The Qualia - Memorial Gore

The Qualia - Memorial Gore
2011, WTII Records

A lot of unusual things happen in Brooklyn.  Where else could a quartet like Lars Casteen, Rossen Nedelchev, Chvad SB and Zakai Robbins come together?  And where else would an utter blend of musical sounds and styles solidify into the synth-based musical menagerie of The Qualia?  Growing up in Charlottesville, Casteen rebelled against the Dave Matthews-induced onslaught of commercial roots/pop/jazz/rock, seeking out the grand synthesized sounds of the new wave era.   Step forward nearly two decades and Casteen casts his pen in all musical wells, drawing forth sounds from disparate backgrounds and marrying them in catchy numbers that defy categorization. His band, The Qualia, will release their latest EP, Memorial Gore, on June 14, 2011.

Memorial Gore opens with "Guess I Lied", a mildly catchy, mid-tempo new wave number driven by an incessant, alternating bass rhythm and staccato piano.  Casteen is solid on vocals, and the song makes a decent first impression for the band.  "Triple Crown" finds The Qualia sounding a great deal like Canadian rockers 54-40.  Heavy electronic effects, a big bass sound and big hooks make for an intriguing background, but Casteen sounds so much like Neil Osborne it's a bit scary.  "World Gets Around" is a stark story song with a sudden cut ending that will surprise you in its pure sensibility.  Things get a bit bland beside a wall of sound approach on "Keep It Coming", but The Qualia recovers somewhat with the meandering, electronically enhanced ballad "Fat On The Baby".  Memorial Gore closes with the danceable new wave of "Volcanoe (Diogenes Club Mix)".  This is middle of the road pop/dance material that you can move to, but won't particularly move you.

Memorial Gore finds The Qualia seemingly casting about for something - a sound; a style; a hook..  it's not entirely clear where the band is going.  That's sort of the point, to read their bio on their website, but makes it particularly difficult for the band to connect with fans.  There's little or no commonality throughout the six-song EP that helps to build a connection for listeners, other than the utter variability of the experience.  While this will hold fascination for some, it's the sort of fascination that tends to flee as the next new something comes along.  The Qualia show themselves to be musical solid on Memorial Gore, and Lars Casteen certainly displays chops as a singer and songwriter, but the net impression left of The Qualia at the end of Memorial Gore is of a band still trying to figure out just who they are musically, and trying to do too many things in the process.

Rating: 2 Stars (Out of 5)

Learn more about The Qualia at www.thequalia.com or www.myspace.com/thequalia.   Memorial Gore dropped on June 14, 2011.  The album is available for pre-order via Amazon.com as a CD or Download.

Sokoband - Sokoband (featuring Dave Matthews, Tim Reynolds, LeRoi Moore and Steve Kimock)

Sokoband - Sokoband
2010, Breezeway Records

Sokoband (formerly Soko) is a Charlottesville, Virginia based Jazz duo that formed in 1990. Comprised of Michael Sokolowski (piano) and Houston Ross (bass), Sokoband has worked with a number of top name performers over the years. In 1996, Sokoband released their debut album, In November Sunlight. The album featured guest appearances from Dave Matthews, LeRoi Moore and Tim Reynolds, and sold very well for an instrumental jazz album because of their presence. Sokoband wasn't happy with the album as presented however, and undertook remaking it over the past two years. The result is Sokoband, which includes all eight tracks from In November Sunlight as well as two new tunes. Matthews, Reynolds and Moore came back for this new project. Additional guests include Steve Kimock (guitar), Mike Colley (guitar), David Cast (sax), John Zias (guitar) and David Darling (cello).

Opening with the frenetic synth of "Coast To Coast", Sokoband creates a danceable pop offering steeped in Herbie Hancock style jazz/pop. It's an enjoyable tune that allows the musicians to explore their own riffs and inspirations while sticking closely to the main theme. "Jiriki" has a Latin jazz feel, with acoustic and electric guitars trading riffs in against the tasteful waterfall backdrop created by the piano and percussion. "In November Sunlight" sounds like film score music, with Sokolowski developing a pervasive and memorable theme on piano. As other instruments come in they somewhat obscure the theme, but it resurfaces from time to time out of the depths to remind us all that it’s there.

