Review: Michele McLaughlin - Undercurrent

Michele McLaughlin – Undercurrent
2015, Michele McLaughlin

Michele McLaughlin found her field of dreams, and it has 88 keys.

Drawn to the piano from a young age, McLaughlin was playing in front of school mates at the age of five and composing by the age of eight.  Blessed with a musical ear, McLaughlin inhaled melodies and breathed them in ebony and ivory.  McLaughlin briefly took piano lessons, but eschewed the structure of formal instruction.  For the most part, she taught herself by listening to and copying other composers.  Validation came in 2000, when after much pestering from her Mom; McLaughlin created a cassette of her music.  The feedback received from this experience led McLaughlin to set up her own home recording studio and get serious about making music for others to hear.  Fifteen albums on, and McLaughlin has become a powerhouse in the new age/instrumental world, with awards and/or acknowledgments including the Independent Music Awards Song of the Year; and Whisperings Solo Piano Radio Album of the Year.  McLaughlin’s latest effort, Undercurrent, is a powerful and moving cycle of 13 songs that demand your attention.

McLaughlin is a new age composer with a pop musician’s heart, writing in almost a singer/songwriter style.  It’s therefore not surprising to be occasionally reminded stylistically of pop recordings as you pass through Undercurrent.  The opening track, “11,000 Miles”, carries an air of Billy Joel in its straight ahead musicality.  It’s a pop anthem, unrestrained by subtlety but thoroughly enjoyable.  There’s more nuance to “Living in Awe”, which has an emotional, if not dramatic build.  The early trend on the album is not toward finesse, but almost to a power songwriting aesthetic.  Even the waterfall-like chorus of “Full of Love” carries this impetuosity, like a child seeing new wonders of the world for the first time. 

It isn’t until “The Space Between” where we catch glimpses of McLaughlin’s more pensive side.  As she moves into the second part of the song, however, McLaughlin’s muse storms back with a rush, pushing with an impatient insistence the story she has to tell.  She steps back for “Undercurrent”, but even here the quiet surface is deceptive, and the listener is soon caught up in her musical pull.  “Starstuff” makes no bones about its push, but McLaughlin seems to draw down the intensity on “Never Give Up”.  There’s a singular beauty to this piece, which reflects in grace and subtlety the depth of emotion it represents.  A sort of quietude pervades “Evolution”.  You might expect that this song would follow its own title and evolve into something louder or grander, and to a degree it does, but it is a gradual slide up the scale that shows tremendous finesse. 

“On My Own” showcases McLaughlin at her very best, with melody, finesse and lyric grace fully integrated.  This transitions into “Melody in Motion”; starting as a plaintive waltz but becomes an aggressively melodic piece of musical prose.  McLaughlin’s cascading piano style is imperative and impulsive and utterly without reserve.  A sonic code arrives with “Stepping Stones”, a pensive-yet-spritely meditation that’s pretty and refined.  McLaughlin closes out with “Synesthesia”, a quietly impatient number that rolls over and over itself without a sense of where it’s going until it arrives.

Michele McLaughlin impresses with “Undercurrents”.  Her compositional style is impetuous, inpatient and often lacks a sense of subtlety, but it is also ultimately inspired.  McLaughlin isn't afraid to be herself.  She wears her heart on her sleeve and she touches listeners with her musical honesty.  It might not be for everyone, but if you get it then you’ll find something to like here.

Rating:   4 Stars (Out of 5)

Learn more at www.michelemclaughlin.com.  Purchase Undercurrents via Amazon or iTunes, or via McLaughlin's Web Store.

Seth Glier - Things I Should Let You Know

Seth Glier - Things I Should Let You Know
2012, MPress Records

Two-time Independent Music Award winner and GRAMMY nominee (2011’s The Next Right Thing) Seth Glier is back with his most impressive work to date.  Things I Should Let You Know tackles adulthood; from the shoreline to wading in.  The 24-year old Glier shows a story-teller’s presence and sense of subtlety that speak of talent gilded longer than his tender years.

Glier sets sail with the eerie atmospherics of the title track. Glier's voice shares sonic real estate with former American Idol finalist Paul McDonald, but this opening track sets a pallid tone for the album. Glier finds a solid pop/rock groove on "The Man I Used To Be". The regretful depression of the story song is wonderfully at odds with the catchy arrangement and memorable melody.  A slow but solid beginning jumps into overdrive with "New World I See", a celebratory love song about a northern man who falls in love with a southern girl. Glier finds that personal, self-deprecating humor that drives the songwriting of folks such as Randy Newman and Lyle Lovett while weaving a story that engages you. All of this is done in a wonderfully salty New Orleans style arrangement that is full of life.

"Plastic Soldiers" is a heartbreaking story song that follows one man's journey from playing with plastic soldiers as a child to serving and being wounded in war to watching his son play with the same soldiers. Glier avoids preaching, rather allowing listeners to form their own ideas about the progression. Either way it’s a beautifully sad and moving moment. "The Stars And Glitter" is a cutting indictment to consumer culture and humanity's seeming willingness to enslave themselves for more stuff. The stark arrangement is compelling, and Glier's voice is amazing in this context.

"Down To The Wire" is an infectiously ambivalent rocker about falling in love. This leads into sonic resting space of "Interlude", a moment of quiet musical repose. Up next is "Good Man", which continues the love story from "Down To The Wire". Here the relationship is on, and he is surprised at the feelings in his heart. It's a mea culpa of sorts, an acknowledgement that he doesn't know what he is a doing with a promise to do right. Glier shifts gears with "Avery", a middle of the road pop rocker about a less than ideal friend. The story is well told here, but this track lacks the sort of spark Glier is capable of.

"Too Hard To Hold The Moon" is a touching love song with an unusual object. Glier mixes metaphors here, turning from the image to reality and back at irregular intervals. The song is touching and powerful and ultimately bathed in a sad beauty. "Poppies On The Table" explores a single moment that turns two worlds upside down. Glier offers a dynamic monologue in a catchy, vibrant arrangement while exploring long term mistakes and having the courage to change.  Glier gets contemplative while exploring truths about love and human imperfection on "Everything Beautiful". It's a beautiful, stripped down moment that is deep yet accessible. Glier closes with moral of the story in "I Am Only As Loved As I Am Open". The simple truth sweeps over him on his wedding day in the song, and it will connect with listeners who listen with their hearts.

Seth Glier shows that the sophomore slump is a myth with Things I Should Let You Know. Glier is a musical storyteller on a par with a young Randy Newman or Lyle Lovett. This cycle confirms that Glier's period Grammy nomination was no fluke. Don't be surprised if Glier hasn't shown us everything he's got. This guy just seems to be getting better as he goes.  Things I Should Let You Know is required listening, and a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.sethglier.com. 

Elijah Tucker - Saturn

Elijah Tucker – Saturn
2012, Elijah Tucker

Boy meets jam bands; falls in love; goes on to become a musician.

