Review: Rick Shea - Shelter Valley Blues

Rick Shea - Shelter Valley Blues
2009, Tres Pescadores

Rick Shea might just be the current King of the California Country sound. With five highly acclaimed albums under his belt and a resume that includes work with folks such as Dave Alvin, Katy Moffatt and R.E.M., Shea certainly has the respect of his peers. Highly independent, Shea follows his own path in writing highly personal and honest songs in the tradition of Merle Haggard. Shea's latest release, Shelter Valley Blues, touches on the tough situations we find ourselves in over the course of our lives and how we end up there.

Shelter Valley Blues opens with Back Home To The Blues, a classic bit of Country melancholy perfect for crying in your beer. No Good Time For Leavin' recalls another era of Country music when the story was the thing. Steady Drivin' Man is a fun song that incorporates a bit of New Orleans sound and tops it off with some pretty cool yodeling. Shelter Valley Blues stays on the low-key side with another great story-song. The arrangement here is perfectly done: not too light and not too heavy. Ty Robby is built on an interesting mix of Celtic and Tex-Mex musical traditions and is one of the more enjoyable songs on the disc (Moira Smiley's harmony vocals are a special treat - what a voice!)

Nelly Bly has a real Rhythm N Blues feel to it, shaking up the album's sound just a tad in a highly entertaining tune. Shea keeps up the momentum on the Zydeco-flavored Sweet Little Pocha; you'll be two steppin' from the opening bars of this number. Shinbone Alley is a musical still life of a town that's seen better days, delivered in a gentle bit of highly melodic blues. Fisherman's Blues takes the Waterboys classic and updates it with a Southwest sound in the best cover of the tune I've heard to date. Shea closes out with The Haleiwa Shuffle, a Hawaiian-flavored instrumental that's highly enjoyable.

Rich Shea delivers on Shelter Valley Blues, performing eleven entertaining and energetic songs for your listening pleasure. She is a bit too subdued at times, but the performances here are great. Rick Shea is a throwback to another era in country music, with compositions Chet Atkins would approve of. The songwriting is strong and the instrumental work is obscenely good. Make sure you check out Rick Shea.

Rating: 4 Stars (Out of 5)

You can learn more about Rick Shea at http://www.rickshea.com/ or www.myspace.com/ricksheacalifornia. You can order a signed copy of Shelter Valley Blues from Paniolo Productions.

Review: Sebastian Lorefice - Short Stories, Infinite Corridors

Sebastian Lorefice - Short Stories, Infinite Corridors
2009, Sebastian Lorefice

Australia's Sebastian Lorefice is a respected musician, composer and educator. Lorefice has been active as a performer since the early 1980's, forsaking the band life in 1997 to focus on education and composing. Lorefice's compositions dwell largely in the jazz realm, although elements of Rock, Lounge and even Space-Age electronic musical forms show themselves from time to time. Lorefice's most recent release, Short Stories, Infinite Corridors covers all the bases stylistically.

Short Stories, Infinite Corridors opens with Soldier, the most generic piece on the record, mixing jazz and a soaring rock guitar that sound great but don't really excite the listener. Street Gangs and Water Slide head for the late-70's/early-80's Lite Jazz/R&B sound that grew up as a counter-reformation to the Disco thing. The vibraphone play in Street Gangs is stellar, and there's a lot going on underneath. This is one of those tunes you can listen to many times over and keep discovering new things buried in the instrumentation. Your Inviting Eyes offers up dinner music that refuses to sit in the background but asserts itself as exciting guest that incites conversation.

Lorefice refuses to stand still, going experimental on Espionage, which uses mostly organic instrumentation to remind practitioners of ambient and experimental Electronica that their style isn't original after all. Shaolin Temples is a composition for the academics in the audience, engaging in a brand of intentional musical cognitive dissonance that's more of an effect than compositional tool. Lugosi's Lullaby, on the other hand, is brilliant. Lorefice plays the role of a slightly twisted James Horner with a composition that is cinematic in scope and sound. He manages to pull these lovely snatches of melody out of a dark and foreboding musical landscape like the Northern Lights spark out of the inky blackness of night. Lorefice gets his Space-Age hat on for UFO File and Hostile Planet with similar results. UFO File gets pretty messy in the middle, with instruments rushing to fill the sound but stepping all over one another in the process. Hostile Planet simply sounded unimaginative; a sewn together set of mini-themes could be dissected, scrambled and reassembled and not suffer compositionally.

Short Stories, Infinite Corridors runs the gamut from bland to brilliance, depending on the song. Lorefice displays obvious talent with pen and stave, creating a few magical moments (Lugosi's Lullaby, Street Gangs, Your Inviting Eyes), but writes mostly in academic and esoteric forms that may not be accessible to the casual listener. There's nothing wrong with this, of course, but it does serve to minimize the sphere of the music. In balance, the positive definitely outweighs the negative, and Sebastian Lorefice creates some highly memorable moments for those who do tune in.

Rating: 3 Stars (Out of 5)

You can learn more about Sebastian Lorefice at http://www.sabojams.com/. You can purchase Short Stories, Infinite Corridors on CD or as a download at www.cdbaby.com/cd/lorefice.

Review: Steve McLeod - Human Uniform

Steve McLeod - Human Uniform
2009, Civil Service Entertainment

Steve McLeod grew up in a musical family with instruments lying around just asking to be learned and played. His studies started early with formal classical piano training. McLeod taught himself to play bass by watching tapes of Louis Johnson (The Brothers Johnson) frame by frame. Picking up the guitar a bit later on, McLeod was bit hard after discovering Jimi Hendrix. After playing for a number of years around his native Melbourne, Australia, McLeod recorded an instrumental album, but at some point in the mixing process became convinced that instrumentals were too limiting. The end result is McLeod's debut album, Human Uniform, due for an August, 2009 release.

Human Uniform is something of a musical mish-mash, mixing classic rock with R&B in unusual arrangements. Push The Pedal opens the album sounding like a cross between Jimi Hendrix and Michael Jackson with a bit of Prince and Lenny Kravitz thrown in. The song is musically creative but lyrically bland. Winter Love, along with Oblivious, fill the bill for generic radio pop/rock. Both are accessible and pleasant without making any significant, lasting impression. McLeod crests on Unknown Afternoon, a song with real potential held back by McLeod's tendency to try and squeeze too much instrumentation into the song. A less is more philosophy would work well here as it’s actually a pretty decent bit of songwriting. Everyone's Searching For The Beautiful Life is just a mess. McLeod tries out some interesting ideas musically here, delving into Prog territory with unusual progressions and atypical compositional structures. Ultimately the song turns into a stew of musical chaos; a binding together of musical shards rather than a coherent attempt to craft a tune. You'll also want to check out Skeleton In Human Form, a brief but valiant attempt to get back on track.

Steve McLeod wrote, sang and played everything on Human Uniform. He also self-produced. Songs like Unknown Afternoon suggest that McLeod can write, but I tend to think he was too involved in this project to hear it clearly. There's a tendency to try and do too much that runs throughout the album. McLeod is really quite good with the guitar, but often there's so much going on in the instrumentation you can't really appreciate that fact. Working with other musicians for recording and having an impartial ear at the board may help McLeod by building some creative tension into the writing and recording process and allowing more of his innate talent to shine through.

Rating: 2 Stars (Out of 5)

You can learn more about Steve McLeod at http://www.stevemcleodmusic.com/ or www.myspace.com/steviemyspace. Currently the only on-line outlet I could locate is iTunes, and they only have McLeod’s single, Push The Pedal. Contact Steve McLeod through his MySpace page for more info.

Review: John Batdorf - Old Man Dreamin'

John Batdorf - Old Man Dreamin'
2009, BatMat Music

John Batdorf has been pleasing audiences since his early days with Batdorf & Rodney in the 1970's. Over the years Batdorf has refused to stand still musically. He's been a top-flight session singer in L.A., a composer for TV shows such as Touched By An Angel and Promised Land, and continued to write and record songs both as a solo performer and with folks such as Mark Rodney and Michael McLean. Batdorf has always had a touch for acoustic pop/rock songwriting but in recent years seems to have developed a deeper love of melody and harmonies and a penchant for story-driven songwriting. These qualities are omnipresent on Batdorf's latest CD, Old Man Dreamin'.

John Batdorf sounds like a cross between The Eagles and Shaw/Blades on much of Old Man Dreamin'. His voice is golden, and the vocal harmonies border on angelic at times. The CD opens with What D'Ya Got, a musical treatise on what love really means to each of us, particularly in tough times. If Batdorf had written this song thirty years ago he'd own half of California by now. Love: All I really Know About It sticks with a similar theme. The harmonies are amazing and the song is intelligently written without getting mushy or cliché. That Don't Seem Right To Me is an anthem for the days we are living in. Batdorf starts with the fact that the current fiscal crisis finds the banks and bankers who caused it getting rescued by the folks it most affects (all of us), while we struggle to make ends meet with disappearing jobs, falling wages and high prices; he goes on to detail a number of things about modern life that just don't fit together. The song is wonderfully written in a strong and steady pop style that could gain it some real attention.

Will I Love You Forever is an honest song about love and what it should be. Old Man Dreamin' is bluesy classic rock gone acoustic. The arrangement on this one is amazing, and the sound highly reminiscent of Shaw/Blades. I Thought I'd Try A Love Song is a cute tune that takes a darkly ironic turn in the closing moments. Ain't No Way turns out to be my personal favorite, with a vibrant bass line to the instrumental magic created by the violin and acoustic guitar. The vocals and harmonies here are gorgeous. Don't Tell Me Goodbye has a classic country heartbreaker sense to it as a plea from a man on the verge of losing all he wants. Sixteen changes pace and gears significantly in a disturbing but well-told bit social commentary. I don't know the specific premise behind the song but a few would apply quite well. I Will Rise closes out Old Man Dreamin' in a musical version of Jack Nicholson's line from As Good As It Gets, "You make me wanna be a better man". This is pure mix-tape material for the more mature crowd; a wonderfully well-written tune.

John Batdorf has always had a distinctive talent for songwriting and a golden voice to deliver those songs, but over time he's really grown into his songwriting in a fashion that borders on transcendental. Old Man Dreamin' is an incredibly vibrant set of songs based in honest thought, word- and song craft and some of the prettiest melodies you're likely to find in Folk or Pop music. Make sure you take some time to spend with John Batdorf's Old Man Dreamin'; it's quite an album.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Batdorf at http://www.johnbatdorfmusic.com/ or www.myspace.com/johnbatdorf. Old Man Dreamin’ is available for purchase through Amazon.com, or available for download through Amazon MP3.

Review: Clara Berry - Wave

Clara Berry - Wave
2008, Clara Berry

Portland, Maine's Clara Berry is an enigmatic singer/songwriter with a sound and style that's nearly born of another era. The pianist writes with a flourish that recalls early Tori Amos, an intensity reminiscent of Fiona Apple and a dark searching quality that's almost Baroque. In 2008 Berry released her debut album, Wave, earning recognition from The Portland Press Herald as one of "10 Maine Bands To Watch". With songs recorded in essentially one take each with minimal over-dubbing, Wave presents a performance that's practically live. This means you do get the occasional oops, but it's possible that you'll be so intrigued you many not even notice.

Clara Berry has a distinctively dark alto imbued with waves of melancholy wisdom, as if she were an old musical soul trapped in the midst of youth. Wave opens with The Widow's Watch, an intriguing and dark composition that ebbs and flows like the early throes of high tide. Nightwalker is a dark waltz that plays like subtle horror movie in song; Berry's vocals are dark and lonely in a song about the sea taking her toll on those who live near. The Iron Gate continues in this direction, using a lyrical style that's more prose than poetry. The Iron Gate is a sea tragedy like the best of those that come out of the Celtic and Folk music traditions but is offered here as gothic piano pop aria.

Motherless Child is a classic spiritual, and I've heard many renditions over the years, but I've never heard one that sounded sensual to me. Berry manages this trick with a vocal line that's sultry and dark without ever giving up on the spirit of the song. Old Man River makes interesting use of the theme of the classic song as its inspiration. The song inspire deep ambivalence in me as a listener, bring moments where I could lean equally toward liking and disliking the song without ever really finding a resolution after numerous listens. Either the way it's an intriguing composition. The absolute highlight of the disc, however, is Crossroads; there's a Broadway musical behind this song somewhere. It's an amazing piece of writing. There's a certain quality to Berry when she's performing at the top of her game; it's something I haven't been quite able to put my finger on, but it's fully in display here. She's quirky, but that's not it exactly. She's unusual; weird in a darkly wonderful fashion. While there are several folks who may have had influence on her sound over time, Berry is very much her own performer with her own style.

As a listener, I found myself wishing Berry had stopped with Crossroads. It's far and away the best songwriting on the disc and the sort of song that could gain her some real exposure down the road. The songs that come afterward (Doubt, Lizzie Borden, On This Boat and The Doll) are all intriguing but don't quite hit the same heights as the first half or so of Wave. This is truly a first recording and a bit rough compared to what Berry's likely to be doing in the next few years. The material that works shows flashes of brilliance (particularly on Crossroads where the flash runs about 3m 17s. On the last few songs Berry gets a bit stuck in a rut, perhaps, but that latter material just isn't as inspired as the first half of Wave. Ultimately, it's a great introduction to Berry, who's currently attending college to study music and continue to grow in her craft. Artistically, she's already got something special, and those flashes of songwriting brilliance are a strong indication that more will come. Make sure you get to know Clara Berry now, as the time may come when she's become too big to get to know.

Rating: 3.5 Stars (Out of 5)

You can learn more about Clara Berry at www.myspace.com/claraberry. You can download a copy of Wave from iTunes.

Review: Kindred Souls - Social Ninja

Kindred Souls - Social Ninja
2009, Kindred Souls

Kindred Souls is a six-piece band hailing from the Jersey Shore that has begun to make some serious noise on the New York City scene. Mixing Rock, Pop, Jazz, R&B and Soul, Kindred Souls try to create music that doesn't so much cross boundaries as transcend them. Lead vocalist Jeff Rafferty sounds like a pop band leader, and with the band he creates fresh and peppy musical scenarios against which he can apply his vocal wiles. Kindred Souls' latest recording, Social Ninja, is a four-track EP that displays some of what makes them so popular a live band, and some of the distance they still need to go in bringing that energy and panache onto recorded medium.

Social Ninja opens with Whatchagonnado, a catchy, if repetitive slice of dance rock that is bound to get some popular attention for Kindred Souls. Losing You is a gothic bit of 1980's Pop/Rock, with the same sort of soaring hooks that decade is know for presented here in darker aspect. Awhile shows shades of Darius Rucker and Neil Sedaka in a gentle Pop/Rock Arrangement. The chorus gets a bit repetitive but is decent for all of that. High Wire I didn't enjoy quite as much as the rest of the EP; it seemed to lack the inspiration and energy Kindred Souls brought to the first three songs.

Kindred Souls has real potential as a band. There's a certain Pop spark in the music presented on Social Ninja, but it can be fleeting at times. I suspect this is just the case of a young band learning to funnel the energy and commitment they put into a live show into a studio. The ability to get up for a sound booth they way you do for a crowd can be learned, but it takes some time and effort. Kindred Souls show flashes, and an ability to craft decent Pop songs with a bit of flair. I have no doubt that the next trip into the studio will produce even greater things.

Rating: 2.5 Stars (Out of 5)

You can learn more about Kindred Souls at www.myspace.com/kindredsoulz. You can purchase a download of Social Ninja from iTunes.

Review: Eat Sugar - It's Not Our Responsibility

Eat Sugar - It's Not Our Responsibility
2009, Eat Sugar

Cincinatti, Ohio's Eat Sugar comes back with their frenetic mix of Punk and Electronic Rock for their Sophomore EP, It's Not Our Responsibility, available September 1, 2009. The seven song EP was recorded and produced by Enon's John Schmersal, and captures the rapidly evolving sound of a band still finding its direction. The title was taken from the utterance of a promoter on a 2008 tour of the UK, and reflects the somewhat scattershot yet charming collection of tunes within.

It's Not Our Responsibility opens with Seeing Red, a Synth-heavy post-punk/New Wave hybrid that's highly danceable in spite of turning out to be something of a sonic mess. Distortions Of The Heart drags Psychedelia kicking and screaming into the electronic age in a musical rant intertwining multiple effects into what might be loosely considered a melody. Pop Singer is something of a musical still life, a reflection that's more about sound than structured progression. Suddenly Eat Sugar takes a turn; having shown off their more experimental and progressive musical ideas, the band heads back for the Pop side of the spectrum with It Will All End In Tears. I didn't say it was radio Pop, mind you; more like Fatboy Slim ala Tim Burton, but the creepy arrangement makes this an interesting listen. So Into You carries decent pop intent and construction and might just have some commercial punch when all is said and done. The EP closes out with Falling Out. Falling Out has a Noise aesthetic wrapped up in a 1980's New Wave Sound. It's a daring combination that works.

Even at a relatively short seven songs, It's Not Our Responsibility shows two clear and distinct sides of the band. The first four tracks reflect an experimental outfit based heavily in electronic creation that is probably fun for those involved and for the small demographic that get hopped up over Noise. The last three tracks reflect more of an "out of left field" pop aesthetic wrapped up in electronic and electric instrumentation that's just normal enough to get considered in the popular realm and just unusual enough to get noticed. I suspect Eat Sugar will continue to develop their sound, which might just be one of the most original ones I've come across in the past year and a half. I can't say I liked everything presented on It's Not Our Responsibility, but I was challenged by what I didn't like. The lyrical content wasn't anything spectacular, but the music is interesting.

Rating: 3.5 Stars (Out of 5)

You can learn more about Eat Sugar at http://www.eatsugarmusic.com/ or www.myspace.com/eatsugarmusic. It’s Not Out Responsibility will go on sale September 1, 2009. Except availability through Amazon.com, CD Baby and iTunes.

Review: Jared McCloud - Romance Of The Atlantic

Jared McCloud - Romance Of The Atlantic
2009, Sling Slang Records

Jared McCloud spent several years playing in bands on the hard rock/metal scene in southern New England before making a go of it on his own. The Winchester, Connecticut singer/songwriter has made rapid progress in building a fan base, graduating to larger and larger stages in quite quickly. 2009 sees the release of McCloud’s solo debut CD, Romance Of The Atlantic. McCloud displays unusual talent in the crafting songs, and most readers are likely to be at least a little intrigued upon hearing him sing.

Romance Of The Atlantic is a confounding record. I really like Jared McCloud's songwriting style. He shows a lyrical and musical ethic not dissimilar to that of a young Springsteen, yet wallows in love songs ad nauseum (particularly on the second half of the disc). I like the bare-bones aesthetic of the album, yet hear numerous places where the creative tension of writing with others would flesh out his songs in wonderful ways. Finally, as much as I try to like it, I have a hard time with the nasal quality of McCloud's voice. Consequently I find myself very conflicted about Romance Of The Atlantic.

McCloud is a strong lyricist and a tremendous guitar player (check out the guitar work in songs like Colors and Under Midnight Star to see what I mean). He has a talent for capturing moods (NYC Song) and people (St. Catherine's Anthem) in song while holding nothing back. He even writes compelling and interesting ballads (Only A Reminder, Starlight & Fireflies), but gets bogged down in the overly emotional mess he weaves at times (Here, At The Edge Of The World). Starlight & Fireflies is my favorite song here, although its one of the tracks that needs some tension in the creative process to really reach its potential. St. Catherine's Anthem shows McCloud at the height of his lyrical and story-teller prowess, while NYC Song creates a moment so real you can feel it.

Jared McCloud is a mass of contradictions on Romance Of The Atlantic. He sounds to me like a nasal version of Liam Gallagher, and I had a hard time getting by the voice (which in itself wasn't bad, I just couldn't get past that nasal quality). The songs are a mix that runs from great to average but grating. I think it’s safe to say that while McCloud has essentially found a sound he may still be refining the process a bit. When everything clicks, Romance Of The Atlantic has moments of brilliance. Most of the disc consists of smaller peaks and troughs amid the highs and lows. I think listeners will find a lot to like on Romance Of The Atlantic, and whatever comes next is likely to be even better.

Rating: 3 Stars (Out of 5)

You can learn more about Jared McCloud at http://www.jaredmccloud.com/ or www.myspace.com/jaredmccloud. You can purchase a copy of Romance Of The Atlantic from Sling Slang Records, or digital copies from Amazon MP3 or iTunes.

Review: Janyse - Dreamers/This Day Is Mine

Janyse - Dreamers/This Day Is Mine
2009, Magical Voice Productions

Canadian pop singer and voiceover artist Janyse lives a life of inspiration. Injuries from a car accident once had doctors telling her she might end up in a wheelchair for the rest of her life. Hard work, perseverance and faith have kept her from that chair, but also driven her to become one of the top voiceover artists in the world. Janyse has voiced characters in projects such as Hulk Vs. Thor, Hulk Vs. Wolverine, Gene Roddenberry’s Andromeda, Batman: Black & White, My Little Pony, and Ed, Edd n Eddy. She is also an acclaimed Pop singer/songwriter in her native Canada. Taking cues from artists such as ABBA, Diane Warren, Peggy Lee and The Bee Gees, Janyse infuses light Pop dance beats with a positive outlook and a strong positive message. Her two most recent singles are prime examples.

Dreamers is feel good dance pop at its finest. The song encourages listeners to not give up on their dreams, irrespective of what life throws at you and of what other people might think. As dance music goes it's relatively light 1980's Dance/Pop; probably not a threat to the dance charts of today but a pleasant listen. This Day Is Mine keeps up the positive attitude with a proclamation about working hard toward your goals and celebrating each and every day for what it is. Again, light Dance/Pop with a 1980's bent. Janyse can pull this material off because she's lived it; it's hard to be this positive in the popular realm unless it's very clear you genuinely own the message, and that comes through in Janyse's delivery. Dreamers and This Day Is Mine are songs for folks who long for a sweeter age of Popular music.

Ratings:

Dreamers 3 Stars (Out of 5)
This Day Is Mine 4 Stars (Out of 5)

You can learn more about Janyse at http://www.janyse.com/, where you can purchase downloads of both Dreamers and This Day Is Mine. Dreamers is also available through iTunes.

Review: Ron Hawkins - 10 Kinds Of Lonely

Ron Hawkins - 10 Kinds Of Lonely
2009, Ron Hawkins

Ron Hawkins has been a part of the Toronto music scene for nearly eighteen years now, both with The Lowest Of The Low and as a solo artist. The Lowest Of The Low remains one of the most influential Canadian bands of the 1990's, with their debut album Shakespeare, My Butt named as one of the ten greatest Canadian albums of all time. As a solo artist, Hawkins has maintained a somewhat lower profile, with a small but highly devoted following primarily in Southern Ontario and Western New York. This is surprising as Hawkins may just be one of the finest lyricists of his generation, drawing comparisons to Bob Dylan, Tom Waits and poet Charles Bukowski. After many years performing his alt-Rock compositions, Hawkins decided it was time to take his brand of world-weary and intelligent song-writing and dress it up in a Country/Americana shell. The result is 10 Kinds Of Lonely, due for release in August of 2009.

10 Kinds Of Lonely opens with The Devil Went Down, a tales of post-modern decay told in a minimalist Americana arrangement. Hawkins alternates the decay of a small town with the ebbing fortunes of one of its residents as they dance down parallel spiral staircases. Deadman finds Hawkins canting about unrequited love. His Blues-inspired musical spirit drives the song. The song features the sort of lyrical magic that is Hawkins' signature: "A dead man talkin' about love is like a soldier talkin' about peace / You keep talkin' about love but that name ain't familiar to me). Sticking with the general theme, Don't Be Long is a musical ultimatum that lacks the courage of its convictions; a snapshot of a dysfunctional relationship where love overpowers common sense on conditional terms.

Ron Hawkins has always had an ability to paint people in his songs in ways that seem more alive than any photograph might. Genevieve is one such song; once again playing on the theme of unrequited love, Hawkins speaks with respect to someone who might not ever love herself enough to be loved. Hawkins dwells in the underside of human emotion but always with a deft touch ("All those neighborhood boys just wanna get in your corduroys / Can't blame 'em but they miss the point with a girl like you"). Telltale Heart is a real treat, with Hawkins reaching for a bit of the High Lonesome sound of Bill Monroe. The song never quite becomes a bluegrass tune, but you can hear the theoretical arrangement practically coalesce around a song that actualizes as a maudlin waltz. The vocal harmonies provide sonic layers to an otherwise sparse arrangement. Lyrically Telltale Heart is one of the more purely poetic songs on the disc and is a personal favorite. The Prodigal Sun plays on the biblical concept but also suggests a feeling of turning a page on the past, as if the young man has sowed his oats and is finally coming home to take up the mantle of his life.

D.F.W. finds Ron Hawkins in classic troubadour form. Here he paints a picture of a relationship and a person that breathes before your ears as it falls apart in cinematic scope. The arrangement is reserved and quiet; nearly reverent. The song also features one Hawkins' finest lyrical turns yet: "Woke Up Sunday Morning with a freight train on my chest / evangelically alone; just me and that old infinite jest / Words can feel like stones, words can be a noose / God speed, D.F.W.”. The song is a heartbreaking thing of beauty; a masterpiece, and may perhaps be his finest composition overall. The Rain's The Thing features a melancholy spirit mixed with hope and a dash of wisdom in a moment that is typically Ron Hawkins even in a vaguely Country setting. 10 Kinds Of Lonely closes out the set; something of a children's counting book set to music with a more mature theme. The song seems to confirm the sense that 10 Kinds Of Lonely is something of a musical/personal corner for Hawkins.