Sokoband launches into a ten-minute plus progressive jazz/rock Odyssey in the form of "Energy Changed", playing with dark subtexts and distortion around a guitar-led theme that's as unsettled as it is iconic. It's not Pink Floyd, but could have spun from a Gilmour-inspired haze. "And Yet Your Smile", one of the new tracks this time around, plays like a 1970's easy listening jazz tune, with saxophone out front. While it's a decent listen, it is driven by a very different writing style than the older material. Where the older songs have a fresh edgy feel a decade and a half after they were written, "And Yet Your Smile" sounds tired. "Half Sleep" is a repetitive expedition, holding space for the closing number, "Nightfall". "Nightfall" is the other new track on Sokoband; a moody variegated composition that dwells in ambience while it slowly progresses through an almost free-form melody.

Jazz fusion fans will love Sokoband. Hard-core Dave Matthews Band fans will snap it up (especially if they don't have 1996's In November Sunlight), but this is hardly a mainstream album. Sokoband is inventive and original at times, formulaic and derivative at others. The newer material, while relevant, just doesn't fit well with the original 8 songs. The original material gets new life here, mostly successfully. Sokoband is complex and highly musical when on their game.

Rating: 3 Stars (Out of 5)

Learn more about Sokoband at http://www.sokoband.com/ or www.myspace.com/sokoband. Sokoband is available as either a CD or Download from Amazon.com.

Review: Brian Pounds - After You're Gone

Brian Pounds - After You're Gone
2010, Brian Pounds

Austin, Texas-based singer-songwriter Brian Pounds might be young, but the twenty-year old brings a level of reflection to his songwriting that’s uncharacteristic for his age. His debut album, After You’re Gone, looks at love and loss with the eye not just of someone who’s lived it, but come to some sort of philosophical peace with both concepts. Working with producer Dave Wiley (Alpha Rev), Pounds has constructed an album filled with both solid songwriting and panache all while still trying to figure out who he is musically.

After You’re Gone opens with “Tired”, a light rock tune infused with elements of R&B. It’s a decent start to the album, and Pounds sounds more than a bit like James Taylor here. “After You’re Gone” is a solid, soulful tune. The chorus has a neat, torrential feel that fits the emotive nature of the song in spite of a general laid-back approach. Pounds does get a bit repetitive with the chorus. “Leavin’” is a wolf in sheep’s clothing; a country tune masquerading as a mild rocker. This tune screams for country twang, and sounds a bit emasculated in this straight-up version, but the songwriting is outstanding, and it’s only a matter of time before someone returns this song to its rightful genre.

“Smile” is a pleasing bit of Americana with a solid arrangement and a pleasant vocal. This song is keeper and is likely to be something of a fan favorite. “Don’t Waste My Time” doesn’t; a decent tune you’re likely to enjoy but which will likely fail to make a lasting impression. Pounds seems most at-home with the singer/songwriter styling of “In The Morning”. He has spent most of the album to this point trying to be and do things that don’t fully fit. On “In The Morning” Pounds thoroughly embraces his roots This is the best all-around performance on the disc. “Mistakes” is a melancholy song of regret that’s sonically pleasing Pounds closes with “Faith”, a needful side of acoustic pop; a solid tune that sounds exposed in this stripped down arrangement.

After You’re Gone is a solid exposure to the world of Brian Pounds. Pounds displays some talent as a songwriter, and has a voice that’s pleasant to listen to. Pounds is still trying to figure out exactly what his sound is, and that’s apparent on After You’re Gone. He seems most at home in the pure singer/songwriter material, but is struggling to find ways to make it sound more hip or modern. While that is admirable, it is often best to go with your strengths and not try to turn them into something they’re not. When Pounds offers himself up, unadulterated, After You’re Gone takes on an honest simplicity that’s endearing. The material where Pounds is trying out other sounds works to a point, but it doesn’t have the same blush of authenticity.

Rating: 3 Stars (Out of 5)

Learn more about Brian Pounds at www.myspace.com/brianpounds. After You're Gone is available as either a CD or Download from CDBaby.com.