That is the story line of Elijah Tucker in a nutshell.  Growing up in Washington, D.C., it was the sound of Phish, Rusted Root and the Grateful Dead that turned Tucker onto music.  At the age of twelve he began studying guitar, flute and drums all at the same time.  There was no looking back from there.  Tucker was writing songs within two years, and even collected donations from classmates to buy his first four-track.  He paid them all back by donating proceeds from sales of his tapes to the class trip.  Tucker went on to success at Bard college as a member  of jam bands Mother Ming and TheFoundation, sharing stages with the likes of George Clinton, Brad Meldau, Mercury Rev, The Slip and others.  Fast forward to 2012, and Elijah Tucker is on the cusp of releasing his second solo album, Saturn.  Tucker evokes all the joys of rock and roll on Saturn, but underscores it with a thoughtfulness and maturity that is compelling.

Tucker opens with “Gimme Gimme”, which perhaps could be sub-titled ‘The Narcissists Love Song’.  Delivered in a catchy early 1960’s rock arrangement, the song has a heart of pure pop gold.  “Crazy Things” will make you want to dance.  Tucker pulls out elements of classic soul and funk, and accents it all with a horn section you could imagine Tower of Power chiming in to.  It’s an entertaining number that you’ll find yourself repeating.  “A Crimson Gleam” is a wonderfully catchy mid-tempo rocker; a love songs of sort but written from a pessimist’s perspective.  What drives this song is a deliriously messy guitar lick that’s dark and lascivious; it gets inside your head and refuses to budge. 

Tucker digs into bluesy soul for “Kickin’ Snow”, an image-filled expanse on futile frustration.  The guitar and organ-drive arrangement have a classic sound, but Tucker helps his cause with an emotive vocal line that alternates tension and resolution in masterful style.  Little turns of phrase ice the cake here, as Tucker completes one of the most finely crafted songs of the outing here.  “O Pain! Piano” has a bouncy melancholy feel that’s reminiscent of some of Billy Joel’s early work, but also involves some silly word play that lightens the mood.  Tucker is at his vocal best here.

Touches of Latin and soul help infuse “Amos And Boris” with uncanny warmth, which keeps the interest up in what is otherwise a fairly simple, straightforward and unremarkable number.  This is a great job of dressing up a song.  Tucker’s take on “If I Only Had A Brain” is ingenious, sounding more than a bit like Ray Charles.  There is life in the arrangement, meted out in swung rhythms and an inspired vocal line.  Tucker closes things out with “Whoa Daddy”, a cute and entertaining number that’s more afterthought than strong close.

Some might say that Elijah Tucker suffers something of a musical identity crisis on Saturn.  He changes styles and sounds so often on the album it might make your head spin.  The thing is, Tucker is bloody good at almost anything he touches.  There are a lot of post-genre acts out there who say that no style or sound is off the table, but few make the transitions in between as well as Elijah Tucker.  That being said, Saturn is a bit chaotic at times, but chaotic in the way a good party is:  running with a life of its own but never quite out of control.

Rating: 4 Stars (Out of 5)

Learn more at www.elijahtucker.com. 

Adam Gilbert - A Generation Of Forgotten Kings

Adam Gilbert – A Generation of Forgotten Kings
2012, Adam Gilbert

New Jersey native Adam Gilbert has been pursuing the life of a piano man since graduating from the University of Miami in 2004.  His 2007 album Fishing For Water won wave reviews and resulted in significant airplay across the U.S.   For his latest work, Gilbert dug deep for the authentic, honest sound that issues forth from A Generation of Forgotten Kings.  The process was a personal one for Gilbert, as he strove to expose ideas of spirituality, accountability, responsibility, love and grace.

Gilbert jumps right in with the title track.  “A Generation of Forgotten Kings” is catchy, and built against a grand sonic landscape, ala U2.  Gilbert’s voice is certainly an acquired taste, although if you’re into early Bowie you’ll dig his sound.  The song focuses on stewardship, and asks what will happen to the children of today.  “How Do We Respond” plays in the same sonic playground, but the effect is a bit more bland here.  The chorus lingers on too long, and while the sound is nice, there’s no emotional oomph to back the message.  “On A Hill” plays in the same vein.

“Steady As We Go” is a solid piano ballad.  Gilbert breaks out of the U2 mold and writes an inspired song about holding on and staying the course.  Gilbert’s piano style on this tune may remind you of early Billy Joel.  “A Little Emotion” is best described as an amalgam of Billy Joel and David Bowie.  Although the songwriting here is diffuse, the overall sound works well, and Gilbert’s gruff voice will definitely grow on you.  “We’re Accountable” uses an almost hyper baroque piano style to back up a lyric ballad about personal responsibility for the world around us.  Gilbert’s against the grain voice is a nice fit here, and the sonic build throughout the song is appealing.  Lyrically, the song is a bit ham-handed in handling its subject, but it gets the desired message across.

“This Old World” is a love ballad with spiritual/religious undertones.  It’s a fair effort, but is the beginning of a long slow decline for A Generation of Forgotten Kings.  In general, the final six songs on the album aren’t really ready for prime time.  Gilbert works his way through “Better”, “Do You Want Me Now” and “I’ll Hold You In My Arms” like he’s going through the proverbial motions.    He shows a mild recovery for “Stay Awhile”, but slips back into the doldrums with the closing track, “Listen”.

Adam Gilbert starts with great intentions on A Generation of Forgotten Kings.  It’s the intentions that get him.  Gilbert spends the entire album writing to the message he wants to convey, rather than writing music and allowing his message to be born of it.  The result is similar to what often happens with CCM music… the message overcomes the musicality of the songs, and end product often sounds awkward.  Gilbert shows some real potential on the first half of the album, and a six or seven song EP made up from the first half of the album would find much greater success.  Gilbert is one to watch however, as he can write quite well.  He just gets stuck trying to write heart messages with his head on A Generation of Forgotten Kings. 

Rating: 2.5 Stars (Out of 5)

Learn more at www.adamgilbertmusic.com. 

Mikey Wax - Constant Motion

Mikey Wax – Constant Motion
2011, Waxsongs

Mikey Wax is a Long Island-born singer/songwriter who grew up on a steady diet of Billy Joel, James Taylor and Dave Matthews.  His debut album, Change Again, topped out at #46 on the iTunes Top-100 pop chart in the US, UK, Canada and Australia.  This led to tours supporting artists such as Howie Day, Serena Ryder and Ryan Cabrera.  His follow-up, a digital EP released in April, 2010 entitled The Traveler, received over 10,000 downloads and helped Wax earn 250,000 fans across Facebook, Twitter, MySpace and YouTube.  On September 20, 2011, Wax follows up with his latest full length album, Constant Motion. 

Constant Motion is a collection of eleven bright and exceedingly bland pop songs that are ready for radio and licensing.  Wax hits home with the alt-edged pop of “Counting On You”, with a solid voice that falls somewhere between Rob Thomas, Jason Mraz and John Mayer.  “How It Feels” works over a fluffy dance beat, with Wax making the jump into a questionable falsetto voice.  Wax settles into his generic pop genre, comfortable and unchallenged, occasionally raising the bar a bit with songs such as “Keep Dreaming” and “Fall For You”, but Constant Motion is more about the former than the latter.  Wax’s voice isn’t inconsistent with the sort you’ll find on pop radio, but would find him struggling to get out of auditions for a show like American Idol.  There’s little doubt that Constant Emotion will sell, but it’s the sort of music that’s forgotten almost as quickly as it’s spun.

