Review: Earl J. Rivard - Underground Railroad

Earl J. Rivard - Underground Railroad
2010, Earl J. Rivard

Earl J. Rivard, III has built a life by making the most of his gifts and not allowing roadblocks to stop him from achieving his dreams. The Almeda, California resident has become a top-notch, highly courted performer in California in spite of being blinded and partially paralyzed as an infant by a drunk driver. Nevertheless, Rivard showed a musical proclivity from the age of three. His father, Earl J. Rivard, Jr. took his son under his wing, playing with Earl III until it became clear that Earl III had blossomed. Singing in a wonderfully soulful voice in English, Spanish and Italian, Rivard breaks down barriers for others as easily as he has for himself. Whether singing rock n roll, soul or troubadour folk, Rivard commands attention. Rivard will soon release his sophomore album, Underground Railroad, a stunning testament to perseverance.

Underground Railroad opens with the title track, a soulful and politically charged missive in song taking American immigration policy to task. Rivard calls for the creation of an underground network to help those crossing from Mexico into the US to circumvent US policy, singing passionately and with conviction. “Underground Railroad” perhaps ignores the fact that such networks already exist and continuously do battle with the limits that are in place. Musically, the song is well written, and for a passion perspective it’s convincing, but the inattention to detail makes the song less compelling. “Till I Met You” is a heartfelt but languid ballad that is pretty but lacking a bit in energy. Rivard shows two distinct sides here: In his upper range he could almost pass for a soulful Garth Brooks, but in his lower range he sounds a great deal like Taye Diggs.

“Coldest Place” is a sorrowful ballad that confirms Rivard’s weakness. The man has an amazing voice, but on the more lyric vocal parts he tends at times to lose the energy that sustains such songs, particularly on long, slow passages. “The Sun Finally Rose” finds Rivard turning the corner with a jubilant celebration of finding love after heartache. Delivered as a pop/Americana tune, “The Sun Finally Rose” is great musical poetry. On “Nobody Knows”, Rivard offers a theatrical presentation of a song about a runaway. You’ll swear this song must have come from some obscure but promising off-Broadway musical, and Rivard’s vocal reading is impressive beyond words.

“Magdalena” finds Rivard dealing in Spanish, and offering up guitar work that’s bound to draw comparisons to the great Carlos Santana. Wit shines through “Unfinished Songs”, a tongue-in-cheek paean to anyone who’s ever been or tried to be a songwriter. The song is full of snarky touches from the doo-wop background singers to the somewhat yet predictable yet still amusing ending. Rivard stakes his reputation on being something of a troubadour, and lives up to the billing on “Lady, Sweet Lady”. Sounding like an arrangement that might have originated in Shakespeare’s time, “Lady, Sweet Lady” is a lovely tune that firmly establishes not only Rivard’s versatility as a performer but also his talent as a songwriter.

“This Time Around” is an opportunistic love song done in an Americana/rock blend. It’s a classic tune about making the best of a second chance no matter the cost. “This Time Around” might be the finest example of songwriting on Underground Railroad. Rivard channels the spirit of Dan Fogelberg on Yours Eternally, a song all about the fragility of love. The gorgeous melody and arrangement are matched only by the prescience of Rivard’s lyrics and his mesmerizing voice. Rivard follows this up with “Yours Eternally”, which seems likely to be on the list of most-used first dance songs if Rivard ever gets his big break. This is a wow moment. Underground Railroad closes out with a radio edit of the title track.

It’s hard to imagine how Earl J. Rivard, III isn’t a household name already. What seems very likely, however, is that he one day will be. Whatever else you might have to say about Earl J. Rivard, it’s very clear that any deficits he may have suffered throughout his life seem small compared to the magnitude of both his voice and talent as a songwriter. Underground Railroad is a thrilling experience, an album you will cherish both in spite of and for its minor flaws. When Rivard sings, the angels stop to listen. You will too.

