songs such as Estimated Prophet, Terrapin Station and Passenger, which would be released several weeks later on Terrapin Station. At 3-CDs and 21 songs this set is a bargain, and beats any existing bootleg for sound quality, as all tracks are up to HDCD standards. This is the perfect set for a hardcore Deadhead, and the ideal introduction to a band that holds a vaunted place in the history of rock music. To Terrapin: Hartford ’77 is highly recommended.

Rating: 4 Stars (Out of 5)

You can learn more about Grateful Dead at http://www.gratefuldead.com/. You can purchase To Terrapin: Hartford ’77 at Amazon.com or wherever music is sold. Downloads are available through iTunes.

Review: Darrelle London - Edible Word Parade

Darrelle London - Edible Word Parade
2009, Darrelle London

Sometimes a CD will come along and just blindside you with how good it is. Darrelle London’s Edible Word Parade is just such a CD. The Toronto resident (and former farm girl) is classically trained in both piano and voice, and was smart enough to get into Law school. She was also smart enough to know that music is where she belongs, and has garnered a lot of attention in a short time on the Toronto circuit. With a sweet voice that belies her sophistication, London will disarm you with her charm, butter you up with her wit, and drive her message home with an unmerciful sweetness accompanied by melodies that make you want to sing along.

London uses her personal brand of quirky, piano-based pop; combines it with a sweetly beautiful voice reminiscent of Lisa Loeb and an almost child-like simplicity to disarm listeners and create a listening experience you'll never see coming. London writes honest words about honest emotions and events with glibness that is compelling, telling stories about adult relationships with a child's candor and grace. Her songs are a melodically ecstatic segue into musical neuroses of the type caused by human relationships.

Edible Word Parade opens with Understand, a request for patience from someone who is falling in love but needing to go slow and grow into what she's feeling. Selfish is a wonderfully written song about two people who are together in spite of sharing the same bad qualities; a lesson in attraction for all the wrong reasons. Bad is a revelatory pop song, and one of the peppiest songs of heart break you will ever hear. London flashes songwriting brilliance on The Game, calling out someone who plays in relationships rather than participating in them. The Game is brutally honest, but delivered with a sweetness that is so counter-intuitive it makes perfect sense.

Crystal Clear is something of a tactile love song, told in terms of moments, experiences and sensations. The song is sweet, uncomplicated and full of love, and it's built around an unusually charming bridge and chorus that will stick in your head for days. Two Roads is a remarkably mature and subtle look back at a failed relationship. The protagonist begs her former partner not to ask her to come back, fearing she won't have the strength to say no. You're The Star is one of those songs that most people will find a connection because we've all known someone like the person described within. London displays her ability to capture emotions, moments and people in song with pitch-perfect clarity here. These Days is a deeply melodic exploration of someone living in the midst of heartache. London seemingly finds hope amid the vortex of emotions of a life torn asunder. London closes with Work Out Fine, another sweet love song expressing hope based on the ineffable quirks of a couple. The ability to understand one another without saying a word is the example London keeps coming back to, and she lays it out in a way that's both artistic and emotionally sincere.

No, I didn't see this one coming. Darrelle London has created an amazing album full of sweetness and light, wrapped up in near-perfect pop confections. Her voice is has qualities of sweetness and beauty that make you want to listen to her all day, and the brutally honest yet child-like and innocent quality of her lyrics will draw you in. Edible Word Parade gets our highest recommendation, as a Wildy's World Certified Desert Island Disc. Put this one on the top of your "get" list.

Rating: 5 Stars (Out of 5)

You can learn more about Darrelle London at www.myspace.com/darrellelondon or http://www.darrellelondon.com/. You can download Edible Word Parade from iTunes without difficulty, but getting a hard copy on CD is a little more challenging. Indie Record Stores in Canada may have it, specifically SonicBoom, SoundScapes or Criminal Records, all in Toronto.

Review: Heaven And Hell - The Devil You Know

Heaven & Hell - The Devil You Know
2009, Rhino Records

Heaven & Hell just might be the ultimate 1970’s Metal supergroup. Lead vocalist Ronnie James Dio has a long and storied career starting out with Elf, then Rainbow, Black Sabbath and as a solo artist. Guitarist Tommy Iommi is the axe wizard behind Black Sabbath’s distinctive sound. Bassman Geezer Butler was also a part of the juggernaut that was/is Black Sabbath. Drummer Vinny Appice has played with Sabbath, Dio, WWIII, Rick Derringer and John Lennon, among others. Together they’ve found a mutual musical space that is familiar enough to fans of individual members while becoming something distinctive. Heaven & Hell’s latest CD, The Devil You Know, trods upon these almost familiar sands while finding something new in the sound.

The Devil You Know opens with Atom & Evil, a dark and heavily lumbering rocker. The song features some tremendous progressive guitar work and Dio hasn't lost a note. Bible Black is big guitar work at it's finest and even features a lyric prologue. This is Ronnie James Dio in his wheelhouse, pushing the sound he's been creating since the 1970's. Double The Pain is a surprisingly hooky bit of early prog-metal and sounds classic Sabbath at their most inspired. Dio and Iommi really rev it up on Eating The Cannibals with this highly melodic and driven prog-metal song. Both are at their best here. Follow The Tears is an interesting change of pace and sound: a martial horror movie in song. Angry, swelling guitars fold into ambient and ethereal synths, dark, minor keyes and Dio's iconoclastic voice for one of the most memorable hard rock songs of the year. Heaven & Hell kick the whole project up another notch with Neverwhere, a classic guitar rocker you won't soon forget. The album closes out with Breaking Into Heaven, a slow and plodding guitar metal song that hopefully finds more life live than it did here.

Heaven & Hell is a dream come true for some fans. Folks who have followed Dio or Black Sabbath will love The Devil You Know. If you're unfamiliar with the names and want to know how metal sounded back in the 1970's and early 80', then this disc is for you.

Rating: 3.5 Stars (Out of 5)

You can learn more about Heaven & Hell at http://www.heavenandhelllive.com/ or www.myspace.com/heavenandhelllive. You can pick up a copy of The Devil You Know at Amazon.com, or as a download through iTunes.

Review: The Moods - Have Your Day

The Moods - Have Your Day
2008, Hydrophone Records

There was a time when Rock N Roll was all about feeling good. Before the days of self-possessed angst and issue songs Rock was about crisp melodies, sing-a-long arrangements and a beat that inspired you to move. Bands like The Beatles and The Beach Boys embodied this spirit. Even your rebellious types reveled in the good times and great melodies Rock N Roll had to offer. These days it seems Rock is all about the message or the marketing. That's what makes Los Angeles based sextet The Moods so refreshing to hear. The Moods are a throwback to the creative wellspring that occurred when the first waves of the British Invasion crashed on US shores and artists here started to respond. On their debut album, Have Your Day, The Moods mix artful, 1960's style arrangements with memorable melodies in major and minor keys.

Have Your Day opens with The Moods, a frenetically structured rock instrumental that's highly danceable. The sound here is early 1960's rock and is highly memorable. A Life Ending is an upbeat, peppy/poppy rock tune ion dark minor keys. Listen closely and you'll hear something of an REM flavor here. All Or Nothing is a dark composition full of piano and synth; a gothic new wave song filled with the melancholic excitement of REM. Megan, my personal favorite song on the disc, is an upbeat love song built on great hooks and a mildly chaotic arrangement that is quite charming. Strawberry Blonde goes to dark places; the story of a man enraptured with something he can't or shouldn't have to the point of eschewing that which he already has. Another favorite is Thump (To A Chorus Of Disapproval). Aimed at "Bible Thumpers", Thump is a great rock tune that attacks hypocrisy from people of faith. Thump is likely to garner a lot of attention (both positive and negative). While highly entertaining the song is written around distinct misconceptions about what faith is and what having it means. Also be sure to check out Dear Missus Bea, Out and Something About You.

Chief songwriter and primary singer Jay Africa drives The Moods with highly interesting and sonically artistic songs on Have Your Day. This is one of those bands that is more than the sum of the parts. Each individual here appears to be very talented, but when they play together a bit of musical alchemy seems to occur. Make sure that Have Your Day gets on your listening list.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Moods at http://www.themoods.net/ or www.myspace.com/themoodslosangeles. You can purchase a copy of Have Your Day at www.cdbaby.com/cd/moods.

Review: Swagger - Swagger

Swagger - Swagger
2008, Grab 'Em Records

Raleigh, North Carolina’s Swagger takes the stage with their self-titled debut. Purveyors of Rock N Roll with its roots firmly planted in classic and southern rock, Swagger keeps things fresh with a modern edge, a sense of irrepressible energy and a vocalist with the charisma to lead a big time rock band. Swagger firmly believes that Rock N Roll exists to help you forget your troubles, and there’s nothing but a good time to be had on their CD.

Swagger opens with Running Wild, a guitar-driven rocker reminiscent of Billy Squier or The Black Crowes full of great hooks. Vocalist Dallas Perry (what a Rock N Roll name…) has a wonderfully dynamic Rock N Roll voice that will grab your attention.. Mourning Train hits all the right notes for fans of Southern Rock, and the guitar work is superb. Always Be Shining renews the comparisons to The Black Crowes on a strong rock love song. Roadrunner is the highlight of the album; it's not a song that I would expect much from on commercial radio but a definite concert staple. Swagger closes out with Bella, which can only be described as southern hillbilly rock. It's a great closer for Swagger, and a close second to Roadrunner for best song on the album. Also be certain to check out Susanne, Youngblood and She Is Love.
Swagger has it. Swagger hearkens back to a time when Rock N Roll was fun to play and fun to listen to. Swagger is an extremely solid debut album worth spending some time and money on.

Rating: 3.5 Stars (Out of 5)

You can learn more about Swagger at www.myspace.com/swaggernc. Swagger is available as a download through iTunes. If you want a physical CD, you can either attend a Swagger show or contact the band through their MySpace page.

Review: Ramon Taranco - Music From The Bermuda Triangle/The Adventures Of Bo Segovia

Ramon Taranco – Music From The Bermuda Triangle/The Adventures Of Bo Segovia
1992/2007, Havana Blue Music/SOCAN

Ramon Taranco’s back story is impressive in itself. Born in Cuba, Taranco’s parents fled Cuba for political reasons on the verge of Castro’s Communist Revolution. Moving to Toronto, Taranco’s life would be forever changed by the appearance of The Beatles on The Ed Sullivan Show. Picking up a guitar and never looking back, Taranco moved from 1970’s hard rock through various styles under discovering the blues, and ultimately, nylon string guitars. Taranco went on to develop a highly personal style that is distinctive and unique. His debut album, Music From The Bermuda Triangle, was released in 1992 while Taranco was living in Toronto. Now living in New York City, Taranco released a 2nd recording, The Adventures Of Bo Segovia, in 2007.

Music From The Bermuda Triangle pens with The Snow Scorpion, a delicious flamenco tune with incredible movement and subtle yet profound shading. The minimalist support arrangement allows for just enough tension to really suck in the listener. Yoruba Cuba reminds me heavily of one of The Brothers Creeggan's more experimental pieces; Jazz, World, Cuban and even African influences can be heard in this incredibly dynamic piece. Mantiki I and Mantiki II seem to draw from South American musical traditions in highly rhythmic, danceable compositions. Tango Solito is a sneaky little tune that will wiggle its way into your subconscious. It's unusual to find an understated song with so much energy. Sugar Cane Rider is a high energy funk/pop hybrid with its roots firmly planted in the Motown tradition. This is an entertaining song with a high commercial ceiling. You'll also want to check out Hard Work and the title track.

The Adventures Of Bo Segovia finds Taranco evolving into a fine Blues/Rock writer with strong Jazz elements. The growth that occurred between Bermuda Triangle and Bo Segovia is notable, although not surprising given the 15 years that passed in between. Taranco isn't afraid to ignore musical boundaries when he comes across them. Babes Elusive is a smoky blues tune for the verses and a reggae jam in the chorus. Isolation Blues opens as an experimental jazz piece before evolving into a fusion of Cuban Jazz and Rock. While Taranco seems to enjoy in engaging in such novelty, he never sacrifices melody for the sake of sound; an admirable quality. Check out Spirit Of Muddy Waters; Mississippi blues gone electric in a highly listenable song. Other highlights include Ghost Dance, St. George Street Overture and Blues Keep Thrillin' Me.

Ramon Taranco is a top-notch songwriter and musician. Between Music From The Bermuda Triangle and The Adventures Of Bo Segovia there is a long drought of recorded material, but it's very clear that the drought wasn't a musical one. Music From The Bermuda Triangle shows a talented if raw songwriter with a highly experimental mien. The Adventures Of Bo Segovia shows a mature and subtle and truly come into his own. Both discs are recommended listening.

Ratings:

Music From The Bermuda Triangle - 3.5 Stars (Out of 5)
The Adventures Of Bo Segovia - 4 Stars (Out of 5)

You can learn more about Ramon Taranco at http://www.ramontaranco.com/. You can purchase Music From The Bermuda Triangle at www.cdbaby.com/cd/ramontaranco1. You can purchase The Adventures Of Bo Segovia at www.cdbaby.com/cd/ramontaranco2.

Review: Kacey Jones - Donald Trump's Hair

Kacey Jones - Donald Trump's Hair
2009, Igo Records

Kacey Jones came to prominence as lead singer and writer for the musical comedy act Ethel and The Shameless Hussies. Her roots in comedy and in music run equally deep and wide. Jones has developed a reputation as a top-notch writer and singer, even stepping into the booth to produce Kinky Friedman's Pearls In The Snow. Her voice has the culture and shading of an old time Lady of Song, and her penchant for humor has made her famous. For all of these reasons, I was very excited to see Kacey Jones' latest CD, Donald Trump's Hair, come across my desk.

On the music side, Jones doesn't disappoint, with 12 new songs and an inspired rendition of The Glory Of Love. The arrangement and musical performances here are flawless. Jones is also in fine voice throughout. Hers isn't a perfect voice, but it has a warm depth to it that wraps up a listener, and Jones has the charisma and charm to sell a song like few others in the business. The problem is that for an album that is classified primarily as a comedy disc, it just wasn't all that funny. Donald Trump's Hair opens with the title track, a cultural cliché that's been done one too many times even before this song arrived. There's just not a lot of humor in the subject to begin with, and Jones doesn't find anything new here. I Wanna Be Up Front Like Dolly is the lead single from the album, and again, covers a subject that's been a cultural talking point for 30-plus years.