Rating: 2 Stars (Out of 5)

Learn more about Mikey Wax at www.mikeywax.com or www.myspace.com/mikeywax.  Constant Motion drops on September 20, 2011.  You can pre-order the album in various merchandise packages at www.mikeywax.com.  The album is also available digitally from Amazon.com. 

Groove For Thought – Groove For Thought

Groove For Thought – Groove For Thought
2006, Groove For Thought

If you happened to check out Ben Folds’ The Sing Off! this past December on NBC you would be acquainted with a number of top-notch a cappella groups.  One of the groups who particularly impressed as Seattle’s Groove For Thought.  With a sound that blends pop, R&B and jazz, Groove For Thought established themselves as a dynamic vocal force.  We recently received Groove For Thought’s self-titled debut album from 2006 and decided to give it a spin.

Groove For Thought opens with “Lay It Back”, a funky jazz/pop piece with Take 6-style harmonies.  Sung with instrumentation, the piece has a nice sound and moves with a flourish.  Groove For Thought’s take on Three Dog Night’s “Joy To The World” is inspired, highlighting tempo changes and stark harmonies over an irrepressible bass line.  “And So It Goes”, written by Billy Joel, is one of the tunes Groove For Thought performed on The Sing Off!  The version offered here is played with a bit too much; the version on the show was a bit more stripped down to allow the vocals to truly shine.  “Gotta Lotta Lemons” is performed in a jazz arrangement with instruments.  Groove For Thought offers this one up in a big sound, almost like a vocal jazz band.  This tune is entertaining, danceable and pretty.

“My Perfect Day” shows off gorgeous harmonies in a light R&B and pop arrangement.  It’s one of the prettiest vocal arrangements on the album.  Ben E. King’s “Lean On Me” is offered up in a modern electronic funk arrangement.  The version on the album is pretty but underwhelming vocally.  This is one on those iconic songs you really have to step up with when you perform it.  Groove For Thought offers a nice version, but not one that’s worthy of the quality of the song.  “Take My Hand, Precious Lord” is heartfelt and soulful; beautifully done.  The frenetic and complex voxtrumental “La Fiesta” is highly entertaining; a Latin jazz & swing extravaganza that brings light instrumentation into the mix but impresses for the vocal work nonetheless.  Groove For Thought closes with “Walk The Straighter Road”, a peaceful and pretty signoff that shows off Groove For Thought at their harmonious best.

Groove For Thought impressed on The Sing Off! In December.  Groove For Thought impresses in its own right, although it’s clear that in the three years since this album was released the group has refined their sound.  There is a tendency to want to do too much here at times, but the vocal sounds are sublime when Groove For Thought hits their stride.  This album marks a solid starting place for a group that’s only gotten better with time.

Rating: 3.5 Stars (Out of 5)

Learn more about Groove For Thought at http://www.grooveforthought.com/ or www.myspace.com/grooveforthought.  Groove For Thought is available from Amazon.com as a CD or Download.

Seth Glier - The Next Right Thing

Seth Glier – The Next Right Thing
2010, MPress Records

Boston-based singer/songwriter Seth Glier is all of twenty-one years old and is already preparing to release his second album on MPress Records.  Twenty-two in years alone, Glier shows a depth and maturity of songwriting that seems antithetical to his youth.  Glier’s next album, The Next Right Thing is due on January 11, 2011 and features a guest appearance from Edwin McCain.  Glier writes from a deep well of experiences both personal and observed, and certainly appears to have taken things to the next level with The Next Right Thing.  Seth Glier has appeared on the main stage at the Falcon Ridge Folk and Kerrville Folk Festivals, and has shared stages with the likes of McCain, Mark Knopfler, James Taylor and The Verve Pipe.

The Next Right Thing marks Glier as a rising star.  The title track is a dynamic soul/gospel tune with a beating heart of urgency.  “Walk Katie Home” is a song of devotion about the lengths we’ll go for love.  The song is beautiful in its unadorned love and purity of thought.   On “Lauralee” Glier provides us with a literate and mature view of love using wondrous imagery; sounding more than a bit like a young Billy Joel in the process.  “First” is poetic and romantic; capturing the moments or experiences that can make love feel like new again.  “Down With This Ship” makes ethical and sociological observations about the point of impact between faith and deceit.  It’s a dynamic bit of songwriting that is certain to capture younger and older fans, as Glier seems to phrase the sort of problems that hit many in midlife in terms that are universal and accessible.

“I Don’t Need You” takes a look inside the life of someone who sees all of her friends passing her by while she stands still.  The song expresses the mix of frustration and need in muted tones of resignation and is amazingly well written.  “What Others Have Done” follows a soul who seeks himself in the whims and fancies of others; through the brief highs and the lengths of emptiness that ensue.  The piano ballad style here is reminiscent of a cross of Billy Joel and Elton John.  “Beauty In the Breakdown”  seeks the silver lining in human pain.  Glier displays a quietly dramatic sense here, and the arrangement is among the most complete and beautiful on the album. 

“Book Of Matches” is simply brilliant.  Glier turns the tragedy of losing a home into opportunity, finding the sense of freedom of no longer being encumbered with possessions, burdens or expectations.  The imagery here is deep, and could have multiple interpretations (fire, divorce, death, etc.), but this proves the genius in the songwriting.  “No Place To Land” captures the loneliness and displacement of someone who has been on the road so long it’s become the only home he knows.  The extrapolation from what are Glier’s experiences playing 200 shows per year to a way of life is a logical leap that goes beyond your typical pop song.  Glier closes with “Soul, Skin & Bones”; an incredibly poetic memorial in song that’s stark in its imagery but ultimately deeply loving.  The palindrome simile Glier uses here is eye opening.  This is how you close an album with an utter “Wow” moment.

Seth Glier is the sort of singer/songwriter that allows you to throw in a CD and get lost for an hour.  Musically, he writes in subtle tones, crafting near-perfect settings for the stories he tells in song.  Lyrically, Glier is an old soul, writing well beyond his twenty-two years in both poetics and depth of human understanding.  The Next Right Thing is beautiful; brilliant; breathtaking.  Glier sets the bar high for 2011.  The Next Right Thing is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Seth Glier at www.sethglier.com or www.myspace.com/sethglier.  The Next Right Thing drops on January 11, 2011.  You can pre-order the CD and Download from Amazon.com.