Ron Hawkins is a rare talent who is under-appreciated in his own time and place. The fact that he never really caught on in the US is a shame, because there is a distinct hunger for his brand of honesty (musical and literal). I will make the proper disclaimer and tell you I am personally a fan of his (have been since about 1993 or so), but I was blown away by 10 Kinds Of Lonely. His last couple of projects (solo and with The Lowest Of The Low) have been outstanding but not necessarily a big stretch. 10 Kinds Of Lonely is a stretch; a risky one and Hawkins nailed it. 10 Kinds Of Lonely can be nothing short of a Wildy's World Certified Desert Island Disc; it's a treasure.

Rating: 5 Stars (Out of 5)

You can learn more about Ron Hawkins at http://www.ronhawkins.com/. 10 Kinds Of Lonely will be officially released on or about August 6, 2009. You’ll be able to pick up a copy at http://www.victimlesscapitalism.com/.

Review: Two High String Band - Hot Texas Bluegrass Burrito

Two High String Band - Hot Texas Bluegrass Burrito
2009, Two High String Band

Two High String Band might be the highest profile bluegrass band to come out of the small but burgeoning Austin, Texas Bluegrass scene. After a dozen years touring and making music inspired by Bluegrass, the band decided to jump in with both hands and feet and get to the heart of the form that inspired them. Longtime members Billy Bright (mandolin, vox); Brian Smith (guitar, vox) and Geoff Union (guitar, vocals) enlisted the assistance of banjo legend Alan Munde (Flying Burrito Brothers, Jimmy Martin, Country Gazette), Mark Rubin (Bad Livers) and Mark Rubin. The resulting CD, Hot Texas Bluegrass Burrito, is a treat.

Hot Texas Bluegrass Burrito opens with Hello City Limits and its outrageous banjo work. The song has an old-time bluegrass feel to it and correlates leaving home with leaving your troubles behind. It's a song full of the vigor and narrow vision of youth. High On The Ohio is a fun tune for the campfire at Folk and Bluegrass festivals, and raises the profile and potential uses for Kentucky Bluegrass as an open question. Ferris Wheel is a gem of a song that harkens back to a day when the fair was THE event of the summer. Many big city dreams were born at the fair; Ferris Wheel tells one such tale. Jerusalem Cafe is an outstanding instrumental piece blending middle eastern themes with Bluegrass in an unusual and welcome treat. Lazy Bird takes a different tack, blending jazz and Easy Listening styles with bluegrass in an instrumental tune you'll want to revisit several times over. E. Compton Blues opens with what might be described as a Surf Banjo style; evolving into one of the most interesting and sonically exciting banjo/violin duos I've ever heard. I've Just Seen The Rock Of Ages is an amazing traditional styled gospel tune full of gorgeous harmonies and instrumentation as tight and perfect as creation on the seventh day The album closes out with Over And Out, a devilishly good finger-picking tune for guitar with banjo, violin and bass holding down the fort. Be sure to also check out Many Paths Along The Way, Spirit Of '94 and Waltz Into Morning.

With many bows of "We're Not Worthy", I give all due respect to Two High String Band. Instrumentally, I'd put them up against any outfit going in Bluegrass music. The willingness to experiment with the blending of other genres may not appeal to the traditionalist bent in the Bluegrass community, but these guys are world-class musicians. There are one or two tunes here that don't spark the applause-o-meter much either way, but even then you have to respect the musicianship, which never falters from start to finish. Hot Texas Bluegrass Burrito is essential listening whether you're a fan of Bluegrass or not. Two High String Band offer a master class not only in how to play, but how to play together and become more than the sum of your parts. Make sure you check out Hot Texas Bluegrass Burrito. It's an experience.

Rating: 4.5 Stars (Out of 5)

You can learn more about Two High String Band at http://www.highstring.com/ or www.myspace.com/twohighstringband. You can purchase a copy of Hot Texas Bluegrass Burrito at www.cdbaby.com/cd/twohigh.

Review: Textile Orchestra – For The Boss

Textile Orchestra – For The Boss
2009, Beta-lactam Ring Records

Textile Orchestra features Volcano The Bear’s Aaron Moore. Their latest release on Beta-lactam Ring Records looks to turn the amplifiers up to eleven with the biggest cacophony of sound released in 2009. For The Boss hits hard, heavy and early.

For The Boss features two untitled tracks, combining for approximately 45 minutes of delicious and delirious noise. This kind of music can't truly be explained except by allegory. If you've ever scene Kingdom Of The Spiders then stay with me for a moment. If you can imagine a version of the movie filmed from the Spiders' perspective with a soundtrack in Spiderish then you'll have an idea what the first track sounds like. Percussion in many forms chitters like an alien arachnid gone mad, while violin and other effects provide the incidentals. This is a pure experiment in the (vaguely) controlled chaos of noise. Track two furthers the image: imagine if the Kingdom of Spiders, having killed off all the humans, then went to war with the baboons of the earth in a deep and dark jungle setting. A torrential rain of coconuts befalls the spider army and yet they keep coming. Several battles could be covered by this track in brutal and epochal sonic detail.

For The Boss is a unique experience, going miles and miles beyond the experimentation of Pink Floyd and other such groups. This is seriously an acquired taste, resembling music only in vague allegorical constructs of sonic development. I recommend you close your eyes and let the sounds suggest whatever images your mind may put forth. We here at Wildy's World are not responsible for the contents of your psyche.

Rating: 3.5 Stars (Out of 5)

You can learn more about Aaron Moore at www.myspace.com/aaronmooretheaccidental. You can purchase a copy of For The Boss at the Beta-Lactam Ring Records website.

Review: Original Motion Picture Soundtrack - Funny People

Original Motion Picture Soundtrack - Funny People
2009, Concord Records

On July 28, 2009, Concord Records releases the soundtrack to the newest Judd Apatow flick, Funny People. The film, starring Adam Sandler, Seth Rogan And Leslie Mann, is Apatow’s third (The 40-Year-Old Virgin and Knocked Up), and is all about his days rooming with Adam Sandler when they were struggling comedians. The soundtrack features a selection of deep cuts and first takes from big name artists primarily from the 1970’s, with exclusive live cuts from James Taylor and Wilco.

Funny People opens with Paul McCartney on Great Day, a bluesy acoustic piece built from guitar, hand rhythms and voice. McCartney digs into the gorgeous melody line with everything he has for a highly enjoyable experience. Robert Plant's turn on All The King's Horses is thrilling; you almost wouldn't know this was the former Led Zeppelin front man. Two songs from Warren Zevon make the cut; Keep Me In Your Heart and Numb As A Statue, showing some of the range of his songwriting talent. Neil Diamond's We is presented here in an early form and may just be better than the recorded work most are familiar with. The star of the disc is John Lennon on an acoustic version of Watching The Wheels. The coffee-house feel to this cut just adds to the charm of a vastly under-appreciated song. James Taylor runs a close second with a live version of Carolina In My Mind.

Adam Sandler gets in two performances of his own, but these probably would have been left to the movie and omitted from the soundtrack. His cover of John Lennon's Real Love finds Sandler overmatched vocally and in the production booth. Already week vocals are overpowered at the end of the verse. George Simmons Soon Will Be Gone is a performance piece from the movie that disappoints on several levels. This is closer to the Sandler you might have heard during his SNL days, but humor is pushed aside in favor of jocularity and shock value. For a movie entitled Funny Men, it seemed to miss the point.

As soundtracks go this one is fairly typical. There are some brilliant performances (McCartney, Lennon, Neil Diamond), some so-so ones (Wilco and Andrew Bird, Ringo Starr) and some truly puzzling ones (Adam Sandler, Coconut Records). The inclusion of McCartney and Lennon will ensure some decent sales of this disc (or at least downloads of those songs), but one is left with the impression that some of the song selections were settled by a randy game of Rock, Scissors, Paper, Lizard, Spock.

Rating: 3 Stars (Out of 5)

You can learn more about Funny People at http://www.funnypeoplemovie.com/. You can purchase the Funny People soundtrack at Amazon.com or as a download through Amazon MP3.

Review: Benjamin R - The Other Side Of Nowhere

Benjamin R - The Other Side Of Nowhere
2009, Benjamin R

Robert Selvaggio plies his musical trade under the name Benjamin R, these days. The Florida native is a singer/songwriter who took a professional detour into the production booth after an Indie release he boarded got significant praise for its sound. One thing led to another and before he knew what was happening Selvaggio was producing projects for the likes of Jewel, Eagle Eye Cherry and Puddle Of Mudd. After seven years in production, Benjamin R decided to take a step back, build his own studio and work on his own material. Aside from an ill-fated snow boarding trip that ended in a broken wrist, Benjamin R worked tirelessly to produce The Other Side Of Nowhere, a collection of 11 of the many songs he's written over the years.

Benjamin R reminds me of an extremely mellow version of The Cars' Ric Ocasek crossed with late-career Tom Petty, in a mish-mash of slick geek pop crossed with grizzly Pop/Americana. The Other Side Of Nowhere makes a very slow start, not really hitting stride until the fifth song. Not Gonna Let You Go grabs the listener with a catchy Americana arrangement with distinctive Pop hooks. Benjamin R keeps it up with Fool Myself and its vaguely urgent emotional qualities. Time Is Running Out brings to mind some of George Harrison's more Pop-oriented Folk/Rock. Benjamin R hits the heights on I Don't Need This Anymore and This Time (I Hope You're Happy). The two songs could track the same relationship at different stages, with Benjamin R realizing he just can't stay in this relationship anymore in the former, and recapturing that realizing after falling off the relationship wagon some time later in This Time. Letter has a couple of awkward moments lyrically, but has a distinctive Celtic/British feel that will draw you in.

Benjamin R spent a lot of time producing music for others, knowing that an outsider can often find the hidden gems in music that the folks who write it and live with it can't always see. Like many producers he may not feel this applies to him, leading him to produce his own album. While Benjamin R is well-renowned behind the boards, a doctor should never treat himself and a producer should never self-produce his own solo-effort. There are some strong songs here (particularly the second half of the album), but the lack of creative tension leaves some of that potential in the studio instead of bring it out on The Other Side Of Nowhere. It's a decent album in its own right; I was just left with an impression that it could have been much more.

Rating: 3 Stars (Out of 5)

You can learn more about Benjamin R at http://www.benjaminrmusic.com/. You can purchase The Other Side Of Nowhere as either a CD or a download at www.cdbaby.com/cd/benjaminr.

Review: Oscape - The Growing Ground

Oscape - The Growing Ground
2009, Bear Canyon

Tucson, Arizona’s Oscape has been part of the local music scene since 1991, playing all styles of music both solo and in ensembles. With influences ranging from Queensryche to Pink Floyd with a hint of Alice In Chains thrown in, your best guess about what comes next from this artist is as good as anyone’s. Oscape released The Growing Ground earlier in 2009 and has received a wide variety of feedback thus far. Let’s check it out.

The Growing Ground opens with The March, a sort of musical prologue that would seem to set a mood for the album, but seems somewhat incoherent in light of what comes afterward. Doing Business is a slow and heavy guitar rocker that doesn't leave a great impression. The lyrical content seems a bit limited; the melodic makeup of the song is relatively flat and the vocals are pitchy. The Inside Joke is a big plodding rocker that's more about sound than melodic progression although the guitar work is worth checking out. The Bully Theory is a politically motivated song taking issue with the Bush Administration and the wars they prosecuted. The lyrics here are artfully constructed and convey the intended message, but the arrangement is more of a wraparound series of chords that frame the vocal line without speaking much of themselves. Or Else is lyrically brief with three voiceovers expressing the usual Pentecostal view of humanity in the eyes of God, and then turns this view on its ear by suggesting that the true darkness is the form of self-righteous zealotry responsible for that view. The Growing Ground closes out with the title track. Growing Ground is the best song on the disc from a heavy rock perspective. Dueling vocalists (so called because they never really sing together in spite of singing essentially the same line throughout) are a distraction. The arrangement is a bit more imaginative than much of the EP; a step in the right direction, but is still quite limited in its scope and vision.

Oscape sticks to their dark and compact vision of hard/heavy rock throughout The Growing Ground. Musically they make no mistakes, but take no chances either. The Growing Ground doesn't make a significant impression for its lyrical content, and overall makes a decent showing without ever really having a standout moment. On the whole, it's just a little too homogeneous to garner a significant following, although there are certainly folks out there who appreciate this style of compact, narrowly constructed Hard Rock. Oscape will find fans there.

Rating: 2 Stars (Out of 5)

You can learn more about Oscape at www.myspace.com/oscape. You can purchase a copy of The Growing Ground at www.cdbaby.com/oscape.

Review: Kowtow Popof - Exalted Headband

Kowtow Popof - Exalted Headband
2009, Wampus Multimedia

Kowtow Popof is a Washington, DC area singer-songwriter who'd developed a distinctive taste for instrumentals that mix organic and electronic instrumentation. This form of Organica has developed a bit over time, finding fruition in Kowtow Popof's latest CD, Exalted Headband. Inspired by cinematic composers such as Bernard Herrmann and John Barry as well as electronic pioneers Ryuichi Sakamoto and Bill Nelson, Kowtow Popof wrote Exalted Headband with a cinematic scope in mind, using recurring thematic elements to construct an integrated series of compositions that work as a stand alone modern Organica symphony.

Exalted Headband is extremely intricate and nuanced in both composition and performance, opening with the Acoustic/Electric hybrid of Swimming Downhill, which sounds a bid like Windham Hill updated for the digital age. Enigma Of The Spokes continues in this vein, but has a more European sound, mixing acoustic guitar with electronically-generated strings for lovely soaring passages you'll want to play again and again before branching into piano/synth duets that are as pretty but perhaps not quite as imaginative. Kairos '77 is an intriguing composition, struggling with its own identity crisis between a theme of hope or despair. This is a piece I'd love to hear broken down for live instruments, and I think there is a lot of beauty in the depths that electronic instrumentation can seek but not quite find. Kung Fu Sunset sounds like what might have happened if Vince Guaraldi had fallen in love with space-age Electronica rather than Jazz.

Run To Daylight features one of three primary themes from Exalted Headband quite prominently. The Daylight Theme is nearly a stand-alone melody here, sounding like something out of 1970's Jazz-Pop set to a dance beat. Exalted Headband (Funkspiel Fringe) sounds like a theme to a 1970's detective show, right down to the Chicago-style horns. Theme From Lucky Guy sounds like the theme to a show you might find on ESPN in part A with a creepy transition or bridge. My favorite track on the CD is Balloon Bazooka; a surreal waltz that devolves into a computer-generated electronic composition that will invade your brain and stay there with a thematic element that intrigues. Rebreather is a fun listen, using a synth voice-generated melody as a foil to its thematic expression. Other highlights include Chronis, Children Of The Teeth and Floaters.

Kowtow Popof is an unusually placid voice in electronic music, searching for thematic order where chaos reigns supreme. His use of musical elements from across various cultures and schools of musical thought suggests significant classical/theory training, and opens doors for Popof that many musicians might not even know are there. Exalted Headband works on so many levels because of Kowtow Popof's willingness to try anything. Exalted Headband is hopefully a herald of things to come.

Rating: 4 Stars (Out of 5)

You can learn more about Kowtow Popof at http://www.wampus.com/ or www.myspace.com/kowtowpopof. You can purchase a copy of Exalted Headband as either a CD or download at www.cdbaby.com/cd/kowtow6.

Review: Verismo - Greed EP

Verismo - Greed
2009, Verismo

Brooklyn thrash metal scions Verismo are at it again, releasing a four-song EP entitled Greed in advance of their yet-to-be-named full length album due in the Winter of 2009. Together for six years, Verismo has taken the New York City thrash scene by storm. Unusual time signatures, punk energy and a heavy thrash musical core make Verismo one of the most dynamic and original trash bands on the East Coast. Stephan Laboccetta is one of the most enigmatic front men in the scene, and Tamas Vajda and Vincent Cruz create a steady, heavy backdrop that allows him free reign.

Greed opens with the title track, a highly rhythmic piece of Metal/Rock with flashes of pop insouciance. The song is very catchy and a fun listen in spite of the dark tenor it carries. Give It Back is a steady metal anthem that blows heavy and hard without every quite blowing out the equalizers. Houseboy is my personal favorite on the EP; the hardest play and some nice Randy Rhoads inspired guitar work back up an over-the-top vocal. Failure is perhaps the most intriguing composition, playing with time signatures and rhythm variations but perhaps not reaching its full potential.

Verismo certainly has a unique take on thrash metal, treating almost as an art form rather than just an outlet. The musical ability of the band is obvious from the four tracks offered on Greed, and you sense at times they want to let go a little further and branch out into the realms of more progressive metal. Whichever way they go, Verismo is a pleasure to listen to. Obviously if you're not into thrash then these guys aren't for you; but they're worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Verismo at www.myspace.com/verismo or http://www.verismetal.com/. You can get the Greed EP absolutely FREE by signing up for Verismo’s mailing list at either their web page or MySpace page.

Review: Chocolate Thunder - Ear Candy

Chocolate Thunder - Ear Candy
2009, Chocolate Thunder

Linda Rodney has done the acting thing. She's done the modeling thing; but music has always been her first love. Singing in church as a youngster, Rodney quickly stood out from the other kids with a big, powerful voice that you simply could not ignore. She was also exposed to many of the greats of R&B and Blues as a child, from Muddy Waters to Shirley Cesar to the Queen Of Soul, Aretha Franklin herself. After training with internationally known opera singer Sarah Reece, Linda began performing and touring, sharing stages over time with the likes of Elmore James, Jr., Main Street Blues Band, Little Pink Anderson and B.B. King. Performing under the name of Chocolate Thunder, Rodney's popularity began to grow. Due to popular demand from fans, Chocolate Thunder released her debut album in 2007. In 2009, she returns with Ear Candy, a collection that ranges from Blues to Soul to classic R&B.

Ear Candy opens with Love Thang, a classic 1970's Soul/Funk song. It's not the best on the album but a fair stylistic opening. Love Thang gives a clear picture of Chocolate Thunder's voice: It's big; it's powerful and it can move a crowd. There is an occasionally tendency toward to flat out in runs and transitions, most notable on the opening track, but Rodney's personality is so very much a part of the song that you might not even notice. Power Of A Lady gets into a 1970's Motown feel that's comfortable but doesn't really reach Chocolate Thunder's potential. Rodney hits full speed on Other Side Of Memphis, a classic Motown-style tune that would have been the rage of radio forty years ago. The brass section here is a great touch, but Rodney sells this song like she's lived it. It's All Good blends elements of Gospel and Jazz with a Caribbean touch and is my personal favorite on the disc.

Rodney wrote My Georgia Pine for her husband, and her conviction on the song is compelling, even if the lyrics come across as a bit "hokey love song" at times. Bring It On is presented in a fairly standard modern R&B arrangement but has the feel of a classic that's been updated. I like the song as presented but hear great potential in the song perhaps in other stylistic arrangements. Just Gotta Tell Ya hints at 1950's and early 60's girl groups; this is a great song that's right up there with It's All Good. Chocolate Thunder closes out with 555-Help, a classic mix of Rock, Gospel and R&B.

Chocolate Thunder is a compelling performer for a reputation for grabbing listeners by the ears and not letting go until the performance is over. Her voice isn't quite up there with idols like Aretha Franklin or Etta James, but it's quite good. Combine that voice with a dynamic personality and a compelling ability to sell a song and I'd have to say Chocolate Thunder has the potential to go a long way in this business. Ear Candy is a strong album with a couple of stand out tracks and a couple of duds, but is generally a strong mix of Rock, R&B, Soul and Gospel. Ear Candy has broad appeal.

Rating: 3.5 Stars (Out of 5)

You can learn more about Chocolate Thunder at http://www.cthunder.com/ or www.myspace.com/chocolatethunder1. You can purchase Ear Candy as either a CD or download from www.cdbaby.com/cd/cthunder2.

Review: Francesca Reggio And Blue Shift - State Of Motion

Francesca Reggio And Blue Shift - State Of Motion
2009, Bluekay Music

Francesca Reggio looks sweet and innocent. Even once she opens her mouth and starts to sing she has an All-American girl sound about her. Once you start getting into the lyrics, however, you find that Reggio will never be confused with Ms. Congeniality. Writing from a deep emotional well, Reggio uses her pen and voice to make strong, sometimes brutally honest statements about whatever is on her mind, sometimes with self-deprecating wit and others with cutting vigor. This is all done against the backdrop of pleasing Pop/Rock arrangements that often belie the intense nature of Reggio's thoughts. Backed up by Blue Shift (Benjamin Ricci - guitar; Lou Paniccia - drums; Pam Gouveia (keys) and a bass platoon of Andreas Farmakalidis and Tony Gouveia), Reggio is a formidable performer. Francesca Reggio and Blue Shift's debut EP, State Of Motion has received a lot of popular attention in New England thus far, and may take the band farther and wider than they ever imagined.

State Of Motion opens with When You See Me Again, a song about how friendships can go awry when the boundaries are tested; particularly when one friend pretends nothing ever happened. In My Place is a kinder, gentler take on the elements of Alanis Morissette's You Oughta Know. Well, gentler, anyway. Reggio is, in fact, fairly cutting in her commentary about her replacement. Father's Day exposes a great deal of pent up anger toward a once-absentee dad who has re-asserted his place, at least in word. The anger here runs deep, and the flares exposed are scathing and full of barbs. State Of Motion is a decent rock arrangement, but comes across as a bit shrill with its deep seated anger and fear of commitment. It is an honest look at a relationship from someone who doesn't know how to stand still and doesn't know how to be loved. Victim gets a bit more shrill, as Reggio uses the music as a bit of cathartic therapy. This can work, but in this case she goes to that well one time too many on a short EP. Conversely, You Never Happened is brilliance personified; a dark and beautifully textured song about wanting to erased the past. The melody is absolutely gorgeous, and Reggio controls her anger and pain and funnels it into the tune rather than letting it rage.

State Of Motion is cathartic in nature; an angry record mostly hidden in strong Pop/Rock arrangements. That anger gets out of control, particularly on Victim, where it borders on detracting from the songs rather than fueling them, but there's no doubt Reggio can write. You Never Happened is one of the finest songs I've heard this year, and proof that as Reggio continues to learn to funnel her emotions into her art rather than letting them use her she is going to turn out some amazing material. For the time being, consider Francesca Reggio and Blue Shift a young, and extremely talented, group. I have a feeling hers is a name you'll all be very familiar with down the line.

Rating: 4 Stars (Out of 5)

You can learn more about Francesca Reggio And Blue Shift at http://www.francescareggio.com/ or www.myspace.com/francescareggio. State Of Motion is available for download through Amazon MP3 or iTunes. CDs are currently available only at live shows, although the band is working on making them available through their website. In the meantime, if you contact Francesca Reggio & Blue Shift through their MySpace I’m sure they’ll be happy to help you out.

Review: Casey Desmond - Chilly Alston

Casey Desmond - Chilly Alston
2007, Casey Desmond

Casey Desmond is a singer/songwriter/multi-instrumentalist destined to be a household name. More than twenty-five songwriting awards and nominations fill her resume, and she's written and recorded with folks such as Tony Levin, William Ackerman (Windham Hill) and producer Anthony J Resta (Duran Duran, Collective Soul, Shawn Mullins). Desmond's latest EP, Chilly Alston is only four songs deep but runs the gamut of popular music.

Desmond opens with Chilly Alston, an upbeat bit of light dance pop that seems a likely commercial radio favorite but is probably the least memorable song offered here. Preacher Man is an intriguing and powerful song about an unexpected attraction to a man of the cloth. The narrator her decides she must have him, and he stands his ground saying, essentially, "only with a ring". Desmond descends into a fury of desire and lust in a gorgeous and sultry vocal performance that's perfectly balanced by the bluesy arrangement. The song is presented in a mix of electric and electronic instrumentation, but I would love to hear how it converts to a traditional Motown/R&B arrangement. Heavy Heavy Heart is a nuanced and mature song about poor self image/self worth. Desmond delivers a knockout vocal performance here flush with the reticent emotions the lyrics imply. Chilly Alston closes out with Any Wonder, a slow rock tune with baroque undertones. Desmond sounds like a cross between Tori Amos and Fiona Apple here and performs some absolutely chilling harmonies in the process.

With a voice like this, it's hard to understand how Casey Desmond isn't a household name already. Add in songwriting acumen beyond her years and you have a recipe for mass success, should the fates allow it. Either way, Chilly Allston is a stunning introduction to an artist I suspect we'll be hearing a lot from in the future. Make sure to spend some time with Casey Desmond, you'll be happy you did.

Rating: 4 Stars (Out of 5)

You can learn more about Casey Desmond at http://www.caseydesmond.com/ or www.myspace.com/caseydesmond. You can purchase a download of Chilly Alston from iTunes. You may still be able to pick up a used copy of the CD on eBay or Amazon.com, but I believe its out of print.

Review: Blacklight Poster Children - Blacklight Poster Children EP

Blacklight Poster Children - Blacklight Poster Children EP
2009, Blacklight Poster Children

So you think you know the guys from Bangkok Five? Heh. Singer Nik Frost and drummer Ray Blanco turn all of your Rock N Roll conceptions on their inner ear with the release of Blacklight Poster Children's self-titled EP. No worries, rock fans, Bangkok Five is still kickin' and screamin' in SoCal; Blacklight Poster Children is just a little side project with forays into Funk, Hip-Hop, Soul and Rap. Blacklight Poster Children is filled out by the Nymphs' Jet Freedom and Struggles. This is perhaps the best urban album from a rocker since Don't Talk Dance (Barenaked Ladies/Big Sugar/Bourbon Tabernacle Choir side-project).