I Can Always Get Skinny But You'll Never Be Tall is just humorously vindictive enough to get a few chuckles, and The Bigger The Better will score laughs with a few, but otherwise the audience response is likely to level off at polite applause. The Glory Of Love is inspired here, with Jones throwing herself into the song and delivering a rendition that will keep you glued to your seat. God Save The Queens is cute, but again falls short of the humor line.

I have to say that I was both disappointed and pleasantly surprised by Donald Trump's Hair. I sat down to listen expecting some good laughs, but they never came. What I did find is one of the best (primarily) country music productions of the year, to date. If top-notch country is your thing, then Donald Trump's Hair is something you need to check out. Just don't expect a lot of laughs.

Rating: 3 Stars (Out of 5)

You can learn more about Kacey Jones at http://www.kaceyjones.com/, www.myspace.com/kaceyjonesmusic or http://www.donaldtrumpshair.net/. You can purchase Donald Trump’s Hair at Jones’ web page, as well as on Amazon.com.

Review: Zel - True

Zel - True
2009, Zel

Hailing from Croatia and currently based in Queens, New York, Zel is a full-time practicing physician as well as a musician. Zel received a hand-me-down guitar from his brother at a young age and fell in love with the instrument, exploring his native folk music, the sounds of Jimi Hendrix, the flamenco style of Paco DeLucia and even the compositions of Francisco Tarrega. Later studying with Spanish guitar player Enrique Vargas, Zel cemented his highly melodic style that encompasses Flamenco, folk and new age sounds. Zel's debut CD, True, blends the organic sounds of his guitar, piano and percussion with an ambient electronic tapestry that is vibrant and unique.

True opens with the title track, driven by a light dance rhythm and percussive piano supporting a melodic flamenco style. The sound and style here are interesting, an energetic form that is too restive to be music and almost borders on a pop/electronica/new age hybrid. Kingdom has a dream-like ambience that finds Zel at his most melodic in a composition that that sways of its own accord. Libertas has a highly rhythmic feel that is a pleasant change of pace from the almost ethereal quality of Kingdom. Zel returns to that ambient quality for First, a composition that swells like a wave in slow motion, allowing you to hear all the movement underneath. First is an incredibly soothing piece that reminds me of some of the sonic landscapes that Enya works with from time to time.

Light is an interesting musical experiment, blending together the flamenco musical form Alegria with a Croatian folk song. The result is a bit messy but interesting, with Zel crafting a bridge between the two styles that is neither and both at the same time. Faithful has a bit more of a light pop orientation; sounding like a movement from a film score. Pearl features the Alzapua style of Flamenco guitar play and creates a bit of musical havoc along the way. The very busy guitar style in this song overcomes the melody in a fashion that can be a bit difficult to listen to at times. The guitar play here is technically stellar, but is so busy that it crowds the listener. Gate has a distinctive Middle-Eastern flavor to the melody, played in Flamenco style. This is far and away the most sonically interesting piece on the album, crossing boundaries as easily as measures, with the ambient backdrop acting as a perfect musical cocoon as Gate first clambers and then soars. Zel slows everything down a touch for Three Days, a darkly lit minor key composition that is surprisingly well done. The album closes out with a recording of Libertas at 140bpm, a kinetic musical experience that is better heard than described.

Zel has created a highly compelling instrumental album in True. The mix of Flamenco with World, Ambient, New Age and even Middle Eastern forms or styles will keep listeners thoroughly on their toes. Zel is a technical wunderkind on guitar who plays with heart and soul bared to his instrument. Zel did all of the work here, playing guitar, piano and percussion. True is a labor of love, and that spirit and dedication to the music shines through every note and every phrase. True is a must-hear album.

Rating: 4 Stars (Out of 5)

You can learn more about Zel at http://www.zelguitar.com/. True will be released on July 14, 2009.

Review: Jared Dunn - The First Try

Jared Dunn - The First Try
2008, Jared Dunn

Fayetteville, Arkansas singer/songwriter Jared Dunn is living a dream. He released his debut solo album, aptly named The First Try, in June 2008, amidst playing in three different bands, sporadically touring and working as a session drummer. With a highly rhythmic piano style reminiscent of Ben Folds and a singing voice that sounds a bit like Liam Gallagher, Dunn is bound to garner attention from his sound alone. The nine songs presented on The First Try display a songwriter with a lot to say and a strong piano rock sound to drive the message. Lyrical density and the rhythmic nature of Dunn's writing might tend to overwhelm listeners a bit at first, but once you're up to speed it's quite an experience.

The First Try opens with Circus, a frenetic, piano-driven rock song that will get stuck in your brain. Something's Wrong With Cindy is a highly inventive piano tune; highly listenable without sounding overly commercial. This is likely to be a concert favorite. Dunn gets deep on Be Something, exploring the human condition and change. Be Something expresses a need to be different juxtaposed with a fear of change in modern vernacular. This is a strong composition with a lot of resonance for anyone unhappy with their lot in life but too comfortable to break the chains.

My favorite song on the disc is Baltimore, which definitely shows the Folds influence in one of the best written tunes here. Clouds Above Our Heads is a relationship song about a partnership doomed to fail. In spite of the darkness of the song the piano is particular vibrant and jaunty, suggesting that at least one half of the pair isn't as sad as it might sound. The most complex and musically interesting composition on the CD is the last one, Satellite Parade. Listen closely to the bass guitar work here for a new appreciation of how much life that instrument can bring to a song.

With an obvious influence like Ben Folds it's hard to go wrong, and some may knock Jared Dunn for sounding a bit too much like Folds, but that's an unfair characterization. The First Try does reflect a similar piano-driven style, but his melodic and lyrical take on things are distinctive, and Jared Dunn shows the early signs of developing into a sophisticated and complex songwriter. The First Try is a good one, and leaves us looking forward to what might come next.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jared Dunn at www.myspace.com/jareddunn. You can purchase a copy of The First Try at www.cdbaby.com/cd/jareddunn, or you may download it through iTunes.

Review: Verlee Rose - These Moments

VerleeRose - These Moments

2009, VerleeRose

Seattle's VerleeRose is a young duo, consisting of Keira Verlee, age 15 and Ellie Rose, age 14. They are very new to the music world, but are already generating a lot of buzz in the Seattle market. VerleeRose is also Wildy's World's Artist Of The Month for May, 2009. The ladies of VerleeRose came together when they were asked to write a song for their middle school graduation in 2008. The experience worked out so well that they kept at it, and less than a year later released These Moments, a collection of 9 original songs that both underscores and belies their relative youth.

VerleeRose was selected as Wildy's World's Artist Of The Month for May 2009 because of the distinct potential they have as a duo. These Moments is a musical breath of fresh air because of the innocent grace that pervades the performances thereon. The recordings are a bit rough, and limited by the relative guitar skills of the two singers, but you can hear flashes of maturity and what will become distinct songwriting styles over the course of a few years. The album opens with Falling Fast, a sweet, rough ballad akin to some of Jewel's early material. Like all young acts, VerleeRose has their awkward moments, such as A Day Ago and This Girl, but then you hear a song like Nowhere and you realize that the awkward moments are just normal growing pains. Nowhere is a potential hit built on a can't fail hook with a highly memorable chorus and great harmonies. If the right producer gets hold of this song VerleeRose will be surfing the top of the pop charts.

Would You has the seeds of a great song in it, but gets stuck in a repetitive rut and just never quite gets where it might go. Someone Extraordinary has a bit more power: pure teen angst in song with no gloss or sheen. This one is a bit forced but has real potential. There's a bit of a lull in the middle here, with All My Mistakes, This Girl and It All Works Out being pleasant listens but not really grabbing attention before New Changes hits you with the pure potential of VerleeRose. The song is very young but incredibly poignant and forward looking. Time and maturity will take this ability to see beyond self in song and turn it into a finely honed songwriting ability. The album closes out with re-castings of two songs, an A Capella version of Would You featuring Michael George and the Denelian remix of Nowhere by Kelly Dale. The latter is interesting, as it is not the direction I would have thought for the song, but it works moderately well as a club mix.

VerleeRose should be on your radar. While their songwriting style is young (consistent with their ages), there is a definite spark here that, if nurtured, will help them to quickly move beyond where they are. Comparisons to the Indigo Girls and Tegan and Sara are not without merit, but I see VerleeRose blazing a musical trail with roots that reach to those artists without duplicating their sounds. These Moments is a positive introduction to VerleeRose, and the launching pad for what just might turn out to be a great success.

Rating: 3 Stars (Out of 5)

You can learn more about VerleeRose at www.myspace.com/verleerose. You can purchase a copy of These Moments at www.cdbaby.com/cd/verleerose, or download the album through iTunes.

Review: Nancy Newlis - Dreamers 2009

Nancy Newlis - Dreamers 2009
2009, Nancy Newlis

Nancy Newlis is a Russian born singer/songwriter who studied composition with a teacher who studied with Dmitri Shostakovich. Newlis is known inside Russia as a member of Babie Leto, and has appeared on television several times in her homeland. These days Newlis is living in New York City and gigging in support of her EP, Dreamers 2009. With a deep voice ala Nina Simone, Newlis is distinctive in sound and style.

Newlis has a highly distinctive voice, sounding like an odd but interesting vocal composite of Freddie Mercury, K.D. Lang and Nina Simone. Her swarthy contralto can be a bit unsettling at first, but you'll never forget that voice once you've heard it. Dreamers 2009 opens with Dreamers, a song with wonderful pop sensibility and real movement. You'll find yourself wanting to clap and sing along. Newlis tackles keeping up with the Joneses in Social Standing, a bizarre diatribe with piano work reminiscent of Tori Amos. Mistakes is an interesting one minute snippet that I'd be curious to hear fleshed out, as it has real potential. Dear Friend is a bizarre letter to a friend set to music that doesn't make a lot of sense lyrically but is set to a great musical arrangement. The album closes out with the highlight, Good Morning, Heartache. Newlis gives a wrenching vocal push to this song.

Nancy Newlis is a bit outside the pop box. Hers is a voice and style that will automatically turn off some listeners, but those aren't the folks she's singing to/for anyway. I can't say I got into everything on Dreamers 2009, but she has a distinctive talent and style that makes you curious to hear what she'll come out with next. Everyone once in a while it's a real gem.

Rating: 3 Stars (Out of 5)

You can learn more about Nancy Newlis at www.myspace.com/nancynewlis or http://www.nancynewlis.com/, where you can purchase a copy of Dreamers 2009.

Need a one sheet, bio, liner notes, etc?

In the past few months I've been approached by a couple of different artists/bands about writing Bios, one sheets, etc. While I don't want to commit to a significant volume of such writing, I do believe I can make time available to write these sorts of materials for artists/bands from time to time. As you all know, how you introduce yourself as an artist is very important. You would not believe the one-sheets I receive from time to time with very basic spelling errors, grammatical disconnects and sometimes outright non-sensical statements included.

So. If you are an artist or band in need of some help putting together an official bio, one sheet, liner notes, or whatever other written materials you might need, I can help! Because I am just starting out with this sort of thing I am not setting formal prices right now. Get in touch, let me know what you need and we'll work it out. Discussion of what is need, negotiation and payment will all be in advance, and an agreed upon delivery date will be established. Payments are through PayPal unless otherwise discussed. Price will depend in large part upon the size of the project and the time needed to complete it.

Final products will be delivered electronically in Microsoft Publisher format (unless otherwise specified). Trust me, it will be cheaper if you get them printed yourself. I'll go the same sorts of places you will and pass the cost along, plus my time & gas.

So if you need a little assistance putting your best foot forward and like the writing on this site, then email me at wildysworld@gmail.com.

Be well!

Wildy

Review: Jeremy & Rebecca - What We Leave Behind

Jeremy & Rebecca - What We Leave Behind
2009, Dwelling Records

He's a marketing director. She's an Early Childhood Special Education Teacher. They're married and have a family. One could understand if Jeremy & Rebecca Hendrickson never quite had time for a music career, but this is no ordinary duo. Jeremy & Rebecca set out to write songs with positive themes and uplifting content/sounds; the same sort of appeal that went into old time variety shows and family movies. The sounds are updated for today, but the spirit is good old fashioned family entertainment. What We Leave Behind is a stunning album of feel good moments buoyed by Jeremy Hendrickson's solid songwriting and Rebecca Hendrickson's dazzling voice.

Jeremy & Rebecca created What We Leave Behind without financial backing from a label or anyone else, relying on Visa and MasterCard to see the album completed. Working from a wish-list of music veterans, Jeremy & Rebecca managed to put together a recording ensemble of folks who've previously worked with the likes of Eric Clapton, Mariah Carey, Faith Hill, John Mayer, Chicago, Mary J. Blige and Rascal Flatts. In much the same way that an independent film production can create a sense of magic among cast and crew, something special occurred in the process of recording What We Leave Behind. The sense of joy that flows off the CD is accompanied by a cohesion that goes beyond professional into personal.

What We Leave Behind opens with Fool, a rockin' country love song about getting caught up in love. Rebecca Hendrickson takes lead vocals here and quickly proves to be one of the most dynamic country vocalists I've heard in a while. With a sultry, powerful voice that can cross the lines from country to R&B while passing through Rock, Jazz and The Blues, Rebecca could sing the phone book and have folks lined up to listen. Flyer takes a left turn into the disco era with a song that could have topped the charts back in disco's heyday. Never ones to sit still, stylistically, the duo launches into What We Leave Behind, a down-tempo blues tune that introduces us to Jeremy's voice for the first time in a duet with Rebecca. Jeremy's voice is one of clear, pure tone with an honestly emotive sound. The positive message here is undeniably, born from any one of a number of religions or theologies, that immortality is achieved not through your own accomplishments but in how you make the world around you better.