Adam Sullivan - The Room Is Spinning Faster

Adam Sullivan - The Room Is Spinning Faster

2010, Dweeb Records

Adam Sullivan gets compared to Billy Joel and Ben Folds a lot, but his musical roots are in the darker melancholy of Randy Newman and REM.  With eleven albums/EPs under his belt and ambitious international touring schedule, Sullivan has paid his dues and developed a solid fan base the world over.  His latest album, The Room Is Spinning Faster, shows the polished artistry of a songwriter who knows his craft combined with the restless rambling urge of someone who needs the road even if he's started to question his place on it.  The Room Is Spinning Faster is due out in October 2010 on Dweeb Records, but is already available in digital formats.

Adam Sullivan starts out strong with "Nothing Like Being Alone", rumination on his place in the world, sanity, perspective and understanding.  It's a Ben Folds-style ballad that's highly introspective, a soaring melancholy ode to self-contemplation.  "But The Dinosaurs Were Dead" is edgy, smooth pop, once again reminiscent of Folds.  The instrumentation here is unique, making use of piano and string to create an off-balance sound that somehow stands on its own.  "Please Don't Fall In Love With Me" is great songwriting, a melancholy and thoughtful love song written from the depths of fear and confusion. 

Up to this point Adam Sullivan is setting the stage.  With "Rainy Morning In Amsterdam" he sets the tone for the rest of the album.  It's a song of morning and regret, a pool Sullivan wallows in the rest of the way utilizing a Hemmingway-styled symbolism for tragedy and defeat while singing in measured tones.  Sullivan is searching for he knows not what.  "Something To Lose" is rambling and melancholic but lacks real energy.  The melody and harmonic construction here are gorgeous, but the song teeters on the brink of an emotional vacuum that is disconcerting.  "These Are The Thoughts" is a long-winded, emotionally grinding experience built in this same dearth of emotional energy.  It's the thoughts that keep him awake at night, told from the perspective of one so numb it's more of a recitative than an experience.  "Let Go" shows a flash of life; pretty and dark with a modality reminiscent of Alan Parsons, "Let Go" reflects a sort of determined, reticent hope about what is to come.  The rest of the way is back to the flat, emotionally bereft energy that haunts the middle of the album, as Sullivan walks the listener back to the sleep from which he first emerged.

Adam Sullivan constructs some beautiful musical landscapes on The Room Is Spinning Faster, but against those landscapes he casts a character so lost in his own melancholy and emotional distance that the songs take on a sort of fractured personality.  Artistically challenging, but the combination can make The Room Is Spinning Faster a challenge to get through.  If the navel-gazing melancholy and passive anger of The Cure or The Smiths or even REM you find appealing, then Adam Sullivan will fit nicely in your music collection.  Sullivan may be a bit too distant for the mass market, but the talent here is unmistakable. 

Rating: 3 Stars (Out of 5)

Learn more about Adam Sullivan at www.adamsullivan.com or www.myspace.com/adamsullivan.  The Room Is Spinning Faster is due out in October 2010 on CD, but can be purchased now in digital formats through Amazon.com and iTunes.

Paul Collins - King Of Power Pop

Paul Collins - King Of Power Pop
2010, Alive Records

Paul Collins might not be the forefather of Power Pop but he certainly was on the committee. Collins spent much of the 1970's working with Peter Case in both Nerves and The Breakaways before forming The Beat (Paul Collins Beat) in 1979. Collins gets back to his roots on his latest album, King Of Power Pop, due out on August 24, 2010 on Alive Records. King Of Power Pop features Eric Blakely on guitar and backing vox, Producer Jim Diamond (The White Stripes, Dirtbombs, The Go) on bass and Dave Shettler on drums. Guest appearances by Wally Palmar (The Romantics) and Nikki Corvette (Nikki & The Corvettes) are also in the offing.

King Of Power Pop opens with "C'mon Let's Go!", with Collins recalling simpler times in a classic rock n roll courtship song. "Do You Wanna Love Me" is catchy early rock n roll with a blues base that will get your toes tapping. "Hurting's On My Side" shows off Collins' melodic sensibilities in a melancholy but poignant bit of songwriting that's a nice change of pace. "Don't Blame Your Troubles On Me" is catchy, guitar-driven rock; a great listen. Collins channels pure nostalgia on his cover of The Box Tops' "The Letter". Collins manages to make the song his own without changing a thing, a nice feat. "Kings Of Power Pop" is a fun tune about how Collins came to be where he is today; it's the rock n roll dream that anyone who's ever strapped on an electric guitar has had. "This Is America" ends up sounding like a recasting of Billy Joel's "We Didn't Start The Fire". The chorus is different, but the mode and method of the song and the list-filled lyrics are just too close to not be compared. Collins closes with "You Tore Me Down", a bland dictation of 1960's rock style that just doesn't have the pizzazz you'd expect in a closing number.

Paul Collins starts strong on King Of Power Pop, but struggles to bring it home at the same level he started out at. Collins is a deft songwriter when at his best, and Collins is inspired at times on King Of Power Pop, but much of the second half of the album ends up sounding contrived. Even at that, the best of the material on King Of Power Pop will be balm for those who miss the days of Power Pop.

Rating: 2.5 Stars (Out of 5)

Learn more about Paul Collins at http://www.thepaulcollinsbeat.com/.  King Of Power Pop is available from Amazon.com on CD, Vinyl or as a Download.  The album is also available from iTunes.

Joe Marson - Joe Marson

Joe Marson - Joe Marson
2010, Joe Marson

San Diego-based singer/songwriter Joe Marson has made both the geographic and musical rounds to broaden his horizons and perfect his craft. Oregon, Boston, New York and Arizona are on his past itinerary, as are hip-hop, jazz, folk, bluegrass and gospel. Back home, Marson has settled fully into an Americana sound that draws strength from all the influences Marson has immersed himself in. Marson recently released his debut album, Joe Marson.

Marson opens with "Postcards From Siren City"; an interesting exploration of running away from home. The song is well-written and enjoyable. Marson is a bit off the beaten track here, and the diversion is welcome. "Mindf#ckedd" is a bluesy rock number that finds Marson singing with the attitude and sound of a young Billy Joel. It's an entertaining but dark tune you're likely to hit replay on several times over. "What I'm Sayin'" is a highly entertaining blues-based tune in pure singer/songwriter pastiche. Marson scores points with his cover of Cat Stevens' "Trouble"; a pensive performance that will appeal to fans of Stevens while putting his own stamp on it. "White Boy Blues" sounds like it may have been recovered live in-studio in one take. It's just Marson and his guitar and works very well, showing off Marson's voice in excellent light. Marson closes with a cover of Alicia Keys' "No One", a mildly soul rendition done with a reggae beat. It's a solid tune, and Marson does it justice.

Joe Marson has talent. His is a voice people will pay to listen to and he's more than just competent with a guitar in his hand. Marson shows flashes of real songwriting ability on his self-titled debut. There are rough spots along the way, but more often than not Marson comes out ahead. The occasional vocal similarities to Billy Joel and the Hendrix-style riffs that Marson sprinkles throughout his songs may make it easier for Marson to transition to an older demographic of fans as well. As a whole, Joe Marson is a solid effort.

Rating: 3 Stars (Out of 5)

Learn more about Joe Marson at http://www.joemarson.com/ or www.myspace.com/fakinggeniusmusic.  Joe Marson is available digitally from Amazon.com and iTunes.