Blacklight Poster Children opens with the Blacklight Poster Children Theme Song. Sadly, the introduction is the least enjoyable song on the disc, sounding more like a sonic mess.. Backlight Poster Children mostly make up for it the rest of the way, starting with Cool Lil' Devil. This is a funky, 1980's style rap; very enjoyable and highly danceable. Pop Lock Body Rock, besides having a title that's flat out fun to say, is a catchy dance number you won't be able to resist. The verse is a bit stoic, but the refrain will stick to your brain. Love Relations is an example of good intentions gone wrong; the message is great, but the vocal here is less than stellar and the arrangement unimaginative. Leaders Of The New School, on the other hand, find Blacklight Poster Children channeling a bit of Rock James. This is a great pop song with Rock N Roll elements and is my personal favorite from the disc.

Blacklight Poster Children want you to dance, and you will. Blacklight Poster Children is a bit uneven, but is generally a very fine collection of party music displaying fine musicianship and a real sense of joy in the songs. Make sure you check out Blacklight Poster Children and invite them to your next party. They'll be real popular guests.

Rating: 3.5 Stars (Out of 5)

You can learn more about Blacklight Poster Children at their Authentik Artists page or at www.myspace.com/blacklightposterchildren. You can purchase downloads of Blacklight Poster Children at Amazon MP3 or iTunes.

Review: Ariel - Sure Thing, You Bet!

Ariel - Sure Thing, You Bet!
2007, Jenpet Records

San Francisco rockers Ariel’s third CD, Sure Thing, You Bet! is a collection of familiar-surrounding classic rock originals. Released in 2007, Ariel has been gigging on the strength of this CD ever since. The mix of styles and sounds on Sure Thing, You Bet! can be a tad dizzying, both for the listener and seemingly, for the band.

Sure Thing, You Bet! opens with Are You Ready To Rock?; a tasty bit of old school Rock N Roll. It's a bit hokey but all in good fun, and the guitar work is pretty impressive. Wrequiem integrates pipe organ into a Rock arrangement in a moment that will recall Styx' early Prog forays. Bordertown opens with Spanish Guitar and reminds me a bit of Trout Fishing In America if they went a more Rock N Roll route. Climbing sounds a bit like early Chicago with a slightly harder edge. The lyrics are a bit mundane but the music is great. Ariel gets a bit into the socio-political-religious realm on The Message Song and The Fine Art of Proselytizing; the latter of which takes to task those who would push their beliefs on others. The ultimate irony is that the song appears to be full of the same sort of self-righteous sense it derides.

Much of Sure Thing, You Bet! is a bit disorganized; not so much like a coherent album structure but just a bunch of songs that Ariel had sitting around and threw together to fill out an album. Most of the songs are at least decent; there's just a lack of flow to the album that can become a bit distracting. Ariel ranges from Dr. Demento style novelty tunes (Church Of The Cosmic Cookie, They Won't Play Us In L.A.) to catchy, smart tunes with pop sensibility (Halfway To Harris, Crank Up The Victrola). The Pop sensibility here is sometimes two or three decades old, but hooks don't change regardless of how much distortion or effects you put them through.

My first impression of Ariel is that they are an aging cover band who have accumulated a fair amount of original material over time and finally decided to do something formal with it. It would explain the scattershot stylistic changes throughout the album that cover Styx, Chicago, The Ramones, Motown and novelty tunes. Cover band is considered by some to be a dirty word, but most bands or musicians get started that way, and from an instrumental perspective as a singer you couldn't complain about having Ariel behind you. The vocals are a bit hit or miss but are mostly spot on. In general, Sure Thing, You Bet! is a fun and entertaining listen that will appeal primarily to Baby Boomers and fans of the lighter side of 1960's and 1970's Rock N Roll/R&B. If that's your thing, then Ariel is for you.

Rating: 2.5 Stars (Out of 5)

You can learn more about Ariel at www.myspace.com/arielrockstheworld. You can purchase a copy of Sure Thing, You Bet! at www.cdbaby.com/cd/arielsounds, or you can download the album from iTunes.

Review: The Medullary Paralysis - We Don't Drink, We Don't Take Drugs, We Don't Have Sex, We Feel Compassion

The Medullary Paralysis - We Don't Drink, We Don't Take Drugs, We Don't Have Sex, We Feel Compassion
2009, The Medullary Paralysis

Italy’s The Medullary Paralysis is here with their debut EP, We Don’t Drink, We Don’t Take Drugs, We Don’t Have Sex, We Feel Compassion. We Don't Drink… opens with Compassion On The Dance Floor, a heavy techno/electrohouse number with ambient and pop elements. The song is absolutely mind-numbing at the right volume; the sort of music where you can get lost in the layers (with the right help). Fashion Slave takes a bit of Nine Inch Nails industrial and expounds on it, variation style. The heavy rock feel means this song would have a chance to cross over from club land to some free-thinking metal fans as well. The EP closes out with Heaven Forbid; Frenetic, rapid-fire rhythms on an industrial base with synth infusing a hint of ambience over the top. Heaven Forbid is the most cogent recording on the disc, but still gets mired in a wall of sound resulting from an attempt to do too much.

Herein lies the weakness of The Medullary Paralysis. There seems to be a need to fill every space, every second with sound, preferably with melt-your-face intensity. They are quite good at what they do, but there is a lack of contrast or dynamic that starts to become apparent on a three-song EP and would likely become a glaring concern on a full-length release. Even the occasional brush with minimalist conceptualization would maximize the potential of what The Medullary Paralysis is trying to do here. We Don't Drink... is a fine opening salvo, but I want to see what else they've got.

Rating: 3 Stars (Out of 5)

You can learn more about The Medullary Paralysis at http://www.themedullaryparalysis.com/ or www.myspace.com/themedullaryparalysis. Copies of We Don’t Drink... are available for download on Bandcamp on a pay-what-you-want scheme.

Review: Earl Musick - Duck & Cover

Earl Musick - Duck & Cover
2007, Reload Record Company

The first thing that will strike you about Fort Worth, Texas’ Earl Musick is what an amazing story teller he is. In his gruff and somewhat limited (but wonderfully textured and interesting) voice, Musick brings people and places to life in song. On his fifth album, Duck & Cover, Musick finds a musical aesthetic that encompasses Classic/Southern Rock Blues and Americana. Duck & Cover opens with the Southern Rock/Rhythm & Blues mix of Had Enough. The song is very danceable with distinctive hooks. Our Own Way combines a low-key vocal delivery with a great working class Americana arrangement. Here that we begin to see Musick's yarn-spinning gift in its truest form; almost as if watching a movie in song. All Wrapped Up is an ode to a hard working father using powerful imagery for death and life. This is perhaps the most deft lyric work on the album and is very well written overall.

Musick steps back to the honky-tonk for Razz-a-ma-tazz. This has an old-time variety show feel to it and is the lightest moment on the album. Burrough's Blues starts with the premise that the grass is always greener and shows how much worse they can really get; it's a great story-song set in a Blues/Rock arrangement you'll have on replay. Earl Musick marches us through a few more story songs (Molly and Beadreaux; I Got You; She Loved The Devil Out Of Me) on the way to Darlina. Darlina is the perfect closer for Duck & Cover, a high energy mix of Country and Rhythm & Blues with some of the best honky-tonk piano you'll find in or out of Nashville.

Duck & Cover is ultimately entertaining, painted in hues both stark and subtle. Earl Musick has a real gift for not just telling a story but imprinting it on the listener. You'll walk away from the album feeling like these songs aren't just an hour's entertainment but have somehow become a part of your consciousness. The classic mixes of Country, Rock, Blues and 1960's R&B complete the musical picture. Earl Musick is too good and too varied to get significant attention from the Country radio establishment, and is just a bit too down-home for Rock radio. The internet and satellite Americana stations may come calling, but with dwindling numbers it seems like that Earl Musick is destined to be under-represented in the marketplace. That's a shame, because talent like this doesn't come along all that often.

Rating: 4 Stars (Out of 5)

You can learn more about Earl Musick at www.reloadrecordcompany.com/emusick. You can purchase a copy of Duck & Cover as either a CD or MP3 at www.cdbaby.com/cd/emusick3.

Review: Orion Walsh - Freedom Lost, Freedom Found

Orion Walsh - Freedom Lost, Freedom Found
2009, Orion Walsh

Lincoln, Nebraska based songwriter Orion Walsh comes back in August of 2009 with his sophomore solo release, an EP entitled Freedom Lost, Freedom Found. Readers may remember Walsh’s Tornado Lullabies, a highly personal and distinctive musical memoir we reviewed last year. Walsh continues in the same vein, albeit with a bit more of the polish of time on Freedom Lost, Freedom Found.

Freedom Lost, Freedom Found opens with Freedom Lost And Freedom Found, a high energy Americana/Folk/Rocker destined for the replay button many times over. Walsh's voice wends its way along the melody line in flawless fashion, although there's one note that's repeated a number of times that likely pushes the bounds of his range. Starkweather gives musical life to spree killer Charles Starkweather in engaging fashion. The form here is classic folk music and sounds like it could have easily come out of the 1960's. Football Town is all about growing up in a small town but having big dreams that can (perhaps) only be fulfilled elsewhere. The high energy of the arrangement juxtaposes against the melancholy feel of the lyrics. Run For The Hills finds Walsh slowing things down a bit with a polished rocker reminiscent of classic Neil Young. The theme here is global warming, and is based loosely on the sort of dire predictions that have become a calling card of that conversation. Walsh closes out with Journey To The Sea; a gorgeous song about two people in a relationship who want two different things: she wants more of him and he wants to figure out who he is. The arrangement here is a gem, and Walsh's vocals make the song.

Orion Walsh continues to write and record great music a little bit at a time. I have no doubt that over time he'll develop an impressive body of intelligent, well-written songs. Walsh is the sort of performer that other performers and songwriters respect, and Freedom Lost, Freedom Found will only enhance the reputation he's already earned.

Rating: 3.5 Stars (Out of 5)

You can learn more about Orion Walsh at www.myspace.com/orionwalsh or http://www.orionwalsh.com/. Freedom Lost, Freedom Found is due for an August, 2009 release.

Review: Shaky Foot - Down On The Rain

Shaky Foot - Down On The Rain
2009, Shaky Foot

Everyone's been in a relationship that seemed like it should be right but the timing was all wrong. That's the story of Shaky Foot in a nutshell. Formed by Jason Scolnick (Lead vox, guitar) and Bob Gobron (bass, vocals) in the early 1990's, Shaky Foot fell apart after showing real promise. Reforming in 2006, Shaky Foot found a new drummer in Charlie Silva, and has gone on to become one of the most sought-after bands in the Boston Music Scene. Shaky Foot's newest disc, Down On The Rain features thirteen (13) tracks of blues-based rock that will be appreciated by fans of bands such as Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan, to say the least.

Down On The Rain opens with Goodbye Mrs. Rose, featuring some excellent vocal harmonies and a dirty, driven blues feel you simply can't ignore. Bust It Out High is a bit more mundane than the title might lead you to believe but is still a good track. Down On The Rain is a deep and powerful song about seeing rays of hope even in your darkest moments. In this case the protagonist is a drug addict who has a moment of clarity and sees that things will be alright. The guitar work here is fabulous. Shaky Foot trod down a path frequented by The Beatles on In The Middle, blending in the occasional Jazz garish. This might have been the most enjoyable song on the disc if it weren't for the mixing which turns it into a messy but still listenable tune.

She's My Lady is a great listen perfect for last calls. The Blues/Rock arrangement here has perfect pop sensibilities, leading into the Led Zeppelin influenced Beat You To The Punch. Preacher Man is probably the best-written track on the CD, done in a slow build to an over-the-top climax that's probably even better live. Wake Up features the most interesting guitar work on the disc, particularly the opening riffs. You'll also want to make some time for Worried Mind, Young Jack and Zoom Baba Loom.

Listening to Shaky Foot makes me want to find a gig of theirs in a dark bar on a Saturday night with a few friends. The music here is pretty dynamic and enjoyable; Down On The Rain should really be experienced live. What sounds fun on CD would be a joyous cacophony of musical noise in a live environment. Shaky Foot is worth spending a little time with.

Rating: 3 Stars (Out of 5)

You can learn more about Shaky Foot at http://www.shakyfoot.com/ or www.myspace.com/shakyfoot. You can purchase a copy of Down On The Rain on CD or as a download at www.cdbaby.com/cd/shakyfoot2.

Review: The Comforts - Come On In!

The Comforts - Come On In!
2009, The Comforts

Cincinnati, Ohio’s The Comforts don’t play the typical Rock N Roll game; it’s not sex, drugs, and party-party-party for this quintet, but good, old fashioned Rock music with broad appeal that saves the day. You can find them anywhere from a biker bar to church festivals, with smiles from both crowds. The Comforts’ debut album, Come On In!, reflects this aesthetic, with influences ranging from 1950’s pop to 1970’s Rock/Metal bands like Rush.

Come On In! opens with Better Reasons, a relatively straight forward Pop/Rocker with it's lineage in 1960's girl groups and pop idols like Brenda Lee. The mix on this song is a bit muddy, with the vocals sounding very restricted in the presented mix. Never Look Back runs on a guitar riff that might have been inspired by Alex Liefson. The song itself is a pleasant listen and a call for community. The vocals are shared here between Paul Lake and Frances Lynn Merke; both are competent in their parts but don’t set the world on fire. Love Around You takes on folks who have real-world responsibilities but continue to act like they are young and unfettered. The arrangement here is messy, particularly around the vocal harmonies; a case where the message is great but the delivery is unfortunately less than spectacular. Small Town Girl hearkens back to the early days of Rock N Roll and is my personal favorite from the EP. Circles Never End has an urgent, even pushy feel to it that's just a might infectious. The arrangement will get stuck in your head, although the melody line is a bit non-descript. Come On In! closes out with You're That Girl, a messy but fun romp

The Comforts stick to the sound they know best on Come On In! The EP didn't blow me away, but had a couple of good moments. I don't know what the long term prospects are for The Comforts, but it will be interesting to see where they go next.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Comforts at www.myspace.com/thecomfortsrock. You can purchase a copy of Come On In! on CD or as a download at www.cdbaby.com/cd/comforts.

Review: If You Will - Above The Earth

If You Will - Above The Earth
2009, If You Will

Mahtomedi, Minnesota's If You Will is back with Above The Earth, a five-song EP that serves as a follow-up to 2007's Flight Plan. Seth Lienard (bass, vox), Aaron Rosell (drums, piano, vocals) and Stefan Swanson (guitars, vox) bring five highly personal and emotional rockers on Above The Earth, showing significant growth both musically and lyrically over their debut album. For a band where all members are currently either nineteen or twenty years old, If You Will is maturing quickly into the sort of band that not only has a lot to say but can (and play) it well. Writing primarily from both Christian and Secular perspectives, If You Will manages to create music that is magical and refuses to be pigeonholed into one genre or type.

Above The Earth opens with Satellite, a song about the divisions that carve up humanity and their real source. The song has a vaguely spiritual way but deals with war and peace and reality of the space that exists between peoples and cultures. Ragnarok finds If You Will speculating on the end times in a heavy, guitar driven tune that finds a sense of peace within its own story line. Chloroform & Games is written from the perspective of an abused child. Message-wise it's a powerful song, although the musical development of the song may have been checked a bit by an urge to get the message right, as there are a few awkward moments in the song. If You Will breaks out some serious Blues licks for Time, exhorting listeners to stop worrying about things that do not matter and live their lives. Time finds If You Will hitting on all eight cylinders with four minutes of near-perfection. Above The Earth closes out with Saboteur, a relationship song about being with someone who so completely takes over a relationship they destroy what they love. It's a powerful song; extremely well-written and lyrically dense. If You Will chose the perfect closer here; a song that could easily be a Rock hit and has elements of 1970's classic rock mixed hand-in-hand with Funk and Modern Rock.

If You Will is a special outfit. It's unusual to hear a trio these days create such a full and textured sound as these guys, and the song-writing is generally outstanding. Perhaps what is most significant is that even when If You Will misses with a song it still tends to be highly listenable (just not up to their usual standard). If I were a betting man I'd say If You Will is destined for great things. Their relatively young ages, displayed development and baseline ability speak of a long career full of significant success. For now, If You Will continues to build on a regional following that is not inconsequential while writing great songs that wend their way through a maze of secular and spiritual issues. Oh yeah, and did I mention they rock, too? Make sure you check out Above The Earth. You'll be glad you did.

Rating: 4 Stars (Out of 5)

You can learn more about If You Will at http://www.ifyouwill.net/ or www.myspace.com/iyw. You can purchase Above The Earth as either a CD or download at www.cdbaby.com/cd/ifyouwill2.

Review: People - The Cliché

People - The Cliché
2009, PAS2 Productions

Have you ever listened to a band's CD and just known from the outset that they had fun making that record? That's the first impression I got listening to People's The Cliché. The Los Angeles band has been headlining top venues in LA and all along the west coast for the past two years and the buzz, which began as word of mouth rivulets, is set to explode. With production by Dave Jerden (Jane's Addiction, Alice In Chains, Mary's Danish) and Engineering by Bryan Carlstrom (Billy Idol, The Offspring), People took no chances with The Cliché; undoubtedly one of the most exciting Pop/Rock releases of the year thus far. Add to this the fact that The Cliché was bassist Gidget Gein's (Marilyn Manson) swan song and you have an EP full of great music, intrigue and not a little magic.

The Cliché opens with Song For The People, a danceable Rock song in the best 1980's tradition. Vocalist/guitarist Jimmy Young sounds like a cross between Escape Club's Trevor Steel and Corey Hart, alternately soaring and pouting through the vocal lines in a tradition with lineages in the heyday of Glam Rock. The EP's first single, The Kids, has already gotten some attention nationally for both the song and accompanying video. It's a sophisticated anthem of rebellion that smacks a bit too much of the album title, but is still enjoyable for all of that. Cheap Money plays with some tasty guitar riffs descended from Jimmy Page and takes on materialism and the culture of cities like Los Angeles. Young Luv is notable for the guitar work but the song itself didn't really make a big impression on me. The EP closes out with Tune In Turn On And Drop Out, a great Pop/Rock tune with real commercial bite. This may be the best song craft on the album and is a great closer.

People bring tremendous energy and a sense of fun to The Cliché, turning in a performance that's practically guaranteed to transform them from a regional powerhouse to a band with national name recognition. The only question is where they'll fit in a segmented media market where genres have become so insular and proprietary that few people even know what they mean anymore. People is an exciting band with a sound that's perfect for the stage, and an ability to craft big Rock songs with enough Pop sensibility to have labels lining up to speak with them. The Cliché is an incredible warning shot from People. If we're lucky, there will be more.

Rating: 4 Stars (Out of 5)

You can learn more about People at http://www.peoplerock.us/ or www.myspace.com/peoplerock. As of publication no on-line outlets could be found to purchase The Cliché, whether digital or traditional. Keep checking People’s MySpace page for availability.

Review: Buckfast Superbee - Turn Of The Radio Age

Buckfast Superbee - Turn Of The Radio Age
2008, Walking Records

San Diego favorites Buckfast Superbee are coming for your hearts and minds on their sophomore CD, Turn Of The Radio Age. Their 2006 self-titled debut made a name for Buckfast Superbee, with song placements in Midway's MLB Slugfest (XBox & Playstation) as well as in the movie Heroes For A Day. Their debut rose to #2 on college radio charts, keeping pace with releases from the likes of Green Day and Modest Mouse. On Turn Of The Radio Age, Buckfast Superbee maintains the hard edge rock feel and delicious hooks that have made them the darlings of the aggregate SoCal Rock N Roll scene.

Turn Of The Radio Age opens with the title track, a brief prologue that mixes bleakness with beauty before crashing through into The Heavy Persuader, a driving modern rock anthem built on great hooks and a highly infectious melody. Denigration As An Art takes the three minute Pop/Punk song and raises it to the same lofty heights. Vocalist Timothy Joseph leaves it all on the CD in a song that soars and careens right into its closing notes. Buckfast Superbee takes on an almost 1980's aesthetic in Proficiency Breeds Modernization. The melody and arrangement ring true in a song about the downside (or downsize) of progress.

Gibralter examines the art of selling out, where an artists music becomes more about the meal ticket than the muse. Tilt-O-Whirl is a tremendous, high energy rocker consumed with the dichotomy of being a working/traveling musician and having a personal life. Buckfast Superbee is super tight here as always, and the song takes on a life of its own. Buckfast Superbee goes into something of a slumber in the middle of Turn Of The Radio Age before turning the lights on again with Spirit Of The Underachiever, a virulently melodic Punk rocker that will rattle around inside your brain for days. The album closes out with Pitch Vs. Rotation, starting out as a high repressed arrangement before blooming into big minor triad harmonies built over a plodding melody line. Pitch Vs. Rotation contrasts well as a slower song compared to tunes such as Automatic, By The Way Of The Valley and SPF 638.

Buckfast Superbee shines on the harder-edge; Punker tunes on Turn Of The Radio Age, and falters a bit on the slow material (with the exception of Pitch Vs. Rotation). Buckfast Superbee is ready for prime time as a Rock band, but it would be nice to hear them bring the energy that drives them through the faster and harder material into the down-tempo material. Buckfast Superbee will succeed as they are, but if they can make that transition no one will stop them.

Rating: 3.5 Stars (Out of 5)

You can learn more about Buckfast Superbee at http://www.buckfastsuperbee.com/ or www.myspace.com/buckfastsuperbee. You can purchase Turn Of The Radio Age as either a CD or download at www.cdbaby.com/cd/buckfastsuperbee2.

Review: Willy Porter - How To Rob A Bank

Willy Porter - How To Rob A Bank
2009, Weasel Records

Willy Porter is one of those musicians who mostly avoided the pitfalls of pop success by refusing to play the marketing game and staying true the maverick nature of his muse. As a performer and songwriter, however, Porter is so talented that even refusing to go along with the mores of the moment he occasionally nails popular tastes to the wall and clips a chart or two. Porter's greatest adulation and respect have always come from fellow musicians; folks who really know and understand what it takes to craft the sort of elemental songs that make up Porter's catalog. Willy Porter's latest CD, How To Rob A Bank, is an intelligently stylistic album formed from the raw clay of Americana, Folk and Blues. You'll hear names like Bob Dylan and Woody Guthrie brought up when talking about Willy Porter. The comparisons are apropos.

How To Rob A Bank opens with Learning The Language, a down-tempo Country/Folk tune about emotional maturity. The arrangement here is superb, matching a lyrical acumen that's distinctive ("Yeah I'm learnin', pain comes too quick and wisdom comes too slow"). Colored Lights has a very restrained feel to it, and the lush arrangement gives the whole song a very distant feel, like an experience through a looking glass. I Didn't Bring It Up is a song about starting over. The sense of movement in the song matches the sense of dislocation upon losing a long term relationship, yet the vocal harmonies solidify and ease the listener (and presumably the protagonist).

Hard Place extols the costs of war as scene across three generations. The chorus here is something of a dream-come-true, based in Blues and Folk. Wide Open Mind reminds me a bit of early work of The Black Crowes. Porter's creation is offered in a delicious Blues/Rock arrangement that will stick with you for days. Porter thoroughly outdoes himself on How To Rob A Bank. The song is topical, sounding like a blueprint for the Bernie Madoff scandal; Porter has crafted an intelligent and accessible diatribe against greed and human nature using wit, artistic tenor and a panache that would please fans of Arlo Guthrie. Similarly on Psychic Vampire, Porter captures the essence of someone we've all known at some point in our lives in song. How To Rob A Bank closes out with Barefoot Reel, a down-tempo tune with a melody you could buy a decent loft apartment in lower Manhattan with.

Willy Porter is a distinctive talent; an outsider so good and so true to who he is that the center gravitates toward him. How To Rob A Bank is Porter's best work to date. Expect How To Rob A Bank to dominate year end lists in critical circles, and garner Porter a lot of exposure along the way. This is a special album; 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 Willy Porter at www.willyporter.com or www.myspace.com/willyporter. You can purchase a copy of How To Rob A Bank at Amazon.com, or download the album from iTunes.

Review: Alan Semerdjian - The Big Beauty

Alan Semerdjian - The Big Beauty
2009, Alan Arts Music

Alan Semerdjian has created a circle with his music where life feeds art and art feeds life. As the front man for New York City band Surreal for most of the 1990’s, Semerdjian toured the East Coast of the United State many times over, sharing the stage with a who’s who of bands and artists and writing music that still gets used periodically for television and movies. These days, Semerdjian is on his own, playing a quirky brand of Alt-Pop mixed with Americana. And I wouldn’t say he’s entirely on his own, as Semerdjian collaborates with an impressive list of friends (including Jen Chapin, Daniel Carter, Nick Gianni and Chris Barron (Spin Doctors)). Semerdjian’s latest release, The Big Beauty, encompasses all of the melodic and lyric charms fans have become accustomed to in a slightly more refined package. The Big Beauty is produced by Rilo Kiley's Michael Bloom, and features Franz Nicholay (Hold Steady), Chris Kuffner (Ingrid Michaelson, Regina Spektor), Dave Diamond (Zen Trickers) and Philip A. Jimenez (Wheatus) among others.

The Big Beauty opens with Your Love, a distinctive melody wrapped in gorgeous harmonies and an Americana-Pop arrangement you won't be able to get out of your brain. This leads into I Can't Tell You How; strong active Americana-Rock that reminds me of what you might hear if Ron Hawkins were ever to jam with the likes of Blue Rodeo. Semerdjian has a couple of WOW moments on The Big Beauty, and the first one arrives three songs in. Bad Dreams is an amazing take on loving someone who is perhaps not emotionally stable. Lyrically, musically and vocally this song is flawless. You Can Run finds Semerdjian taking a Chris Isaak turn with a beautiful yet melancholy tale.