Review: The Roans - Ebb [EP]

The Roans - Ebb [EP]
2010, The Roans

Singer/songwriter/producer/multi-instrumentalist Nate Gullickson moved from his home in Montana to Seattle in 2007 to find a music community more attuned his musical style. Gullickson's brand of ethereal and psychedelic folk/pop made Gullickson a lot friends in the music scene; friends who encouraged Gullickson to marry his instrumental creations to lyrics. Gullickson concentrated his efforts, and the resulting songs gave birth to The Roans. On April 15, 2010, The Roans will release their debut EP, Ebb, featuring four original compositions and a lot of ambient ear candy for listeners with the patience and appreciation for a different sound.

Ebb opens with "Fireside", a mellow musical hors d'oeuvre with a mellow, psychedelic feel. Gullickson has a pleasant voice that occasionally loses its footing on Mt. Pitch but conveys a bright and care free approach even as it circles lyrical dark waters. "You Tried (I Tried)" is full of mournful complacency. Gullickson explores the ending of a relationship in terms of acceptance that seems nearly listless. The authentic nature of the lyrics gains points, but there's little artistry in the story line, where everything is black and white and nothing's left to ponder. "Soft Forest" has a dreamy quality created by the blending of guitar and reverb. The Roans will remind those familiar with Kevin Hearn of the Barenaked Ladies keyboardist both vocally and in compositional style. The Roans really hit their stride here with a blending of ambient and psychedelic styles that overlays significant internal energy and struggle with an ethereal musical frosting that never really sits still. Ebb slinks back into the night with "Winter Sleep", blending lyric passages with a rhythmic intensity you might expect out of a twin bill of Dave Matthews and Rusted Root. "Winter Sleep" is a compelling listen; somnolence is overcome by the vibrant energy of life, which wells and sways until borders on controlled violence and ultimately chaos. Gullickson's voice doesn't always hold up well on the slower passages, but remains sonically pleasing even when he missteps.

Ebb is both a cornerstone and a jumping off point. Nate Gullickson explores the shallow mountain pools near the peak that beget streams, quickly moving into vibrant waters that appear placid on the surface but run deep and wide. "Winter Sleep" suggests that even as Gullickson was finding the sound on Ebb he was already beginning to envision something more; something listeners will be certain to hear when The Roans venture forth with their next project, whatever that may be. For now, Ebb is a tricky introduction that is both more and less than it seems. The Roans rely heavily on ambience and rhythm to drive compositions that are atypical in scope but sonically satisfying. The energy and angst you hear bubbling beneath the surface is an artist Becoming.

Rating: 3 Stars (Out of 5)

You can learn more about The Roans at www.myspace.com/theroans. Ebb [EP] is due for release on April 15, 2010. Keep checking The Roans MySpace page for availability.

Review: Barefoot Truth - Threads

Barefoot Truth – Threads
2010, Barefoot Truth, LLC

Mystic, Connecticut quintet Barefoot Truth are examples of the power of new media to make or break a band. In an era where the myopia of major radio has grown to epic proportions, services like Pandora have unprecedented power to help a band explore their fan base. That happened last year for Barefoot Truth, when Pandora Radio picked up their song “Roll If Ya Fall” and put it in rotation alongside artists such as Jack Johnson and Dave Matthews Band. Almost overnight Barefoot Truth went from a local band to a band in demand all along the east coast of the US. Looking to build on that momentum, Barefoot Truth returns with Threads in 2010.

Threads opens with “OK”, a delicious pop arrangement full of great hooks that is absolutely radio ready. Lead vocalist Will Evans sounds more than a little like Rob Thomas here, although that sound doesn’t necessarily hold throughout the album. “All Good Reasons” is highly enjoyable, a light and airy arrangement, mostly acoustic, blending elements of Americana and Pop. “From The Earth” is a call to arms for all of mankind to band together on the basis of the one thing we all share; coming forth from the Earth. The song casts aside ideology and demands that fate not be accepted. The arrangement is wonderfully executed, but the message perhaps doesn’t carry the power intended. Barefooth Truth sticks with the heavy environmental message on “Damage Done”, taking to task the power brokers and captains of industry for the deluge to come. The song is well-written, but lacks the veracity it might have had even six months ago before the climate-gate scandal.