Roaming Royalty - Audio Bacon

Roaming Royalty - Audio Bacon
2010, Roaming Royalty

Seattle's Roaming Royalty take influences such as Queen, Muse, Billy Joel, Elton John, Ben Folds and The Who and blend them into a quasi-original sound that sets audiences on their collective ear. Touring the country in their modified van/recording studio, Roaming Royalty never has to make a choice between touring and recording. The road is their recording studio. That might explain the highs and lows of Roaming Royalty's most recent album, Audio Bacon. Not highs and lows as in quality, but the transitions that accompany change in day-to-day life, brought to life in eleven diverse and intriguing compositions on Audio Bacon.

Roaming Royalty opens with "Red Morning Joy", a catchy song of apocalypse that sounds like it might have come out of a classic Who session. "King Of Mars" is a wonderfully melodic composition that highlights the harmonic co-vocals of Charles Kraut and Todd Dunnnigan amidst unusual song construction. You might think you're listening to delightfully odd concatenation of Smash Mouth and Alan Parsons on first blush. "Chasing The Sun" is a solid, low-key pop/rock number that sets the stage for "The Only Woman In The Room", an ode, of sorts to human rights activist Beate Sirota Gordon. The construction and arrangement are a bit on the bland side, but it's a brave songwriting choice that's lyrically sound and deserves to be recognized.

"Only Time" is similarly water down, but is livened up by the highly driven piano part that turns out to be the song's lifeblood. Roaming Royalty returns to what seems to be their most comfortable sound on "Tipsy Jane", melodic rock n roll. "Killer" brings on a small dose of funk in the bass line, a step up to Roaming Royalty's wheelhouse sound on "Dive". When really on their game, the band seems to have a knock for these mellow pop/rockers with melodies that practically sing themselves into your ear. Roaming Royalty rest their case with "Epiphany", bringing their melodic talents up to a new wave setting that's the catchiest track on the album.

"Epiphany" is the perfect closer, suggesting there's even more to Roaming Royalty then we hear on Audio Bacon and offering tantalizing glimpses of where the band may take their sound next. On the whole Audio Bacon is a solid effort, but the details do stop Roaming Royalty short at times. Liken the band to a painter who puts great effort into the subject of the painting but doesn't always have the same enthusiasm for the background. When Roaming Royalty is at their best all elements of the song work together. Sometimes Roaming Royalty seem to expect a great riff to carry a song, but don't seem to develop the other "voices" around that riff to the same level. The results can sound less than enthusiastic, and listeners pick up on that.

Rating: 2.5 Stars (Out of 5)

Learn more about Roaming Royalty at http://www.roamingroyalty.com/ or www.myspace.com/roamingroyalty.  Audio Bacon is available from Amazon.com on CD and as a Download.  The album is also available via iTunes.

Avi Wisnia - Something New

Avi Wisnia - Something New
2010, Avi Wisnia/Mo Sho Publishing

Avi Wisnia invites attempts to classify him even as his music defies clear description: Elements of pop, jazz, Latin and cabaret gallivant through his songs with seeming abandon. The award-winning singer/songwriter splits his time between New York City and Philadelphia while creating music that seems to jump out and grab you. Wisnia's influences include Ben Folds, Norah Jones, Billy Joel, Jamie Cullum, John Legend and Chet Baker, and that deep musical heritage makes its presence known on Wisnia's latest album, Something New.

Wisnia opens with "New Year", a catchy, piano-driven pop song about hope. "More Than Me" shows Wisnia is a sort of post-modern Barry Manilow. "More Than Me" is catchy light pop with a nice melody that would be right at home in a Manilow set. "I Wish That I Could Stop Writing Songs About You" is melancholy and lovelorn; a song Wisnia wrote about an ex-boyfriend. Catchy and contemplative, the song has a melody that nearly sings itself. Latin rhythms find their way into "Sink", punctuating the catchy, light acoustic-pop number with a mildly danceable feel.

Wisnia's cover of The Cure's "Love Song" has a vaguely soulful feel, undercut by a melancholy sense of longing that is detached yet very much alive. "Rabbit Hole" is the most relaxed track on the album. Wisnia gets a bit sloppy on the vocal line, trying to do too much with flourish in what should be a purely entertaining track but gets smothered when Wisnia hams it up a bit too much. "Something New" is a somewhat cheesy series of vignettes in one song that borrows lines from popular songs; it's fast-paced and entertaining but seems a bit trite. "It's Only Me" could become a signature song for Wisnia; a piano ballad about the loneliness of creation when trying to reach out across a gulf to those who will listen. Wisnia closes with a cover of TLC's "No Scrubs" in pure Las Vegas fashion, hamming it up Rat Pack style. It's campy but entertaining.

Avi Wisnia has a definable pop sensibility that he weaves in and out of his pop/jazz/Latin creations. Something New seems likely to make Wisnia a host of new fans. How marketable the sound turns out to be can turn on the social whims (or winds) of the moment, but Wisnia definitely has slick pop touch that he glazes over each song. From a songwriting perspective, Something New is up and down, but when Wisnia is on his game he can be very entertaining. Vocally Wisnia is competent; his isn't a voice that will make a huge impression, but he uses it well within the context of his songs.

Rating: 3 Stars (Out of 5)

Learn more about Avi Wisnia at http://www.aviwisnia.com/ or www.myspace.com/aviwisniapresents.  Something New is available from Amazon.com as either a CD or Download.  Digital copies are also available from iTunes.

The White Ravens - Gargoyles And Weather Vanes

The White Ravens - Gargoyles And Weather Vanes
2010, White Raven Music

Amy and Will Bennett have an interesting chemistry; as The White Ravens the sonic love children of They Might Be Giants and Gwen Stefani craft incredibly catchy and quirky tunes that add a new pastiche to geek rock. Add in the stabilizing influence of Billy Joel drummer Liberty DeVitto and you have a sound that is downright virulent. The band's bio is full of snarky humor, but don't mistakes The White Ravens for a novelty act. Will Bennett plays keyboards with a tenacity that Ben Folds would be proud of and Amy Bennett (who sounds a lot like Monica Attell) attacks each vocal line like she means business. The White Ravens will release their sophomore album, Gargoyles And Weather Vanes on July 6, 2010.

Just using piano, bass and drums, The White Ravens fill up more sonic space than most bands would dream of, showing the same sort of not-quite-reckless abandon we heard from Ben Folds in his early days. There's more pop sensibility here, and Amy Bennett's voice is tuneful with an acerbic edge that will hold your attention, but it’s the instrumental interplay that makes Gargoyles And Weather Vanes such a trip. There are definite stylistic nods to groups such as Billy Joel and Ben Folds as well as acts such as Belly and The Breeders, but the mix here is so distinctive and fresh you'll forget that rock n roll is supposed to be dead.