Hole In Your Home is highly textured in arrangement and equally emotive. The two distinctly percussive natures (one literal, the other emotional) come together to create a powerful moment in song. The sometimes shadowing and sometimes juxtaposed natures of these two rhythms seem to echo relationships as the members fall in and out of sync repeatedly over time. Semerdjian rips off the roof on Everything (She's Still The Best). Fans of early Skydiggers/Cash Brothers will listen to this with distinct joy. Semerdjian dishes out a bit of sleight of hand here, opening with a prologue that speaks to his Armenian heritage before slowly transitioning into a driving folk/country arrangement that won't allow you to sit still. Stephanie is a love song that takes a disastrous turn. Keep your game face on, as the lyrics will get a smile out of your before they're done.

Melody combines elements of Jazz, Funk and Blues in a tune that is alternately pensive and busy (perhaps at times too much so). This is a great listen, but does border on becoming too muddy at moments. When There Was Something Wrong With You is the other real WOW moment on The Big Beauty. Semerdjian has crafted an arrangement you won't want to end. This is true ear candy. AM Radio changes pace with a full, multi-layered sound wrapped around an unforgettable melody that's very much down tempo.

Alan Semerdjian has one of those voices you could listen to all day. Take care you don't get so into his voice that you miss on out on the wonderful musicianship, distinctive lyrical style and songwriting that comprise The Big Beauty. Alan Semerdjian has been a critical favorite for a long time, and carries a lot of respect from fellow musicians, but its baffling how he hasn't broken through into the social conscience of a music scene crying for talent like this. The Big Beauty is required listening from an essentially talent. Make sure you spend some time with Alan Semerdjian soon.

Rating: 4.5 Stars (Out of 5)

You can learn more about Alan Semerdjian at http://www.alanarts.com/, http://www.alansemerdjian.com/ or www.myspace.com/semerdjian. The Big Beauty hits the street on September 1, 2009. You can purchase a copy of The Big Beauty at www.cdbaby.com/cd/semerdjian2, or you can download the album from iTunes.

Review: Golden Bloom - Fan The Flames

Golden Bloom - Fan The Flames
2009, The Sleepy West

Shawn Fogel is, for all intents and purposes, Golden Bloom. The next time you catch Golden Bloom live there will be a traditional band on stage, but on Fan The Flames (August 18, 2009), Golden Bloom's latest CD, Fogel played all instruments and sang all vocals. Fan The Flames finds Fogel turning his songwriter's eye outward, breaking from his past full of relationship songs to tunes about the world around him. Produced by Peter Katis (The National, Interpol), Fan The Flames sets up Golden Bloom for a very good 2009.

Fan The Flames opens with E.H.M., a bit of guitar power-pop at its finest. This is a great tune for commercial radio, playable at Country, Americana and Pop/Rock outlets. Fan The Flames seems to deal with human nature, greed and a desire to set things to rights. Doomsday Devises is a whimsical and vaguely disturbing tune about using ultimate measures to gain your means. She Leaves Me Poetry is a gorgeous song about a relationship you can't live without but which you can not survive. Fogel shows a distinctive talent for lyrics here; prodigious enough to match his penchant for unmistakable and infectious melodies.

Dead Petals takes on a Beatles/McCartney-esque feel, with a melody the lads from Liverpool would be happy to have written. If You Believe is a delicious bit of Americana/Pop that will get stuck in your brain and stay there. My favorite song on the disc (at the moment) is Theme For An Adventure At Sea. There's something about the melody and the driving nature of the song that makes it difficult to get out of your head. Be sure also to check out The Mountainside Says and the last track, called Untitled.

Golden Bloom isn't the sort of project that is likely to get a lot of popular radio play, but that may simply be a sign of the high quality of the music on Fan The Flames. Like Wilco before them, Golden Bloom creates a sound that is accessible and poppy without selling out their vision of what the music should be. Fan The Flames is a significant release, worthy of your attention and time.

Rating: 4 Stars (Out of 5)

You can learn more about Golden Bloom at www.myspace.com/thegoldenbloom or http://www.goldenbloom.net/. Fan The Flames hits the street on August 18, 2009. Keep checking Golden Bloom’s website for more information.

Review: Sean Wagner - All The While

Sean Wagner - All The While
2009, Sean Wagner

A few years back, Sean Wagner shed the city of Boston and a successful gig at the head of local favorites Fallback Crush for Portland, Oregon and a solo career. Wagner released his debut EP, Long Lost Photograph in 2008, and follows up this month with the full length All The While. Wagner’s lead track, Time Will Tell, has already been featured on Portland radio powerhouse KINK, and Wagner prepares set to build on the critical and popular Indie success of Long Lost Photograph.

Wagner opens with Time Will Tell, an upbeat, lilting waltz with horns. Time Till Tell is a great bit of Folk/Pop songwriting about moving on after a relationship ends (or trying to). The song is highly licensable. Warning Signs looks back on the flags that were there in the relationship all along; it works as an effective Epilogue to Time Will Tell.) Let's Go has a great acoustic guitar-driven bass. Fall is a decent tune, although the arrangement might be a bit too gentle given the lyrics. I enjoyed Yesterday, and particularly Next June. Next June is a bit awkward on the lyric side, but a great, lush arrangement effectively hides that flaw.

All The While displays Sean Wagner as an artist with pleasant, easy-going voice. All The While infuses Americana sound without getting mixed up in Country music. This is a backward looking album focused on the end of a relationship, and Wagner pours his heart out. Even the songs here that didn't entirely work have a lot of potential.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sean Wagner at www.myspace.com/seanwagner or http://www.seanwagner.net/. Expect availability through CD Baby and Amazon.com as well as iTunes, although no specifics are available at this time. Keep checking Wagner’s website for more information!

Review: Dune Tran - Heart Anchors

Dune Tran - Heart Anchors
2009, Dune Tran

Edmonton, Alberta, Canada native Dune Tran relocated to San Francisco in 2001. Getting a late start on a music career, Tran never learned guitar until the age of 21, and piano until she was 24. Tran has wasted no time putting her skills to use, spending some time singing backup vocals for San Francisco’s Leilujh before taking the solo route. 2009 sees Tran’s hard work come to fruition with the release of her debut album, Heart Anchors.

Heart Anchors has some great moments, from Tran's Tori Amos-inspired piano playing to the occasional sprinkling of gorgeous pop moments. Tran sings with raw emotion and a sweet voice with just a bit of an edge. On songs like All, Tran has an essential likability that comes across in the music. All is a sweet love song, ready for mix-tape exposure, but on the vocal side Tran shows the occasional big flaw (like pitch issues here and there). One gets the idea that Tran doesn't care, she just enjoys singing. That joy is infectious enough that the listener will overlook some of these small things and really get into the songs. Silence is a gorgeous and emotionally raw bit of personal biography about a relationship that's caught in between two phases. On songs like Daydreams, Tran proves herself to be an apt painter of human emotion in song, laying out the emotional landscape of a relationship in musical forms you can understand.

Tran's loveliest composition on Heart Anchors features Tran, piano and cello. Fading Into Black has a stark beauty and loneliness woven into the instrumentation that is more telling than any lyric. Elements of Tori Amos and Sarah McLachlan can be heard here, but Tran sinks into an original voice that is between those two and yet not of either one. Trans says goodnight with the bruising piano driven song Safety Nets. Fans of early Tori Amos will dig this song, which is extremely well-written aside from any stylistic similarities. Other highlights include Love Underwater and Cannot Reach You.

Dune Tran's Heart Anchors is an intriguing if uneven first effort. Tran show obvious influence from artists such as Tori Amos and Sarah McLachlan. Her best moments come when she plays out those influences into something of her own style. Where Tran tries to be a bit more mainstream the songs lack real personality and fall a bit flat. Dune Tran's voice has a sweetness to it that hides an edge you can never quite put your finger on. My suspicion (and hope) is that this is just the beginning for Tran. There's a lot more music in there, and over time she'll hone her skills further. For now, Heart Anchors is a great start.

Rating: 3 Stars (Out of 5)

You can learn more about Dune Tran at http://www.dunetran.com/ or www.myspace.com/dunetran. You can purchase a copy of Heart Anchors at www.cdbaby.com/cd/dunetran.

Review: Chris Loid - Back Road Home

Chris Loid - Back Road Home
2009, Chris Loid Entertainment

Portland, Oregon’s Chris Loid is a talent you just can’t ignore. Perhaps one of the most dynamic young Country Music artists on the Indie scene, Loid has a voice you rarely hear in country music circles and a charisma and panache that puts him in rarefied company. Loid’s debut album, Back Road Home, was released in the first quarter of 2009. If you’re going to have a discussion about the best debut Country albums of the past decade, Chris Loid’s Back Road Home has to be in the conversation.

Back Road Home opens with Heaven Can't Wait Anymore, sounding a bit like a young Bob Seger. This is a sure-fire country hit. If Loid can get this song a toe-hold at commercial country radio listeners will light up the request lines. Fishin' In The Weeds is a Blues-based Country tune about being happy with whom you are. Loid's voice is amazing, with a smooth quality that's unusual in Country music. Son Of The Sticks is an anthem for Good Ol' Boys everywhere and a great party tune. Loid makes some serious Mix-Tape magic on Without You; we're talking Casey Kasem Long Distance Dedication material here. Loid's song is a heartbreaker and is also likely to make sure at commercial Country radio if it can find a bit of airtime.

Loid breaks out another party tune in Light This Mother Up. You'll want to shine up your cowboy boots and grab your Stetson for this one, because the dancing will be fast and furious. Back Road Home is a bit of southern rock with a dark, dark turn. Ladies if your current beau has been away from home a bit too long and your ex- is still in the picture then this song will make you think twice. Long Night is as close as Country music can get to Slow Jams. Loid displays some amazing range here. Loving You Forever isn't my favorite song on the disc (although it's not bad), but Loid manages to blend Country, R&B and a bit of Jazz into one tune and make it work. Loid closes out with Love Is Never Too Late, a musical morality tale with something for everyone. The prodigal son is always welcome, even at death's door. Loid challenges listeners not to wait for a goodbye that will be final; to make the most of any time that is left.

Finally, an artist comes along with the same sort of pizzazz, chutzpah and charm as Garth Brooks. Chris Loid could, and should, be absolutely huge. Honest writing, great hooks, a bit of Rock N Roll attitude, a slice of Rhythm N Blues and a voice you could listen to all day should make Loid a lot of fans very quickly. Back Road Home is an instant classic. Don't pass this one by.

Rating: 4.5 Stars (Out of 5)

You can learn more about Chris Loid at http://www.chrisloidmusic.com/ or www.myspace.com/chrisloidmusic. You can purchase a copy of Back Road Home at www.cdbaby.com/cd/chrisloid.

Review: The BAcksliders - Thank You

The BAcksliders - Thank You
2009, The BAcksliders

The BAcksliders are a Dallas, Texas quartet featuring Kim Bonner, also known as Kim Pendleton, lead vocalist of Vibrolux. The BAcksliders are filled out by Chris Bonner on guitar, Jason Bonner on bass and Taylor Young on drums. The BAcksliders play an aggressive form of Garage Rock based in classic Rhythm N Blues, and at their best will make you want to get up and dance. The BAcksliders 3rd album, Thank You, was released in May of 2009.

Thank You opens with Have You Ever Been Down, sounding a bit like Janice Joplin gone punk. Old school Rhythm N Blues with pink attitude makes you want to dance. The guitar work and energy are great, and there's a bit of a Garage quality to the overall sound. Maybelline Don't is a well-written tune that's highly listenable. Vocalist Kim Bonner has the rasp of Joplin without the extreme screaming dynamics. Last Call might be subtitled "Theme For A Career Bar Band", as it plays off the continuing experiences of the band on the road. The second half of the disc just doesn't match up the energy of the songs above with one exception. The BAcksliders' take on Little Richard's Keep A Knockin' blows the roof off.

The BAcksliders really know how to rock, even if they don't always sound the part. The musicianship throughout Thank You is outstanding. Vocalist Kim Bonner is competent but doesn't set the world on fire here. Male vocalist Chris Bonner was excellent; it would be good to hear more from him in the future. For the time being, Thank You made a strong if uneven first impression.

Rating: 3 Stars (Out of 5)

You can learn more about The BAcksliders at http://www.thebacksliders.com/ or www.myspace.com/theBAcksliders. You can download The BAcksliders’ Thank You for free on their website.

Review: Portugal. The Man - The Satanic Satanist

Portugal. The Man – The Satanic Satanist
2009, Equal Vision Records

Originally from Wasilla, Alaska, Portugal. The Man is based out of Portland, Oregon these days. Originally formed as a creative outlet, Portugal. The Man has turned into a prodigiously creative band, turning out four albums in the past four years. Their fourth album, The Satanic Satanist, hits stores on July 21, 2009, featuring eleven tracks full of Rock N Soul influences and an unmistakable taste for dramatic musical moments.

The Satanic Satanist opens with People Say, a wonderful mix of Americana and Soul. The song has a distinctive Beatles feel, particularly in the chorus, and is an incredible listen. Lovers In Love plays a bit with loops and effects, but maintains a strong melodic sense in a killer arrangement that you'll be hard-pressed not to get up and dance to. The Home has a dark and funky feel that you won't be able to get out of your head (and is my personal favorite song on the CD). Do You is a close second, with Portugal. The Man digging down and finding a bit of British bombast at their disposal (particularly in the chorus). Everyone Is Golden returns to a Beatles theme for the opening notes. The arrangement is strong, but the repetition of the one-line chorus gets to be a bit much after a while. Be sure also to check out Let You Down and Mornings.

Portugal. The Man follows a fairly aggressive writing/recording schedule given that they perform around 250 live dates per year. The material presented on their latest CD, The Satanic Satanist is a highly irregular and uneven effort. When Portgual. The Man is on their game they are eminently listenable. When they're not the results can be downright messy. There's enough good material on The Satanic Satanist to get it on your radar. Check it out!

Rating: 2.5 Stars (Out of 5)

You can learn more about Portugal. The Man at http://www.portugaltheman.net/ or www.myspace.com/portugaltheman. The Satanic Satanist will be released on July 21, 2009. You can purchase a copy at Amazon.com or download the album from iTunes.

Review: Monika Jalili - Élan

Monika Jalili - Élan
2009, RMJ Publishing

Monika Jalili stumbled into Persian music much the way destiny finds most people; it was something that was never entirely distant from her life based on her background, but took her quite surprise. Jalili was pursuing a career in musical theater when bitten by the bug of Persian music. After starting NoorSaaz with Megan (nee Weeder) in 2004, Persian music filled more and more of Jalili's musical vision. The culmination (thus far), is the album Élan. Jalili takes traditional folk songs of Iran/Persia prior to the Iranian revolution and breathes life into them with readings that mix both eastern and western perspectives. Jalili sings in Persian, Azeri, French and English, and her love of the songs shows through in every note. Many of these songs have been banned in Iran since the Iranian Revolution in 1979, but continue to inspire and move people all around the world. Élan is produced by Jamshied Sharifi, himself a prodigious composer (Muppets In Space, Down To Earth, Harriet The Spy, Clockstoppers), Arranger (Ray Charles, Paula Cole, Dream Theater) and band leader.

Élan opens with Ghoghaye Setaregan (Dance Of The Stars), an uplifting song full of hope and grace. Jalili's voice is eminently beautiful; a full and rich soprano that caresses each note with its texture and tone. Arezooha (Wishes) pulls in some serious Western Influence ala Windham Hill. The acoustic guitar here serving as the perfect complement to Jalili's vocals. This is one of those songs you just won't want to end, and the language barrier won't matter either. You don't need to understand the words to get the wistful hope with a slice of melancholy that pervades the song. As if to balance the western feel of Arezooha, Jalili heads resolutely in the other direction on Gonjeshgake Ashi Mashi. The violin and guitar nearly steal the show on this song, but Jalili owns the stage even on CD.

Ay Rilikh (Separation) is as close to an operatic recitative that Jalili gets on Élan. There's no Wagnerian fire and brimstone, but the emotive quality of the song is startling. The song itself is a thing of beauty, and Jalili draws every ounce of subdued drama and sorrow out into the open in the texture and tone of her voice. Evlari Vaar (To Bemaan) is one of the more interesting songs on Élan with clear Persian roots but an almost Eastern European/Slavic feel to it. The arrangement here is somewhat simplistic but that works to showcase Jalili's voice on a particularly challenging vocal line.

Biya Bare Safar Bandim (Let's Be On Our Way) has an almost Rock N Roll feel to it, bowing to distinct western influence. This is another relatively bare arrangement, relying primarily on guitar, violin and percussion. Peyke Sahari (Messenger Of Dawn) may well be the most beautiful composition on the disc, and finds Jalili in her most lyric vocal line yet. Bia Bia Benshin (Come Sit By Me) takes full control of the Persian scale, making the most of those two extra half-steps. Bia Bia Benshin sounds like it might have stepped right out of a movie or musical. Élan closes out with what must be described as the keynote song of the album, Ay Vatan (Oh, My Homeland). This is not so much a song of nationality as a musical ode to the land where an entire people's roots are driven deep. You'll be moved by Ay Vatan regardless of your nationality, and Jalili's rendition is absolutely haunting.

Monika Jalili comes along with a collection of poignant and beautiful Iranian/Persian songs that predate the Iranian Revolution at a time when the residents of that country are closer to turning back the revolution that binds them than at any point since 1979. Élan speaks to the goodness and yearning for a better life of a beautiful people; one who is striving right now for the freedom to choose their own path. If Jalili's album is reflective of the culture and nature of the people of Iran when free from oppression and fear, then it is an amazing tribute to a national spirit that has been hidden from the world for three decades. Élan is an amazing collection full of beauty, hope and the fragile yet vital strength of the human spirit.

Rating: 4 Stars (Out of 5)

You can learn more about Monika Jalili at http://www.monikajalili.com/, where you can purchase a copy of Élan. The CD is also available from Amazon.com. Downloads are available through iTunes.

Review: The Public Good - No. 1

The Public Good - No. 1
2009, Lost Lyrics

Washington, D.C.'s The Public Good may look and sound a bit familiar to fans of the 1990's Chapel Hill, North Carolina scene that produced acts such as Hootie & The Blowfish and Edwin McCain. Another band from that much-celebrated scene was The Popes, featuring songwriters John Elderkin and Steve Ruppenthal, who now form the nucleus of The Public Good. Their debut album, No. 1, will be released on August 1, 2009. Produced by Brian Paulson (Wilco, Beck, Squirrel Nut Zippers, Superchunk), No. 1 features real life through the lens of classic singer/songwriter storytelling infused with wit, emotion and not just a little bit of charm.

No. 1 opens with Baby, Baby, Baby, a bit three-chord guitar pop at its finest. It's a very catchy tune about a husband/dad feeling left out once the baby arrives. This is a great pop arrangement with some Beach Boys style harmonies in the breadkown. (Imagine The Girlfriends I'd Have) If I Still Had Hair is a humorous what if song from an vocalist who sounds like he could be a third-cousin of Paul McCartney. There is a distinctive melodic sense to the songwriting even if the songs themselves range from brilliant pop ditties to aggressively mundane attempts at wit. The Only Way is a decent track with hints of The Tragically Hip woven in. Other highlights include Cigarette and Nightmare.

The Public Good may well turn out to be aptly named. The presentation on No. 1 is very rough, musically. There is some real story telling potential in the songs presented here, but there is also an innate awkwardness in the lyrical structure that needs to be worked out. Songs like Baby, Baby, Baby highlight that potential. In the right hands this could be a bit pop hit. For now, The Public Good is off to a good start. No. 1 is more than sufficient to help build a fan base.

Rating: 3 Stars (Out of 5)

You can learn more about The Public Good at www.myspace.com/thepublicgood or http://www.thepublicgoodonline.com/, where you can purchase a copy of No. 1.

Review: Starnes & Shah - Pink White Blue Green

Starnes & Shah - Pink White Blue Green
2009, Starnes & Shah

Dania Abu-Shaheen and Zilpha Starnes are New York and Boston wunderkinds Starnes & Shah. The duo made a name for themselves on New York City's Folk/Rock scene with gigs in venues such as Kenny's Castaways and The Living Room, garnering a reputation as a folk group with a dynamic live show. In May of 2009, Starnes & Shah released their third CD (2nd full length), Pink White Blue Green, featuring intelligent and melodic folk tunes with tight harmonies, is bound to gain Starnes & Shah critical attention. If you can imagine Neil Young crossed with the Indigo Girls you have a vague idea of what Starnes & Shah are about musically.

Starnes & Shah have a very unique sound in their harmonies. They don't blend exactly; it's more like their voices co-exist in harmonious fashion, yet both remain materially distinct. The result is harmony with just a hint of tension that's always beneath the surface. Consequently, not everything on Pink White Blue Green works for me as the listener. The more lyric or mundane tracks fizzle out a bit, but then there are songs like Fit, Fit, Fit and Romancing The Throne, where Starnes And Shah are at the top of their game. On the best tracks it's as if the producer captured a live performance at home sitting around a coffee table. The sound is edgy and raw and full of the bare character of both performers. Leave Sonny is the absolute highlight of the disc; an archetype of that raw and unrepentant sound that makes Starnes & Shah who they are. The songwriting here is exceptional; it's one of those songs you can imagine other artists finding and wanting to record for themselves. The second half of the CD is much tamer, and consequently lost me a bit. Other highlights include Half Hitch, Rocket Science and The Precious Face And Familiar Bride.

Pink White Blue Green is uneven and gets a little lost for much of its second half, but the first five tracks here are as interesting and enjoyable as anything you're likely to find in Folk/Pop music. Starnes And Shah have an amazing vocal harmony sound that sounds nearly as competitive as it is complementary. The tension they create in coming together adds an extra spice to the songs on Pink White Blue Green and causes intrigue in listeners. Starnes And Shah are definitely worth spending a little time getting to know.

Rating: 3 Stars (Out of 5)

You can learn more about Starnes And Shah at http://www.starnesandshah.com/. You can purchase Pink White Blue Green on CD or as a download at www.cdbaby.com/cd/starnesshah2.

Review: Chess In Concert

Chess In Concert
2009, Reprise Records

On May 12th and 13th of 2008, London's Royal Albert Hall came alive for a concert production of the musical Chess. With a score by Bjorn Ulvaeus and Benny Andersson (both of ABBA), and lyrics by the legendary Tim Rice, Chess has become one of the cult musical hits of the last twenty-five years. Chess has seen multiple versions in its first quarter century, many mixing and matching elements of the original West End and Broadway productions, but Tim Rice declared this concert version to be the "official" version of the show. There are no less than six recorded versions of the show that have been sold at one time or another, and each varies a little or a lot from the others. In conceiving this performance, an all-star cast was chosen to perform with the City Of London Philharmonic Orchestra. World-renowned singing star Josh Groban reprised the role of "The Russian" Anatoly (he previously performed as Anatoly in a 2003 Actor's Fund Of America Concert), while Idina Menzel (Wicked, Rent) took the lead of Florence. Rent's Adam Pascal is Freddie (The American). Other principals include Clarke Peters as Walter, Marti Pellow (Wet Wet Wet) as the Arbiter, David Bedella as Molokov, and Kerry Ellis (Wicked - London) as Svetlana. Reprise records released Chess In Concert as a DVD, a 2-CD set and a one CD highlights disc on June 30, 2009. A special edition combination CD/DVD is available solely on websites of stars Josh Groban and Idina Menzel.

Chess is a Cold War musical that views the political struggle between the United States and The Soviet Union through the prism of the 1972 World Chess Championship. Freddie, The American, is loosely based on the character of former World Chess Champion Bobby Fischer, while Anatoly has been speculated as having basis in the lives of Russian Chess Masters Anatoly Karpov and Victor Korchnoi. Granted this recording can pick and choose from two separate concerts for the material presented on CD and DVD, but the recording is nearly flawless. Fans of Idina Menzel may be a bit surprised to hear a more lyric vocal style from the Tony winner; hitting some notes in head voice you might never imagine after hearing her belt her way through Wicked and Rent. Her performance is outstanding, as is that of Groban. As a longtime fan of the show it was a bit jarring to hear Groban voice the role of Anatoly without a Russian accent, particularly in light of David Bedella's incredible Russian accent as Molokov, but Groban's so good it just doesn't matter in the end. Perhaps the most pleasant surprise is Adam Pascal as Freddie. Pascal is a great singer, which I knew, but he took the role of Freddie right over the top, putting in the best vocal performance in that role of any of the six recordings now or previously in print. The other pleasant surprise was Kerry Ellis. I hadn't come across Ms. Ellis before, but it shouldn't surprise considering her status as leading lady in the West End production of Wicked (and previous stint as Elphaba on Broadway as well). David Bedella was perfect as Molokov, and Marti Pellow put in a strong vocal performance as the arbiter, but may have been miscast, sounding less than authoritative in a role full of its own power.

There isn't a bad moment on the disc, although Menzel's stage pronunciation gets a bit over-emphasized in the recording on a couple of occasions (this is more of a production issue than anything). The City Of London Philharmonic is flawless throughout, and the ensemble pieces sparkle and shine like jewels at the bottom of a sunlit stream. Rice's lyrics are as sharp and enduring as ever, and the score speaks for itself. Highlights abound. Groban pulls off an amazing vocal performance in Where I Want To Be, and Menzel knocks it out of the park on her first solo venture, Nobody's Side, with a tough-yet-vulnerable feel that defines the character of Florence. Pascal and Menzel find an interesting bit of chemistry on Florence Quits, where Freddie goes Brooklyn on Florence and she gives it right back. The long association of Menzel and Pascal may have helped out here, but they sound like two lovers tearing each other apart.