“Roots Of Stone” finds Evans using a rapid-fire lyrical style ala Jason Mraz. The song is a bit on the dark and heavy side and sonically is the class of the album. “Curtain Call” is the sleeper single on Threads; danceable and dynamic pop full of funk that you’ll find yourself listening to again and again. Barefoot Truth raises their musicianship a notch for “Without A Fight”, a sort of pragmatic tune about not giving up on yourself. The piano work in this tune is worth checking out. Threads closes out with “Day I Die”, offering up an intriguing bit of fatalism in light of the call to cast fatalism aside in “From The Earth”. The musicianship and composition here are superior. Barefooth Truth show how young and fluid their perspectives are on “Day I Die”, but also firmly establish their ability to write an “It” song. This can only lead to good things down the road.

Barefoot Truth have something special cooking up in Mystic. Perhaps it’s the salty air or the pizza. Whatever it is, Barefoot Truth have broken through the regional cap and gained national recognition. Barefoot Truth shows the ability to craft and deliver songs with wide appeal without kowtowing to the bastardized pop that haunts commercial radio. The band doesn’t succeed with every song on Threads, but the band gives a solid effort on every song, raising their game at times on the album and showing flashes of what they might become. Threads is a great follow-up.

Rating: 3.5 Stars (Out of 5)

You can learn more about Barefoot Truth at http://www.barefoottruth.com/ or www.myspace.com/barefoottruth. You can purchase Threads as either a CD or Download from CDBaby.com.

Review: Howard Jennings - Ready To Listen

Howard Jennings - Ready To Listen
2009, Howard Jennings

New York City based singer/songwriter Howard Jennings carries the mantle of “the next Dave Matthews”, the 437,826th performer to carry that title in the past five years. Comparisons have also been made to Jack Johnson, Bob Dylan, Neil Young and Tom Petty. This all means that either Jennings is a wildly talented songwriter or that he sounds so much like most other young male singer/songwriters these days that it will be next to impossible for Jennings to distinguish himself. After listen to Jennings EP, Ready To Listen it’s safe to say that Jennings will distinguish himself quite nicely, even if the comparisons above are more about marketing than sound.

Ready To Listen opens with “I Belong To You”, a celebration of coming home to the one you love after being the road. There’s also a tacit acknowledgment here that such homecomings don’t happen often enough. The song is offered in a great Americana arrangement that is memorable. “You And Me” is a catchy little rock n roll nugget. The other person is leaving town this time, but Jennings makes a declaration that he is not going anywhere. Jennings has a potential hit here. “Heart’s Point Of View” is a love song from someone who’s maybe already lost but can get her out of his head. The song borders heavily on cliché at times but is solid with a great melody. Jennings brings in the funk and soul on “Appreciate”, sounding more like John Mayer than anyone else. “Appreciate” has hit single written all over it. Jennings closes out with “Love And Luck”, returning to a folkier approach that is nearly anti-climactic on a solid but unremarkable tune.

Howard Jennings certainly carries a bit of charisma with him when he performs. This charisma even comes out in the recording process as displayed on Ready To Listen [EP]. Jennings recently toured with Rusted Root, but I suspect that if Chance smiles, it won’t be long before young acts are touring with Howard Jennings. Ready To Listen [EP] is very much worth making some time for.

Rating: 3 Stars (Out of 5)

You can learn more about Howard Jennings at http://www.howardjenningsmusic.com/ or www.myspace.com/howardjennings. You c an purchase Ready To Listen [EP] as either a CD or
Download from Amazon.com.

Review: Ted Garber - American Rail

Ted Garber - American Rail
2010, Ted Garber

Ted Garber cut his teeth on the street corners of New Orleans, busking while a student at Tulane University, but performing has always been in his blood. Garber's father was a long-time regular on the Washington D.C. folk scene, and Garber grew up with a desire to be on stage. Garber's mix of Folk, Blues and New Orleans style R&B captivates audiences with both its refreshing honesty and musicality, drawing collaborators from bands such as Eddie From Ohio, Junkyard Saints and Last Train Home. Garber's latest album, American Rail displays the everyman grit of early Springsteen and a musical creativity that is both intriguing and surprising.