Opening with "Sparks", The White Ravens create a dense musical tapestry. Amy Bennett's sassy vocals light up the album and Folds fans will recognize the piano style Will Bennett affects here. Meaning may prove elusive at times on the album, but when listening to songs such as "Tick Tock" you simply won't care. If all rock records sounded this good no one would buy anything else. "Rubber Band" is so cliché it's ironic; a quirky, angular tune about resilience that is simply irresistible. The White Ravens throw a pleasant curve ball on "Atomic Panda", going for an electro-rock sound that is highly catchy and has an edge that could slice timber. Its pure 1990's alternative here, but the Bennetts make it all their own.

"Broken Halves" is about the realization that things aren't as good as they seem in a relationship. There are a series of musical resets here that seem to parallel the sort of two steps-forward, one-step back process that such relationship realizations come by. It's a solid tune, a bit more reserved than some of the other material here, and shows a slightly softer side to Amy Bennett as a vocalist. The White Ravens get a bit too comfortable past the mid-point of Gargoyles And Weather Vanes, but pick things back up by the time they reach "Rainstorm", the peppy rock n roll story of a huckster exploiting the lost and lonely. The arrangement here could have come out of a 1970's Billy Joel recording session with the distinctive mix of piano, sax and percussion sounding more than a bit familiar. "Draco" opens like a Ben Folds tune, but quickly turns into a strong mid-tempo pop tune. The White Ravens will continually surprise you with tempo breaks and changes throughout the album, taking the musical wherever they want even if it flies in the face of convention. Gargoyles And Weather Vanes closes with "Eulogy", a dark, minor-key composition that pays tribute to cities hit by urban decay while posing the inevitability of change. It's an apropos closing for a band that seems to rebuilding rock n roll on the ashes and memories of those who came before.

The White Ravens will confound and astound you. It's been awhile since rock n roll sounded this fresh or this good. Amy Bennett eschews the snarl of past female rockers and instead hits you with a lopsided smirk you might find familiar if you're a fan of Tina Fey. Will Bennett plays piano like nobody's business, and as the primary songwriter shows a distinct amount of promise. Liberty DeVitto is... Liberty DeVitto. Gargoyles And Weather Vanes reflects both the best and darkest intents of humanity as seen from above, and as a title it is a near-perfect reflection of The White Ravens. You won't be able to get The White Ravens out of your head.

Rating: 4 Stars (Out of 5)

Learn more about The White Ravens at http://www.whiteravenmusic.com/ or www.myspace.com/whiteravensmusic. Gargoyles And Weather Vanes drops on July 6, 2010, but you can purchase the album now directly from The White Ravens. Expect availability through Amazon, iTunes and other national outlets.

Monica Mancini - I've Loved These Days

Monica Mancini - I've Loved These Days
2010, Concord Records

Even if you're talented in your own right, it never hurts to have a famous mom or dad. Monica Mancini has long since escaped the filial shadow, amassing an impressive body of work over the years between studio work and appearances on countless movie scores over the years, but she got her start in her dad's The Henry Mancini Chorus. Over the years Mancini has recorded with artists such as Quincy Jones, Michael Jackson and Placido Domingo, and she has sung with symphonies the world over. Mancini's latest studio effort, I've Loved These Days is a collection of highly refined cover songs and features guest appearances from Brian Wilson, Jackson Browne, Take 6, Stevie Wonder and Felix Cavaliere. With production by none other than Phil Ramone and Gregg Field, I've Loved These Days greets the world steeped in impeccable sound and taste.

I've Loved These Days opens with Jackson Browne's "These Days", with Browne sitting in on vocals and guitar. Mancini offers up an interpretation that is both honest and reserved, like a quiet conversation with an old friend. Mancini's is one of those voices that wraps itself around you and welcomes you like family; not flashy but warm and full of life. Brian Wilson and Take 6 sit in on the Beach Boys' classic "God Only Knows". Mancini is superb, but the true highlight is when all of the voices merge in harmony, creating some heavenly atmospherics in the process. Mancini's take on Paul Simon's "American Tune" (the first of two Simon tunes on the album) is inspired; her mildly understated delivery dovetailing perfectly with the highly thoughtful poetry Simon provides.

Stevie Wonder sits in on harmonica for "Blame It On The Sun", a song he wrote and originally performed with Syreeta Wright. Mancini's take here is genuine and fresh, full of a wistfulness that is palpable. "Without Him" (Harry Nilsson) finds Mancini opening up the dynamic range a tad, showing flashes of the performer she is on stage. Felix Cavaliere sits in on Hammond B-3 for his "How Can I Be Sure", a song full of trepidation and a solid mix of love and on-going heartbreak. Mancini shows more of her dramatic side here, getting inside of the song like it came from her own heart. The Beatles classic "I'll Follow The Sun" is presented in Muzak format, and Mancini does justice to the vocal line, but Shelly Berg's arrangement is just too passive to match the song's heart.

On "Ballad Of The Sad Young Men", Mancini sounds more like a classic chanteuse, offering up a sleepy but heartfelt lullaby for all who have seen better days. "Something So Right" (Paul Simon) finds Mancini at her best; quiet and reserved but with real energy that speaks of emotion and intellect. You might guess that Mancini connects with Simon's work on a personal level from the two selections offered here. Mancini's take on Billy Joel's "I've Loved These Days" comes off sounding like a quiet soliloquy from a Broadway show. Where Joel's original is a reminiscence from someone who started at the bottom and made it to the top, Mancini's is a bit too refined to be believable in the same context. Nevertheless, Mancini quietly bowls you over with her vocal performance, and the song works in spite of the dichotomy. Mancini closes with Janis Ian's "Joy", a thoroughly heartfelt rendition that even the most severe Ian fan would approve of.

From the airbrushed cover photo right down to the last meticulously crafted and produced note, I've Loved These Days has been perfected and polished to immaculate proportions. This turns out to be the one complaint about the album. Everything here is so finely crafted that you lose sight of what a great performer Mancini really is. I've Loved These Days is exceptional, most likely a Grammy nominee before all is said and done, but it would be nice to have heard Mancini tackle these songs in a less scripted recording environment. Considering some of the people involved in this project, and the wonderful textures and nuances of Mancini's voice, what is highly refined and polished might have become magical.

Rating: 4.5 Stars (Out of 5)

Learn more about Monica Mancini at http://www.monicamancini.com/. I've Loved These Days drops on June 15, 2010. You can pre-order a copy through Amazon.

Rooney - Eureka

Rooney - Eureka
2010, California Dreamin’ Records/ILG

After a decade working under a major label contract, rockers Rooney step out on June 8, 2010 with their first independent album, Eureka. As if slipping from chains to freedom, Eureka is a buoyant and expressive album that explores real world emotions but does so amidst some of the most ebullient pop/rock songwriting of Rooney’s career.

Eureka opens with "Holdin' On", a song of hopeful regret that bemoans the past but looks forward with the expectation that things will get better. Robert Schwartzman perhaps draws on his own experiences dealing with a major label here, delivering his soliloquy in a great, upbeat pop arrangement. "I Can't Get Enough" is a radio-ready pop tune with a great, memorable chorus. This is a song that could take over the radio airwaves for the summer season. It's a bit light on meaning but has that all important unforgettable pop hook and blends rock and dance music nearly perfectly. "Only Friend" is a great bit of 1970's rock n roll with a tune that will get stuck in your brain; it's a pleasant change of pace.