Quartet may be one of the finest ensemble pieces this side of Frank Loesser's Fugue For Tin Horns, and even though this particular version isn't my favorite it's still extremely well done. Embassy Lament is enhanced as a quartet rather than the original duo, providing light moment with some gorgeous harmonies. Two particular diva moments stand out in the show as well. Idina Menzel owns the stage, crowd and hall on Heaven Help My Heart, proving that she can handle a lyric line as well as she can defy gravity. Likewise, Pascal takes Pity The Child home where it belongs. This is perhaps one of the finest male solo pieces in the Rock Musical era, and Pascal doesn't disappoint. Josh Groban, never one to be left out of the discussion, brings his own moment on Anthem, making any debate regarding accents moot once and for all. Kerry Ellis even takes a turn on Someone Else's Story as a lead up to her epic duet with Menzel on I Know Him So Well. Ellis' full, deep tone balances Menzel's edgier sound so perfectly you'd think they were born to sing together. Pascal also takes One Night In Bangkok, the biggest hit from the show, and creates a reading that's better than the original.

Chess In Concert will bring a collective wow from fans old and new. The show never really got much of a chance in the US because it was so badly butchered for the Broadway run, but there's a reason it keeps getting revised and revived in small runs all over the world. Rice, Ulvaeus and Andersson managed to create a bit of theater magic in Chess. Chess In Concert has been declared the definitive recording of the show by none other than Tim Rice, and so it shall be. It's only a matter of time before the show makes a return to London's West End and perhaps even Broadway. For now, Chess In Concert is a magical take on a show you can't afford to have at least a passing acquaintance with. Chess In Concert is an essential listen; a Wildy's World Certified Desert Island Disc; a classic. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Chess In Concert at http://www.chessinconcert.com/. You can order a copy of Chess In Concert from Amazon.com. There is also a DVD available and a highlights disc. The concert is also available through iTunes.

Review: Our Lady Peace - Burn Burn

Our Lady Peace - Burn Burn
2009, Our Lady Peace

Our Lady Peace sheds the bonds of corporate rock and returns to their roots on Burn Burn, due out July 21, 2009. After feeling as if they'd lost control of their sound over the last two or three albums, Raine Maida and crew went back to their Indie roots, writing, recording and producing all of the material on Burn Burn themselves. The result is Our Lady Peace's most vibrant and enjoyable album since 1994's Naveed.

Burn Burn opens with All You Did Was Save My Life, which happens to be the first single from the album. All You Did Was Save My Life is perfect Pop/Rock Radio or teen movie soundtrack fodder. It's an upbeat Mix Tape candidate; a love song out of the traditional sphere with great pop hooks. All You Did Was Save My Life should drive downloads and album sales, particularly once people find out Burn Burn isn't your typical modern album with one good single. All told there's perhaps one average song on the disc, with the rest of the material here ranging from above average to excellent. Dreamland is a poignant piece of songwriting. The color scale of life becomes greyer as we do; this is a song about longing for our Technicolor days. Our Lady Peace gets a bit bizarre on Monkey Brains, which appears to be two songs (or song threads) tied together. I don't get it, but I love the progressive nature of the song.

Our Lady Peace guarantees themselves at least two big singles to follow All You Did Was Save My Life. The End Is Where We Begin is a wonderfully melodic guitar rock anthem, whereas Never Get Over You might be one of the best power ballads on the past few years. If Never Get Over You doesn't end up as a top-10 single somewhere it will only confirm that commercial radio is as lifeless and bereft of taste as reality television. I got a particular kick out of White Flags, a song that sounds like it's about ready to descend into utter musical chaos every time the chorus comes around but never quite does. Big, can't miss hooks and a distinctive pop feel make White Flags an essential listen. Perhaps the best songwriting on the CD is saved for last. Paper Moon is one of those songs that will stick with you, popping into your mind here and there, now and then and never being unwelcome.

Our Lady Peace is back After a number of years of corporate oppression, Raine Maida are once again in control of their own musical destinies. This good for Our Lady Peace, but even better for long suffering fans who've wondered where the fire and spark that made the band essential in the early 1990's went. It's here on Burn Burn, and the fire is burning bright.

Rating: 4.5 Stars (Out of 5)

You can learn more about Our Lady Peace at http://www.ourladypeace.net/ or www.myspace.com/ourladypeace. Burn Burn hits the street on July 21, 2009. You can pre-order a copy from the Our Lady Peace web store. You can pre-order a download through iTunes with bonus tracks as well.

Review: Vayo - Tango

Vayo - Tango
2009, Pantaleon Records

Vayo Raimondo has been successful across twelve albums because he as is true to the heart and history of Tango music as he is to his own individualism. Unlike many Tango musicians Vayo writes and performs his own original Tangos as well as reinterpreting the classics. The Uruguay-born musician has lived in the United States for many years now, but returns home to Uruguay to record each new album with some of the best tangueros in the world. Vayo, who was nominated for a Latin Grammy in 2007 for Best Tango Album, returns in 2009 with Tango.

Tango opens with La Cumparsita, a deliberate, melodic and melodramatic song with dark and mysterious undertones. This is a tremendous start to the album, with a halting; almost unsure beginning that gains presence as the song progresses. Celos (Jealousy) has a lullaby feel, sounding like it might have come from an old Hollywood Western. Soledad (Loneness) has an almost listless feel to it. The song is slow and sad but compelling for the energy that Vayo infuses here with his voice. Daniela is a gorgeous arrangement; contemplative and sweet. The mix of dark (Vayo's voice) and light (the instrumentation) makes for a perfect balance that gives this tune an extra spark. There are a few relatively non-descript songs on the second half of the disc, but Vayo closes out strong with Milonga Sentima! (my favorite song on the disc).

In all honesty I have been exposed to Tango music before, but not quite like this. The Tango I've heard compared to Vayo's music is like Taco Bell compared to a true home style Mexican restaurant. I don't think I'd be able to listen to the old stuff without a very critical ear after this. Tango does suffer a bit on the second half of the disc, but has enough strong material to be worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Vayo at http://www.vayoraimondo.com/. You can purchase a copy of Tango at Amazon.com, or download it through iTunes.

Review: Steve McCormick - Lowlights And Footnotes

Steve McCormick - Lowlights And Footnotes

2008, Steve McCormick

I have to admit that the United Kingdom isn't exactly the first locale to pop into my head as a place to find great Country or Americana music. Steve McCormick doesn't claim to be either of those things, although Waylon, Hank and Merle have had a fair amount of influence on his songwriting (as have Randy Newman, Leonard Cohen, Tim Buckley, The Squeeze and even AC/DC). The Carlisle, Cumbria native released his debut album in late 2008 entitled Lowlights And Footnotes to critical accolades and a slow-growing but significant amount of worldwide airplay. Lowlights And Footnotes was mastered by Simon Heyworth (Tubular Bells, George Harrison, Nick Drake) and is played entirely by McCormick with the exception of Pedal Steel Guitar, provided courtesy of Dave Midgely.

Lowlights And Footnotes opens with Another English Cowboy, rocking right down to the roots of Country in a diatribe about not fitting the country mold. You'll be driven to dance and sing along to a song that could chart on American Country Radio if given the chance. McCormick gets a bit of Southern Rock flavor on the mid-tempo If Only She Were Lying. McCormick gets a bit trite in the chorus here, but the arrangement is a great listen. Making Light (Of Being Kept In The Dark) brings a touch of British humor to the honky-tonk on a mid-tempo number that walks the line between classic Country and the Eagles brand of California Country. On I'm Alright, Jack, McCormick celebrates his state of being at the expense of a friend who's down in the dumps, all set against a vibrant classic Rhythm & Blues fueled Honky Tonk sound. Back To The Booze hits the R&B fueled Country sound another try with a kicking guitar solo in the middle to really spice things up. McCormick lights the lamp with a song that might just be a party anthem in the States.

McCormick sounds a bit like Lyle Lovett on The Other Man, pointing out that no matter which point you are in a triangle, the other guy is always The Other Man. The song is well written, with a plaintive, Tex-Mex country ballad feel. My Woman Doesn't Give A Damn deals with stereotypical country heartbreak with uncharacteristic wit and panache. Like much of the rest of the album, McCormick is a classic story-teller. When he's funny it's not because he's trying to be funny, but because real life is sometimes dotted with humor and wit. Black And White Photographs is about family, memories and how gateways to the past often pave the way to understand who we are. It's moving and heartfelt without sounding sappy and may just be the best songwriting on the disc. McCormick closes out with Living In Loserville is a tongue-in-cheek song about being happy with yourself. It's a great closer for an album that plays the country game without giving over it's essential character to Nashvillian Zombification.

Steve McCormick is a story teller in the vein of Randy Newman (although perhaps no one has the chutzpah that Newman manages). McCormick's songs work because the characters and events he portrays are honest and real; even the fictional ones are written like a good character, and the choices they make are convicted ones. McCormick's stories come to life in songs based in Country Music but ranging from Rock to Tex-Mex and every possible blending of those styles. Lowlights And Footnotes should be the darling of Country Radio. Let's hope McCormick gets the right breaks.

Rating: 4 Stars (Out of 5)

You can learn more about Steve McCormick at www.myspace.com/stevemccormickuk or http://www.stevemccormick.co.uk/, where you can purchase a copy of Lowlights And Footnotes using PayPal. You can download the full album from iTunes, or a free four song sampler from McCormick’s website.

Review: Ketch Harbour Wolves - Dead Calm Horizon

Ketch Harbour Wolves - Dead Calm Horizon
2008, Ketch Harbour Wolves

Toronto's Ketch Harbour Wolves are the darlings of that city's Indie Rock Scene, showcasing at NXNE for the past 3 years as well as at 2009's Canadian Music Week. Taking their name from Ketch Harbour, Nova Scotia, where the seeds of the band were born, Ketch Harbour Wolves wow crowds with strongly emotional songs set in powerfully layered arrangements. The Tragically Hip meets Interpol might be one sonic image to help you understand their sound, but ultimately Ketch Harbour Wolves manage only a passing resemblance to either band on their way to a sound that's distinctly original. Ketch Harbour Wolves released their sophomore EP, Dead Calm Horizon, in 2008, earning praise as one of the 10 hottest bands in Canada from one reviewer.

Dead Calm Horizon opens with Words, an ambient and richly layered acoustic composition featuring significant vocal harmony work in the song structure. The driving nature of the song manages to not be at odds with its more lyric sound, drawing in listeners into a quiet vortex of sound and emotion you won't want to escape from. Leaves is more straightforward, layering cello, guitar and piano into a traditional yet lush Rock arrangement with a philosophical bent. So Long To The Ground is a bit obscure for meaning, but is an amazing composition that will stick with you in spite of not standing out specifically for melody. This is one of those songs that have a certain je ne sais quoi that taunts the listener without ever truly revealing itself. Midnight Dark Water is an upbeat and poppy exploration of the psyche of a man who guides ships through storms with his hands firmly on the wheel. The subject and arrangement are so completely at odds that the combination works in a burst of sheer and joyful surprise. Dead Calm Horizon closes out with Letters, a request and nearly a secular prayer.

Ketch Harbour Wolves are distinctive and original without completing blowing the mold on their sound. The arrangements here are highly pleasant to listen to, even if the lyrics are occasionally a bit out of left field. A rainy afternoon spent with Ketch Harbour Wolves' Dead Calm Horizon would be well spent.

Rating: 3.5 Stars (Out of 5)

You can learn more about Ketch Harbour Wolves at http://www.ketchharbourwolves.com/ or www.myspace.com/ketchharbourwolves. You can purchase a copy of Dead Calm Horizon at www.cdbaby.com/cd/khwolves2, or you can download the album from iTunes.

Review: Marc Béziat - Consolation

Marc Béziat - Consolation
2009, Marc Béziat

Marc Béziat is a composer of classical music who discovered his passion at the age of 28. Béziat taught himself at first, eventually realizing he needed more formal training if he was to progress. Enrolling in Polyphonies, Béziat studied for two years to learn compositional technique and technical skill necessary to express the music he carried inside. In 2007, Béziat felt he'd come far enough to be able to share the music he heard in his mind; Béziat took a sabbatical from his professional life and began writing Victory Of Spirit, which was released in 2008. Béziat is back with a new album for 2009 in Consolation. As with Victory Of Spirit, the music is created digitally, but it appears that Béziat has grown technically in the year between albums. Where Victory Of Spirit was clearly electronic, Consolation sounds much more like a live orchestra.

Consolation opens with the brief Prelude: The Secret Nuptials before launching into Edge Of The Lake Melody, a lilting major key melody with dark and moody undertones. Flute, organ and violin trade melody back and forth while the darker instruments in the orchestra provide the depths from which the melody rises. The Wound Healed alters the mood on Consolation distinctly. There's an element of worry or concern that edges into the song, as if the song portends some conflict to come. The chorus part in the middle of The Wound Healed is the first distinct indication that the instrumentation here is electronically created as it is very clear the "voices" are generated from the gently percussive action of a keyboard. The third movement is Solace, a pastoral theme that whisks away the burdens implied in The Wound Healed. The melody here is quite lovely if guarded.

Unification Singing is a magnificent composition with soaring highlights and choral lines that beg you to hum/sing along. The resolutions here are archetypal, paying tribute (perhaps unintentionally) in sound to some of the great choral works of the Anglican Church. Fraternity is a choral driven piece with a gorgeous sound that simulates the cascading action of a waterfall at times. It would be amazing to hear this song put to voice by a live choir, preferably in an old cathedral with lots of nooks and crannies in its architecture. Movement IV: The Allayed Walk, plays like musical prose, telling a story in tones rather than words. The violin carries perhaps the loveliest lines in The Allayed Walk.

Beautiful Nature appears to mimic the power for growth seen in nature; the darker elements of decay that come before rebirth aren't represented here, although there is a dark undertone that runs beneath the song that is perhaps the lurking if forgotten other side of life. Strings and clarinet tell their own stories simultaneously in voices that speak together without harmonizing. Movement VIII: Serenity, is the only composition here where it feels like perhaps Béziat ran aground at all. Serenity, for whatever reason, feels a bit forced, as if Béziat had a very specific idea of where he wanted to go with this one but could never quite realize it in sound the way he heard it internally. There are some great elements to the song, but something is missing. The IX movement, The Free Movement, sounds a bit like movie soundtrack material. The themes here are a bit more on the popular side (think Braveheart or some other period epic). The piece is quite well done, but is perhaps a bit out of context with the rest of Consolation. Béziat leaves us with a composition called Transition: Fullness; an uplifting and beautiful piece that balances orchestra and faux chorus on a musical pretext that's not quite a theme but which informs the melodic development of the piece. The composition is beautiful, although suggests (as does the title) that something more is to come.

And that would be welcome. For a late bloomer, Béziat is quickly growing into a distinctive voice as a composer. Consolation is a coherent works that flows from one movement to the next like a river of sound that was born of the earth rather than created at the hand of man. It's a matter of time before someone out there adapts one of Béziat's creations for live orchestra and chorus. Consolation would be a great place to start. It's a beautiful work.

Rating: 4 Stars (Out of 5)

You can learn more about Marc Béziat at http://www.marcbeziat.net/ or www.myspace.com/marcbeziat. You can purchase a copy of Consolation at www.cdbaby.com/cd/marcBeziat2, or you can download the album from iTunes.

Review: Kevin Hearn And Thin Buckle - Havana Winter

Kevin Hearn and Thin Buckle - Havana Winter
2009, Celery Music

Kevin Hearn would make music if the only instruments available to him were a pair of rocks to bang together. The projects and bands he's either been a member of or contributed to over the years is a bit astonishing. Hearn has played a part in recordings and/or tours for Corky & The Juice Pigs, The Look People, The Rheostatics, Lou Reed, The Tragically Hip, Garth Hudson, Ron Sexsmith, Broken Social Scene and Laurie Anderson, to name but a few. And we should probably mention his regular gig as multi-instrumentalist (primarily keyboard) for Barenaked Ladies. Hearn's quirky songwriting style and distinctive ability to capture bits of pop magic in song has served him well and endeared him to listeners all over the world. Havana Winter, released July 28, 2009, is Hearn's 4th solo album, and third with Thin Buckle (comprised of former Look People alums Chris Gartner - bass and Great Bob Scott - drums; guitarist Brian Macmillan and joined on Havana Winter by Lou Reed guitarist Mike Rathke.) Co-produced by Hearn and legendary Canadian producer Michael Philip Wojewoda, (Barenaked Ladies, Spirit Of The West, The Rheostatics, Great Big Sea, Ashley MacIsaac) Havana Winter furthers Hearn's distinctive songwriting style, dubbed "Planetarium Pop", that combines ambient keyboard elements with more traditional mellow pop songwriting for a musical experience that you don't so much listen to as become part of.

Havana Winter opens with Coma, driven by a distinctive keyboard riff that will keep the song running through your head long after it's stopped playing. Hearn exhorts people everywhere to wake up to the world around them rather than be hypnotized by gadgets, suburbs and the mundane aspects of day-to-day life. The song is a great listen with a wonderfully jarring guitar solo on the fade out. On The Runway is one of those songs that where I don't entirely get the lyrical content but I'm so enraptured with the music it doesn't matter. The lyrics might just be a dreamy rumination on plans, but the lush backdrop Hearn and Thin Buckle have created here is divine. Driven by a lively guitar and bass skeleton, Hearn wraps his keyboard around the song like a vibrant coat of musical colors. On The Runway is one of those songs that the replay button was made for.

Reeling reflects the grief of losing a loved one in poetic and beautiful language. The arrangement Hearn wraps around his memorial is lush and alive, carrying with it the co-mingled energies of memory and love. On first listen I didn't really get this one, but with a more careful ear it's an incredibly powerful and moving song, delivered as always with Hearn's light touch. Luna continues in a similar vein, speaking directly to the one who is gone and includes one of the best lyrical turns of the year, "If you were lost at sea, what kind of a lighthouse would I be?"). In these two songs Hearn displays an incredible ability to take pain and put it into words without beating the listener over the head with his suffering. In poetic and quirky fashion, Hearn communicates the depth of his grief and the depth of his love without getting mired in the sort of negativity that can drag down a song or even an album.

Hearn turns up the metronome on Huntsville.CA, a driven acoustic Brit-Rock tune that will make you want to dance. It's an amusing and lively look at how small, out-of-the way towns most of year can become bustling centers of activity in the summer months. Anyone who's a townie living in the shadow of a seasonal tourist attraction will appreciate the sentiment, and musically it's flat out a great tune (listen in particular for the guitar work throughout the song). In The Shade is a quirky mellow pop-tune with an island influence that equates love with sun exposure, "they'll burn you up in the end". Lush vocals/harmonies and a melodic structure born from another generation of pop music make for a pleasant surprise and a great listen. Havana Winter closes with H.I.T.S. (Helicopter In The Sand). The arrangement here is classic Kevin Hearn, mellow with a lot more harmonic work in the wings that you find in your typical Rock song. Hearn seems to explore the need to chase dreams, and how sometimes even failing to get where you planned gets you where you need to be. The song is highly poetic, deep and subtle, both lyrically and musically.

There's a reason everyone and his brother in the Canadian music scene ends up working with Kevin Hearn; there are few better at their craft. As a songwriter Hearn has developed significantly over the past two decades. He's always going to be a bit out of the mainstream (although he can do mainstream if he wants to), but you'll never walk away from a Hearn album musically dissatisfied. Havana Winter is Hearn's finest work yet; the sort of album you don't want to put down. Kevin Hearn and Thin Buckle should be on your must-listen list. Bet on them making a bunch of year-end lists. For now, Havana Winter is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Kevin Hearn at http://www.kevinhearn.com/ or http://www.bnlmusic.com/. Havana Winter will hit shelves on July 28, 2009. You can pre-order copies via Amazon.com. Once the album is released you can also pick up copies at Hearn’s webstore. Expect wide digital availability after the release date.

Review: Corina Bartra - Afro Peruvian Jazz Celebration

Corina Bartra - Afro Peruvian Jazz Celebration
2009, Blue Spiral Music

Corina Bartra has spent years studying many styles of music. As a music educator and performer, Bartra's love of music and search for new styles goes well beyond being an academic pursuit. The Peru native and part-time New York City resident combines elements of Afro-Peruvian styles with American Jazz for a rich a vibrant hybrid that's traditional enough to appease fans of Latin Jazz and with enough spark and newness to draw in a new generation of fans. Bartra recently released her fifth CD, Afro Peruvian Jazz Celebration, a culmination of years of teaching, studying and developing these distinct styles into a transcendent sound that is the mark of a master.

Afro Peruvian Jazz Celebration opens with La Flor De La Canela, a mid-tempo that will get you on the dance floor for a charged slow dance. Bartra projects a smooth and cultured sensuality here that drives the song. Chacombo is a bit more upbeat, urging your feet to move a bit faster. You Took Me By Surprise is a Bartra original, borrowing heavily from "small band" styles but with a rhythm section that plays on the edge of the fires of funk. Stella By Starlight is done in an interesting flute-driven arrangement with a bass line that will tie you in knots. Camaron sounds like something out of an old MGM film or a private detective story set in the 1940's (You can almost picture Mike Hammer sitting back, enjoying a drink and listening to Bartra sing).

A Saca Camote Con El Pie stood out on the CD for me as the least enjoyable track. I am not quite sure what happened here, but Bartra's opening vocal line just didn't come across that well and I couldn't get it out of my head for the rest of the song. You Don't Know What Love Is gets things back to normal, with a strong performance from Bartra and a distinctively well played arrangement. The highlight of the disc is Afro Peruvian Folk Song, played with the aggressive rhythms of South American music and a lively if compact jazz piano lead. Be sure to also check out Yambambo and I Won't Regret A Moment.

Corina Bartra has put together a strong ensemble in Her Azu Project. The musicianship here is outstanding. Vocally, Bartra is excellent within a selected range; she occasionally has some issues in the upper part of her range around pitch and tone, but she is generally a pleasure to listen to (and she can scat like nobody's business). Afro Peruvian Jazz Celebration is uneven and unpredictable but fun nonetheless. I imagine a live performance from Bartra and Her Azu Project would be a lot of fun. Check out Afro Peruvian Jazz Celebration. You'll find a few flaws, but underneath it all it's still a gem.

Rating: 3 Stars (Out of 5)

You can learn more about Corina Bartra at http://www.bluespiralmusic.com/. You can purchase a copy of Afro Peruvian Jazz Celebration at www.cdbaby.com/cd/corinabartra9, or you can download the album from iTunes.

Review: Sal Filipelli - The Last Generation Of Tape

Sal Filipelli - The Last Generation Of Tape
2009, Sal Filipelli

Sal Filipelli and his band are the Last Generation Of Tape. The singer/songwriter splits his time between California and London. His third album, The Last Generation Of Tape, is a highly subdued, occasionally quietly energetic collection of songs with unusual personalities.

The Last Generation Of Tape opens with Whims Of Change, a melancholic and self-subdued Folk/Pop tune that was a pleasant listen but not overly memorable. I Should Have Known shows a bit more energy. The presentation of vocalist Sal Filipelli stays on the reserved side, but his voice is extremely pleasant and there's a certain vitality and energy in the mix that makes it work. The song itself follows its own figurative drummer and may take a few listens to really get into. I Miss The Giggle is a bizarre bit of urban funk/rock that looks back at the glory days. Musically this is something of a wash; entertaining more for the surprise value than the musicality. Back Home has a quirky Alt-Rock sensibility to it, although Filipelli the vocalist sounds a bit out of place against the backdrop of the big guitar sound in the chorus.

Never Get Over You is a sweet doting love song with either an extremely non-conventional melodic progression or serious pitch issues in the vocals. It's not 100% clear which is which, and in fact both may be true. The song itself has some potential but just doesn't realize the full extent of that potential here. I Wonder is in a similar vein as Never Get Over You, although it becomes clear that the pitch issues are just that. Filipelli has a pleasant voice, and when wrapped in a full arrangement the pitch issues aren't as apparent, but on slow and less fully orchestrated tunes such as this one pitch issues/breath control raise their head. Out Of Sight fills out the sonic atmosphere with a more straightforward rock arrangement and some big, lyric guitar work along the way. This is another love song that's sweet in intent but perhaps a bit awkward in the lyrics. The album closes with Please Don't, a musical short that perhaps makes the best impression on the CD. It would be interesting to find out if a full song lies behind this short composition.

The Last Generation Of Tape is a project that struggles to get off the ground and never full gains flight but never stops trying. The best composition is the last, Please Don't, and (perhaps) incomplete at that. Sal Filipelli is an everyman singer; highly reserved in vocals but always emotionally involved. The arrangements are fairly straight up and decent. Sal Filipelli is the sort of performer you might hear at a coffee house or open mic. The presentation of the The Last Generation of Tape isn't highly polished, and the material isn't exceptional, but the musicianship is solid, and Filipelli gives his all in the performance.

Rating: 2 Stars (Out of 5)

You can learn more about Sal Filipelli and The Last Generation Of Tape at http://www.notbritishproductions.com/ or www.myspace.com/thesalfilipelliband, where you can purchase a copy of The Last Generation Of Tape. You can also download the album from iTunes.

Review: The Dear Hunter - Act III: Life And Death

The Dear Hunter - Act III: Life And Death
2009, Triple Crown Records

Providence, Rhode Island's The Dear Hunter is back with their third album, Act III: Life And Death, in a continuing song cycle about a character called, simply, "the boy". "The boy" is now a man weaving his way through the realities of day-to-day life. Love and loss, growth and decay vie for his energies on the way to renewal before he cycle starts all over again. Act III was produced by front man Casey Crescenzo, with guitarist Andy Wildrick sharing engineering duties. The Dear Hunter has taken great care to flesh out each song on Act III: Life And Death so that it reaches its full potential. The winner is you, the listener.