Feels Like The Heavens is a love song that sounds like it could have been an R&B/Pop hit in the 1980's. Straight And Narrow plays on the edges of country and rock in a highly energetic and driven musical declaration that would play very well to country radio. There is a strong moral compass in the music presented here that's Judeo-Christian in nature. The music itself isn't religious per se, but there's a distinct philosophy or belief system that underlies the songwriting that's based in one. Made To Love You also reflects this distinct grounding in perhaps the most explicit terms on the album. Jeremy & Rebecca sing to each other from their hearts, and the sincerity is clear. This is major mix-tape material without the complicated blending of love and sexuality that pervades popular music.

Jeremy takes lead vocals on How I Love You in a tune that sounds like something Barry Manilow might have recorded in the 1970's. It's a sweet song and another mix-tape must. Miracle finds Jeremy & Rebecca bringing the funk on one of the best dance oriented songs on the disc. Tallest Tree is a sweet song written by Jeremy for his son; it's the earnest promise of a father to be the best he can for his son. The song is beautifully written pop that will touch both fathers and sons. Why Strive finds Rebecca hitting a 1970's vibe again in a song that, while not my favorite on the disc, is certainly sonically interesting. Rise And Shine is a theatrical pop tune with some serious guitar work dancing around the vocals. Rebecca provides a great deal of vocal color and sass on a song that moves from shadow to light and back several times. The album closes out with Have You Got The Time, a cabaret jazz style love song that is the perfect ending for a dynamic and changeable album.

What We Leave Behind is an unusual project, a melding on many varied and disparate pieces into a concept album unlike anything you're likely to hear these days. Jeremy & Rebecca seek to entertain with values-based music and themes; making music they would be perfectly comfortable with their children hearing. The goal is admirable, and I think it's safe to say it’s a smashing success. What We Leave Behind is bound to be a breakthrough album.

Rating: 4 Stars (Out of 5)

You can learn more about Jeremy & Rebecca at www.myspace.com/jeremyandrebecca or http://www.jeremyandrebecca.com/, where you can purchase a copy of What We Leave Behind using PayPal. The album can also be obtained at Amazon.com, or you can download the album through iTunes.

Review: Gene Fintz - Get A Grip On This

Gene Fintz - Get A Grip On This
2008, Gene Fintz

Gene Fintz is a musical jack-of-all-trades on Get A Grip On This, running through musical styles faster than Tyra Banks on a runway. Whether this is a testament to musical talent and pliability or to a lack of direction is up to the individual listener to decide. There's no doubt that the band is talented and supple, shifting gears easily from song to song and style to style. As a vocalist Fintz is passable, with a sound that works really well on some songs and less so on others. The title track, Get A Grip On This, leads off the album with a classic, R&B roots of Rock N Roll sound. The rest of the way through Fintz never stands still stylistically, whether it's Reggae (Piece Of The Pie), country (Too Much Of Texas), Bluegrass (In Some Small Way), 1960's rock (Home To You), rockabilly (Comfortable Shoes), Blues/Rock (Spittin' Pits) or a mix of genres. Too Much Of Texas is the highlight of the disc, featuring some killer slide guitar work, and Comfortable Shoes is highly entertaining. Everything is very well done musically, but there's no direction or cohesion to the album, meaning that album listeners may not be likely to stick with it all the way through.

Gene Fintz has created an album of stellar tunes that is perfect for the digital download age. Get A Grip On This is more a collection of songs than a cohesive album, and many listeners may stumble on the almost random stylistic variations that pervade the album. The band here is very good, and the songs well-written, while the vocals are average at best. I'd like to recommend this album, particularly to fellow musicians, but in the end I think the market for this one is narrow.

Rating: 3 Stars (Out of 5)

You can learn more about Gene Fintz at http://www.genefintz.com/ or www.myspace.com/genefintz. You can purchase a copy of Get A Grip On This at www.cdbaby.com/cd/genefintz.

Review: Dennis DeYoung - One Hundred Years From Now

Dennis DeYoung - One Hundred Years From Now

2009, Grand Illusion Music/Rounder Records

Dennis DeYoung is familiar to music fans as the iconic voice behind some of Styx' biggest hits. Songs like Lady, Come Sail Away, Babe, The Best Of Times and Mr. Roboto owned the airwaves in the 1970's and 1980's. DeYoung and Styx even spread their penchant for rock gold into the 1990's with Show Me The Way, a song that became thematic during the first Gulf War in 1990. DeYoung went on to write a full scale musical, The Hunchback Of Notre Dame, which won a Jefferson Award as Best Musical for it's Chicago run in 2008 and should be hitting Broadway in the next few years. He also continued to tour and record with Styx from the mid-1990's until a mysterious illness befell him en route to a very public divorce from the band he helped found. Sticking with the motto he enshrined in song, "Winner are losers who got up and gave it one more try", Dennis began touring with a new band playing the music of Styx as well as some original rock tunes and the occasional song from Hunchback. In 2007, DeYoung released One Hundred Years From Now in Canada, where the album achieved gold record status. In May of 2009, DeYoung released a reworked version of One Hundred Years From Now in the US on Rounder Records.

One Hundred Years From Now opens with the title track, originally recorded as a French/English duet with singer Eric LaPointe. For the US release, DeYoung takes solo possession of the vocals while making some lyrical alterations from the original. The song is artistic and theatrical rock; not so much an anti-war song about an anti-hared/vengeance/violence song. The musical canvas DeYoung creates here reminds one why Styx was such a commercial powerhouse from 1977 to 1983. DeYoung has always written with a mix of cynicism and optimism that comes from his working class background. DeYoung grew up in the Roseland section of Chicago in the 1960's amidst blue collar family and friends while the radical social changes of the 1960's swirled around him. This Time Next Year reflects that gilded sense of optimism of a generation that grew up knowing that no matter how difficult things might be they always get better.

Rain is a tremendous bit of Prog Rock writing, featuring heavy pop hooks, a big guitar sound and a driven keyboard root. The vocal triads in the chorus complete a sound that few bands dare to attempt nowadays. The song itself is a powerful paean to hopelessness and is a real knockout. The next song, Crossing The Rubicon, is musical nirvana for fans of classic Styx; a meandering lyrical ballad in Progressive Rock form that is the musical equivalent of a Chaucer tale. The point of no return (classically based in Caesar's crossing of the Rubicon river to invade Italy) signifies moving on, and is such a universal concept it is likely to have broad appeal. Save Me has a strong theatrical feel to it, a cry for help in the form of a mid-tempo pop song with a killer melody and wonderfully layered instrumentation.

DeYoung shows his most cynical aspect on I Don't Believe In Anything, a brilliant musical diatribe against modern technology and times which could be mistaken for the ultimate conspiracy theorists' theme song. Long time Styx fans will love this, and the injection of a little Chicago Blues is a nice bonus. My favorite song on the disc didn't appear on the Canadian version. If this had been a Styx album rather than a solo album, Pvt. Jones likely would have been sung by James Young, given the 1970's heavy metal style of the song, but it's nice to hear DeYoung really air it out on a heavy rocker for the first time in a long time. Pvt. Jones is a tribute to the soldiers who have paid a price for freedom, both those who have died and those who have come home irrevocably changed. Unlike many pro- or anti- war songs of the past few years, Pvt. Jones checks the politics at the door and just acknowledges those on the front lines.

I Believe In You is a fairly typical DeYoung pop ballad. It's a sweet, well-written love song that's certain mix-tape fodder. There Was A Time is more typical of the ballad DeYoung wrote early in his career but written from a more adult perspective. It's a ballad about regaining what was lost. There Was A Time has the theatric element that pervades DeYoung's writing and sounds like it could as easily appear on a Broadway stage as a rock album. Breathe Again is a song of love and thanks written for DeYoung's wife Suzanne; a testament to the idea that love can conquer all in highly personal terms. Styx fans will listen closely to the song Forgiveness for overtones that may apply to DeYoung's departure from the band. Irrespective of any connection, this may be the most interesting composition on One Hundred Years From Now. It's a highly insightful and honest look at the difficult negotiation between intellectual forgiveness and human emotion. The song itself is painted in dark and textured musical tones that underscore the struggle between heart and mind when forgiveness is entertained. DeYoung closes out the album with a big rocker, Turn Off CNN, imploring listeners to turn off the television and start thinking for themselves. DeYoung returns to his Rock N Roll/R&B roots on this one, particularly in the bridge.

DeYoung developed a reputation in later years with Styx as well as in his solo career as more of a balladeer than a rocker; he shatters that notion with One Hundred Years From Now. DeYoung turns in some of the best Rock material of his career on an unexpected and remarkable solo venture. Fans of Styx will eat this up, and fans of great music won't be able to keep away from an album that is destined to be a classic. One Hundred Years From Now is a Wildy's World Certified Desert Island Disc. Don't be surprised if this one gets a lot of mention on year-end lists and perhaps even an award nomination along the way.

Rating: 5 Stars (Out of 5)

You can learn more about Dennis DeYoung at http://www.dennisdeyoung.com/. You can purchase a copy of One Hundred Years From Now at Amazon.com, or download it from Amazon MP3 or iTunes. I would also suggest, if you have the opportunity, you check out the Canadian release, which includes the song Respect Me. This song was dropped from the US release but is definitely worth hearing.

Review: Mikey Wax - Change Again

Mikey Wax – Change Again
2008, Last Great Song Publishing

Mikey Wax put out his first album at the age of thirteen, landing an instrumental composition on New York Radio Station 101.9, then a jazz/instrumental outlet. The Long Island native is classically trained in piano and self-taught on guitar. He spent his college years in Nashville soaking up the local music scene, but his true motivation came weeks after graduating from Vanderbuilt University. A letter written by his deceased grandfather nearly 20 years before was given to him. The wisdom and love in his grandfather’s words inspired the song With You Goes, and also inspired Mikey Wax to follow his dream to make music. Wax’ 2nd CD, Change Again, was released in 2008. It charted on the iTunes plus charts in the US, Canada, Australia and UK, reaching as high as #46 in the US. The album has also helped land Wax licensing deals with MTV, E! and ESPN.

Wax has an interesting vocal sound that is half way between John Mayer and The Plain White T’s’ Tom Higgenson. The songs on Change Again are primarily of the non-threatening, artfully written pop variety with a tendency toward big, soaring choruses. The album kicks off with Slow Motion; something of a generic yet aurally pleasing pop tune with the requisite big chorus. Songs like With You Goes, Hourglass (Love Will Find A Way and Love Light (Triad) also fit this generic yet sonically soaring style. I don’t want to call it bubblegum because it’s most definitely not, but there’s some of that same fluffy, feel good quality to the music. It’s when you get to a song like Twisted Fate when you realize that you’re dealing with an artist with a little more than just an ear for a good hook. Twisted Fate is the story of a prophet who foresaw a great tragedy yet never told a soul, and the guilt and grief carried by that individual. It is an incredibly smart and poignant bit of writing; a bit deeper than your typical pop song (perhaps too much so for real impact at radio, but it’s a fine song). The other definitive highlight on Change Again is Last Great Song; an aptly titled tune as it is a special song and it was the last one on the disc that really held my attention.

Mikey Wax is an interesting study on Change Again. There are really two different types of material here; the classic, hook laden pop song with big chorus and harmonies, or the singer-songwriter material that is popped-up but still very strongly rooted in that other tradition. The pop material works strongly for Wax on the commercial side, creating a sound that is instantly accessible for outlets like radio, while allowing Wax to cater to his more thought-provoking side in the singer/songwriter material. Not everything works here, but when Wax is on he is definitely worth making time for. Change Again is a strong album with a few weak moments; A definite keeper.

Rating: 3.5 Stars (Out of 5)

You can learn more about Mikey Wax at http://www.mikeywax.com/ or www.myspace.com/mikeywax. You can purchase a copy of Change Again at www.cdbaby.com/cd/mikeywax, or you can download the album through iTunes.

Review: Lisa Smith's Powerhaus - Maze Of Souls

Lisa Smith’s Powerhaus – Maze Of Souls
2008, Powerhaus

Lisa Smith is known to Canadian rock fans as Daneka, lead singer of goth rockers Exovedate. Chuck Page is known by guitar rock fans across Canada as one of the meanest axe players to strap on a six string. Put these two dynamic personalities together on stage and you have the type of pairing not seen since David Lee Roth and Eddie Van Halen decided they couldn’t share a sandbox. Smith’s powerful voice is capable of the vocal histrionics of Geoff Tate or Ronnie James Dio, the gruff extremity of Rob Halford, or the operatic metal of David Coverdale. Chuck Page is a blues/rock man, earning comparisons to Clapton, Jimmy Page and Jeff Beck. Put the two together and you have Lisa Smith’s Powerhaus, perhaps one of the best things to happen to the Toronto Rock N Roll scene in some time. Their debut album, Maze Of Souls, dropped in 2008 and is still making waves. Let’s check it out!

Maze Of Souls is a confounding album. Lisa Smith has an amazing rock voice; able to alter her sound to fit the song/style she’s singing within a limited breadth of styles. She’s somewhere between Lee Aaron and old school Pat Benetar stylistically. Her deep amber alto is lined with a bit of barbed wire when she wants it; there aren’t too many female rock vocalists like her nowadays. The band can rock when they’re up to it, and it seems like the potential is here for a an amazing ride on Maze Of Souls. What we find is a bit more typical of a 1980’s hair metal band, however. Maybe four songs of the eleven presented on Maze Of Souls truly inspire the listener, but there is a tendency toward blandness that belies the spark that the individual pieces can create. Maze Of Souls opens on The Verge, a straight forward classic hard rock tune. This is the listener’s introduction to Smith’s voice but is otherwise fairly typical of the genre. Red Door gets more into the hair metal sound, with Smith sounding a bit like Stephen Pearcy at times here. The Needle is the obligatory acoustic tune. This song gets stuck in a melodic and lyric rut pretty quickly, making up in repetition what it lacks in ideas.

Crazy For You turns things around in a big way. Huge hooks and a lively rock sound show off what the band is capable of, and Smith is right there driving the band along on what is by far the best song on the CD. Rat infuses a touch of blues into a straight up hard rock tune; the guitar work here is impressive and Smith’s vocal presence do a lot for an average song. Innocence Lost is perhaps the second best tune here, living on killer hooks and driving rock sound that will stick with you. The rest of the album is somewhat bland or even awkward (No More War) at times.