Rating: 4 Stars (Out of 5)

Learn more about Earl J. Rivard at http://www.earljrivard.com/ or www.myspace.com/earljrivard. Underground Railroad is due for release in the Spring of 2010. Keep checking Rivard's website for update release information and availability.

Review: Sass Jordan - From Dusk Til Dawn

Sass Jordan - From Dusk Til Dawn
2010, RBE Music/Kindling Music/Fontana

Sass Jordan never goes away. The owner of twelve Top-40 singles in Canada (including two in the Top-10, keeps finding ways to express herself in the arts. The star of the off-Broadway hit Love Janis also served as a judge for six years on Canadian Idol. Her music has been featured on numerous television shows and soundtracks (including an iconic duet with Joe Cocker on The Bodyguard soundtrack. Jordan's toured with Aerosmith, Cheap Trick, Alice Cooper, Van Halen, Carlos Santana and Cocker, but always returns to her own solo performing as the root of her creativity. On March 16, 2010, Jordan releases her eighth album, From Dusk Til Dawn. Rather than coasting comfortably at a point her career when the Juno-Award winning songwriter might, Jordan sparks with the vibrancy that turned heads even back in her days with Montreal’s The Pinups.

From Dusk 'Til Dawn opens with the delicious Blues/Rock of What I Need. Jordan steeps herself in the roots of old school Rhythm & Blues with the sort of strong rock vocal performance she's become known for. It's a knock out track that could be a big winner over the radios and at the award shows. Fell In Love Again goes with a classic Motown feel. You could almost here Mary Wells digging into this one, and Jordan does a great job with it. Awake is a gorgeous ballad full of regret; a song about getting ready to move on. For a rocker with something of a rough edge to her voice, Jordan is surprisingly polished and nuanced on the ballads on From Dusk 'Til Dawn. Jordan's everywoman act continues on Why Did You?, where she slips in Americana shoes amidst a big hook and catchy arrangement.

Lonely blends Country, Blues and Rock, ala Bonnie Raitt. This is another tune that could conceivably be a big hit over the airwaves. Jordan goes for an almost Appalchian feel on Matter Of Time, using very basic song structure and minimalist arrangement accented by great vocal harmonies. The song is well written and expertly performed. Jordan aces her cover of Tom Waits' Ol' 55, going for a highly fluid and smooth rendition, which works wonderfully well with and in contrast to Jordan's rock diva rasp. Stronger is great Pop songwriting; perhaps not as elemental as the other songs presented here, but certainly a decent offering. Jordan closes with the folky Home Again, a solid closer that sees Jordan adding to her versatility as a performer.

I remember the days of Racine and Rats, when Jordan was challenging Lee Aaron for the title of Miss Thing on the Canadian rock charts. Jordan hasn't lost the edge that made her a hit in Canada back then, but as an artist she's matured; adding nuance and class to a dynamic voice and an ear for melody that goes well with her ability to blow the roof off a room. From Dusk 'Til Dawn isn't so much a mellowing of Jordan's style or sound as it is a broadening of horizons. It would appear several years of judging the performances of others has made Jordan even more astute in making her own musical choices. On From Dusk 'Til Dawn she executes nearly flawlessly without giving up an iota of the energy or passion that always gave Jordan her Sass.

Rating: 4 Stars (Out of 5)

You can learn more about Sass Jordan at http://www.sassjordan.com/ or www.myspace.com/sassjordan. From Dusk Til Dawn sees its US release on March 16, 2010. Expect wide availability, if you simply can’t wait, the album was released in the Fall of 2009 in Canada, and is available through numerous resources on the web, including MapleMusic.com.