Act III opens with Writing On A Wall, burnished in vocal harmonies that would bring a tear to Brian Wilson's eye. This sunny prologue with an almost funeral-march like undertone serves as an intro to In Cauda Venenum, an urgent rocker that's part Queen and part Latin Rock Opera. Vocalist Casey Crescenzo has a wonderful "big rock vocalist" sound, mixing power, emotion and just a bit of melodramatic grit for a sound that's as glam as the band's. The Tank is bombastic and filled with wonderfully dark harmonies in both vocals and instrumentation. Something here is eerily reminiscent of Pink Floyd's best work, but I can't quite put my finger on it. The Poison Woman has one of those melodies you won't be able to push out of your brain; a Queen-like aura surrounds the song from vocal line which sounds enough like Freddie Mercury to make you look twice and the harmonic construction.

Mustard Gas retains the highly theatrical element that makes Act III - Life And Death work so well. Freddie Mercury is the last singer I can recall who could literally let you hear his heart break in his voice, but Crescenzo has that same gift. The arrangement here is brutal, jaunty and beautiful in turns, covering all of the markers from madness to transcendence. Saved brings a strong lyric melody in full and lush mostly-acoustic arrangement that sounds like it could a transitional piece in a stage show. He Said He Had A Story is a wonderfully structured bit of personal chaos, detailing the loneliness and fear that sometimes drives human interaction. This is a precursor to This Beautiful Life, an ironic look at struggle to survive and get ahead in day-to-day life. Queen fans will love this; The Dear Hunter are extremely adept at resolutions that aren't. Just when you think the harmonies and instrumentation are building to a conclusion or release, The Dear Hunter leads you down a side passage you didn't see. When the resolution does finally comes its almost a surprise.

Go Get Your Gun is incredibly catchy, you'll find yourself tapping or even dancing along while the dark subtext of the song sinks in a true flash of cognitive dissonance. Go Get Your Gun is a true bit of ingenious songwriting. Son brings home the truth that death is part of the dance of life, all relayed in the form of a somber waltz. Contrast this with Father, an ethereally layered and lush composition built on layered chords and harmonies. Act III closes out with Life And Death, a song that could be the closing number to a musical. It starts out with Casey Crescenzo and piano before adding in the rest of the band in a rising flourish. The drama and release of the entire album are here in an understated yet powerful fashion.

The Dear Hunter sound like they grew up surrounded by the sounds of Queen, Pink Floyd and other concept-album artists of the late 1970's and 1980's. I have not heard their two prior releases, but Act III - Life And Death is a concept album that's too well-written to simply be a conception. Characters and their tales come to life on Act III, driving events in directions that their creator(s) may have not initially conceived, but in ways that are essential to their stories. The composition and arrangement throughout the album are consistently excellent. The only complaint I could find about Act III: Life And Death was around the 58 minute mark when the CD stopped spinning. Like a great movie, I just didn't want it to end. Act III: Life And Death is an absolute must-listen; a Wildy's World Certified Desert Island Disc. Don't miss it!

Rating: 5 Stars (Out of 5)

You can learn more about The Dear Hunter at www.myspace.com/thedearhunter or http://www.thedearhunter.com/. You can purchase a copy of Act III: Life And Death at Amazon.com or download it from iTunes.

Review: A Scribe Amidst The Lions - Sunken Cities

A Scribe Amidst The Lions - Sunken Cities
2008, Tubwater Music

San Diego’s A Scribe Admist The Lions takes Alternative Rock down harrowing and reward paths on Sunken Cities, their second album. Nominated for a 2008 San Diego Music Award as best alternative album; Sunken Cities explores the depths of experimental rock in occasionally discomfiting and generally rewarding dioramas of sound. Don’t expect to listen passively; you won’t get it unless you stay involved.

Sunken Cities opens with The Depth Commencing, a brief instrumental appetizer that leads into the explosive chaos of The Equator Swallowed The Boys. Imagine elements of Classic Rock and Melodic, Post-Punk Modern Rock wrapped into a highly compact yet ranging Rock N Roll experience and you'll get an idea of where A Scribe Admist The Lions starts out. Elements of Grunge come into play on Scripted Daydreams, which has a monotonous and less-than-elegant temperament. The vocal line reaches stratospheric heights in this song with notes that are pure imagination for most singers. A Scribe Amidst The Lions takes turns both Progressive and Psychedelic on songs like Wet Bird, Marble Czar and Light Sinks The Moon, balancing right on the edge of musical madness for much of the middle of the album. No Peace Found In Pieces continues the somewhat psychedelic aspect, but maintains a bit more constructive approach. After several listens I'd have to say that A Scribe Admist The Lions remind me most of Canadian rockers The Rheostatics but with less of a tendency to seek out the occasional bit of Pop sensibility. You'll want to make sure you seek out The Drift and Metropolyptika as well.

A Scribe Amidst The Lions is what you might call an acquired taste. Dark, urban soundscapes populated with psychedelic bordering on psychotic moments is the order of the day on Sunken Cities. This is an album that challenges the listener to dig deeper and find your own treasures. On balance, I can't say that I entirely enjoyed it, but Sunken Cities was an interesting experience. There are folks out there for whom this will click, starting with fans of The Rheostatics.

Rating: 3 Stars (Out of 5)

You can learn more about A Scribe Amidst The Lions at http://www.ascribeamidstthelions.com/ or www.myspace.com/ascribeamidstthelions. You can purchase a copy of Sunken City at www.cdbaby.com/cd/asatl2, or you can download the album from iTunes.

Review: Requiem For Delinquency - Hobs End

Requiem For Delinquency - Hobs End
2009, Murdock Syndicate

Requiem For Delinquency is the musical projection of Faron Chance Morrison's muse. The classically trained composer writes from a kitchen sink of ideas and styles and funnels them into cohesive compositions on the band's debut CD, Hobs End. Electronic music with a spiritual component is the goal of Requiem For Delinquency, a point to be decided by listeners if ever there was one.

Hobs End opens on a mellow note with The Work Of Science, a rhythmic but mellow electronic composition featuring spoken word voiceovers and a sparse vocal line. The Work Of Science doesn't recommend the album or itself highly; it's a pleasant listen but really doesn't stand out in significant fashion. Picture Viewer raises the tempo a notch or two but retains the same one-dimensional sound from the first track. The electronic medium always runs the risk of monotony, making the use of dynamics of utmost importance. It just doesn't happen here. Fairytales opens with a sample of John Cleese saying "And now for something completely different"; a quote from a Monty Python film of the same name. It's marginally appropriate, as Requiem For Delinquency does seem to rediscover dynamics to a small extent, and the song itself is structure more like a pop/rock song, but there's still a lack of vitality beyond what is evidenced in the dance beat. It's almost as if Requiem For Delinquency is going through the motions.

Before Ourselves and Cemetary maintain the automaton approach to music, sounding dispassionate and cold regarding subjects which must have some emotional impact for the band considering they chose to write about them. Time seems to have a bit more life to it, although the landscape really doesn't change a great deal. Unfortunately things just don't get much better. Songs such as They, It Really Mattered, The Motor Area and Mechanism continue in a vein that's more cybernetic than human. All emotion and real sense of direction is wiped away leaving strictly clinical applications of notes, chords and variations in rhythm that create movement largely devoid of life. I trust that Requiem For Delinquency will find a fan base, particularly for dance/club/lounge aspects of the Hobs End, but the compositions presented here simply fail to grab the listener.

Rating: 2 Stars (Out of 5)

You can learn more about Requiem For Delinquency at http://www.requiemfordelinquency.com/ or http://www.blogger.com/www.myspace.comrequiemfordelinquency. You can purchase a copy of Hobs End at Amazon.com, or download the album through iTunes.

Review: P.J. Pacifico - Always & Everywhere

P.J. Pacifico - Always & Everywhere
2009, Viper Records

Norwalk, Connecticut's P.J. Pacifico has lived there all his life and yet seemingly hasn't been home in years. He's been all over the US and Canada sharing his music with crowds both large and small, gaining a perspective on the world that informs his songwriting on his second album, Always & Everywhere (available July 14, 2009). Pacifico's voice has been compared to that of James Taylor, although I find him to be a lot closer in sound to the sound of The Paperboy's Tom Landa or Peter Stuart of Dog's Eye View.

Pacifico opens with Batten Down, a quintessential Pop/Rock tune full of great hooks and a strong melody. Batten Down is as catchy as the flu. The Girl From Montreal is a wistful and sweet love song about first loves and the effect they can still have on you years later. The narrator walks away knowing she's happy but still wishing for "one more walk in the snow". Jackbone is about extending a vacation because there's nothing really worth going home to. This was written during a Colorado snowstorm and features The Samples' Sean Kelly on harmony vocals. I'm Home is a finely crafted acoustic Pop tune that matches up well for alternative rock and pop radio.

Pacifico makes a brave choice in covering The Beatles I Wanna Hold Your Hand. Pacifico sticks with the essential melody, but gives the song his own read in a down-tempo, nearly contemplative version that is a pleasure. There's an almost melancholy feel to Pacifico's version but it works well. This one's just Pacifico and his ukulele. Enjoy looks at the benefits of being in a long-standing relationship where you can simply be yourself. The song is charming and well written and a potential classic. First Light is about diving into love with both hands and feet. It's a great song and certainly radio-ready. My favorite song on the disc is Incognito, an expression of faith in a love that's about to be tested by separation. This song is destined for mix tapes as well as for certain licensing for prime-time television (if the folks that select such songs don't catch on to Pacifico's Incognito they don't belong in their jobs). You'll also want to check out I Can't Say No, Easier and Curtain Call.

P.J. Pacifico has an easy-on-the-ears light Pop/Rock sound that's certain to gain him some attention at commercial radio. Don't be surprised to hear several tracks from Always & Everywhere licensed. It's not a matter of talent or quality but of breaks. If the breaks go Pacifico's way he'll be huge. Always & Everywhere is great stuff!

Rating: 4 Stars (Out of 5)

You can learn more about P.J. Pacifico at www.myspace.com/pjpacifico or http://www.pjpacifico.com/. Always & Everywhere will go on sale July 14, 2009. Check out P.J. Pacifico’s website on or after that date for purchase information. Also expect availability through outlets such as iTunes.

Review: Mammut - Karkari

Mammut - Karkari
2009, Record Records

Reykjavik, Iceland’s Mammut is something of a musical anomaly. Composed of three women and two men, all in their early twenties, Mammut is quickly becoming one of the most distinctive and talented young acts Iceland has to offer. Mammut has already received mention from Rolling Stone, and their latest CD, Karkari, has produced three #1 singles in their native Iceland. Mammut made big waves at SXSW with an intense live show, and have toured with Belgian rock band dEUS.

Karkari opens with Endir, a frenetic and crunchy alt-rock tune that will make you want to get up and dance. Lead vocalist Kata sounds a bit like a cross between Kate Bush, Tanya Donnelly and Dolores O'Riordan, if you can imagine such a thing. Giempra opens with a vicious bass riff before turning into a fairly straight-forward Alt-Rock tune. Not speaking Icelandic I couldn't tell you what the song is about, but it's a great listen. Svefnsykt breaks out the Punk energy and allows Kata to sing and wail along with impunity. Gun keeps the energy high; Don't listen to this one in a tight enclosed space (subway, city bus, etc.) as you'll find yourself knocking into people around you. Dyradottir opens with a piano part reminiscent of Tori Amos. The piano sets itself almost in contrast to the more lyric vocal line in one of the highlights of the album. Eg Veit Hann Kemur Fljott has an urgent and mildly angry energy punctuated by some wonderful guitar riffs. Also be sure to check out Drekasongur and I Leyni.

Mammut has an interesting sound that might have real commercial legs. The language barrier is a significant one particularly in North America, but Mammut has enough going for them that with English vocals they could gain a lot of attention in the US and Canada. Karkari is an unusual, occasionally sensuous, occasionally hard rocking musical experience. Check it out.

Rating: 3.5 Stars (Out of 5)

You can learn more about Mammut at www.myspace.com/mammut or http://www.mammutmusic.com/, where you can purchase a copy of Karkari using PayPal, or you can download the album from iTunes.

Review: Hui Ward - The Way

Hui Ward - The Way
2009, Om Creation Studio

Hui Ward is a New York City-based singer-songwriter who combines her music with her quest for inner, and ultimately world peace. Her debut album, The Way, features 12 songs about her dialogue with the Universal Mother, and was written primarily in improvisational style following daily yoga sessions in Mysore, India. The album features Indian violinist H.N. Bhaskar and Bansuri artist Pravin Godkhindi, both working with (and sometimes in spite of) Ward.

The Way opens with Phoenix, featuring Yoga chants, electronic pop music and a New York City post-hippie coffeehouse folk vibe. The base arrangement is paper-doll cutout electronica made very busy by dueling eastern and western flutes. The lyrics and vocals here are a bit jarring set against all of this, as Ward repeats herself extensively and displays some serious pitch issues along the way. The Messenger shows real promise with flute and violin work that is absolutely gorgeous, but the vocal technique here made this former singer's skin crawl just a bit; drive pronounced "dri-hive" and survive as "survi-hive" runs counter to everything a singer ever learns and sounds unpracticed here. The song itself wasn't so bad. Ward is still highly repetitive with child-like lyrics, but perhaps that is the point. Ultimately it's a challenging venture for the listener.

Before I continue I will simply say that the tendency toward highly repetitive lyrics continues throughout most of the rest of the album. I won't comment on it further except for its absence. That's All features some great individual work on flute and violin, both of which stake out their territory quite strongly, at times claim the same space for brief but chaotic moments. Fallen Angels is something of a change of pace for Ward, bringing in a Pop/Rock beat and a bit more straight forward musical style. The songwriting is a bit more structured as well, but the vocals are still grating with diphthongs using h as a differentiation between created syllables. Children Of God tries to be inventive, pairing a violin playing a hybrid of Middle Eastern and Jazz styles against a hip-hop beat with earphone metronome effects. It's as much of a mess as it sounds like.

The first verse of Flow Like A Twig In The River is the most coherent songwriting thus far on the album, starting out with gorgeous violin work by Bhaskar. Unfortunately it isn't long before the violin and Ward's voice are vying for attention, with the violin stomping all over Ward's vocal line. The intent of the song seems to be an approach to inner peace, but the musical environment is a half-step shy of chaos; tension flows from the musical disregard of two instruments, one for the other. When Your Heart Is Open features some of the same vocal issues noted previously. The melody line here is almost static except for a one-octave leap to a note that Ward can't hit in uncompromised fashion. New Earth is something of a musical prayer done in free form fashion. This song ends up sounding more like performance art, with no rhyme or reason to the musical arrangement, which ends up sounding more accidental than composed. The Way closes with My Dream, the most structured song on the disc. Ward remains lyrically unpolished, but does a decent job with the closing number.

As a reviewer I occasionally come across a review I hate to write. The Way is heartfelt, of that I have no doubt. Ward's interest in and devotion to Matrimandir is deeply emotional. Unfortunately, most listeners will never gain much of any understanding of this as The Way becomes such a mess that most listeners will likely shut it off before getting very far. The Way is a series of cookie-cutter electronic bases filled out with near free-form flute and violin parts and whatever Hui Wards chooses to cant in a given song. Structure is essentially irrelevant, and melody is limited to four bar progressions that recur ad nauseum. Harmony voices come along from time to time and add to the mess, while piano, flute and voice try to convey the path to inner peace by refusing to lead by example. I can't imagine that this was Ward's intent.

Rating: 1 Star (Out of 5)

You can learn more about Hui Ward at www.myspace.com/huiward. You can purchase a copy of The Way at www.cdbaby.com/cd/huiward, or you can download the album from iTunes.

Review: Charlie Morris Band - Ten Tall Tales

Charlie Morris Band - Ten Tall Tales
2009, Bluespages Records

Blues combined with Rock N Roll that runs from the swamp to the arena and back is what the Charlie Morris Band is all about. Morris like his blues deep dish Chicago style, whether pickin' on his Les Paul or wailing on his Strat. The latest album from the Charlie Morris Band, Ten Tall Tales, is a dynamic collection of tunes that runs the gamut from politically aware Blues/Rock to old fashioned burlesque Roadhouse Blues. Markus Baumer provides wild piano and organ support, while David Clarke slaps the bass and Marco "Speedy" Jeanrenaud knocks out the rhythms that drive the Charlie Morris Band on an album that's one big party from start to finish.
Ten Tall Tales opens with Got Greedy, extolling the liabilities of society’s reliance on oil. The guitar work here is impressive, with Morris laying down some sick riffs, Chicago style and Baumer gluing everything together with an impressive display on the B3. Monsieur Miracle emulates the Zydeco style in a song that is guaranteed to get you dancing. The guitar work is again exquisite. I Got To Have It clearly lays out one of the primary tenets of the human condition. The narrator is aware of all his faults, particularly his vices, and is bound and determined to keep every one of them. The piano work on this particular song stands out loud and clear and sounding a bit more New Orleans than the other songs presented thus far.

Stagger Home To My Baby sounds like something you might hear from Brian Setzer, all Rockabilly and Rhythm & Blues. I Got A Black Cat Bone gets into early Rock and R&B styles. The song is an amusing take on love potions and the like. Never Coming Home looks at life on the road from the eyes of a musician in a slow blues tune full of melancholy and just a bit of loneliness. The highlight of the album is New Fool, featuring some of the best guitar work on the disc. The song itself is a fun listen, but the guitar work is what makes it shine. Not Much Glory takes on the music business and the dirty side that music fans rarely see. Nothing here is particularly surprising, but the bleak outlook Morris offers may cause a few listeners to have second thoughts about pursuing music as a career. Ten Tall Tales closes out with That's What She Said, a raunchy bit of roadhouse blues that likely gets funnier and funnier as the evening and rounds progress.

Ten Tall Tales is the perfect music for a Saturday night. The Charlie Morris Band knows how to create the perfect musical atmosphere for a party. Great tunes that you can dance and even sing along to rolled up in classic sounds that are practically universal. I highly recommend Ten Tall Tales for people who want to remember that Rock N Roll was meant to be fun. This is a great disc.

Rating: 4 Stars (Out of 5)

You can learn more about the Charlie Morris Band at www.BluesPages.com/CharlieMorris or www.myspace.com/charliegator. You can purchase a copy of Ten Tall Tales at www.cdbaby.com/cd/charliemorris.

Review: SE Kim Trio - Moment

SE Kim Trio – Moment
2009, SE Kim

SE, Kim is a graduate of The Berklee School Music with a Masters in Jazz Performance from NYU's Tisch School. He is a regular performer on the greater Metropolitan New York Jazz scene, performing at venues such as The Blue Note, the Plaza Hotel and The Desmond Tutu Center. Kim has played or worked with the likes of John Scofield, Joe Lovano, Kenny Werner and George Garzone. His style of play is mellow jazz, with guitar tendencies not too distant from folks like Scofield, Pat Metheny and occasionally even Bill Frisell. His band, the Se Kim Trio, recently released their debut CD, Moment. Let's check it out!

Moment opens with 150, a mellow jazz guitar journey nearly eight minutes in length. Se Kim plays with mild distortion and a congenial demeanor that shines through his music. Listeners might almost divine that Kim isn't so much as writing or playing on 150 as he is channeling some vital musical communication from the universe. Kim crosses over from his mellow, almost supper-club jazz stylings during longer compositions to try out experimental and acid jazz detours, but generally returns to the more genteel styles before closing out each song. Hope You Know sticks a bit closer to a classic mellow jazz sound.

Night Light has a very active melody line for this tempo. Listeners who've yet to notice might realize here how ever-present Kim's guitar is on his trio's recordings. The guitar is always the primary voice in each phrase of each song, with drums and bass relegated to providing a framework for Kim's noodling. While Kim is very accomplished as a jazz guitarist, it would be nice to hear the other instruments take center stage once in a while, even if it's just to change things up a bit. Maybe It's Better This Way returns to the supper-club sound with a Latin Jazz twist in one of the most melodically pleasant songs on the disc.

West 4th captures the spirit of Greenwich Village perfectly in song. There's a funky "different drummer" feel to this composition that's distinctive compared to the rest of the album. You Are Free To Go ranges a bit more towards a pop sound, with Kim sounding a bit like Eric Johnson stylistically (if Johnson played Jazz). Direction sounds like a song that was perhaps written with a vocal in mind. It's more of a musical frame than a full composition where the melody is implied rather than expressed. The Se Kim Trio closes out with Jam, a musical daydream that noodles along at unexpected and unpredictable lengths.

Se Kim is a highly talented musician with a great ear for melody. I think he tries to do too much on Moment. Kim's guitar is always front and center, turning the trio into a soloist with two backup musicians. The guitar and bass here are more than competent, and with a bit more range in their roles could add significant creative tension and release into the process for SE Kim. Kim is good enough to avoid this most of the time, but there is a tendency to drone on at times for the need to fill space with sound. The interplay of equal roles between musical voices can turn a good album into a great one; a great one into a legend. From a writing standpoint Kim certainly has a gift, and he didn't get through Berklee and NYU as a performer without a certain level of talent, but the ability to share the spotlight will turn Kim into a great songwriter and performer. For now, Moment is a strong listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about SE Kim and the SE Kim Trio at www.myspace.com/sekimguitar. You can purchase a copy of Moment at www.cdbaby.com/sekim or download the album through iTunes.

Review: Weekly singles submissions

This is a new feature for Wildy's World, and will depend greatly on the volume of submission of singles. Each week on Sunday (when we have them to cover), we'll talk about some of the singles we've received for consideration. Here's this week's batch!

Alfred Mcleod - Native Gravy Juice

Beck, Fatboy Slim, Fred Schneider and Marilyn Manson form their own version of Fight Club and duke it out with instruments. Mcleod's fuzzy melody and chaotic arrangement comprise a dance tune that makes Mad Max look gentrified. Get your rave on. 2.5 Stars Out of 5
iTunes

Alfred Mcleod - Sensational Love

More musical insanity from Mcleod with a bit of an industrial touch. Not highly commercial; probably a niche taste. 2 Stars Out of 5
iTunes

Big Blue X - Escapism Generation Waste

Mellow acoustic Pop/rocker with a strong melody and fine arrangement. Lead singer Brian has an eminently listenable voice. The song is a bit preachy, but anthemic for those who look at their peers’ fascination with materialistic considerations and wonder where it all went wrong. 3.5 Stars Out of 5
iTunes

Eye'z - Dedicated

A sweet teenage love song. Lyrics are a bit stilted, and the melody line is too drawn out. Eye'z has some pitch issues that are a distraction. Harmony vocals are quite nice. 1 Star Out of 5
iTunes

Kites & Crows - Out Of Range

A nuanced bit of Americana songwriting with shades of Blue Rodeo or even Wilco. A great tune. Very low key and mellow but with a lot of internal energy. 4 Stars Out of 5
MySpace

Kites & Crows - She Hangs The Moon

A moderate tempo acoustic Country/Rock tune that gets a bit too lyrically caught up in the title. Repetitive but a very nice arrangement. 3 Stars Out of 5
MySpace

Rebecca - Another Story

Fairly slow pop with a mellow dance beat. Rebecca has the pre-requisite throaty, moany voice that passes for sensual in modern pop. Another Story likely has commercial legs with potential for remixing to help it enter the club scene, but really doesn't make lasting impression. 2 Stars Out of 5
iTunes

Rebecca - Never Ever

A somewhat disturbing listen, particularly in the opening verse, where the music and singer seem to be at odds to one another at times. Rebecca shows some pitch issues on the finished track that fail to sound stylistic as opposed to breath control deficits. The song itself has some potential, but the vocal arrangement leaves something to be desired. 2 Stars Out of 5
iTunes

Universal You - Your Sin City

A wonderfully upbeat and energetic Pop/Rocker with dark undertones. Vocalist Gulzhan Ibraveya has an unusual and intriguing sound that holds listeners' attention. Your Sin City is definitely worth checking out. 3.5 Stars Out of 5
iTunes

Review: Zydecosis - Zydeco All Night

Zydecosis - Zydeco All Night
2009, Vinyl Records

Zydecosis is the musical brainchild of Houma, Louisiana's Steve Junot (guitar, vocals). He's joined by prodigious accordion player Chubby Carrier, and Lupe Valdeviez, Jr. (drums) with special guests Waylon Thibodeaux on fiddle and Tony Hall (Harry Connick Jr., the Neville Brothers, Dave Matthews, Emmylou Harris) on bass. Zydecosis plays classic rock standards in Zydeco style, and reminds listeners that Rock N Roll was meant to be fun. Zydeco All Night, the band's debut CD, is good old-fashioned party music. Covers they may be, but at their best Zydecosis restores the spark that these well-worn classics once had.

Zydeco All Night opens with Led Zeppelin's Whole Lotta Love. To be honest this was my least favorite track on the disc, mostly due to the verses (the chorus is very well done). Particularly in the first verse there's a feeling of separation between the vocalist and the instruments that's a bit jarring. Each segment is well done but they just don't seem to mix well on this track. Talk Dirty To Me (Poison) is a whole other matter; this one is a cross of early Elvis Presley (Don't Be Cruel) and Zydeco and works wonderfully well. Aerosmith fans may well bristle at the idea of Walk This Way being interpreted as a Zydeco tune, but once again the song sounds like it was never meant to be anything else. Satisfaction (Rolling Stones) is fairly close to the original in spite of the different instrumentation. Perhaps the biggest treat of the disc is Zydecosis' take on Queen's Fat Bottomed Girls. It helps that Queen themselves never forgot that Rock N Roll was fun and entertaining. This is a song that translates well into most any genre, but Zydecosis seems to have a special affection for this song that shines through in their performance.