Lisa Smith has a voice that will knock you over the head and drag you back home. Within her range she’s a superstar, and Smith is smart enough to stay in her comfort zone on Maze Of Souls. The band is excellent, particularly guitarist Chuck Page, who has a bit of wizardry in his fingers. From the songwriting perspective Lisa Smith’s Powerhaus is generally pretty average or typical of their genre, although they do manage to find two or three breakout tunes here. A top notch producer could do big things with Lisa Smith’s Powerhaus; the potential is here.

Rating: 3 Stars (Out of 5)

You can learn more about Lisa Smith’s Powerhaus at www.myspace.com/lisasmithspowerhaus or http://www.chuckpagemusic.com/. You can purchase a copy of Maze Of Souls at www.cdbaby.com/cd/lspowerhaus, or you can download the album through iTunes.

Review: Evil Farm Children - Evil Farm Children II: The Evilling

Evil Farm Children – Evil Farm Children II: The Evilling
2008, Dad’s Favourite Records

When Evil Farm Children step on stage it’s like introducing alcohol to a party, literally anything can happen. The Ottawa, Ontario, Canada power trio segue from Punk to Surf to Metal to Americana like runway models change their outfits and nothing ever sounds out of place. Dave Kerr (DeadBeatDads, WizzleTeeth) plays guitar and sings on most tracks, while Janice Fitzsimmons (The Ambassadors, Revv Engine) plays bass and sings; Jeb Bond (The Restless Virgins, Screaming Bamboo, Fenton Brothers, Purple, Evil Knievel, Tall, Freudhammer) beats the skins and keeps Evil Farm Children on track. Any of the three members might be musically impressive, but when they come together as Evil Farm Children something special happens. 2008 saw the release of their second album, Evil Farm Children II: The Evilling, which raises the bar from their self-produced debut EP Knuckleduster. When playing live EFC has been known to cover such diverse artists as Dick Dale, Black Sabbath, Tom Waits, Conway Twitty & Loretta Lynn, Link Wray or Alice Cooper. Their original material is as unpredictable and fun to listen to. You’ll come to the conclusion that either they’re mad, or Evil Farm Children is a product of collective genius. We’re not ruling out either one.

The Evilling opens with Code Of Silence, a classic surf guitar rock song with a hint of rockabilly swing, like something from a Ventures session. Border Blaster follows a similar retro vein, getting back to Roots Rock N Roll in a classic party song. Booze Can is an interesting Garage/Punk/Surf hybrid that its feet firmly planted in the 1960’s. Much of the material here is fun to hear on CD but seems like it would be much more vibrant live. Valley Justice is interesting; written like a trail rider’s song to the slow beat of a plodding horse. The song has a dark and vaguely ominous quality with a bit of a “pulp fiction” sound to it. The highlight of the disc is the cover of Max Webster’s Hangover. While lead vocalist Dave Kerr isn’t quite as dynamic as Kim Mitchell, he manages to capture the gritty drunken essence of the song. Other songs of note are Knuckle Duster and Straight ‘N Narrow.

Evil Farm Children have a unique sound, call it punkabilly if you want; its close but not a complete description. I can’t say I was blown away by Evil Farm Children II: The Evilling, but it was a fun listen. I strongly suspect, from all that I’ve read about the band, that the live show is the thing here. Evil Farm Children did an excellent job of capturing a live sound on The Evilling, but the charisma of the live show is much harder to translate to a CD. Nevertheless, the songs presented here are bound to whet your appetite for more from Evil Farm Children.

Rating: 3 Stars (Out of 5)

You can learn more about Evil Farm Children at www.myspace.com/evilfarmchildren. You can purchase a copy of Evil Farm Children II: The Evilling at www.cdbaby.com/cd/evilfarmchildren.

Review: Sarah Brooks And Graceful Soul - Under The Bones Of The Great Blue Whale

Sarah Brooks And Graceful Soul - Under The Bones Of The Great Blue Whale
2008, Whaling City Sound

You take classic material, an all-star band, a unique setting, a dash of luck and a vocalist with the command, power and soul of Sarah Brooks, thrown them all together and you get magic. Under The Bones Of The Great Whale is the ultimate document of this experiment in musical alchemy, and what a gem it is. Brooks has the sort of voice that transcends genre and time. Hers is a powerful instrument built for Jazz and The Blues, but also adept at R&B, Soul and Rock.

Under The Bones Of The Great Blue Whale opens with Brooks breathing new life into Sam Cooke's Bring It On Home To Me. This may be the most vibrant version I've heard since the original, and aficionados may fall on their knees proclaiming the second coming of Etta James. Burt Bacharach's Look Of Love gets similarly iconic treatment, with Brooks making the song in her own without stepping on the coattails on Bacharach's opus. Chain Of Fools might not quite threaten Aretha's classic version, but Brooks is at least in the same room with a faithful rendition built on a little more funk than the original. Even the Beatles get drawn into the belly of the whale as Brooks puts up a lively and fun rendition of You Can't Do That; which is most memorable for the breakdown in the middle where you get to hear what the band is made of.

At Last (Etta James) is one of the highlights of the disc. This is one of those songs you just shouldn't do unless you're good enough to pull it off. Listen to American Idol auditions from any season and you'll know what I'm talking about. Brooks is all diva here, bringing down the house with a virtuosic vocal performance that does James proud. For all of that, Amazing Grace takes things one step further. Brooks transcends the moment and takes the audience and those listening at home to a magical place for nearly eight-and-a-half minutes. Graceful Soul provides some of the magic, to be sure, but Brooks commands all attention for this song, and rightfully so. The cover of Sting's Fragile is also highly recommended; Brooks is able to provide vocal texture to the song that Sting could never quite capture, although this version lacks the urgency of the original. Other highlights include The Chicken and a moving instrumental version of Amazing Grace.

Every once in a while an album will come along and surprise you for how good it is and how it hasn't gotten more attention. Under The Bones Of The Great Blue Whale is just such an album. Sarah Brooks should be a national talent, and the musicians that make up Graceful Soul should be right there with her. If the great ladies of song of the 1940's, 50's and 60's are your thing, then Sarah Brooks is someone you absolutely have to hear. Even if you don't know or care about that era, I still recommend Sarah Brooks and Graceful Soul highly. All musicians make music, but this is what magic sounds like.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sarah Brooks and Graceful Soul at http://www.sarahbrooks.com/. You can purchase a copy of Under The Bones Of The Great Blue Whale at CD Universe.

Review: Nathan Brumley - Show Me A Sign

Nathan Brumley – Show Me A Sign
2005, Embassy Music

Whitebird, Idaho’s Nathan Brumley took the indirect route to his music career. Following college, Brumley took a job rebuilding hiking trails. While others were fueling their songwriting through the sort of self-possessed pain teens and early twenty-somethings expose themselves to, Brumley was living a life of serenity and hard work. He did something right. Five albums and several licensing deals later, Brumley lives to make music. Brumley’s songwriting has a strong Contemporary Christian slant, but also has the ADD-fueled Zeitgeist at times of Ben Folds. Today we’re talking about his 2005 release on Embassy Music, Show Me A Sign.

Opening with the title track, Brumley sets a deliciously dark tone for the album. Show Me A Sign has a distinct blues flavor in the verse that turns pure pop on the chorus. Breath Of My Soul is a piano-driven prayer in song that is a pleasant listen but doesn’t leave a strong impression. Offending Grace is offered in a wonderful pop arrangement built around a strong melody line and arching harmonies. This is the most sonically pleasing cut on the disc and should obtain significant presence on Christian Radio outlets with distinct potential for crossover to the pop realm. Brumley gets a little formulaic in on the second half of Show Me A Sign, with schmaltzy pop tune such as Love Outside The Lines, Only My Heart, Every Time See The Rain and How High. He returns to form however for the final track, Things You’ve Never Done, a piano-based prayer in song that is inspired.

Nathan Brumley has real songwriting talent. Contemporary Christian Music (CCM) fans will go ga-ga for Brumley, and his better material has enough pop bite to have real crossover potential. Show Me A Sign is a bit uneven, starting out with strong material but running out of steam about halfway through. The rest is decent, just not up to the level of the first four or five songs on the disc. Show Me A Sign is highly recommended for fans of CCM. Even if CCM isn’t your deal, there is some great pop songwriting here.

Rating: 3.5 Stars (Out of 5)

You can learn more about Nathan Brumley at www.myspace.com/nathanbrumleymusic. You can purchase a copy of Show Me A Sign at www.cdbaby.com/cd/nathanbrumley.

Review: Schleusolz - Running Out Of Time

Schleusolz - Running Out Of Time
2009, Schokokontrol

Some might call it a vanity project. Others might label it a workshop piece. Some will call it genius. No matter how you term it, Frankfurt, Germany's Schleusolz is an intriguing venture. Studio magicians Worsel Strauss, Schani Wolf and Zodi Paulinen go for a space-age electronic retro vibe, described elsewhere as "Henry Mancini on acid", that is a serious attempt at fun. Wolf and Strauss openly allow that many of the songs on Running Out Of Time, Schleusolz' debut album, were experimental in nature. The end result is a collection seventeen tracks that are just familiar enough to grab your attention and unique and different enough to hold it.

Running Out Of Time opens with They Are Here!, which is titled like and sounds like the theme song to a 1950's or 1960's Sci-fi alien flick. On this and most of the tracks on Running Out Of Time you can almost sense Schleusolz laughing at themselves, poking fun at both themselves and the styles of music they traverse. Who Are You? feels like ballroom music from an old black and white movie, or perhaps something that might have played during the dance sequences on The Muppet Show if it were made today. Make My Heart Go Boom is a fusion you don't hear too often, electro-rock and tango. There's a surrealist, almost psychotic feel to this peace that will grab hold of you. Running Out Of Time is one of the most fun songs on the album, sounding a bit like a Weird Al Yankovic covering the theme song written for a hypothetical 1970's game show by Herbie Hancock.

As you can tell, if classification is your first priority you are woefully out of luck when it comes to Schluesolz. From the Middle-Eastern flavor of I Came To Marry A Blonde Girl, the space-cadet driven musings of Chivalry, the Peter Schilling-esque vibe on Neo-Liberal Coffee Bar or the Afro-Cuban Jazz vibe on Narcorhithmico, Schluesolz will spin you every which way but loose. Even the old-time variety show feel of The River Of Love is at home here; granted there's an undertone here that would be highly disturbing to Lawrence Welk or Roy Clarke and Buck Owens. Also be sure to check out Acid In The Sea, Two Canadians In Mockba and the mocking, untitled epilogue of a final track.

Running Out Of Time doesn't just break down barriers, it smashes them to pieces with a musical sledgehammer while Schluesolz giggles with glee. Schleusolz is one of those rare acts who are so original and unique that there really isn't a term to describe them. The thing they take most seriously on Running Out Of Time is having fun with the music. Join them in the fun; you won't be able to help yourself.

Rating: 4 Stars (Out of 5)

You can learn more about Schleusolz at www.myspace.com/schleusolz. You can purchase a copy of Running Out Of Time at www.cdbaby.com/cd/schleusolz.

Review: La Forza - Dance Music For Your Mind (Vol. I)

La Forza – Dance Music For Your Mind (Vol. I)
2009, La Forza Music

Yelm, Washington (pop. 4000) is the breeding ground for a new sound in popular music. Austrian born classical pianist Divina Klein and Hip-Hop producer Douglas Mackar (Cleveland, Ohio) combine to create La Forza. A force in more than just name, La Forza takes classically influenced electronic music and raises the genre to high art. Their debut album, Dance Music For Your Mind (Vol. I) is a dance/party record. Mixing structured compositions with improvisation while on stage, La Forza is always fully present in their performances.

The blend of ambient electronica and dance beats on Dance Music For Your Mind (Vol. I) comes off as ultimately uninspired. Across twelve tracks La Forza fails to offer up anything that is highly original or intriguing, proving more a blend of sounds than anything truly dynamic. Some of the organic piano work here is enjoyable, but fails to be remarkable. Fans of trippy piano-based electronica will dig it, I'm sure, but without distinct structure, melody or sense of movement it becomes too easy to relegate Dance Music For Your Mind (Vol. I) to the stack of not-enjoyable but unremarkable ambient releases. Because so much of the human element of music is missing from ambient music, artists who find a way to transcend the technology they use and stamp their humanity on their music stand out. One senses La Forza trying to make that breakthrough on Dance Music For Your Mind (Vol. I), but never quite getting there. The album is a pleasant listen but not something that will call you to return.

Rating: 2 Stars (Out of 5)

You can learn more about La Forza at http://www.laforza.com/ or www.myspace.com/laforza. You can purchase a copy of Dance Music For Your Mind at www.cdbaby.com/cd/laforza.

Review: R00k - Sera

R00k – Sera
2009, R00k

R00k is the musical expression of Bradley James Falconer's muse. The San Francisco-based singer/songwriter enlists some of the Bay Area's top musicians on Sera, an eletro-pop treatise on overcoming personal tragedy and becoming comfortable with who you are in relation to the world around you. Pitching in along the way is pianist Jonathan David Baker, Regina Espinoza, Susie Davis (Mick Jagger, Tracy Chapman, Sinead O'Connor), Victoria Theodore (Stevie Wonder), Troy Lampkins (Narada Michael Walden), Billy "Shoes" Johnson (Santana) and Juan Escovedo (Pete Escovedo and brother of Sheila E.).

Sera is comprised of 8 full length songs and 12 short compositions that Falconer calls "loops". Sera goes from dark to light, focusing on the suicide of Falconer's father when he was sixteen and his struggles to "come out" as gay. These experiences are seen viewed from a stereographic perspective where one lens is clinical and the other emotional, with Falconer serving alternately as therapist and patient. The first full track is Eat, a song about the struggle to come to terms with who you are. The song has spiritual and physical elements to it and displays the severe disturbance that most people go through as they develop into who they are, compounded by self-perception of being different or not fitting in. Go Away reflects the deep ambivalence people might feel in relationships when they are as yet uncomfortable with themselves. The song is has a disturbed element in both the lyrics and instrumentation that never quite resolves.