Rooney gets existential on "Into The Blue" before launching into the pure radio pop/rock of "All Or Nothing". All of this is just a buildup for "The Hunch", which may be the best song Rooney has written/performed to date. There are hints of The Beatles and Del Amitri in this song's lineage, but the sound is so fresh and peppy it seems like a sure-fire hit. "I Don't Wanna Lose You" continues in much the same vein; an incredibly catchy pop/rock tune with roots in the 1960's but fresh as can be. Rooney stays firmly rooted in catchy pop, this time with a melancholy twist on "Go On", another song that wants to jump off the album into your ears and straight to your brain, where it could reside for days on end.

"You're What I'm Looking For" is a classic, upbeat love song blending rock and Americana around a catchy melody. It's a bit more laid back than much of the album, but works very well for the band. "Not In My House" is an intriguing song full of anger. It could be a breakup song, or it could be an ethnocentric soliloquy. Either way it's a brilliant tune. Schwartzman sounds a bit like late 1980's Billy Joel here. Eureka closes with "Don't Look At Me"; an ambitious pop tune that explores the effect that being out of work can have on someone. It's an apropos song for troubled times, putting into words and music the frustration of the nearly 18% of the American population (and larger proportions in other countries) who are unemployed or underemployed.

Rooney mixes good time rock n roll with deft political and social messages throughout Eureka. Of course, some of the songs are just for fun too. Rooney plays in the same melodic playground as The Beatles, with distinctive pop sensibilities woven into arrangements that run the gamut from 1960's to 1980's pop/rock with the occasional touch of Americana thrown in. Eureka is perhaps Rooney's most accessible album to date. In another era this would be a monster album that just kept on giving hit singles, perhaps on a par with Hootie & The Blowfish's Cracked Rear View. Don't be surprised if several songs from Eureka break into the wide open and dominate the radio waves this summer. This is what rock n roll is all about.

Rating: 4.5 Stars (Out of 5)

Learn more about Rooney at http://www.rooney-band.com/ or www.myspace.com/rooney. Eureka drops on June 8, 2010. You can pre-order the CD or Vinyl from Amazon. Digital pre-orders are available from iTunes in both Standard and Deluxe versions.

Review: Tortoise And Hair - Front Row Seat

Tortoise And Hair - Front Row Seat
2009, Tortoise And Hair

Husband and wife duo Adrienne and Dustin Cottrell, also known as Tortoise And Hair, hail from Marietta, Georgia and have been charming audiences in the Southeast United States for a decade now. The Cottrells studied together at Florida State University; each are classically trained musicians with a shared love of some of the great singer/songwriters of Rock N Roll era (Leonard Cohen, Joni Mitchell, Bob Dylan, Gillian Welch, etc.) Tortoise And Hair uses a distinctive sense of melody, witty and insightful lyrics and their own special chemistry to open ears, minds and hearts on their debut album, the self-produced Front Row Seat.

Front Row Seat does display a certain distinct chemistry, but its duplicity is fetching. For all the chemistry on the album, it really is more like listen to two distinct artist's solo albums on shuffle. Adrienne Cottrell leans more toward a Folk or Easy Listening sound, relying on the deft imagery in the lyrics and her angelic voice to entrance a crowd. Dustin Cottrell is a closet Rock N Roller. He plays along well on the more Folk-oriented material, but you can hear the enthusiasm in his guitar on the more Rock and Blues sounding songs. When the Cottrells sing together, however, there is no doubt they are together, as their voices intertwine and blend as if caramelized together by the music.

Front Row Seat opens with Traveling Song, a paean to finding home in the midst of love no matter where you might be. The arrangement is a sweet Maritime Celtic ballad and Adrienne Cottrell pays epic tribute with her voice. Dustin Cottrell takes over on Faultline '09, an edgy bit of Urban Folk with a touch of Blues. The song is as catchy as anything you might hear. Watching The World Fall Apart is a mellow shell for a blend of voyeurism and schadenfreude that may be an indictment of financial collapse of 2008 and those who brought it about. Watching The World Fall Apart is sublimely tuneful and holds a wealth of finely meted our bitterness in its grasp.

Confessor explores misplaced faith and the inherent need of even those who claim no faith to be absolved of their guilt. The song is a passive-yet-powerful story about one lost soul who keeps running to another in times of doubt, only to return when his well of certainty runs out. Adrienne Cottrell is out front on this one, a convincing and vaguely chilling story song that will stick with you. Big Picture is self-explanatory, a song that attempts to put life's little problems into perspective. Dustin Cottrell takes the lead with extensive harmonies from Adrienne. Voice Of The Wind is perhaps the most unusual track on the disc, built from a martial beat, an ethereal arrangement and a whirling collection of guitar riffs. No One Else In The World recalls a simpler time and focuses on self-fulfillment. It's not a flashy tune but flat out great songwriting.

Forever Yours is a powerful love song with perspective. Adrienne Cottrell ruminates on the changes that life brings yet returns to the one constant in her life: love. Forever Yours is likely to wind up on mix-tapes, dedication lines and any other method people can use to dedicate songs to one another. Lady Midnight is far and away the best songwriting on the disc; a wonderfully poetic representation of the doubts that strike us all in the hours between dusk and dawn. Adrienne Cottrell uses powerful imagery, vulnerability and an amazing voice to paint a picture that is many times greater than the sum of its parts. The song and performance are utterly brilliant. On Limbo, Tortoise And Hair explore the existential angst and self-doubt that accompany one of the many transitions from youth to adulthood. Dustin Cottrell is out front this time in a tune that sounds a bit like mid-1970's Billy Joel. For Once In My Life has an easy Piano/Jazz feel. It's a song about escaping all of your bonds for a little while; just being able to be, and is probably a daydream most concoct from time to time. Tortoise And Hair close with Just Another Road, a plain and plaintive closer that hides s quiet sense of hope that will grab you.

As a listener I was quickly drawn into the inner life of Tortoise And Hair. Like many of the troubadours before them, this duo breaks down barriers with honesty, intelligence and wit, all wrapped in tremendous melodies and supple arrangements. Front Row Seat does feel like two distinct artists at times, but even where this dichotomy exists, the sense of chemistry between the two never fades. Adrienne Cottrell writes and interprets brilliantly, and Dustin Cottrell brings an edgy sense to the duo that seems initially out of place but quickly melds itself seamlessly into the sound. Tortoise And Hair are a duo not to be missed.

Rating: 4 Stars (Out of 5)

You can learn more about Tortoise And Hair at http://www.tortoiseandhair.com/ or www.myspace.com/tortandhair. You can purchase Front Row Seat as either a CD or Download from CDBaby.com.