American Rail opens with It's About Time, a raucous mix of Blues, Soul and Rock N Roll that's highly danceable. Garber has an eccentric baritone voice that is engaging and pleasant to listen to. Break Me Down is an energetically mellow tune about losing yourself in another while setting boundaries to keep that from happening. Garber hits on a vibrant samba beat with virtuosic Latin guitar riffs on Montevideo, sounding like he's having a ball with the song. I should note that the entire band behind Garber sounds engaged at a high level; this is one tight unit that enjoys playing together.

Strike It Up is a solid blend of Rock N Roll and Soul, complete with Stax-style horns and a chorus that you can't help but sing along to. Strike It Up is the sort of song that gets a crowd moving, and Garber sounds at his very best here. Giving Tree comes back to a mix of Funk, Soul, Blues and Jazz that you could only be from New Orleans. Garber and band mix it up here with delicious results, guaranteeing dancing feet in any crowd. Waste Some Time is another highly catchy Rocker with Soul and Blues in its lineage. Garber seems to have a talent for these catchy tunes you just can't get out of your head. Live shows have to be absolutely insane.

March Of The Working Class Hero is in much the same vein: Great rhythm, catchy arrangement, high speed lyrical flow (ala Jason Mraz) and an insane need to dance/sing along. A Lot Like Me is a song about looking back at the follies of our own youth; with the realization that things work out alright in the end. It's an incredibly tuneful and catchy tune and will resonate with anyone who's old enough to share its perspective. Garber closes with Another Monday, an energetic Rock N Soul tune about getting through the weekend.

If you could splice the DNA of Dave Matthews with that of Rob Thomas, adding in a dose of Taylor Hicks and Jack Johnson, you'd end up with an artist not entirely unlike Ted Garber. Smart, tuneful songwriting combined with a memorable voice and a band as tight as the gates at Fort Knox make for highly enjoyable listening on American Rail. This is music you can listen to with friends, and it might just turn into a party.

Rating: 4 Stars (Out of 5)

You can learn more about Ted Garber at http://www.tedgarber.com/. You can purchase American Rail as either a CD or Download via CDBaby.com.

Review: Griffin Anthony - Crazy Ways

Griffin Anthony - Crazy Ways
2010, Griffin Anthony

New York City-based singer/songwriter Griffin Anthony brings a Soul-imbued Pop sound on his debut album, Crazy Ways. With quality and style befitting some of the bigger names in Pop music, Anthony adds his signature Soul voice and sharp songwriting to create one of the biggest surprises of the new year. The self-produced Crazy Ways was mixed by Grammy winner Charles Dye (Ricky Martin, Shakira, Jennifer Lopez, John Secada).

Griffin Anthony opens with the soulful title track. Anthony is vaguely reminiscent of Jason Mraz on Crazy Ways with a rapid-fire vocal style on the verses but breaks into a vaguely funky chorus full of Pop magic. So You is a Soulful Pop love song that's bound for the Mix Tape pool. So You is a likely candidate for licensing for television or films and may even have legs for commercial radio. Let Go is a great tune with a great message, and fits right into the commercial niche with artists likes Mraz, John Mayer, Rob Thomas and Jack Johnson. Funk and Soul are the order of the day on Keep It Honest, and Anthony even channels a bit of Dave Matthews on Sleepy Sunday, which has hit single written all over it.

The highlight of the album (the highlight amidst highlights) is Lift Me Up. Written form the perspective of a little boy who is trying to figure out the world around him but still looking to his Dad to make the way a bit easier, Lift Me Up is an amazing piece of songwriting. If you're a Dad this song will get to you. Without My Blocks returns to the flavor of catchy acoustic Pop with a soulful mien, telling a story against the backdrop of a divine arrangement. Anthony touches upon the desire for second chances on Plane Girl. If you've ever met someone while traveling or at the supermarket who caught you unawares and you let them walk away and wishes you hadn't, then this song sums up the desire for a second chance to do it differently. Anthony takes his Soul/Folk/Pop sound on the Lounge side for Pieces, an unpretentious little song that perhaps doesn't shine like its brothers and sisters but quietly holds its own. Anthony closes out with the Bluesy barn burner Hurry Up, shifting the tone of Crazy Ways suddenly in a promise, perhaps, of what comes next.