When I Can't Go On has an ethereal jazz sound with a dreamlike quality; The song is sung in the present tense, but one is left with the impression that the protagonist is daydreaming about a possible future. When I Can't Go On is a melancholic song countered with a sense of hopeless optimism. Ultimately, it's a song of contradictions than can't be entirely rectified, and perhaps this is the intent. Either way it's a highly intriguing composition. R00k offers up a trippy, electronic version of Amazing Grace. This is the most blatant statement on the album, but Falconer brings a distinct spiritual component to his songwriting that is seen more in the seams than anywhere else on Sera. I've heard Amazing Grace covered in many, many fashions; this wasn't one of my favorites but I'll give him points for originality. Bastard delves into the need-based relationship that Falconer perceives with God in terms that might be a bit unsettling for some.

Sail is written as a classic love song, but tells a story that isn't exactly picture-perfect. It's a strongly melodic tune with potential that would have benefited from a more organic presentation. Far is the most pop oriented creation on Sera, with NSync style harmonies and a happy dance beat. The song is strongly optimistic about a relationship and the state of life Falconer feels. The "loops" that connect the songs run the gamut from dark to light, poppy to bizarre, but serve as an odd sort of musical glue that holds the disparate compositions presented here together. In the end, Sera is an interesting study in becoming. R00k blooms from the mouth of sadness and despair to find hope and love, with all the bumps and bruises along the way on display. Sera is a compelling listen.

Rating: 3 Stars (Out of 5)

You can learn more about R00k at http://www.r00kmusic.com/ or www.myspace.com/r00kmusic. You can purchase Sera as a download through iTunes, or download the album for free on R00k’s website.

Review: J-P McGill - Against The Sea

J-P McGill - Against The Sea
2008, Pipeline Music

New York City-based singer/songwriter J-P McGill makes music for himself. In a refreshing and unusual turn, McGill creates music he likes without regard for what the laws of commerce or fashion might prevail upon. With roots in Chicago Blues and folk, McGill has dallied in styles from around the world, and all the chickens come home to roost on his latest album, Against The Sea. McGill uses the sea as allegory for the human condition. Part Don Quixote and part Arthur Miller, McGill's subjects rail against their own personal constructs in a constant struggle to transcend themselves and become who they already are. It's a classic tale of suffering as a means to finding paradise, a la Siddhartha. Throw in the coloring of Cape Breton shanties, Afro-Cuban, Latin, Blues and even a touch of Southern European flavor, and you have a dynamic package that ranges from tuneful to frightening, but never fails to be compelling.

Against The Sea opens with Moby Told Me, a disjointed bit of rock noise that is almost as charming as it is sonically disturbing. McGill has taken elements of Electronica and Lo-Fi Garage styles and melded them into something you can't quite comfortably listen to but don't want to look away from either. McGill keeps up the madness on Psycho Sub Samba, but this time he battens down a Samba beat with a bit of folk survivalist madness. Better Man heads straight for the gutter blues, Big Rude Jake style. Listening to Against The Sea all the way through, I am thoroughly convinced that J-P McGill has a tuneful if rustic voice, but a fair amount of the time he eschews a tuneful sound for a rough, melody-wary vocal style not uncommon in folk/blues circles. The result is an anachronistic sound that purports to be more amateur and rough than it really is.

Walk On Water is a prime example of this rough, raw sound. McGill's relationship with a distinct melody line here is tenuous at best; the arrangement strongly minimalist. What the song does have is force of personality; a primal je ne sais quoi akin to a car wreck. McGill goes a bit cabaret on The Dutchman, accompanied by a reserved piano and quiet percussion. One Note Float returns to the Electronica-gone-Garage sound we heard on the opening track, and borders on difficult listening at times. Fish And Bird is a love song that is surreal, and lends itself to the general atmosphere of the album. The difficulty is that the longer the album goes on the more difficult a listen it becomes. What was charming for a few songs can be wearing on the listener. By this point in the album I found myself questioning my initial assessment that McGill can sing musically when he wants to.

Lyrically, Against The Sea is raw; occasionally jarring. Musically McGill is very inventive, mixing styles in unusual ways that run the gamut from appealing to bizarre and disturbing. In this respect Against The Sea is a compelling listen, as you can't be sure what's going to come next. A decent whiskey voiced vocalist could do wonders with these songs, which lend themselves almost to a bardic style. Once in a while J-P McGill throws us a curve, like on Ken & Catherine, giving us a little roadhouse Rock N Roll and a vocal that's spot on musically and stylistically. Even The Rosa Maria finds McGill digging into his more musical side for a great sea chantey, but it does take some listening fortitude to get there.

J-P McGill has done one of two things with Against The Sea. He's either delivered a highly artistic and anachronistic album or he's offered up a commercial project with little or no demographic. In fact, the two positions aren't incompatible. The question comes down to whether the style here is intentional or just an accident of his persona as an artist. I don't have the answer to that question, but I can tell you that there are some bright moments here as well as some dark, hard to listen to moments. There are some songs on Against The Sea that could be interpreted in wonderful and compelling ways by the right artist or personality, and there will be a niche market for this album, but it's not widely commercial, and a lot of listeners won't get through more than a couple of songs. In the end, J-P McGill sounds a bit like a hypothetical cross between Shane McGowan and Phoebe Buffay. It's interesting and compelling, but I am still not sure whether I enjoyed it or not.

Rating: 3 Stars (Out of 5)

You can learn more about J-P McGill at www.jpmcgill.com or www.pipelinemusic.net. You can order a copy of Against The Sea at Amazon.com.

Review: Saint Bernadette - Word To The Lourdes

Saint Bernadette - Word To The Lourdes
2009, Exotic Recordings

Led by the honey-coated steel voice of lead singer Meredith DiMenna, Bridgeport, Connecticut's Saint Bernadette brings their introspective relationship angst back to light on Word To The Lourdes, their most rock-n-roll effort to date. Along with husband, songwriting partner and guitarist Keith "Touch" Saunders, DiMenna belts, croons and lays her heart on the line across six distinctive and musically pleasing tracks. Rounded out by guitarist Joe Novelli, bass player Bran Anderson and drummer Dave Valle, Saint Bernadette hits a lot of high notes on their first of three releases due in 2009.

DiMenna's voice is distinctive; a dark and pleural resonance with just a hint of steel that is highly interesting to listen to and gives Saint Bernadette an instantly recognizable sound once you're familiar with it. The album opens with Nobody Wants My Kind Words. The song itself wasn't my favorite, being a bit overly repetitive, but the song is a great showcase for DiMenna's voice. Already Gone is a punk/pop anthem that would make Blondie proud, and should vie for real commercial attention. He's A Collector is a bit of delicious pop-noire; not a song that you'd ever expect to earn radio play but a fun listen nonetheless. Wrap It Up has an urgent, rocker-girl quality to it that walks the line between classic rock and 1980's pop. The EP also features I Can Add You To My List and Don't Take This Away.

Saint Bernadette is inspired and influenced by classic rock & pop sounds that span a couple of decades, this all shines through the post-punk/pop sheen that envelops the six songs on Word To The Lourdes. If the songwriting is a bit uneven at times, it's more than compensated for the by the consistently excellent performance of Meredith DiMenna and crew. In many ways they remind of a young band that came to prominence in the mid-90s fronted by another dynamic female vocalist. Veruca Salt and Saint Bernadette share the same Rock N Roll spirit and rough and tumble aura. Make sure you check out Word To The Lourdes.

Rating: 3.5 Stars (Out of 5)

You can learn more about Saint Bernadette at www.myspace.com/saintbernadette or http://www.exoticrecordings.com/. You can purchase a copy of Word To The Lourdes at Amazon.com, or download a copy through iTunes.

Review: Straw Dogs - Love And Then Hope

Straw Dogs – Love And Then Hope
2009, Crafty Records

High energy blended in subtle textures. This is an apt description of the music of Straw Dogs, a Seattle Americana quartet that's spreading out of the great northwest faster than influenza on an airplane. Singer/songwriter/guitarists Dave von Beck and Darren Smith feed off the energy and support of bassist Eric Bryson and drummer Casey Miller to create a sound that's part, CSN, part Son Volt and part Ryan Adams. Their latest album, Love And Then Hope is a collection of fourteen intelligent and well-written songs that push at the boundaries of Americana while exemplifying the very soul of the genre.

Love And Then Hope opens with Lie Awake, a song you'll be hearing in one way, shape or form. Lie Awake falls firmly between Country and Rock, but is so well written and so full of real emotion that its hard to imagine this song not being picked up for niche radio as well as for licensing opportunities. Besides it's not often you hear male vulnerability in song outside of canned ballads, which this most definitely is not. Could You is a very interesting musical construct, combing the weird, nervous energy of early REM with the highly melodic and dark timbered sounds of bands like Blue Rodeo. I could see this song doing very well on Americana radio. Down My Hall is a highly accessible pop/country song built around a very strong melody and great harmonies.

Something More is a hopeful love song that looks back at a broken relationship and wishing for another chance. The song is wonderfully tuneful and features both vocalists in harmony. It's a very mellow vibe but perhaps the well-written song on the disc. Waiting By The Gate is an inspired bit of songwriting. The song has a very earthy tone to it that's based in the protagonist's near-desperation. Make sure to give this one a careful listen. My favorite song on the disc is Then Maria. The sway to this song will draw you in, and the singer's pure devotion is palpable. As always, the chorus is full of great harmony, and the melody line will stick in your head for days. Other highlights include Serious Love, Remember My Garden, Numbers and First Time.

Love And Then Hope is one of those albums that you could sit and deconstruct for hours. The musicianship is top notch, as is the songwriting. The more upbeat tunes will haunt your brain, as von Beck and Smith have a unique knack for pop hooks embedded deep in their Americana sound. The heart in the music is distinctive, whether it's an optimistic upbeat country rocker, a sad ballad or a melancholy musical mood. Straw Dogs deserve significant attention; Seattle isn't big enough to hold them.

Rating: 4.5 Stars (Out of 5)

You can learn more about Straw Dogs at http://www.strawdogs.com/ or www.myspace.com/strawdogsmusic. You can purchase a copy of Love And Then Hope at www.cdbaby.com/cd/strawdogs5.

Review: Gerry Wall - Winter Grass / Ex Patriot's Day

Gerry Wall – Winter Grass/Ex Patriot’s Day

2006/2007, Catfish Rapids Music

Gerry Wall is a prairie boy who made good. The Saskatoon, Saskatchewan, Canada native eventually made his way to Toronto, squandering top-notch foosball skills on the way to a doctorate degree, but found his calling making music. A chance childhood encounter with Joni Mitchell aside, Wall falls into the school of songwriting sometimes inhabited by folks such as Jackson Browne, Josh Rouse, Bob Dylan and even, yes, Joni Mitchell. Today we’ll be checking out two of Wall’s albums, Winter Grass and Ex Patriot’s Day.

Winter Grass opens with the title track, a plaintive country rocker with shades of Blue Rodeo woven in. Willow Bluff has a minimalist blues element to it. It's a fun song about the impact of priorities on relationships. Light The Match has this wonderfully dark, seedy quality to it that gets into your brain. Lyrically the song doesn't stadn out, but the arrangement and construction of the song is brilliant. Poor Man’s Train is particularly memorable with its period vocal style and insistent blues feel.

Ex Patriot's Day opens with Cheticamp, a sort of declaration of independence set against the backdrop of quaint fishing village on the Western edge of Cape Breton. The song is wonderfully tuneful and very well constructed. Ex Patriot's Day deals with the joy of living in a place like New York City while still missing home. Wall's songwriting has a strong Country/Americana feel that is undeniably smooth. Hello Amsterdam is an upbeat Country/Rocker that sounds like perhaps Jackson Browne and Bruce Hornsby jamming together. This highly commercial song has real chart potential and is one of the most pleasant listens on the disc. Home By Sunday takes a bit of a jazz turn (a la K.D. Lang) in a very tight arrangement that accents Wall's voice perfectly. Are You Making Any Friends? keeps the jazz vibe going with an 1970's AM radio feel. Other highlights include Lost At Home, Willow Bluff V2 and Tiny Letters.

Gerry Wall sets an example on Wintergrass, while on Ex Patriot's Day he lives it. Both albums show strong songwriting and a promising musical touch. Ex Patriots Day finds the artist a year old than on Wintergrass; By the time Ex Patriots Day rolled around, Wall had grown as a songwriter from above average to excellent.

Ratings:

Wintergrass – 3 Stars (Out of 5)
Ex Patriots Day – 4 Stars (Out of 5)

You can learn more about Gerry Wall at http://www.gerrywall.com/. You can purchase a copy of Winter Grass at www.cdbaby.com/cd/gerrywall2. Ex Patriot’s Day can be purchase at www.cdbaby.com/cd/gerrywall3. Both albums can be purchased as downloads through iTunes.

Review: Telly - Free Music For Sale

Telly - Free Music For Sale
2006/2008 Pantelis Karoussos

If you could roll John Mayer, Dave Matthews and Rob Thomas into one dynamic package you'd find Telly Karoussos. Based in Easthampton, Long Island, Telly has built quite a buzz around his live shows in the New York City and Long Island markets. Telly first released Free Music For Sale in 2006, but has reissued it in the run up to his upcoming album, You Of All People, due later in 2009. Most of Free Music For Sale was recorded in one take with minimal vocal overdubs and reflects an artist who is wholly alive when performing, even if just for the mic.

Free Music For Sale opens with Anything, a wonderfully dark and gritty tune with a conditionally positive message. This is a standout track any way you listen to it, and should gain significant commercial attention for Telly. Free is very much a Dave Matthews sound-alike, built on a highly complex arrangement that is a pleasure to listen to. The song really takes off during the chorus. This is another highly commercial offering that should gain strong attention from the grazing packs of licensers that scour markets like New York City for talent. Absolutely Everything has that seedy, back-alley quality that comes into play when discussing human intentions when it comes to a one-night stand. Telly's performance here is amazingly subtle given the dynamics of his voice.

At The End Of The Day comes out of the dark with a hopeful song with real pop legs. The arrangement isn't garish, but the hooks here will catch you and wrap you up like only the best pop songs can. Be sure to also check out The Dream and Where I Stand.