Review: Paris-Keeling - End Of Ride Revisited

Paris-Keeling - End Of Ride Revisited
2009, Surgeland Records

Paris-Keeling has been around the block a time or two, both together and individually. Vocalist Kelly Keeling started out as the lead vocalist of Baton Rouge back in 1990, signing to Atlantic Records and releasing two albums. Later working with Alice Cooper on Hey Stoopid, Keeling co-wrote Snakebit with Cooper. He's also spent time in studio or on the road with Don Dokken, Roger Daltrey, Carime Appice, Yngwie Malmsteen and Michael Schenker, among others. Guitarist Marty Paris is (somewhat obviously) a co-founder of Paris-Keeling, and also helped start the Independent musicians group in New Jersey known as the Skulls Project. Bassist Rick Van Benschoten is an award-winning engineer and sound designer who's worked with the likes of Celine Dion, Amy Grant and Madonna. Cellist Matt Goeke walks in both the pop and classical worlds, playing with everyone from Church Of Betty and Voltaire to Musica Sacra and the Stamford Symphony. Drummer Gintas Janusonis has gigs with Carlos Santana, Erykah Badu, Angelique Kidjo and Tony Bennett on his resume. Suffice it to say the band is talented. Surgeland Records recently released End Of Ride Revisited, the latest offering from Paris-Keeling. Featuring guest appearances by Don Dokken, Carmine Appice, George Lynch, Shane Gaalaas, Erik Norlander and Al Pitrelli, it's an explosive album from a band we never seem to hear quite enough from.

End Of Ride Revisited opens with Tears Of Heaven, wrapped in crunchy guitar, arena rock vocal triads and a pointed vocal about the evils of war. This is a great bit of ear candy for classic rock fans with Don Dokken sitting in, but has enough commercial sense to find a niche even today. Head Straight is a live recording that gives you a good idea of how the band sounds in concert; it's a decent sound that's right at home in an arena. Free is a poignant musical moment, built on piano and some gorgeous instrumentation wrapped around Paris' dynamic vocal line. End Of Ride (Suite) sounds like David Coverdale or some other icon of 80's glam rock singing with the Beatles. The structure and composition is pure Fab Four, but the iconic flair of the 1980's is overpowering. This is a great tune that stretches the stylistic boundaries in unexpected and welcome directions.

Morning Song is a bit befuddling. It could be a love song or a prayer, and it's never made entirely clear throughout. It's a lovely song, with orchestration and a melody that will stick with you. These Days is a tuneful rocker that features some blistering guitar work from Dokken axeman George Lynch. These Days has a swaying quality to it that makes it stand out, but Lynch provides an unbelievable solo here that absolutely makes the song. I've Found is a gorgeously arranged celebration of finding that special someone. The Beatles-style evident earlier on End Of Ride Revisited rears its head again here in a song with harmonies that are to die for. Don't Disturb The Occupants is a rollicking good bit of Rock N Roll; a let-it-all hang out tune perfect for a live show. This is most fun Paris-Keeling has on the entire disc based on the sound and energy and features Carmine Appice on drums. Telephone Line, written by legendary musician, producer and ELO front man Jeff Lynne, is perhaps the biggest highlight of the disc. Keeling works magic on the vocal line, and the arrangement/instrumentation is perfect. Paris-Keeling says goodnight with Alive, celebrating the things that really matter, regardless of the whims of day-to-day life. It's a grateful song for all that has come and for still being here to enjoy it all.

I have to say I was surprised by End Of Ride Revisited. I'd never heard the original End Of Ride, but was expecting a straight classic rock album from Paris Keeling. What they delivered is much more textured and nuanced than your typical 1980's Rock band experience. Paris-Keeling a true song smiths, writing in a sound that is undervalued at times for its quotient of significant, lasting songwriting. End Of Ride Revisited has a couple of holes here and there, but as a listening experience it transcends expectations and delivers a sound and style that crosses generations, boundaries and demographics in the way that most modern rock bands never even imagine much less produce. This is great stuff!

Rating: 4 Stars (Out of 5)

You can learn more about Paris-Keeling at www.myspace.com/pariskeeling or http://www.pariskeeling.com/, where you can order a copy of End Of Ride Revisited.