Griffin Anthony takes both the singer and songwriter aspects of his occupation quiet seriously, creating music on Crazy Ways that ranges from compelling to breathtaking. Crazy Ways is incredibly polished without sounding slick or over-produced. Don't be surprised if Anthony outlasts most of his Indie contemporaries and is still making viable, compelling music a generation hence. He's that kind of talent.

Rating: 4.5 Stars (Out of 5)

You can learn more about Griffin Anthony at http://www.griffinanthony.com/ or www.myspace.com/griffinanthony. You can purchase Crazy Ways as either a CD or Download from CDBaby.com. Downloads are also available through iTunes.

Review: JD Eicher & The Goodnights - The Shape Of Things

JD Eicher & The Goodnights - The Shape Of Things
2009, JD Eicher Music

Hailing from Pittsburgh, PA and northeastern Ohio, JD Eicher & The Goodnights carry a rust belt Pop sensibility and a melodic touch that smacks of U2 or Coldplay. Together since 2006, JD Eicher & The Goodnights play like a band that's been together for decades, and the catalyst is 20-year old singer/songwriter JD Eicher, who writes and performs with an aplomb that far outstrips his scant two decades. The Shape Of Things, JD Eicher & The Goodnights' debut album, captures both the ingrained maturity and youthful energy of a band too good to be so young and too young to know better.

The Shape Of Things opens with the title track, subtitled Intro; a guitar and violin led romp that is bound to garner some Dave Matthews comparisons from those who aren't listening fully. The song is about perseverance and faith and not giving up on your dreams. Acoustic guitar and violin team to provide the vital rhythm of the song in contrast to Eicher's affectedly lyric vocal line. This Is Something could be the rebirth of an individual following a breakup. It's a hopeful song full of a blooming strength. There's anger and pain here but they fade even as the song progresses. Broken Wave brings delicious funk to a song where the narrator stands up for himself in a relationship that isn't balanced. It's a powerful song, evoking not so much anger as a new-found strength.

Not A Love Song is sweet and sentimental, driven by a gorgeous counter-melody from the violin. The song so thoroughly evades cliche that it nearly comes full circle in one of the more emotionally honest songs I've heard in the new year. Wanderer points out how the wisdom can sometimes overcome the hive mind in a touching tribute to individuality not in and of itself, but in pursuit of true freedom. Catching Stone is unusual; an apology for the over-reactions and hyper-sensitivities that sometimes arise in relationships. It's a powerful song with a tremendous chorus that will get stuck in your grill. Level Out is a personal favorite, utilizing a mildly percussive guitar as a plaintive counterpart to a soaring melody about hope. Eicher does a tremendous job of story-telling here in vignettes, and vocally it's the high point of the album as well. Wooden Shelves shows a similar propensity for story-telling and is nearly as good.

You Are is a delightfully upbeat song about doubt and wonder. Eicher is seeking answers and understanding from a world he's only begun to comprehend. The chorus is highly memorable; one that stays with you. Rain fits in with the general theme of finding your place and role in the world, using raindrops and their intentions as an initial parallel. The message, essentially, is that everyone has questions, but don't sit around wondering, get out and find out by doing and trying things. It's a vibrant bit of folk rock that's highly enjoyable. Calm represents a hopeful offer that is forsaken and leads to the closing track, Stopping Grounds. Stopping Grounds is all about making a stand for yourself; finding a place of strength to stand up to the world and say "no more". It is a song of quiet strength and really is a trip full circle from where Eicher started out, like a metaphorical trip of self discovery that winds up right where you started, but knowing that that, in fact, is the answer.