Telly has a sound that is highly familiar and comfortable, but dances along the darker edges of pop with primarily acoustic/organic songs that explore the human condition with a sense of reality balanced by a cautious optimism. Free Music For Sale is a thing of beauty; I'm frankly amazed that this album didn't launch Telly more firmly onto the national stage. In any case, here's a second chance to see what you missed the first time.

Rating: 4 Stars (Out of 5)

You can learn more about Telly at http://www.tellyjams.com/. You can purchase a copy of Free Music For Sale at www.cdbaby.com/cd/tellymusic or download the album at iTunes.

Review: The Perms - Keeps You Up When You're Down

The Perms – Keeps You Up When You’re Down
2009, Hugtight Records

The Perms are a Winnipeg, Manitoba, Canada alt-rock band with a distinct pop sensibility that endears them to fans. Like alt-rock gamers Weezer, or Canada’s own Sloan, The Perms suck you into their songs with bright, garish melodies and big hooks while feeding you lyrics with more than just a little intellectual bite. The perms 5th release, Keeps You Up When You’re Down hit shelves in early 2009. Pay attention now, this is a good one.

Keeps You Up When You're Down opens with Give Me All Your Lovin', a kinetic rock song with an arena-rock worthy chorus. The Perms manage a real rock song with distinct pop hooks and a strong commercial sense. As You were keeps that energy going in a slightly more laid back setting. The Perms pull out the big harmonies and classic hooks here and throughout the rest of the album for a sound that is retro yet modern. Running Away hits the Pop meter hard, coming across as one of the most highly commercial tracks on the disc. Lead vocalist Shane Smith has a comfortable voice that is a pleasure to hear; nearly familiar but not something you can name. This is the sort of music that makes you want to go to a show. The harmonies border on Beach Boys territory at times and the melodies make you want to sing along.

World To Me is an upbeat love song perfect for any modern rock mix tape. The sheen on this song is so bright, the melody so peppy and the hooks so big I can't see how this song doesn't get licensed many times over. This is a great "summer song" candidate; if it were twenty years ago World To Me would be a major pop/rock radio hit. Nightshift opens sounding a bit like Max Webster covering Footloose; a vibrant rock song with great drive. This is another potential hit for The Perms, but my favorite song on the disc is Things Left Unsaid. Other highlights include Who Are You Fooling, The Mess, Big Mistake and Salvation.

The Perms have a distinct pop sensibility and an ability to write highly consumable and memorable Pop/Rock gems. The use of complex harmonies and a strong team writing effort make Keeps You Up When You're Down one of the more memorable albums of the young year.

Rating: 4.5 Stars (Out of 5)

You can learn more about The Perms at http://www.theperms.com/ or www.myspace.com/theperms. You can purchase a copy of Keeps You Up When You’re Down at www.cdbaby.com/cd/perms5, or you can download the album through iTunes.

Review: Sway - Let It Roll

Sway - Let It Roll
2008, Sway

Southern California quietly has built a thriving country music scene over the years. While not gaining the attention or reverence of Nashville or Branson, Orange and L.A. counties are home to a thriving country music community. Gina Quartaro and Perry Martin were both pieces of the puzzle in SoCal, but it wasn't until they were introduced by their Chiropractor just about a year ago that they moved to the head of the pack. As 2/5 of Sway, Quartaro and Martin have melded into a dynamic singing/songwriting/performing force majeure that is bound to turn a spotlight on the scene as a whole. Quartaro was raised on Hank Sr., and Martin cut his teeth touring Vietnam with The Donny James Show and performing on television for the Armed Forces Television Network. Together, they've found a sort of musical alchemy that's almost fairy-tale quality. The former Nashville Star contestant, Sway, released its debut album, Let It Roll in 2009. Look out Nashville, her comes Sway.

I've been waiting for a while for a band and song to come along that will ultimately prove what country radio is made of, and I've finally found it. Cowgirl Scene, the opening track from Let It Roll, should put Sway firmly on the Country music map. Suffice it to say that on a major label with the right marketing push, this is a #1 hit. It will be the shame of the industry if that doesn't happen, because this might just be the best Country/Pop offering of the last few years. It's a girl’s night out song, and so infectious you won't be able to get it out of your head. Let It Roll comes from a more introspective place, reflecting a positive outlook based in self-sufficiency. The song is very tuneful and well-written; the sort of personal anthem that people might take to in difficult times.

If I Knew is in the classic vein of tragic country songs; a musical letter from a widow to her deceased husband about their daughter. Quartaro gives a moving vocal performance, with Perry Martin answering in almost ethereal tones. Get the tissues ready for this one. Sway swings from this bit of personal darkness to In The Hands Of Love, a highly optimistic song about the power of humanity to rise above its own petty nature in response to one another's needs. This is another song that should be getting serious airplay, although its perhaps a bit too upbeat and positive thinking for a cynical radio industry.

One of the things I enjoy most about Sway is their willingness to break the mold, musically. Check out I'm Over You, a song with distinct country coloring but which smacks of an almost Fleetwood Mac pop sound. Quartaro is entirely in her element here in a mildly driven pop/rock song in Americana clothing. This particular melody will inspire you to sing along and will keep recurring in your mind. Perry Martin takes over lead vocals on This World. Martin's voice is distinctive, part Leonard Cohen and part crooner. This World is a highly positive song that again hits the theme of people overcoming their own base natures, and how that ability is a perennial marker of hope. You'll also want to be certain to check out More Than Enough and Love Takes Time.

Whether it's Quartaro's lead vocals, Martin's harmonies, the songwriting, the energy or any other quality you care to name, Sway is a first class Country/Pop outfit with significant commercial potential. If the industry doesn't embrace this band and give them the support they need then shame on the establishment. Sway has found a dynamic blend of classic Country and Pop that is pop gold. Let It Roll is a dynamic and wholly enjoyable debut.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sway at http://www.swaymusic.com/ or www.myspace.com/ginaquartaro. You can purchase a copy of Let It Roll at www.cdbaby.com/cd/swayband.

Review: Elliott Yamin - Fight For Love

Elliott Yamin - Fight For Love
2009, Hickory Records

American Idol fans will remember Elliott Yamin from his 3rd place finish in Season 5 of American Idol, coming in behind Taylor Hicks and Katharine McPhee. Yamin’s self-titled debut album debuted at #1 on the Billboard Independent Albums Chart in 2007 and reached #3 on the list of top 200 albums at one point that year. Yamin’s latest album, Fight For Love is available as of today, May 5, 2009.

Fight For Love opens with Let Love Be, an electronic based R&B jam that showcases Yamin's impressive voice over a forgettable arrangement. The net effect is to make Yamin look very good as he carries a sub par song further than it has any business going. Know Better runs much the same path, with an arrangement that is passable but a strong showing from Yamin on vocals. The title track, Fight For Love, finds Yamin sounding like late Peter Cetera Chicago if they'd been performing in a 21st Century R&B style (and perhaps an octave lower). Listen to the harmonies and the chorus in particular and you'll hear what I'm talking about.

You is an interesting entry on Fight For Love. The melody and structure are more engaging than the material that comes before, and Yamin sounds a bit earthier here. You is a potential big time ballad, although it does sound like some effects were added to the lead vocal, which is always a bit disturbing; particularly from a vocalist with a voice like Yamin's. Much of the album is pedestrian R&B/Pop, where the more dance oriented Don't Be Afraid and You Say or the slower jams Apart From Me or How Do I Know. Cold Heart stands out as highly enjoyable with its funk base and vibrant vocal line. Yamin sounds like he had fun with this one, and the energy is a bit infectious. This Step Alone is also a standout track as Yamin commits heart and soul to the message. The album closes out with Someday, a commercially consumable but not highly memorable pop tune that sums up the general vibe of the album.

I was disappointed with this album, but not with Elliott Yamin's performance. The former American Idol contestant gives all he's got vocally on material that just isn't up to his level. Some of the songs presented here have real promise, but the production relies on cookie-cutter R&B/Pop arrangements cooked up in an electronic kitchen. I have no doubt Elliott Yamin will chart a few songs from Fight For Love and move some units, particular amongst Idol fans, but with a voice like his you're right to expect a bit more. Yamin's performance here is consistent with the excellence of his voice, but the material leaves a lot to be desired.

Rating: 3 Stars (Out of 5)

You can learn more about Elliott Yamin at http://www.officialelliottyamin.com/ or www.myspace.com/elliottyamin. You can purchase a copy of Fight For Love at Amazon.com or wherever music is sold. The album can also be downloaded through iTunes.

Review: John MacLean - Letters Home

John MacLean – Letters Home
2008, John MacLean

John MacLean finds inspiration for songwriting in his own life and experiences as well as from the world around him. The Baltimore native lives in New England with his family, and released his debut album in 2008, Letters Home. MacLean has a knack for intelligent lyrics and easy, down-home arrangements that seem like they walk write from the American Folk Songbook.

MacLean has the singer/songwriter aesthetic down pat, telling stories from that same comfortable perch as greats such as Woody Guthrie, James Taylor and even Dylan. MacLean wraps his stories in comfortable arrangements that are pleasant to listen to and seem to support the stories they purvey. Letters Home opens with Blind Willie McTell in a classic sounding folk arrangement with country and blues accoutrements. Still Waters has a classic country/folk feel to it with a lilting melody that will stick with you like oatmeal on a cold day. New American Way is an apropos song for difficult financial times. Focused on corporate greed and the divergence between rich and poor, the song tells an allegorical song of the stripping away of America's working class jobs and opportunities, complete with members of the corporate community who refuse to face up to their decisions. This issue has been addressed in song numerous times in the past twenty years, but rarely with so much grace.

Touch A Name On The Wall is a highly personal and poignant tribute to fallen Veterans of the Vietnam War from a Vet who came home. Scores of tributes exist, but MacLean's personal missive has more power than most. Add in a highly listenable country arrangement and you have a very special song, indeed. Liar's War (Letter Home) takes on the Iraq War in contrast to Vietnam, praising the soldiers and the fallen while denigrating the reasons for the conflict. Once again, MacLean has the standing to speak on these issues as a Veteran and the brother of a fallen Vet. MacLean indicts the motives of both the Nixon and Bush governments without ever mentioning their names or specifying charges. It's this subtlety that turns Liars War, and Letters Home in general, from a typical folk album into a masterful collection of songs. Other highlights include Beyond Our Time, Pancho And Lefty and First Met You.

John MacLean writes with a poignant pen, sliding his meaningful and weighty stories into songs crafted in gentle tones and pretty home style melodies. Letters Home didn't strike me the first time I listened to it. This is not an album you listen to casually. MacLean has put his heart and soul into each song, as if into a musical diary. If you aren't really listening then you'll never get the full sense of Letters Home, one of the finest original traditional folk albums of the past few years.

Rating: 4.5 Stars (Out of 5)

You can learn more about John MacLean at http://www.johnmacleanmusic.com/ or www.myspace.com/johnmacleanspace. You can purchase a copy of Letters Home at www.cdbaby.com/cd/johnmaclean.

Review: Frances Ancheta - Now We're Here

Frances Ancheta - Now We're Here
2008, Frances Ancheta

Frances Ancheta is a Filipina-American singer/songwriter from San Francisco, California with influences that range all over the musical map. Her debut album, Now We’re Here, is primarily Ancheta and her guitar with the occasional guest musician. Ancheta’s music has a very mellow vibe to it that is a cross between Sarah McLachlan and Lisa Loeb.

Ancheta is a sweet voiced, folky singer/songwriter who sings with a lot of heart. Unfortunately breath control and consequently, pitch, suffer at times throughout Now We're Here. Ancheta's Lahaina is a pleasant folk/pop number that expresses a yearning for the next step in life while questioning the source of answers thus far. School Of Fish has a highly rhythmic acoustic guitar style not entirely dissimilar to Ani DiFranco. Ancheta doesn't quite have the range to pull this song off, but she tries gamely to do so. Empty Chair expresses loss in a sweet and vulnerable fashion that is endearing. Never Go Away is a pleasant listen, but fits into a highly introspective and self-contained pattern that takes hold as the album progresses.

Ancheta proves to be a young songwriter without the ability to filter away emotions and highlight the ideas left behind in her songs. There are some delightful tunes here, but also a tendency to run on about teenage style problems. Consequently the listening audience for Now We're Here will be somewhat reduced from its potential. Ancheta's voice is sweet and a pleasure to listen to, and casual fans will like that they hear.

Rating: 3 Stars (Out of 5)

You can learn more about Frances Ancheta at www.myspace.com/francesancheta. You can purchase a copy of Now We’re Here at www.cdbaby.com/cd/francesancheta.

Review: Barbra Streisand - The Concerts

Barbra Streisand – The Concerts
2009, Hip-O Records

Barbra Streisand is the top selling female artist of all time, with over 71 million albums sold in the US alone. Her 50 gold albums, 30 platinum albums and 13 multi-platinum albums rival artists like The Beatles, Elton John and Neil Diamond. Streisand started out in her high school choir with fellow future legend Neil Diamond, also rubbing elbows with Bobby Fischer. Streisand started out as a nightclub singer, working her way up through Off-Broadway productions and regular gigs at gay bars in New York City on her way to landing an appearance on Jack Parr’s The Tonight Show in 1961. Streisand made her Broadway debut in 1962 in I Can Get It For You Wholesale, and won her first two Grammy Awards in 1963 for The Barbra Streisand Album. More Broadway shows would come, as would movies and a string of highly successful recordings. Streisand has received 10 Grammy Awards, including the Grammy Legend Award (1992) and Grammy Lifetime Achievement Award (1994).

The Concerts features two full shows from this legendary performer. Included is the full set list from a show in Ft. Lauderdale, Florida from Streisand’s 2006 North American tour. This concert includes some firsts from Streisand, including My Shining Hour, A Cockeyed Optimist and Unusual Way. A guest appearance by Il Divo is just dressing for this concert experience. The set also includes a show from her 1994 tour recorded at Arrowhead Pond in Anaheim, California that includes the Yentl Medley. This tour was Streisand’s first return to the stage in a quarter century; it’s apparent from the energy Streisand brings to the stage as well as from the response from the crowd. The third disc in the set is a cornucopia of goodies for hard core Streisand fans, featuring video clips from television performances over the years and the documentary Putting It Together: The Making of the Broadway Album.