Review: Smokey Robinson - Time Flies When You're Having Fun

Smokey Robinson - Time Flies When You're Having Fun
2009, ROBSO Records/ADA Distribution

It's been fifty years since Smokey Robinson stepped into the limelight as one of the ubiquitous faces of Motown Records. Over time the acknowledgements have compounded, whether being honored on Hollywood's Walk Of Fame, receiving an honorary Doctorate from the Berklee College Of Music, a Rhythm & Soul Heritage Award from ASCAP or Kennedy Center Honors, Smokey Robinson has had an artistic and personal impact on music and on our culture. Robinson is known for numerous hits with The Miracles and on his own (Shop Around, Tracks Of My Tears, Tears Of A Clown, I Second That Emotion, Cruisin' and many others), but he's also written a slew of hits for artists such as The Temptations (My Girl, The Way You Do The Things You Do), Mary Wells (My Guy), The Marvelettes (Don't Mess With Bill) and Marvin Gaye (Ain't That Peculiar, I'll Be Doggone). Robinson doesn't sit on his laurels, however, returning on August 25, 2009 with an album full of 10 originals and 2 cover tunes: Time Flies When You're Having Fun. The voice shows a little wear from fifty years of crooning but is none the worse for it all. There's no one quite like Smokey Robinson.

Time Flies When You're Having Fun opens with the title track, a poetic monster but melodically a bit less than what I was expecting. Robinson has always had a distinctive talent for lyrics, and his voice is still unquestionable even with the toll of fifty years in the business, but something about this track just didn't click for me. Robinson's take on Norah Jones' Don't Know Why is true to the original but has more of a live feel. Robinson still records to this day with the entire band in one room, giving a more organic feel to the album and to this track in particular. Girlfriend finds Robinson digging into a more modern R&B/Dance feel, played organically. The result is a song with serious commercial value without compromising the timeless spirit that runs through the heart of Robinson's music.

Joss Stone steps in for a duet with Robinson on You're The One For Me. Stone tries to adapt a more lyric vocal style here to meld with Robinson's trademark sound but it just doesn't work out well for her. When singing with Robinson she sounds fine, but the heavy vibrato that creeps into Stone's softer sound makes a mess of the vocal line. This came as a surprise as I generally enjoy Stone's voice, but not here. One Time is an active R&B song that's as smooth as they come. I don't know if it will pull much weight on commercial radio with Robinson on vocals Robinson is a little outside their demographic, but put this song with a young up-and-comer and you've probably got a top ten hit. The biggest treat on the disc is Please Don't Take Your Love; hearing two legends such as Smokey Robinson and Carlos Santana trade lead lines is worth the price of admission on its own.

Whatcha Gonna Do is a soulful love jam with some serious jazz-inspired piano work. The vocal line gets to be a little repetitive late in the song, but overall it's a strong track. Satisfy You had a classic feel, along the lines of I Second That Emotion, but done in a modern R&B arrangement. The melody is archetypal for Robinson's songbook and may well join the ranks as one of his best songs. You're Just My Life features Robinson in a duet with the exquisite India.Arie. India.Arie holds her own alongside the Motown legend, providing listeners with a duet to remember. Robinson closes out Time Flies When You're Having Fun with an unnamed bonus track that turns out to be Robinson's take on The Jackson Five's One More Chance. Whether this was a late add-on in tribute to Jackson or planned ahead of time it's a classy rendition from a classy artist.

Time Flies When You're Having Fun is a wondrous mix of old and new; Smokey Robinson doesn't sacrifice himself or his sound but does manage to mix in a bit of the sounds of today with classic songwriting that would have been at home at any time in the Motown Era. The album has a couple of ups and downs but on the whole is a strong effort that should satisfy existing fans while opening the ears of a new generation to the wonder that is Smokey Robinson. Very well done.

Rating: 4 Stars (Out of 5)

Time Flies When You’re Having Fun drops on August 25, 2009. You can pre-order the CD through Amazon.com, or you can pre-order the download through iTunes.