Review: Jag Star - Static Bliss

Jag Star - Static Bliss
2009, Lewpis Music

In today's music world, a decent Pop single is hard to come by. There are so many label-clone artists out there because commercial radio only plays fifteen songs at any one given time and they all sound more-or-less alike. A true single-worthy track is a big deal and can shake up playlists; having two tracks that are truly radio worthy is a rarer feat than it was twenty years ago. Artists who can capture three or more slices of pop perfection on one album are rare indeed. What a revelation it is, then, to discover Knoxville, Tennessee's Jag Star. I'm not follower of MTV "programming", and so had missed Jag Star's coronation on The Hills, Laguna Beach, The Real World and Newport Harbor. Not that Jag Star is a flash in the pan; with the release of Static Bliss, their fifth full length album over the past decade, Jag Star continues their tradition of capturing perfect sides of Pop music and offering them up in tight Pop/Rock arrangements wrapped around the gorgeous voice of singer/songwriter Sarah Lewis.

Sarah Lewis is an award winning songwriter several times over, winning the USA Songwriting Competition, iTunes Next Big Hit and London's WE ARE LISTENING songwriting award, while placing in the John Lennon Songwriting Competition and landing a Top 10 in Dick Clark's New Music Award. Not one to put all of her eggs in one basket, Lewis is also a cover girl; she's the Face of Wet N Wild Cosmetic in national print campaigns. But singing and writing songs seems to be Lewis' greatest gift, and the rest of Jag Star build winning Pop/Rock arrangements around her on Static Bliss under the steady hand of producer Travis Wyrick (P.O.D., Pillar, Disciple, 10 Years).

Jag Star opens with Talk To Me, a delicious Pop nugget that's intelligent enough to garner fans who think about music but catchy enough to have a serious half-life on the Pop charts. Lewis' voice has a light Pop feel, but there's enough Gwen Stefani-style tough girl in that voice to captivate listeners. Pressure is a bit derivative, perhaps paying (unwitting) homage to Billy Joel's song of the same name with a derivative keyboard riff. The song is incredibly catchy, particularly the bouncing chorus. Jag Star is 2-for-2 so far on songs with real Commercial Pop punch. Can't Make You Happy is a strong tune as well; the chorus doesn't really capture but then Jag Star pulls one of those choruses that thoroughly haunts your brain, making it an indispensable part of the album (although a long shot as a single).

Sofie is a song that could only be written from a mother to a daughter. There's not a mother out there who won't identify with this song. As always, Lewis creates a memorable melody and infuses it with real life. The arrangement is solid, and the musicianship is tight. Rewind is an interesting tune; my least favorite on the album, and yet it might be the song with the strong Pop radio potential. From a sonic perspective the song is striking and memorable. From a writing perspective it's not Lewis' best but it's solid. Shine is pure Pop/Stadium anthem. This is the sort of tune that an entire audience gets on its feet for and sings along to the chorus. It's a hard one to resist. Don't Go Away and Why Do I Miss You are decent enough, but both seem a bit less than the material they're surrounded with (or follow). Jag Star closes out with At The End, an Electro Pop offering that does them no justice.

Static Bliss is superb over the first seven tracks, offering up no less than four solid potential hits. The songwriting of Sarah Lewis is a factor, as is her voice; but the musicianship of the rest of the band is an integral in creating the musical web that surrounds Lewis. Jag Star is quite obviously here to stay. It would be easy to pronounce Jag Star the next big thing, but this album ends up feeling a bit rushed at the end (like perhaps the last three tracks were thrown on just to complete the album rather than waiting to write material that fits in with the album as a whole. Nevertheless, Static Bliss is not an album to pass by. If Pop/Rock is your mien; if you always wanted a band with the Pop power of The Go-Go's and the toughness of No Doubt, then listening to Static Bliss will feel like coming home.

Rating: 3 Stars (Out Of 5)

You can learn more about Jagstar at http://www.jagstar.com/ or www.myspace.com/jagstar. Static Bliss is available on CD through CDBaby.com. Downloads can be acquired from Amazon.com and iTunes.

Review: David MacKenzie & Josh Johnston - Notes Home

David MacKenzie & Josh Johnston - Notes Home
2008, Shandon Records (Ireland)

Dublin is home to David MacKenzie and Josh Johnston, but much of their writing gets done on holiday in Italy and France. Hence the title of their sophomore album, Notes Home. MacKenzie & Johnston were accomplished musicians before coming together. David MacKenzie began his professional career with the BBC Northern Ireland Radio Orchestra. He has played with various ensembles throughout Europe and has recorded with Elmer Bernstein, John Barry, U2, Shania Twain and The Corrs. Josh Johnston has recorded or performed with Roesy, Kila, Declan O'Rourke, Karl Scully and Ronan Swift, and counts The Beatles, Billy Joel, Elton John, Alan Parsons, Ben Folds and Moxy Fruvous among his influences. MacKenzie and Johnston's debut album, A Minor Happiness was a straight-forward duet of violin and piano mix originals and covers, but for Notes Homes, the duo tackles the musical world of Stephane Grappelli and Joe Venuti with thirteen original tunes that transcend the spirit of the two jazz masters.

Notes Home opens with The Latecomer, a vibrant and mildly rambunctious work that dances on the edges of Bee-Bop and Rockabilly. MacKenzie & Johnston dance around each other like a pair of prize-fighters, and when they meet musical sparks fly. Cap Mortola is a lilting tune, perfect for dancing. Things take a dark and sentimental turn on Silk, a light samba perfect for the parlor or piazza. Place Carnot perfectly present and past, with guitar and violin in perfect sync throughout. MacKenzie And Johnston take things down a notch with La Nabonnaise, one of the simpler and most stoically pretty songs on Notes Home.

Minor Happiness was not my favorite tune on the first listen through, but I have to admit it grows on you. The song is pure joy in melancholy blue with a melody that sticks with you and an arrangement that's a hair's-breadth from perfect. Broadband Blues takes another tack, with a light and airy theme that plays like a fragrant summer's evening breeze. The low point of the album, a misnomer, is Waiting. This is simple dinner jazz, perfectly executed; a musical resting place before the final stretch. Wistful Thinking leads into the highlight of the album. Point Neuf is a deliciously dizzy waltz, with the violin dancing like a dervish. Don't be surprised if Point Neuf causes you to push the replay button many times over. MacKenzie and Johnston close out with the highly danceable Sliding Scale. The piano is bedrock here, with the violin providing the fireworks.

David MacKenzie & Josh Johnston make all the right moves on Notes Home. Fans of Django Reinhart, skeptical of all of the artists out there who "sound like" Reinhardt, will be pleasantly surprised by the chemistry and musicianship on Notes Home. MacKenzie & Johnston don't try to be Reinhardt and Venuti; instead they pay tribute to their legacy, staying close enough to the masters to be in the ballpark but original enough to bring that classic sound forward into the 21st century as vibrant as it ever was. Make sure you get your Notes Home.

Rating: 4 Stars (Out of 5)

You can learn more about David MacKenzie and Josh Johnston at www.myspace.com/davidandjosh or http://www.davidandjosh.com/, where you can purchase a copy of Notes Home.