There are a lot of compilations and retreads out there that come out of the major music labels these days. No one at the majors wants to invest in developing artists anymore, but they are more than willing to slice and dice long established artists’ catalogs to create “new” releases ever other year to keep up their income levels. I tend to be very skeptical of such tactics, but this collection is very much worthwhile if you’re a Streisand fan. If you don’t know much about Streisand, come out from under that rock and check out The Concerts. Streisand is iconic in a way that artists like Sinatra, The Beatles, Ray Charles and Neil Diamond are or were. The Concerts is worthy of that reputation.

Rating: 4.5 Stars (Out of 5)

You can learn more about Barbra Streisand at http://www.barbrastreisand.com/. You can purchase The Concerts at Amazon.com or wherever DVDs are sold.

Review: Jefferson Hendricks - Dancin' On Cars / I Got Questions / Still In Production

Jefferson Hendricks - Dancin' On Cars/I Got Questions/Still In Production
2007/2008/2009 Gotcha Records

Jefferson Hendricks is a native of Lafayette, Louisiana, and carries the spice of that land over into his songwriting. Even though he resides now on the peaceful beaches of Rhode Island and records once a year in Boston, Hendricks has never forgotten his roots. Hendricks sent three CDs for review, and we'll take a quick look at each. In general, Jefferson Hendricks follows a country/rock hybrid that isn't entirely Southern Rock and isn't strictly Americana, although his newer material seems to branch out a bit beyond those boundaries. Hendricks has a pleasant vocal sound within a limited range and sticks pretty much within his comfort range across the three albums presented for review.

Dancin' On Cars
Hendricks opens with upbeat Americana/Rock on the title track, but gets a little too suave for his own good on Red Dress. Shame is a dark and commercial listen but fails to really hit memorable status. I Can't Dance is the highlight here. This song could make some noise on the country charts with the right push. Put this song on an album from a big name artist and its an instant hit. Rolleen is also interesting; Hendricks seems to go for the California Country sound of The Eagles here in a catchy, commercial offering.

I Got Questions
This is probably the weakest of the three albums, but it does have a few high points. A Woman For Me has a rockabilly feel and will wiggle its way into your brain. Think About It is a side trip to Margaritaville that seemed a little out of place but was otherwise enjoyable. Sweet Memories is a great song but I disliked the opening so much it ruined the song for me. Makin' Love is the gem here. It's by far the best writing on the album and would make a great crossover pop hit. You'll find yourself humming this one long after the CD has stopped spinning.

Still In Production
“Still In Production” isn’t the title of the CD, but the working title listed when the CD was sent. The new disc is due in late Spring of 2009 and is by far the best of the three CDs Hendricks sent. I'm Gonna Make It Better is a musical apology appropriate for a twelve step program. Heros is a glory days song about childhood and the wisdom of never growing up entirely. Where's The Love is a slinky bit of cabaret pop that turns into a 1960's rocker. It's a memorable and singable song that contains a statement of American character and intent that seems appropriate for a post-Bush world. NOLA is a touching tribute to New Orleans that takes on a Jimmy Buffet flavor. The best commercial shot here is Hard To Get, a song that could be a pop hit with the right arrangement.

Jefferson Hendricks manages to catch lightning in the songwriting bottle now and then across the three albums presented here. In general the songwriting and performances are average to good, but each album manages one or two tracks that are memorable. If you like Country/Americana/Rock that doesn't stick to the game plan then Hendricks will appeal to you, but I'd check out the material before you buy.

Ratings:

Dancin' On Cars - 2.5 Stars
I Got Questions - 2.0 Stars
Still In Production - 3.5 Stars

You can learn more about Jefferson Hendricks at http://www.jeffersonhendricks.com/. Hendricks currently has Dancin’ On Cars for sale on his website. The site indicates I Got Questions is available but doesn’t offer it for sale. A new album (listed here as Still In Production) is due late Spring, 2009.

Review: The Texas Red Legs - Rattlesnake Inn

The Texas Red Legs – Rattlesnake Inn
2008, The Texas Red Legs

The Texas Red Legs are the musical extension of singer/songwriter Richard Davis’ muse. The Dallas-based quartet brings a new outlook on an old sound on Rattlesnake Inn, Texas Red Legs’ debut CD. Rattlesnake Inn is as DIY as it gets; self-produced and self-contained musically. Country music fans may well be enchanted, but there’s enough Rock N Roll here to keep everyone happy.

The album opens with She Fell In Love At The Jukebox, my favorite song on the disc. There’s a definite country dancehall feel here that will reaching for your cowboy hat and practicing that old Texas two-step. Crows And Gasoline has a Neil Young aesthetic going on, right down to the stylistic lead vocals. Burnin’ Down 35 has a nice southern rock feel to it and is a decent listen. Other highlights include Sugarface Blues and Neither Wolf Nor Man.

Rattlesnake Inn is a relatively low key album that is a pleasant listen but doesn’t really grab hold of the listener and make you want to keep coming back. Fans of Neil Young or Van Morrison will likely enjoy this album, but the energy just runs a little too low at times for me. The verdict is that The Texas Red Legs have created an album that is musically impressive but without the vibrancy to match.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Texas Red Legs at http://www.texasredlegs.com/ or www.myspace.com/texasredlegs. You can purchase a copy of Rattlesnake Inn at www.cdbaby.com/cd/texasredlegs.

Review: Woodward - Switch Hit Resistor/Footski/Love Heart

Woodward – Switch Hit Resistor/Footski/Love Heart
2009, Woodward

In April of last year we reviewed Woodward’s full-length debut, …But Your Kids Are Gonna Love It, with raving words and manic glee. The album came in at #3 on Wildy’s World’s Top 40 Albums for 2008. In May of 2009, the band will release three new singles through iTunes and other download services. Switch Hit Resistor, Footski and Love Heart represent a growth in sound and style for Woodward, beginning with the retro/modern classic rock sound Detroit’s Fab Four propagated on their debut, Woodward has taken a more linear, melodic approach to songwriting this time around. The result is consistent in style, but perhaps just a bit more refined than in the past. Where modal triad harmonies in the classic, arena rock style were the rule before, now they are a bit more complex and developed in conjunction with an expressive harmony line. It’s almost as if Woodward took their old sound and blended in just a touch of 1980’s New Wave aesthetic to find a sound that is viably modern while staying true enough to their roots to please long time fans.

Switch Hit Resistor is perhaps the closest to the old material, although the synth lends that New Wave feel to the song. Footski sounds a bit like Elvis Costello recording with Queen, and sounds like a potential summer hit. This is the sort of song you hear driving in your car and crank the volume up as loud as it will go. The pop sensibilities that Woodward showed on their debut have not deserted the lads. Love Heart is a bit more introspective that anything you might have heard from Woodward before; I wasn’t sure about this one on first listen, but as I’ve listened to it more and more I really like it. Love Heart is subtly and intelligently written and has a chorus that just won’t get out of your head.

So times are changing. Woodward shows distinct growth on their new singles without sacrificing the essential character or sound that has enchanted fans to date. If anything, the artistic and sonic growth is going to make Woodward a lot of new friends. Woodward stands for the type of Rock N Roll that has been missing from the popular scene since Grunge exploded out of Seattle almost twenty years ago. Bands like The Killers and The Fray have tried to resurrect melodic, retro/modern classic rock with varying degrees of success, but no one in the mainstream has done it as well or as emphatically as Woodward. Make sure you check out their new singles, Switch Hit Resistor, Footski and Love Heart when they become available later this month.

Rating: 5 Stars (Out of 5)

You can learn more about Woodward at http://www.woodwardtheband.com/ or http://www.myspace.com/. The singles Switch Hit Resistor, Footski and Love Heart will be available some time in May on iTunes and several other online vendors.

Review: John Hawkins - Fantasy World (demo)

John Hawkins - Fantasy World
2008, John Hawkins

John Hawkins is a non-performing songwriter; a member of the Guild of International Songwriters and Composers. He is looking to collaborate with singers/performers as well as other songwriters.

Hawkins is something of a poor man's Paul McCartney, focusing on silly, schmaltzy little love songs on his six-song EP, Fantasy World. He displays a decent pop sensibility but also a propensity for cliché. By The Way is Delilah love songs, mix-tape material but a little too heavy on the honey. To Be Certain is a bit cliché but interesting for samba-based arrangement. Fantasy World is my favorite track here, having a 1940's feel to it. When I Get Over Today has some commercial potential as a pop song. Feel So Fine is another highlight, a strong pop/rock offering that breaks out of the introspective, lovelorn shadows Hawkins seems to dwell in. Make Each Day Christmas Day comes across as forced and awkward, being more cliché than original thought.

John Hawkins has a moderately commercial writing approach, with love sappy love songs that would do well in the Adult Contemporary/Easy Listening spectrum. Hawkins may be a good source for these sort of “silly little love songs”, and may, with the right collaborator, turn out some high quality songs outside of that narrow scope.

Rating: 2.5 Stars (Out of 5)

John Hawkins did not provide any contact information and I was unable to definitely identify a source of information about him on the internet. If you know Mr. Hawkins please ask him to contact us so that we may list contact information.

Review: Michael Staron - Rock Originals

Michael Staron – Rock Originals

2008, Michael Staron

Michael Staron is a composer, bass player, university lecturer and musical theater veteran. His music credits are extensive, including the likes of Roger Williams, Red Skelton, Sid Caesar, The Marvelettes, Eddy Arnold, Al Martino, Jerry Vale and Vic Damone. He’s also performed as a musician in numerous musicals, including Evita, Rent, Joseph And The Amazing Technicolor Dreamcoat (with Donny Osmond), A Chorus Line and West Side Story. Staron holds a Masters in Jazz Pedagogy from Northwestern University, and teaches at DePaul University, Benedictine University and Triton College. Despite all of this, Staron still manages times for original composition, performance and recording. His CD, Rock Originals, includes five original compositions you jazz fans won’t want to miss.

Rock Originals opens with Ham Stew, a vibrant Rock N Roller with an upbeat 1960's feel. Back On The Highway is a bit tired, plodding a long to a rock beat but never quite soaring. Questions has an early-1970's heavy rock feel. The song is catchy and philosophical without being too deep. Hail, Britania offers a funky/jazzy presentation that is fresh but is so repetitive that it ends up flat. Dear Ann is pleasant but ininspired.

Mike Staron crosses a lot of Rock N Roll boundaries in five songs that are better termed a collection than an EP. There is no grand theme or tie that binds between the songs. Consequently, Rock Originals comes across as disjointed and a bit disorganized. Staron has distinct talent as a musician, but this particular offering just didn't catch on with me.

Rating: 2 Stars (Out of 5)

You can learn more about Mike Stern at http://www.chicagojazz.com/MikeStaron or www.sonicbids.com/MichaelStaron2. You can purchase a download of Rock Originals on iTunes.

Review: Frank Sinatra - Live At The Meadowlands

Frank Sinatra – Live At The Meadowlands
2009, Concord Records

What can I say about Frank Sinatra that you haven’t heard before? The man is a legend, and still creates a buzz when a new release is on tap even eleven years after his passing. Sinatra was the recipient of no less than eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and Grammy Lifetime Achievement Award. Sinatra also won an Academy Award for Best Supporting Actor (From Here To Eternity), and was awarded the Presidential Medal Of Freedom in 1985 by Ronald Reagan and the Congressional Gold Medal in 1997. Sinatra sold over 100 million records over the course of his career, in spite of a damaged ear drum and a voice that was imperfect. Sinatra’s gift was his ability to sell a song better than anyone else in the business. On May 5, 2009, Concord Records releases the jewel in the crown for any collector of Sinatra audio recordings, Live At The Meadowlands.

On March 14, 1986, Frank Sinatra took to the stage at The Meadowlands Sports Complex in East Rutherford, New Jersey, for a show that has become legend amongst Sinatra fans. The show was a homecoming of sorts for Sinatra, and has not been previously released officially, although poor quality bootlegs have circulated among fans for years. Listening to the recording you could tell that Sinatra, even at seventy years old, knew it was a special night. There was a bounce in his step that came through in the performance (there’s nothing like playing to a hometown crowd that loves you). Sinatra covered every phase of his career, from One For My Baby and It Was A Very Good Year to New York, New York. There’s even a three minute monologue segment that gives a very human look at Sinatra that is passed over in news and tabloid coverage of the man.

Special moments in the concert include The Gal That Got Away, I’ve Got You Under My Skin, Where Or When, Someone To Watch Over Me and Mack The Knife. Ultimately, when compared with some of the great singers of the past seventy years, Sinatra’s voice isn’t as pretty as some, but the man owned everything he sang like nobody’s business. It’s one thing to hear him on studio recordings, but on this live performance you get the full effect of Sinatra’s charisma and style. There’s nobody better, then or now. Anyone out there who performs on stage, or dreams of doing so, this is your first lesson in showmanship. You’ll never find a better teacher.

Live At The Meadowlands is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. Live At The Meadowlands hits shelves on May 5, 2009. You can purchase your copy at Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5.

Review: Frank Sinatra - My Way 40th Anniversary Edition

Frank Sinatra – My Way – 40th Anniversary Edition
2009, Concord Records

Also on May 5, Concord Records releases the 40th Anniversary Edition of Frank Sinatra’s classic album, My Way. With liner notes written by U2’s Bono, My Way holds a special place in American Popular Music. The song itself became Sinatra’s theme song, and the perfect epitaph for his career. The album reflected Sinatra’s attempt to stay hip amidst a torrent of changes in taste in popular music. My Way includes covers of Hallelujah I Love Her So, Mrs. Robinson and Yesterday. Included with the album are two previously unreleased tracks, a cover of Jean DuShon’s For Once In My Life (made popular a year earlier by Stevie Wonder) and a live version of My Way recorded in October, 1987 in Dallas. Even 40 years after the fact, this album is a stunner. My Way came at a point in Sinatra’s career when popular mores had left him behind. Record sales were declining and a wave of new artists were filling the airwaves. Sinatra would temporarily retire two years later for these reasons, but for whatever else was going on; Sinatra could take on any material and make it his own.