Baba O'Reilly (The Who) sounds more like a country arrangement. Junot provides a great vocal but the arrangement lacks the life and energy elsewhere apparent on Zydeco All Night. I Want You To Want Me (Cheap Trick) is presented in a live track with a small but appreciate crowd listening in. The arrangement here just doesn't carry the urgency of the original, or that the song seems to demand. Musically it’s aesthetically pleasing but just lacks the oomph you might expect. Some Kind Of Wonderful (The Drifters) is presented in a sparse arrangement (bass, drums, harmony vocals), adding guitar on the second verse. It's not Zydeco, but is full of the joy that the song's lyrics imply. Your feet will be tapping and don't be surprised if you feel the urge to dance. Zydecosis closes out with Bad Company's Feel Like Making Love in a memorable rendition that might just be better than the original.

Zydeco All Night is an uneven but memorable effort. At the top of their game Zydecosis sounds like one of the best party rock bands there is. Steve Junot is a plus vocalist who's very composed and sings with a lot of heart. Chubby Carrier is inspired on the squeeze box and really drives the album. Most of the songs here are memorable. A few tracks are well done musically but lack the pizzazz or zest heard elsewhere. On the whole, Zydeco All Night is a very welcome project that I recommend.

Rating: 3.5 Stars (Out of 5)

You can learn more about Zydecosis at www.myspace.com/zydecosis or http://www.zydecosis.com/, where you can purchase a copy of Zydeco All Night. If it’s digital you want, you can download the album from iTunes.

Review: Seasick Steve - Dog House Music

Seasick Steve - Dog House Music
2009, Bronzerat Records

If you live in Europe or Australia you probably already know who Seasick Steve is. For music fans in the New World, Seasick Steve is perhaps one of the most intriguing rags to riches stories of the 21st century. Born in Oakland, California, Steve Wold left home at the age of 14 and never looked back. He's done a bit of everything career wise, from driving Ambulances to picking fruit and even producing records. Even after settling down (Seasick Steve has been married for 25 years) he's continued a nomadic lifestyle; he and his wife have lived in 56 houses in 25 years. Dog House Music was originally released in the UK in 2006, selling over 200,000 copies and landing at #1 on the Indie Charts on three separate occasions. He's been featured on Jools Holland's Hootenany, performed in Royal Albert Hall and even been nominated for a Brit Award for Best International Male along with Kanye West, Jay-Z, Neil Diamond and Beck. On August 4, 2009, Bronzerat Records will release Dog House Music in the US for the first time. Dog House Music is a delicious blend of Blues and Roots music that hasn't lost touch with the darker, seedier side of human nature that is such an integral aspect of the genres.

Dog House Music opens with Yellow Dog, a rambunctious blues-based Rocker that last just a minute but throws down the gauntlet for listeners. This is real down and dirty blues, whether offered in electric form like on Yellow Dog, or acoustic-roots style like on Things Go Up. Seasick Steve sings from a lifetime of experience on the road and on the run, and from the ashes of experience rises a wisdom so raw and pure it shines like the sun. Cut My Wings introduces a three-string guitar held together by duct tape and faith. Seasick Steve uses those three string to concoct a riff so catchy you'll be hitting repeat into the wee hours just to hear it one more time. Dog House Boogie is built on the sort of riff that made George Thorogood famous. The arrangement is simplistic and the lyrics follow suit, but Dog House Boogie will have you reaching for your dancing shoes.

Hobo Low is a catchy blues-based tune about the depths one treads in a life on the run. My Donny gets a little acoustic guitar acrobatics into the mix as Seasick Steve careens wildly enough to run off the rails but never quite leaves the track. My Donny is a fun song that's simplistic but a great listen. Cast Po'Man continues in the same vein as does Salem Blues. Dog House Music closes out with I'm Gone, which may well be Seasick Steve's theme song considering his long life on the road.

Dog House Music is a distinctive record that's probably more unique in the Europe and Australia than it will seem in the US. The move toward traditional blues and roots music has been prevalent here in the states for several years now. Seasick Steve is a personality to be reckoned with, cleaving to the image of a wandering troubadour of old but updated for the 21st century. Dog House Music does suffer from its own consistency a bit, but is an entertaining listen. Make sure you check it out.

Rating: 3.5 Stars (Out of 5)

You can learn more about Seasick Steve at http://www.seasicksteve.com/ or www.myspace.com/seasicksteve. Dog House Music will go on sale August 4, 2009. You can pre-order a copy at Amazon.com. If you can’t wait until then, you can download the album now through iTunes.

Review: The Energy Commission - 10,000 Hours Of The Energy Commission

The Energy Commission - 10,000 Hours Of The Energy Commission
2009, Persistence Records

Jay Weinberg is something of a folk hero. In May of 2008 he staged a protest on the roof of a gas station where he sang his song Price Gouge'n. The song had been written in 2005 about oil companies running up the prices of fuel without cause and had gained little notice. That one act of civil disobedience turned Weinberg into an overnight sensation, appearing on Good Morning America and all major network newscasts. Weinberg saw an opportunity to use his music for a cause, and with his songwriter wife and a few friends formed The Energy Commission. The Energy Commission's latest release, 10,000 Hours Of The Energy Commission, captures 11 of Weinberg's politically charged and musically entertaining compositions.

10,000 Hours opens with the song that started it all. Price Gouge'n is done up in Reggae rhythms, sounding a bit like something Dr. Demento might have played back in his show's heyday. The song is extremely catchy and danceable and sounds like it's done tongue-in-cheek. Ode To Howard Beale (No Nations) has Weinberg sounding like a cross between Cat Stevens and Eminem, exhorting listeners to see who really pulls governmental strings. The Bertrand Williams Song (Single Ply) examines the difficulties of minimum wage workers to make ends meet. The Energy Commission revisits the Reggae vault for this tune which is very full lyrically but loses much of the vitality heard in Price Gouge'n. Mediocracy (If It Bleeds) takes on the vulture-like media culture that has evolved in the US, implying that the current media environment may in fact engender violent behavior. Drug Away takes on our cultures growing dependency on pharmaceutical solutions to pain and suffering.

I have no doubt that Jay Weinberg believes strongly in a whole host of social issues, many of which he touches upon on 10,000 Hours Of The Energy Commission, but the presentation here is a bit too much for one sitting. Price Gouge'n plays like the spontaneous composition it was, coming at a time when Weinberg was writing music for the utter joy of doing so. The fact that the song turned out to be lightning in a bottle fueled both Weinberg's musical ambitions and his desire to effect change in the world around him. The difficulty is that much of 10,000 Hours doesn't have that spontaneous joy. It's very apparent that Weinberg is now writing for a purpose other than for himself; the spark of life that Weinberg displays on Price Gouge'n is in short supply on the rest of the record. This happens sometimes when an artist transitions from writing at their own pace and for their own reasons to suddenly being known and having to produce. The songs themselves are solid but devoid of the vivacity The Energy Commission is capable of.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Energy Commission at www.myspace.com/theenergycommission or http://www.theenergycommission.com/, where you can purchase a copy of 10,000 Hours.

Review: Assembly Of Dust - Some Assembly Required

Assembly Of Dust - Some Assembly Required
2009, Rock Ridge Music

Assembly Of Dust has gained a moderate amount of commercial success over nearly a decade together, but has quietly become one of the most respected bands in music circles. Primary songwriter, singer and guitarist Reid Genauer has a lyrical bearing that falls somewhere between Bob Dylan and Martin Sexton; the gritty everyman with a lyric voice reminiscent of a cross between Neil Young and Glenn Frey. Adam Terrell (guitar, vox), Andy Herrick (drums) and John Leccese (bass, vox) support the writing process by not only providing stellar backdrops for Genauer's songs but also help to shape and caress the songs into life. On July 21, 2009, Assembly Of Dust returns with what might be their most focused and compelling album to date in Some Assembly Required. This time around Assembly Of Dust brings some close friends and even some of their idols along for the ride, as no less than thirteen guest musicians can be found on the CD. Richie Havens, Keller Williams, David Grisman, Bela Fleck, Grace Potter, Martin Sexton and Mike Gordon are among the luminaries pitching in, but don't think this is a gimmick to draw in listeners. If anything, it's a testament to the type of music Assembly Of Dust has made all along that so many fine musicians want to participate in Some Assembly Required.

Some Assembly Required opens with All That I Am Now, a vocal duet between Reid Genauer and Richie Havens. All That I Am Now is a song of resignation; an acknowledgement of the burdens of time and experience and what they can do to us. The song is resigned but also self-confident, and the arrangement runs a wonderful line between Rock and Country that we'll call Americana for lack of a better term. Buffalo Killers Zach & Seth Gabbard help out on vocals for Pedal Down, a deliciously Eagles-esque California Country rocker. David Grisman sits in on mandolin for Cold Coffee, a classic sounding tune with harmonies reminiscent of CSNY. This is a great bit of songwriting; highly intelligent yet charmingly colloquial. Phish's Mike Gordon sits in on bass and background vocals for Arc Of The Sun. The melody here is highly memorable and lyric, providing one of the most enjoyable listens on the disc. Second Song is built around a vibrant riff from guest Keller Williams. If any song from the disc ends up in a movie or television show it will be this one. The pacing and melody are perfect for the big or small screen and the arrangement is highly accessible across genres.

Light Blue Lover is an interesting song about letting go, including an unfortunately brief cameo by the exquisite Grace Potter. My favorite song on Some Assembly Required is Edges, featuring Bela Fleck on banjo. There's a sort of synergy that happens between Assembly of Dust and Fleck that's magical enough to shine through the highly produced format that is a CD. Be sure to check out Revelry, with Martin Sexton on "electric vocals". Revelry walks the fine line between folk and blues, resulting in an intriguing acoustic arrangement. Assembly Of Dust pulls back for Straight, the only song on the album that doesn't feature a guest. There's a bit of classic country in this melancholic ballad with a melody that washes over you like a gently rising tide. moe's Al Schier brings a little bit of crunch to High Brow on guitar before Assembly Of Dust closes out with You Lay The Dust (Jeff Pevar guests). Also make sure to check out John Scofield's guitar work on Borrowed Feet.

Assembly Of Dust is respected for a reason. There's not much flashy here, but Some Assembly Required is some of the finest roots songwriting of the year thus far. In spite of the numerous guests, Some Assembly Required retains an essential character that wholly belongs to Assembly Of Dust. Make sure Some Assembly Required makes it onto your "to-do" list. You won't regret it.

Rating: 4.5 Stars (Out of 5)

You can learn more about Assembly Of Dust at http://www.aodust.com/ or www.myspace.com/assemblyofdust. Some Assembly Required hits store shelves on July 21, 2009. You can pre-order your copy from Amazon.com. Expect Some Assembly Required to be widely available for digital outlets as well.

Review: Shiftless Layabout - Layin' It Down Eight Days A Week

Shiftless Layabout - Layin' It Down Eight Days A Week
2009, Shiftless Layabout

Let's go back to the 1970's for a moment. Platform shoes, fashions folks won't own up to even today and a divergence of musical styles were the way of the world. Bands like the Average White Band, Tower Of Power, Blood Sweat and Tears and Chicago were dominating the charts with funk and/or lots of brass. Thirty-odd years into the future we find Shiftless Layabout, who in June of 2009 released their sophomore CD, Layin' It Down Eight Days A Week. Steeped in the funk of the 1970's and the big brass sound of rock bands of the era, Shiftless Layabout has taken Seattle by storm. Add in a little Southern Rock pedigree and you have the picture of Shiftless Layabout that I'd show you. Now let's talk about the music.

Layin' It Down Eight Days A Week eschews the excesses of the late '70's and 80's and returns to a time when songwriting was still dominant over displays of technical prowess substituted for song craft. Shiftless Layabout shows what they're made of right from the opening moments of Soul Steppin', providing a highly danceable music experience that recalls the joy that was music in the 1970's. About A Drummer is built around Tommy "Two-Tones" Miller's funky guitar work. He and bassist Matty "Good-Times" Wexler do a wondrous dance throughout About A Drummer, keeping the music lively and the vibe cooking. The brass section of Tim "TK" Kelly (also vocals), Brandon "Lunchbox" Keller and Heidi "Chico" Wischler fills out the sound perfectly, while Christian "The Squid" Krehbiel keeps everyone in-line on drums. Crazytown features some of the psychedelic spirit of the 1970's, and glorifies people willing to live their life on the edge. Miller is again superb on guitar. Falling Down reminds me heavily of Chicago, but the energy just isn't here. The Kid On His Own recaptures the energy Shiftless Layabout has been about for much of the album. Feels So Good finds Shiftless Layabout powering up for a bit of electric funk in a highly danceable tune with a sunny disposition. Shiftless Layabout closes out with She's With Me, another energetic, high-end Funk Rocker that's a kick in the brass guaranteed to get you moving and shaking.

Shiftless Layabout is a rather ironic name for a band that plays music that inspires listeners to do anything but stay still. Layin' It Down Eight Days A Week is one of those infectious albums you won't want to put down. The only thing that could make the experience complete is to find it on vinyl. This is great stuff.

Rating: 4 Stars (Out of 5)

You can learn more about Shiftless Layabout at http://www.shiftlesslayabout.com/ or www.myspace.com/shiftlesslayabout. You can purchase a copy of Layin’ It Down Eight Days A Week at www.cdbaby.com/cd/shiftlesslayabout2, or you can download it from iTunes.

Review: Leah Pritchard - Finally The Weekend

Leah Pritchard - Finally The Weekend
2009, Leah Pritchard

Alabama's Leah Pritchard is a country singer/songwriter with a Rock N Roll sensibility about her. A finalist in CMT.com's "Music City Madness" contest, she is also a competitor in the Colgate Country Showdown contest that helped launch the careers of Garth Brooks, Martina McBride, Toby Keith and others. Pritchard's first CD, Finally The Weekend is a production-quality demo that likely holds the seeds for a full debut CD.

The first thing that stood out to me about Pritchard is that even though she claims a strong affinity to Country Music, there appears to be an equally avid love of Rock N Roll that shines through in her music. Pritchard's voice isn't pretty, having a brassy quality that makes for a very interesting and unusual sound. Pritchard does appear to have some breath control issues both with phrasing and occasionally pitch, but reminds me heavily (in sound) of folk rocker Jess Klein. Finally The Weekend opens with Something Went Wrong, a Rockin' Country tune about the aftermath of a bar fight. The song is a bit sophomoric with awkward lyric construction. The arrangement is very simplistic and probably is more Rock than Country. Mason Jar is a bit more nuanced but retains the same lyrically awkward bearing of Something Went Wrong. The last line of the chorus is a classic, but just doesn't fit with the rest of the song. Finally The Weekend is a song for blowing off steam after a hard week. The song is very upbeat yet shows off some of the pitch and breath control issues I referenced in stark examples. Boston is offered up in a great country arrangement. This is my favorite song on the CD. Finally The Weekend closes out with Home Kowaliga Home, an ode to Pritchard's hometown that sounds pleasant but just doesn't seem to carry the conviction you might expect from such a song.

Finally The Weekend was a tough CD to review because there are some very good elements here and there are some unsavory ones as well. Pritchard has a great band (The Dirt Road Band) around her and a distinctive vocal sound that may work in her favor, but the quality of songwriting is just too young and unpolished to be truly viable in the commercial realm. Add to this pitch issues that surface at random times throughout the CD and you have a recording that's just not ready for prime time. Pritchard's press materials talk about her passion and high energy, and I have no reason to disbelieve that these things are there, but they do not come through on Finally The Weekend. Pritchard has potential, and collaborating with a more mature and accomplished songwriter would probably have critical and long-lasting benefits on Pritchard's development. Formal training with a coach focusing specifically on breath control would also be of benefit. The sound is intriguing enough to make us want to wait and see on Pritchard. The issues noted here are all fixable and may work themselves out in time.

Rating: 1.5 Stars (Out of 5)

You can learn more about Leah Pritchard at http://www.leahpritchardcountry.com/, where you can purchase a copy of Finally The Weekend.

Review: Tantric - Mind Control

Tantric - Mind Control
2009, Silent Majority Group

Tantric is a band whose existence is a parable of renewal. Born from remains of Days Of The New, Tantric has itself nearly fallen apart a couple of times only to come back in a new form; better and stronger than before. The driving force behind Tantric, vocalist/keyboardist Hugo Ferreira has never given up on his musical vision in the form of Tantric even though all other original members have moved on. These days Ferreira is joined by Erik Leonhardt (bass/vox), Marcus Ratzenback (violin), Joe Pessia (guitar) and Richie Monica (drums). The quintet's fourth album, Mind Control, will be released on August 4, 2009.

Tantric wastes no time, opening with the title track. Mind Control is deliciously hooky with a hard edge underneath. Minor-key triad harmonies and a bass line that just won't quit make this heavy rocker dangerously danceable without losing a bit of edge. Mind Control has very serious commercial potential as a Modern Rock radio track with potential to cross over into the Pop realm. Fall To The Ground steps back from the Pop precipice a bit for a slower and heavier guitar presence before breaking into a chorus that has chart gold written all over it. Coming Undone is a great heavy rock tune with some tremendous guitar work and strong harmonies, although it becomes a bit repetitive.

The Past Is Dead starts out as an acoustic tune, breaking into a big Pop/Rock anthem with a soaring chorus. This is the third song out of the first five on the CD with serious commercial punch, and Tantric doesn't stop there. Kick Back may be more confined to the Modern Rock outlets but still has the sort of explosive yet Pop-based sound likely to make it a hit. Intermezzo provides a brief divergence for some of the best hammer-on guitar work this side of Eddie Van Halen and serves as a breather before Tantric launches into the dark and searching Run Out. The guitar riffs here are hot and heavy even if the chorus has distinct Pop sensibility. What Are You Waiting For takes a more mellow approach with an acoustic-based sound and a more lyric vocal line. The song is something of a pep-talk about getting up and making the changes you want to see in your life. Let's Start opens up the throttle with heavy rhythms, big guitar sound and a melody line that leads into an explosive chorus like a slow-burning fuse. Tantric closes out with Guiding Me, a dark and moody rocker that makes maximum use of minor-key vocal harmonies and a lush, Pop-driven chorus. The tempo and sound here are perhaps a bit too dark for serious radio play, but the song definitely has elements that will get it noticed on the airwaves. The spiritual element to this song is also quite intriguing and will leave listeners with something to chew on as the music fades away.

Tantric has quite possibly exceeded their prior releases with an album full of dark, heavy and wonderfully accessible Rock songs with distinctive pop elements. Mind Control could be a monster, boasting no less than five songs able to make some serious noise on commercial radio. The move to both a heavier sound and a more hook-laden one is unusual (it's generally one or the other), but should serve Tantric well. Mind Control deserves to be a critical darling and a commercial one as well. Bravo.

Rating: 4.5 Stars (Out of 5)

You can learn more about Tantric at www.myspace.com/tantric. Mind Control hits shelves, real and virtual, on August 4, 2009. You can pre-order a copy through Amazon.com. Expect wide availability on digital sites. If brick and mortar is more your style, Mind Control should be available in music stores everywhere on July 21st.

Review: HuDost - Trapeze

HuDost - Trapeze
2009, Open Sesame Music

HuDost, based in Montreal and NYC, defy not only national classifications but musical ones as well. Vocalist Moksha Sommer has travelled the globe, studying no less than 12 distinctive vocal styles from around the world. She also contributes harmonium, piano and accordion. She is joined by Jemal Wade Hines on guitar, vocals, bouzouki and bendir to form HuDost, spinning musical webs from all corners of creation. HuDost's CD, Trapeze, is driven by the love of music from all cultures and a seemingly evolutionary songwriting style. Adding to the zeitgeist of the Trapeze is the fact that Sommer was diagnosed with a brain tumor leading up to the recording of Trapeze. The album was recorded between the time of diagnosis and surgery, and reflects some of the urgent energy of someone who truly doesn't know what tomorrow may bring. All of these stands were pulled together by the masterful production skills of Malcolm Burn (Bob Dylan, Emmylou Harris, Daniel Lanois, Peter Gabriel).

Trapeze opens with Trespasser, an energetically mellow bit of layered musical angst that makes Radiohead sound Top-40. Sommer's vocals are a gorgeous thing to hear, and don't so much float over the song as fly down upon it like an eagle on the hunt. Royal Mountain laments the loss of a burial place for the poor in the face of progress. It's a lovely tribute that's in both English and (Canadian) French, and reminds us that the fate of those who were buried there will inevitably be our own. Royal Mountain is set in a great mellow pop arrangement that with other subject matter would likely be real radio fodder. Waiting is presented in the form of a near-Appalachian folk tune, complete with Country/Americana accents.

BreakDown BuildUp is one of the more interesting songs presented on Trapeze, mixing Western and Eastern elements around a great rock melody. Sommer truly shines here in a performance worthy of significant attention. BreakDown BuildUp is a definite highlight track. Waking is a song of thanks for new opportunities and new roads; the song is gorgeously dark with hopeful undertones. Sommer is at her best here, singing with a conviction that is unsettling. Drowned In White plays like an old madrigal choir tune, full of dark, minor-key harmonies and a church-like sense of grace. Sommer shines again on an inspired vocal line set against an instrumental background that is thrillingly complex. Trapeze closes out with something of a reprise of Trespasser.

Have patience with HuDost. It took me three or four listens to really get into Trapeze, but the effort was well worth it. Jemal Wade Hines is a masterful musician in his own right, and Moksha Summer will blow listeners away with her understated vocal grace. There are shades of early Sarah McLachlan here, but just shadows. Summer and Hines are a one-of-a-kind duo. Whatever you want to try to classify them as, HuDost is guaranteed to energize your musical synapses with music that never rests, never stops moving. In conversational terms, Trapeze is an album that never really raises its voice yet commands the room. Trapeze is a classic.

Rating: 4 Stars (Out of 5)

You can learn more about HuDost at http://www.hudost.com/ or www.myspace.com/hudost. You can purchase a copy of Trapeze at www.cdbaby.com/hudost5.

Review: Sound Of The Blue Heart - Wind Of Change

Sound Of The Blue Heart - Wind Of Change
2009, Sound Of The Blue Heart

Human Drama was a major staple of the Los Angeles and Southern California Rock scenes in the 1980's and early 1990's. Its front man, Johnny Indovina went on to a successful Indie solo career before debuting Sound Of The Blue Heart in 2006 with ...Beauty? Sound Of The Blue Heart returns on July 14, 2009 with Wind Of Change, a well of deep musical emotions for your consideration.

Indovina has serious street cred in the Indie world; spending most of his 20+ year career without label support he has nonetheless inspired a generation of musicians with unflinchingly honest and occasionally provocative songwriting in the spirit of Leonard Cohen, Tom Waits and even Charles Bukowski. Wind Of Change opens with The Spell, a song about falling in love in spite of oneself. The arrangement isn't particularly powerful, but the lyrics are highly personal and honest. The Poisoning takes a layered, quasi-ambient path through lyrics about the passing of time and lost opportunities for both individuals and for mankind. Indovina laments the apparent loss of God to a society in decay. Run For Cover is a mellow and economically lush that seems to be about the human capacity to turn tail and run when things get hard. The guitar work here is exquisite, and Run For Cover is likely to become essential listening.

Wind Of Change features some guitar work that would feel right at home on a Dire Straits album and digs into the essence of renewal. The arrangement here is lush enough to draw listeners in and strong enough to note let them go. Violet's Wish is a biographical song about squandered moments and opportunities, which seems to be a theme for Sound Of The Blue Heart. The Arms Of Yesterday sounds like it could cross over from the Rock realm to Country quite easily. Indovina has a slight tendency toward lyrical excessiveness but this doesn't overpower anything presented on Wind Of Change. Life Is Beautiful, Life Is Cruel is classic singer/songwriter Rock N Roll with a powerful (if subtle) message. I'll leave it to readers to puzzle out as they will. Sound Of The Blue Heart closes out with It's All Over Now, Baby Blue, a touching song about coming to terms with loss. The song is touching and filled with dark hues and darker meanings. The Country Music accents here want to be more than just accents, It's All Over Now, Baby Blue would make a great country tune.

Wind Of Change as a title suggests the beginning of something new; I don't know that we can call Wind Of Change new, but there is significant originality running through the music of Sound Of The Blue Heart. Johnny Indovina is perhaps not the most creative arranger/composer in the rock world, but he writes intensely honest and soul-baring songs, set deep in arrangements that are more like scenes that songs. The lush nature of the material here makes for great listening. Be sure to check out Sound Of The Blue Heart and Wind Of Change.

Rating: 3.5 Stars (Out of 5)

You can learn more about Sound Of The Blue Heart at http://www.soundoftheblueheart.com/ or www.myspace.com/soundoftheblueheart. You can purchase a copy of Wind Of Change from Amazon.com.

Review: A Beautiful Curse - As It Should Be

A Beautiful Curse - As It Should Be
2009, CTM Entertainment

A Beautiful Curse started out as a project intended to write music for movies & television, but has grown into something more organic over time. Musician and producer Kenny James (George Clinton and the P-Funk All Stars, 24-7 Spyz, The Samples) began this project in 2004 while producing works for various Indie films. After meeting guitar player Brian Skeel (Contingence), the two hit it off and started working together. By 2007 Skeel was a vested member of A Beautiful Curse, but something was still missing. In 2008, the band discovered vocalist/pianist Savannah Kocher. Within a month of finding her, Kocher was inducted as a member of A Beautiful Curse. The synergy the trio discovered had much more life and vitality to it than just a writing project. It soon became clear that A Beautiful Curse would have more facets than that. Cut to 2009, and the release of As It Should Be, a stunningly ambitious and divergent album that thrums with its own inner life.