My Way wasn’t Sinatra’s best material over the course of a 5 decade career, but it’s a clear picture of an aging legend, still at the top of his game even though the game was changing. My Way should be a part of every music collection.

Rating: 4 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. The 40th Anniversary Edition of My Way will be released May 5, 2009, and is available through Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5th.

Review: Metheus Bound - Stirring The Insides

Metheus Bound – Stirring The Insides
2008, Metheus Bound

Toronto Indie Rock quartet Metheus Bound bring social conscience and an intellectual approach to songwriting to both stage and studio, as evidence by their debut album, 2008’s Stirring The Insides. With a title inspired by Zeus’ punishment of Prometheus for showing man how to use fire, Metheus Bound has more than a little to say about the power that the political and economic elite use against everyday people, and the power of art to hold back the night, as it were. Combine these high ideals with a melodic style drawing on influences from Jazz to Funk to Rock to lyric balladry, Metheus Bound will make you stop and listen.

Vocalist James Everett has a bit of crooner in his soul, and Metheus Bound has a highly refined, smooth jazz sound. Stirring The Insides opens with What’s Been Done, a vaguely funky jazz fusion piece at home in the late-1970s. Capture is melodic and smooth with a great vocal/harmony mix. Think For Yourself is very well written musically, but shows the ultimate paradox of political correctness, berating those who have chosen a philosophical, religious or political system based on consideration of positions for not thinking for themselves. Metheus Bound pulls in some great Chicago-style horns on songs like Stir and Life.

Jilt is one of my two favorite songs on the disc; sounding a bit like early Paul Simon stylistically. There’s a real minimalist bent here, and it marks a very human turn on the CD. Jilt is the ninth track on Stirring The Insides. Up until that point there is this highly smooth, jazz feel throughout the disc that is so slick and highly produced that it loses its human element. Jilt is a major turning point. Compassion For Pride is another benchmark song. This wonderfully dark and textured ballad with minimalist arrangement is the best song on the disc. Other highlights include Prince Afka, Ronda’s Turkish Prison and Stef’s Song.

Metheus Bound is very slick and professional on the jazz fusion material, but when James Everett breaks things down and lets his inner singer/songwriter come out the results are fabulous. The two sides battle for prominence on Stirring The Insides, with the fusion side having a highly marketable sound but lacking a real human element, whereas the singer/songwriter material is much more compelling. Stirring The Insides is an interesting listen.

Rating: 3 Stars (Out of 5)

You can learn more about Metheus Bound at http://www.metheusbound.ca/ or www.myspace.com/metheusbound. You can purchase a copy of Stirring The Insides at www.cdbaby.com/cd/metheusbound.

Review: Matt And Shannon Heaton - Lover's Well

Matt and Shannon Heaton - Lover's Well
2009, Eats Records

Matt And Shannon Heaton are partners both on stage and off. The married duo are leading voices in Boston's vibrant Celtic Music scene, with Shannon founding BCMFest. As members of Boulder, Colorado's Siucra, the Heatons produced 3 full length albums before a move to Boston returned them to duo status. As a duo they've released five albums, with their fifth, Lover's Well, hitting shelves on Valentines Day, 2009. The album is a collection of fourteen love songs in the Irish tradition, melding traditional Celtic sounds with American Folk traditions to create an ultimately listenable and enjoyable sonic experience.

Matt Heaton's guitar style is highly intriguing, offering up highly textured musical tapestries against which Shannon's lilting voice, or alternately her inspired flute play, can soar. Listening to songs like Lily Of The West you'll swear there's more than one guitar on the album, but it's not the case. Shannon's voice will floor listeners for its beauty, purity of tone and emotive tendencies. Where The Moorcocks Crow is hauntingly beautiful, and one of the more memorable tracks here. Brad's Honeybees is a daring reel for flute and guitar that I've heard elsewhere under another name that I can't place at the moment, but is highly danceable. Bay Of Biscay is comes from the well of tragic love songs that run through the Celtic songbook and serve as the root for modern country music. The guitar work here is subtly and beautifully arranged and played.

New Married Couple is an energetic jig fitting the state of mind the title represents. Golden Glove sounds as if it might have come from the Maritime school of Celtic Music. The Heatons harmonize perfectly on the choruses here, and the arrangement is gorgeous. Mountain Rambler is a flute driven reel with minimal guitar in the arrangement and perhaps the rawest of the performances here, sounding as if you're sitting in at a kitchen party rather than listening to a CD. Lady Fair sees Matt Heaton take lead at the microphone. His voice is pleasant and clear and perfect for the musical setting he lays down with a minimalist, martial guitar arrangement. Botany Bay captures the live sound I referenced early, and mixes the sorrow of saying goodbye to home with the hope of a new horizon. Shannon Heaton gives what amounts to a diva performance here; listeners will be on the edge of their seats. The album closes out with Poll Halfpenny, an energetic dance tune to send the listener on their way with a smile on their faces and the joy in their hearts that the Heatons radiate throughout the fourteen songs presented on Lover's Well.

Matt and Shannon Heaton find the perfect balance of troubadour spirit and virtuoso musicianship on Lover's Well. I haven't been privy to their prior releases, but this is one of the best new Celtic recordings I've heard this year. I highly recommend Lover's Well to readers, and suggest it's so good you might want to check out some of their other releases as well. Lover's Well is a Wildy's World Certified Desert Island Disc. Make sure you check it out.

Rating: 5 Stars (Out of 5)

You can learn more about Matt and Shannon Heaton at http://www.mattandshannonheaton.com/. You can purchase a copy of Lover’s Well at www.cdbaby.com/cd/msh.

Review: Jehan - Shooting Ships & Sinking Stars

Jehan - Shooting Ships & Sinking Stars
2009, Endomusia Productions

Sydney, Australia’s Jehan Gonsalkorale has been playing in the Sydney music scene for a number of years, from busking he has risen to headlining some of the larger establishments there. His songwriting shows a depth and maturity that is appealing, and his Folk/Rock sound has a strong commercial leaning. Jehan’s debut CD, Shooting Ships & Sinking Stars, was released in January of 2009 and is already causing a stir in his home market. It’s not improbable that this album will take far beyond Sydney.

Shooting Ships & Sinking Stars opens with Self-Portrait, and Jehan sounding like a cross between John Mayer and Jason Mraz. Better Than Two is a rhythmic, catchy pop/rock song that is lyrically dense and personal. Jehan has a strong voice with a little bit of an edge to it, but sings sweetly throughout. Jehan goes for the classic, finger-picked, singer-songwriter style on The Mind's Design. This is the most intelligent and most noteworthy songwriting on the album. Upon Closed Eyes grows from a Latin-flavored classical guitar opening into a gorgeous instrumental featuring guitar, cello and percussion. Coming from left field as it does, Upon Closed Eyes is an absolute breath of fresh air. Nine Lives closes out the EP on an introspective note, with Jehan's vocals sailing over the rhythmic guitar constructions he's built.

Jehan has a distinctive Pop tendency that he applies to his acoustic Folk/Pop compositions. With a strong, clear voice and an honest approach to songwriting, Shooting Ships & Sinking Stars is a real pleasure.

Rating: 3.5 Stars (Out of 5)

Learn more about Jehan at www.myspace.com/jehangonsalkorale. You can purchase a copy of Shooting Ships & Sinking Stars at www.cdbaby.com/cd/jehansounds.

Review: Friday Nights - Friday Nights

Friday Nights - Friday Nights
2009, Friday Nights

Los Angeles-based duo Friday Nights is comprised of singer/songwriter Mike Castillo and musician/songwriter/producer Shon Kornfield. Castillo previously led L.A. rockers If You See Kate, while Kornfeld’s credits include Helen 55, Fontaine, Stanford Prison Experiment and Bulletboys. Their debut album, Friday Nights, was produced by Ken Andrews (Nine Inch Nails, Beck, Jimmy Eat World, Blink 182), and features songwriting from both.

Friday Nights opens with the catchy and highly infectious anthem Self Inflicted. The rhythmic feel of the song combined with distinctive vocals and killer harmonies make Self Inflicted one of the more memorable pop/rock songs of the year, to date. Whose Side Are You On reminds me a bit of the writing style of Colin Hay and Men At Work in another very catchy offering. Hey Jeremy is a song about following your dreams and inviting folks you know along for the ride. Takeover begins with big driving rhythms and evolves into another highly catchy pop/rock gem. You'll also want to check out Personal Holiday, Grow For You and Anchors Away.

Friday Nights have a very catchy sound that holds a great deal of commercial potential. Some of the slower material here drags a bit, particularly because Friday Nights seems to vacillate between wanting to be an ethereal rock band or a Pop/Rock dynamo. The songs along the fault line of the two styles are well-written, but Self Inflicted is likely the class of the album. Be sure to check out Friday Nights!

Rating: 3.5 Stars (Out of 5)

You can learn more about Friday Nights at www.myspace.com/fridaynightsmusic.com. You can purchase a copy of Friday Nights on either CD or via download at http://www.fridaynightsmusic.com/.

Review: Strangers Pass - Strangers Pass [EP]

Strangers Pass - Strangers Pass [EP]
2009, Strangers Pass

Strangers Pass is a power-trio that derives its sound from a wealth of influences. Singer/guitarist Robert Sadowski credits Hendrix, David Gilmour, Jimmy Page, Tommy Iommi and Brian May, whereas Bass man Bob Mikkelsen grew up on a hybrid diet of The Beatles, Pink Floyd, Metallica, Rush and Yes. Drummer Frank Gattuso leaned toward John Bonham and Bill Ward, but also had a strong affection for James Brown skins masters Clyde Stubblefied and Jabo Starks. Strangers Pass came together at an impromptu jam session in August of 2008 that was meant to be for fun but turned out to be for good. 2009 sees the release of their debut, self-titled EP. The styles and sounds that influenced each band member combine here to create a hard nosed Rock N Roll album with subtle influences and pensive interchanges.

Strangers Pass opens with Alone, an aggressive rocker that sounds a bit like what Black Sabbath might have sounded in their early, garage days. Strangers Pass does an about face on 400 Monroe, a moody and introspective rocker ala Pearl Jam. Snake Charmer is another dark and pensive rocker that calls out a manipulator. See Them All sticks to the dark musical aspect that runs through the EP, rebounding for an almost hopeful, ambient chorus before ricocheting back into darkness. Through The Maze finds Strangers Pass ending in a melodic and unthreatening fashion, with an upbeat yet mellow performance that sounds more commercial alt-pop than anything else on the EP.

Strangers Pass does an imitation of the month of March on their self-titled EP: In like a lion, out like a lamb, although Through The Maze does show some verve in the chorus. When I read the bio on Strangers Pass and saw the range of influences I was very excited. Here is an opportunity to take some grand musical traits and construct something new and original. In fact, the opposite has happened. Strangers Pass have taken the core elements and wiped away the things that don't match, much like finding the universal elements on a musical Venn Diagram. The result is essentially a mellow grunge album that sounds something like Pearl Jam, Soundgarden, Temple Of The Dog, etc. It's a good listen, but not necessarily what you'd expect.

Rating: 3 Stars (Out of 5)

You can learn more about Strangers Pass at www.myspace.com/strangerspass.

Review: The Fuzzy Nerds - Mirror Phase

The Fuzzy Nerds - Mirror Phase
2008, TMC Music Publishing

The Fuzzy Nerds are an experimental, Alt Rock trio from Greece. Petros Vyzoukis, Maria Choleva and Kostas Dimitriou have a very smooth, melodic sound that gets wrapped up in its own melodic intent. Their latest release, Mirror Phase, continues in the vein that has provided them a consistent following since their inception in 1994.

The Fuzzy Nerds are aptly named. The music on Mirror Phase is fairly uniform in sound, taking the easy, almost ethereal sound of groups like A-Ha or The Thompson Twins and mixing it with some fuzzy guitar sound to create songs that are pleasant to listen to but remarkably homogeneous in sound. Mirror Phase opens with Plastic, a dream-rock song with a dance beat that will get your feet moving but probably fail to make a significant impression. Lying Underground is a fairly upbeat and peppy song that will stick out in your mind. This highly melodic song is full of a lot of movement and probably would have been a pop staple if it were written and released in the late 1980's. Beautiful has a bit of frenetic energy running throughout and is probably one of the more pop-oriented songs on Mirror Phase. Other songs of note are Narcissism, Mirror Phase and 117.

The Fuzzy Nerds seem like they are as interested in playing with sounds as they are with the writing process. Mirror Phase is a study in "because I can" song construction. I honestly couldn't connect with much of it, but if you're into mellow rock with ambient undertones then you may just love it.

Rating: 2 Stars (Out of 5)

You can learn more about The Fuzzy Nerds at http://www.fuzzynerds.com/ or www.myspace.com/thefuzzynerds.

VerleeRose - Wildy's World Artist Of The Month; May, 2009

Wildy’s World Artist Of The Month, May 2009: VerleeRose

VerleeRose have a lot of tongues wagging, but it’s nothing compared to what may be coming down the road. Fifteen year old Keira Verlee and fourteen year old Ellie Rose have been tabbed the next Tegan and Sara and even the next Indigo Girls, but the original voice they display as songwriters sets them apart from being clones of either duo. The ladies of VerleeRose met as sixth graders in their Seattle middle school, bonding over come experiences of voice and piano lessons. They were thrown together to write and perform a song for their middle school graduation in 2008 and received an enthusiastic response they couldn’t ignore.

VerleeRose is Wildy’s World’s Artist Of The Month for May, 2009 because they remind us what music is supposed to be all about. Listen to their debut album, These Moments, and you’ll hear all of the joy of making music that every musician starts out with. There’s a great deal of talent in these two young ladies, and These Moments is just the start. VerleeRose was given this platform because they show the early earmarks of greatness, and I would not be at all surprised if twenty years from now, or even ten, VerleeRose will be a name that everyone knows.

We will be reviewing their debut release, These Moments this month, and perhaps even chatting with VerleeRose to give our readers a chance to get to know them. In the mean time, be sure to check out their MySpace page to learn a bit more. (Photo by Adam Forslund)