As It Should Be opens with On The Other Side, a dark and vaguely Middle Eastern sounding tune that owes serious homage to early Sarah McLachlan recordings. Vocalist Savannah Kocher has the same ethereal air that infused McLachlan's early work. The sound here is a bit more of the electronic age, creating a stark tapestry against which Kocher's voice plays perfectly. At about the five minute mark the song kicks into overdrive, with a heavy guitar-driven segment reminiscent of Evanescence and A Beautiful Curse begins to displays some Prog tendencies you might not have previously guessed at. The mix of crushing Rock/Metal and Ethereal, near-Ambient Rock is quite unusual. The Soul Divine kicks off with some headphone worthy sounds reminiscent of the great albums of the 1970's and develops into another Ambient/Prog Rock/Trance hybrid. Fans of Pink Floyd will dig the vibe here. A Lot Like Diamonds is more in the dance club realm, carrying a sparse and halting melody line surrounded by much percussion and electronic sound. Kocher is entrancing on vocals, but the song just doesn't seem to have a lot to say, and while the rhythmic nature of the arrangement has a lulling effect, the song gets bogged down in its own complacency.

A Mind Of It's Own features a distinctive arrangement of rhythms and sounds supporting the free-form rap of Kenny James. This is one of the more interesting songs on the disc, featuring a roving bass line that sounds like it could have come from an early Police album. This Is My House takes us back to the 1980's in a Jan Hammer-inspired instrumental that will get your feet moving. Delicate brings slow jams into the 21st century with a sound Barry White would approve of. This was perhaps my least favorite song on the disc, but it accomplished what I presume the artists were trying to achieve. A Beautiful Curse closes out with Everything Is Changing, a bit of electronic dance craft that sticks to formula over creative force. Unlike much of the album, this feels like something of a cookie cutter track, created perhaps to fill out the album but not really offering much for listeners to dig into.

A Beautiful Curse suffers from trying to be too many things. Hard rock? Check. Lyric/Ambient Rock? Check. Electrohouse/Dance? Yep. Rap? Got that too. R&B? Yes. The difficulty becomes that by the end of As It Should Be the listener has no real idea who or what A Beautiful Curse wants to be. The band is at their best with Kocher on vocals and with the mix of Electronic and Rock genres. This is an album constructed for the age of downloads, with single songs that will play well to multiple genres, but it will be hard to build a long-term fan base from such divergence in sounds. When a band aims to be flavor of the month they may well get what they aim for, but nobody wants old flavors once they're used up, and A Beautiful Curse has too much talent to just be flavors of the month. Hopefully over time the band will pick a direction that at least becomes a primary sound and dabble elsewhere. As It Should Be is a strong collection of songs, but it's too scattershot to really be called an album.

Rating: 3.5 Stars (Out of 5)

You can learn more about A Beautiful Curse at http://www.abeautifulcurse.com/ or www.myspace.com/abeautifulcurse. You can purchase a copy of As It Should Be at Amazon.com.

Review: Ross Riskin - Simple Things EP

Ross Riskin - Simple Things EP
2009, Ross Riskin

Ross Riskin is an 18-year old singer/songwriter from Orange, Connecticut with big aspirations. Recording his debut EP, Simple Things, in his bedroom, Riskin spent months trying out and recording material before selecting the five songs presented here. Riskin recorded direct to tape using his computer, improvising around mistakes instead of overdubbing, giving Simple Things a live feeling that's missing from a lot of recorded media. Riskin's recording process was as minimalist as his arrangements, working with two microphones, a computer and the natural acoustics of his room. The instrumentation here is guitar, voice and occasionally piano.

Simple Things opens with The City, a folk-style ballad that's akin to a musical watercolor, with Riskin painting a moment more than telling a story. The lyrical content here is a bit simplistic and forced, but the musical arrangement is quite pleasant. Break Me Down shows a bit more cogence in the lyrics, with Riskin taking satisfaction in quick pace of life. My Mind finds Riskin affecting a subtle British accent; that aside, My Mind is a great tune. Introspective and upbeat, Riskin has created a tune with real commercial potential without sounding commercial; a nice trick if you can do it. Without Sound borrows heavily from Dave Matthews in sound, but lyrically is unpolished and young sounding. Simple Things closes with Simple 37, seeking understanding and order of life, where truth is static but conditions are always changing. Once again, the perspective is a bit young but the core concepts are strong.

Simple Things cover material written over the last four years, and reflects the artistic growth in Riskin over that span. The EP is a bit jagged in flow as I am guessing the songs presented here are not in chronological order, and so you might go from polished, well-constructed song to young and sophomoric musical venture as easily as the other way around. Simple Things leaves me convinced that Ross Riskin has a future in music, and I would venture that Riskin will continue to grow and develop as a songwriter. Writing and playing with a band would flesh out Riskin's sound a bit while providing creative and artistic tension that would be likely to bring out the best in Riskin. Simple Things is a decent listen, but until he really challenges himself, we won't know what Riskin is ultimately capable of.

Rating: 3 Stars (Out of 5)

You can learn more about Ross Riskin at www.rossriskin.com or www.myspace.com/rossriskin. You can download a copy of the Simple Things EP from iTunes.

Review: Garfield Mayor - Take And Take

Garfield Mayor - Take And Take
2009, RTEL Records

Coventry, England’s Garfield Mayor was the first signing for Rob Thomas’ new label (with Evan Lamberg of EMI Music Publishing), RTEL Records. Mayor portrays a neurotic sense of loss throughout Take And Take; all wrapped in light and airy pop music confections. The result is an interesting mix of light and dark that never really coalesces into something as powerful as it could be.

Take And Take opens with the title track, a slinky little rock song with dark undertones about greed and self-fulfillment at the expense of those around you. The arrangement is pleasing, with a tempo and cadence that will play well to commercial radio. Let Love Be Your Energy is an upbeat Pop/Dance tune that's perfect light fare for the dance club scene. The melody and arrangement are secondary to the dance beat here as Mayor provides a bit of mellow vocal tonic. The song itself is not particularly memorable, but efficient sugar water for the dance floor. The same might be said for Softly Softly (piano). New You sticks with the light Dance Pop aura Mayor has built around himself thus far, although the melody and arrangement are a bit more compelling here. New You is a decent pop song in its own right and would work well in an arrangement sans the dance beat.

Future Vs. History finds Mayor taking on a bit heavier sound in the intro as a tease before breaking into a light Pop confection with a serious side that never feels entirely genuine. Higher States gets a bit more of a Brit-Pop sound going on what is by far the best written tune on the disc. Mayor begins to make a serious case as a songwriter here, but returns to his lite Pop sensibility for the ballad When Stars Collide, which closes out Take And Take.

Take And Take is Reality TV pop music. It sounds good and plays well on introduction, but after a few songs you realize that the substance perhaps isn't what it first appeared. Mayor is a decent songwriter but doesn't really offer anything (with the exception of Future Vs. History) on Take And Take that motivates the listener to keep coming back. Mayor's voice is very pleasant in his upper register, but has a distinctive nasal quality in his chest voice that wears on the listener after a while. On balance, Take And Take is a decent listen, but not one you're likely to keep with you once the disc stops spinning.

Rating: 2.5 Stars (Out of 5)

You can learn more about Garfield Mayor at http://www.garfieldmayor.com/ or www.myspace.com/garfieldmayor. You can purchase downloads of the album at Amazon MP3 or iTunes. Physical CDs will be for sale at some point in the near future.

Review: John Brodeur - Get Through

John Brodeur - Get Through
2009, Mr. Duck Records

John Brodeur has been a fixture of the Albany, NY rock and pop scene since before his 2000 debut album, Tiger Pop, started getting serious notice from outlets such as Performing Songwriter, PopMatters.com and Indie-Music.com. While based these days in New York City, Brodeur has a laid-back writing approach wrapped around edgy melodies and deeply ensconced pop sensibility. Brodeur's latest album, Get Through, started out as a band project with his previous cohorts, The Suggestions. That band essentially fell away in the process of writing and Brodeur soldiered on with the help of Pete Donnelly (The Figgs, Candy Butchers) and Ryan Barnum (Strange Faces). The end result is Brodeur's most well-rounded effort to date.

Get Through opens with Make A Change, a positive song about taking the reins of your life and making things happen. Make A Change is upbeat without being over-the-top and has a great pop hook buried in the middle. I'm Bad is a big, fuzzy rock song built on a great melody, pleasing melodies and the self-story of a bad boyfriend. Wit and a self-deprecating charm are the heart and soul of I'm Bad, which has some real potential as a single. Brodeur slows things down a bit with Flame, a moody and almost mournful look at a friend who's out of control. Shades of Elvis Costello can be heard here.

Security suggests a sound that could take Brodeur a long way. There's a Classic Rock element here in the harmonies, and the Costello-esque songwriting is evident, but Brodeur just shines through his songs, even on CD. Security is a musical rocket that soars, and Brodeur just has a Je-ne-sais-quoi that makes you want to hit repeat again and again. Silence, Please takes on a relationship doomed by the emotional instability of both participants; each living in fear of upsetting the other and dooming themselves to eternal misery instead of setting each other free. Listeners may hear echoes of Ben Folds here with the strong piano presence in the arrangement and the neurotic, self-destructive relationship archetype, but Brodeur's creation is wonderfully unique and his own.

Fight dances around the roots of the Grunge sound propagated by Nirvana and deals with addiction in very blunt terms. Meltdown is a straight-up down-tempo rock tune that begs to be let loose into the Americana/Country arrangement it wants to be become. Hints of this appear, particularly in the guitar part, but Brodeur keeps things on the guitar side of the scale with passages and phrasing that almost suggest late-stage Beatles compositions. Love And Misery is a great rock tune, complete with compelling harmonies and a melody line that just won't quit. Of all the songs on Get Through, Love And Misery is the one I would pick for a lead single, and with the right break you'd be hearing it coast to coast all summer long. Get Through recalls Folds again, in a surreal and melancholic song about surviving. The album closes out with Home. Home is a dedication of sorts; with home not being a physical place but the person to whom he has cleaved. The arrangement is the most bare on the album (Brodeur and guitar) and is quite engaging. The song itself has a slightly neurotic sense driven by the narrator but is a great listen.
John Brodeur is one of those artists that you might not get on the first listen, but the more you listen the more drawn in you become. He's kind of like that kid from high school who seems a bit odd or stand-offish when you first meet him but then it quickly becomes apparent he's the most interesting kid in the class. Get Through is a wonderfully varied collection of songs that range through Rock, Grunge and Alternative styles without ever losing a distinctive pop appeal. Brodeur writes intelligently, conveying thoughts and stories in a personal style that make the listener feel a part of the show. He might take a listen or two to dig into, because his style isn't exactly the flavor of the month, but careful listening brings great rewards. Brodeur is capable of writing big Pop/Rock songs (see Love And Misery), but is more likely to be the sort of artist who builds a stellar catalog for a not-so-small and appreciative fan base over time. For now, Get Through is brilliant.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Brodeur at www.johnbrodeur.com or www.myspace.com/johnbrodeur. You can purchase a copy of Get Through at www.cdbaby.com/cd/brodeur2, or you can download it from iTunes. Be on the lookout also for the debut from John Brodeur's new band, Maggie Mayday, due out in the Fall of 2009.

Review: Kites & Crows - Lifeboat EP

Kites & Crows - Lifeboat EP
2008, Kites & Crows

Ashland, Oregon’s Kites & Crows started out as the musical extension of singer/songwriter Mysha Caruso but has grown into something more. In the process of creating their debut, the Lifeboat EP, something special happened. While Caruso is still the driving force as lead singer/songwriter/guitar player, the rest of Kites & Crows seem always to find their voice instrumentally and enhance Caruso’s creations beyond what they might have been alone. Call it singer/songwriter/ensemble, call it 21st century folk; call it whatever you want. Kites & Crows is creating incredibly wild and original folk sounds less than 100 miles from the left coast.

Lifeboat opens with Way Down The Line, an understated Americana tune that came across as very stoic and dry. Kites & Crows open up a bit on End Of The Road, a great Folk/Americana piece with simple and memorable melody. Mysha Caruso's vocals here are spot on. Weathervane has a Celtic feel to it; a love song based more in reality than in starry-eyed romance. Weathervane is touching in a cynical fashion. More To The Story is a wonderful song about starting over written in subtle and searching tones that ask voiceless questions. More To The Story will stay with you long after The Lifeboat EP is done playing. Don't Hold Me Down explores the need to touch base at home once in a while contrasted with the need to go out and make your place in the world. The two don't need to be mutually exclusive, and the narrator here is asking freedom to do both. Backroad Pioneer closes out the Lifeboat EP with a classic sounding bit of folk songwriting.

Kites & Crows have a very reserved sound, yet tell stories to song set with brilliant nuance and subtle conviction. Lifeboat EP is an experience you will remember. Vocalist Caruso is a pleasure to listen to, and I suspect this is a CD you'll keep coming back to.

Rating: 4 Stars (Out of 5)

You can learn more about Kites & Crows at www.myspace.com/kitescrows. You can purchase a copy of The Lifeboat EP at www.cdbaby.com/kitescrows.

Review: Ace NoFace - Toxic Charm

Ace NoFace - Toxic Charm
2009, Ace NoFace

Ace NoFace's story is inspirational. Diagnosed with Amyotrophic Lateral Sclerosis (ALS, also known as Lou Gehrig's Disease) in 2005, the Indie-Rock guitarist gave up music for 6 months until a musician friend urged him to use music to make sense of his struggles. Having to cope with learning how to write/play music differently now that he could no longer play guitar, Ace NoFace writes/plays his music with the help of computer software these days, but continues to write compelling and interesting songs. We reviewed Ace NoFace's self-titled Demo EP last year, but now he's back with his full-length debut, Toxic Charm.

Toxic Charm opens with Regret, a surreal inquisition that asks "have you done more harm than good?" There's an edgy quality to the song that saves it from itself. 2000 Bikes sounds like it tries to tread the piano-driven path of Ben Folds' solo material. The subject matter leaves me a bit lost, but the song is a present listen. Snakes also falls into the Ben Folds fold, although the roots can be traced much deeper (Billy Joel). Ace NoFace drops a few Pop references (Indiana Jones, Gary Kasparov, NASCAR) into a song about knowing your limits. The result is a good listen but the refrain is a bit surreal at times. The harmonies (all Noface) on this song are particularly strong, giving the song a signature character. Concept questions the existence of God in a fashion sure to offend anyone with a theistic belief system. The song loses any power to convey its message because of the trite and belittling tone of the lyrics. Mercy recounts Ace NoFace's struggle with disease and his impatience with God over not getting better. While these two songs are based in Noface's personal experiences, they just flat out lack the style or panache of XTC's Dear God.

Ace NoFace's Toxic Charm is aptly named. The highly blunt nature of the lyrics suggests that at least part of NoFace's intent is to keep listeners on edge. There is a distinctive and understandable anger to the lyrics on Toxic Charm that is relevant but overcomes any good will driven by Ace NoFace's back story. The musical arrangements are decent, but would benefit from the development a full band could give them. Toxic Charm looks to build on the promise of Ace NoFace's 2008 Demo EP but falls somewhat flat in the process of trying. Ace Noface would benefit greatly from collaboration.

Rating: 2 Stars (Out of 5)

You can learn more about Ace Noface at http://www.acenoface.com/. You can purchase a copy of Toxic Charm at www.cdbaby.com/cd/acenoface.

Review: Rob Halligan - Best Thing That's Happened

Rob Halligan - Best Thing That's Happened
2009, Blatant Productions

Coventry, England is home base for Rob Halligan, an exciting singer/songwriter who’s unlikely to remain unknown to you for long. With highly personal songs about faith, life, politics and complacency, Halligan used his guitar and pen to take on the world. As a member of The Goldsmiths, Halligan gained notoriety on the UK Pub circuit in the late-1990’s. After the death of his father at the World Trade Center on September 11, 2001, Halligan experienced a changed in direction for his music. Halligan can be found playing these days alongside rock, punk or even folk acts in any sort of venue. Halligan’s latest effort, Best Thing That’s Happened, is finely nuanced, intelligent and incredibly well-written. If you’re looking for the next big thing, Halligan would be a good bet.

Best Thing That's Happened opens with Dungeon Ghyl, an upbeat song about faith and belief and about the first realization of those seeds inside of a person. Musically, this sounds like something you might hear from a band like Matchbox 20 or some other iconic aughts Pop/Rocker. Blue Jeans gives the album its title; it's a love song that's focused on the things that really matter, symbolized by a pair of comfy jeans. This is great pop song craft done with stylistic yet understandable imagery. Christian's Brother is a heartfelt song about a step-brother with whom the narrator has had a falling out. The story is intelligently and lovingly told in song, with a great melody and arrangement to back it up. Halligan returns to religious themes on I Will Climb in what could only be a letter/prayer to Jesus in song. Unlike a lot of Modern Christian pop, this is not about creating emotional effect in others or spreading the news, but a personal statement, similar to a diary entry, put into song.

David's Song celebrates a friend most people have had at one point or another in their lives; the person who can just let go and be himself no matter what the world might say. It's a great song about the human spirit at it's most free and is done in a wonderfully vibrant arrangement that will have you wanting to dance. Halligan sounds a bit like Neil Diamond on Friend Of God, a song that suggests that there is comfort in knowing (or at least believing) where you're going. If I Will Climb was a letter to Jesus in song, You may well be the answer. This will be a highly affecting song for some, but is unlikely to catch on outside of religious circles. The song itself is extremely well-written, and could be mistaken for a highly-emotive love ballad if not for a couple of lines pertaining specifically to the crucifixion. Not On Your Own finds Halligan sounding like Jersey rocker Glen Burtnik (Styx) in a song that mixes acoustic and electric in a fashion that borders on Rock and Americana without fully committing to either genre. Roger Daltrey is likely a tribute to the artist's father and is an incredibly human song; deep with emotion, thought and remembrance. Halligan ends with Carry Me Home; a wistful love song written across distance and time. The plaintive refrain becomes almost a chant, like the pure repetition of emotional need it represents.

Rob Halligan presents Best Thing That's Happened as a rock album. There are songs here that are Contemporary Christian Folk/Rock songs, and there's traditional Folk/Rock material that's secular at least on the surface, but an element of faith, hope and love pervades all of the songs on Best Thing That's Happened. This isn't canned pop music for an audience of worshippers, but deep and introspective singer/songwriter material from someone who lives a life guided by faith, and that guidance blends into his songs as much as the rest of what he might think about the world. In the end, Halligan has created a breath-taking collection of songs that deserves to be heard. Some of the material here would be eschewed by Pop/Rock radio because of the subject matter, but there's enough crossover appeal in both directions to make Halligan a big star.

Rating: 4.5 Stars (Out of 5)

You can learn more about Rob Halligan at www.myspace.com/robhalligan or http://www.robhalligan.co.uk/. You can purchase a copy of Best Thing That’s Happened at www.cdbaby.com/cd/robhalligan5.

Review: Brother Lou - As Good As You Want

Brother Lou - As Good As You Want
2008, Hollywood ACSEP

Brother Lou goes to work 9-5 every day to pay the bills. The newlywed Miami resident has more than enough on his plate, but still finds time to write, record and co-produce his own songs, not to mention performing live. Those of you in the Miami area might know Brother Lou as the host of Luna Star Cafe's bi-monthly Open Mike night. He's also been on various local radio shows in the Miami/Jacksonville region, but is just starting to make a push into the rest of the Southeast United States. Brother Lou's latest CD, As Good As You Want, gives the sonic picture of a singer/songwriter with roots that straddle the line between 1960's folk icons and Country/Rock/Americana artists of today.

Brother Lou's voice is deep and full and reminiscent of another era. I've spent a couple of days now trying to figure out who he sounds like and I finally figured it out. In the deeper elements of his voice Brother Lou sounds strangely like Jim Morrison, but never completely and never for long. This familiarity combined with strong songwriting and an easy presentation style makes for a highly accessible album in As Good As You Want. Brother Lou opens with Nothing In The Sky, a look back at the days after the September 11 attacks on the United States. The song questions the actions that people take on behalf of God and expresses a low simmering anger that will never go away. Let Go is the recognition that sometimes a relationship reaches a point where nothing you do is going to save it. Brother Lou's vocal delivery is full and rich and sprinkled with wit, creating a highly listenable and enjoyable experience. Hey Jesus is an energetic Folk/Rock song is about hypocrisy and religion; taking to task those who profess belief in God and Jesus yet act in ways that seem contradictory ("With the God they've conjured up what do they need the Devil for?"). Brother Lou mentions such public figures as Paula White, Pat Robertson, Jerry Falwell and "Kennedy" in a scathing and witty diatribe you won't want to miss.

As Good As You Want has an almost Celtic flavor to it and reminds listeners that life is what you make of it. Elizabeth is a beautiful and highly personal song about the letting go that needs to occur when someone you love passes on. Brother Lou conveys the emotion and depth of feeling you might expect on this subject without sounding trite. Rain takes on the political campaign process and the shallow nature of both politics and its practitioners. Wit tempers vitriol in what turns out to be a highly intelligent and descriptive song that should be a primer for political science classes everywhere. As Good As You Want closes out with Black And White Kisses, a song about revisiting a lost love from film that's left behind. This is something of a tearjerker about someone who maybe appreciates his lost love more now than when she was alive.

Brother Lou is highly personal in his songwriting. Lyrically he's highly descriptive; this can be both a blessing and a curse at times, but Lou's unadorned arrangements and honest, everyman delivery makes it work. As Good As You Want is the sort of album that should do very well in folk circles and I wouldn't be surprised a few years down the line to see Brother Lou become a staple on the folk circuit. Brother Lou has a lot to say and a lot of stories to tell. Take some time to listen; it'll be As Good As You Want.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brother Lou at http://www.brotherlou.com/. You can purchase a copy of As Good As You Want at www.cdbaby.com/cd/brotherlou, or you can download the album from iTunes.

Review: Volcano The Bear/La STPO - The Shy Volcanic Society At The Bear And Bird Parade (Split)

Volcano The Bear/La STPO - The Shy Volcanic Society At The Bear And Bird Parade
2009, Beta-Lactam Ring Records

Volcano The Bear is one of the more interesting acts to come out of England is some time, straddling the lines between Experimental and Folk and a form of improvisational technique familiar to jazz fans. Volcano The Bear is almost certainly unique. La STOP may well be the grand-daddy of experimental electronic music in France, with origins as far back as 1984. The band has released a number of EPs/LPs over the years, many with inspiration from great painters or world events. 2009 sees the combined effort of these two bands on one thrilling EP, The Shy Volcanic Society At The Bear And Bird Parade.

The EP opens with Volcano The Bear on Our Number Of Wolves, a song that brings to mind the music written for a funhouse created by Tim Burton; it's more a collection of sounds and notes than a composition of intent. The song does grow into a progressive entity with vocals that sound like they might be provided by an other-worldly litter of cats. The effect is interesting, disturbing and entertaining. The Boy With The Lips Inside opens with an almost aboriginal rhythm that's loosely associated with something that isn't quite a chant and extremely bare-bones instrumentation. We're talking the stuff of dreams here; highly disturbed and medicated dreams. Volcano The Bear closes out with The Open, The Closed, again delving into depths best plunged with a deep understanding of psychosis. La STPO's Death Sleeps In My Ear sounds like background music for a horror movie based in obscure and frightening occult matters, like the scene where some creature of the night is first revealed to the audience after a long and tense build-up. The album closes out with another La STPO tune; The First Circle Is The Eye, which sounds almost Druidic in origin. The composition here is fairly simplistic, with instrumentation that negotiates the concept of harmony without ever quite coming to an agreement in principal. The First Circle Is The Eye is, however, the song with the most traditional structure and form and transcends from a highly aboriginal sound at the start to an almost modern sound with jazz elements built in.

The Shy Volcanic Society At The Bear And Bird Parade is a highly original and unusual recording. Sonically, Volcano The Bear and La STPO will keep you guessing throughout. In spite of the highly disturbing nature of these compositions, there is a sort of coherency that comes out of the three together, almost as if you're being allowed inside the mind of someone who's world view you might never understand; but at least you can sense some of the world as they might see it. Spend a little time with Volcano The Bear and La STPO.

Rating: 3.5 Stars (Out of 5)

You can learn more about Volcano The Bear at www.brainwashed.com/vtb or www.myspace.com/volcanothebear. You can learn more about La STPO at http://www.stpo.blrrecords.com/ or www.myspace.com/lastpo. You can purchase a copy of The Shy Volcano Society At The Bear And Bird Parade at Amazon.com.

Review: Marcy Playground - Leaving Wonderland... In A Fit Of Rage

Marcy Playground - Leaving Wonderland... In A Fit Of Rage
2009, Woz Records

Rockers Marcy Playground return with their fourth album, Leaving Wonderland... In A Fit Of Rage, an artistic and sonic advance over 2004's Marcy Playground 3 (MP3). Marcy Playground broke into the US music scene in 1997 with megahit Sex and Candy, which drove their self-titled debut to sales of 1.7 million copies. Two ensuing albums, Shapeshifter (1999) and MP3 have proved to be creatively dynamic but haven't drawn a great deal of commercial attention. Leaving Wonderland is something of an anti-pop rock album; with Marcy Playground treading wherever they want, from the edgy pop of Gin and Money to the gentle singer/songwriter style of Irene.

Singer/guitarist/songwriter John Wozniak stretches boundar