The Shape Of Things is one of the most gloriously subtle Pop albums of the past year, combining strong melodies full of beauty with story telling peppered with insight and a sort of awkward grace. JD Eicher And The Goodnights deserve every bit of attention they get for The Shape Of Things, and much more that won't come in a fractured and factionalized music business. The hints of awkwardness make this album distinctly human and wholly personal, like a late night phone call from an old friend full of the insecurities and vulnerabilities you only whisper to someone who knows your heart. JD Eicher treats all who will listen like his closest friend, and he connects. The Shape Of Things is unique and timeless; a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about JD Eicher And The Goodnights at http://www.jdeicherandthegoodnights.com/. You can purchase The Shape Of Things on CD from JD Eicher And The Goodnights' Web Store, or you can download the album from iTunes.

Review: Dave Power - Addiction

Dave Power - Addiction
2009, Dave Power

Brisbane, Australia's Dave Power found his mother's old acoustic guitar at the age of 16 and found a creative world opening for him like none he'd ever imagined. His need to play helped Power develop a latent talent as a lyricist and songwriter that dovetails nicely with his strong, clear singing voice. Power has begun to grab a lot of attention in Australia, winning or placing as a finalist in songwriter/performing competitions sponsored by 4BC and Chartsong Studios. Internet and terrestrial airplay has been strong for the artist whose primary influences include Bob Dylan, John Mayer, Dave Matthews, James Taylor and Chris Isaak. Power's latest EP, Addiction, offers up six original tunes that have the potential to make Power a breakout artist both in Australia and in other markets around the world.

Power plies a highly personal story-telling style in song on Addiction, opening with the sweet reverence of Angel Girl. Angel Girl is pure mix tape magic that could be a true hit for Power. American Adult Contemporary Radio would eat this up, particularly if a show like Delilah got hold of it. Power launches next into the soulful Lovestruck, crafting a smooth and sultry jam that has major commercial potential. Addiction tells the story of being so enthralled with a relationship that all other responsibilities fall out of focus. The dark elements of the arrangement foretell the realization that all is not right in a wonderfully written and arranged tune. Power gets in an upbeat love song certain to fill up dedication lines on Here Tonight. What's most impressive about Power is the clear, prescient Pop sensibility he displays in his songs. Power writes melodies you want to sing along to and lyrics that are memorable, all wrapped up in ribbons of subtlety and grace. The Old Man reflects on the wisdom of elders in a wonderfully crafted story-song that will serve as a pep talk for anyone chasing a dream when doubts creep in. Power closes out with The Grand Plan, a meandering love song with an ethereal feel.

Dave Power is the real deal as a songwriter, reminding me strongly of Dan Fogelberg for his lyrical acuity and sense of melody. Addiction is worthy of its name; I suspect that folks who get Power will have these songs on repeat for some time to come. This is not the last we'll hear of Dave Power. Someone this talented won't be just a regional talent for long.

Rating: 4.5 Stars (Out of 5)

You can learn more about Dave Power at http://www.davepowermusic.com/ or www.myspace.com/davepowermusic. If you need your Addiction on CD you can purchase it directly from Dave Power, or you can get digital from iTunes.

Review: The Andrew Heringer Band – The Paradise Sessions

The Andrew Heringer Band – The Paradise Sessions
2008, Dawson Records

Sacramento California’s Andrew Heringer is a singer-songwriter who has tied his fortunes to a Rock N Soul Jam Band. Heringer has shown a natural pre-disposition for the stage from his early teens, and his Dave Matthews/Jason Mraz style songwriting has helped him build a steady fan base on the West Coast. The Andrew Heringer Band is currently working on a new album, due out in late 2009 or early 2010, but for today we’ll be checking out their debut, 2008’s The Paradise Sessions.

Heringer opens with Sit & Stare, a song all about the cat & mouse games that come with getting to know someone. It's a great tune with some light jazz flavoring. Heringer's voice is pleasant to listen to with a slightly rough texture. Molly opens with a free-form sax solo that slowly segues into the song called Intro #1. Molly is a loving ode that manages to be catchy; sounding a bit like Rob Thomas meets Dave Matthews. Heringer hits all the right notes on A Thousand Years, a sweet love song set in an acoustic/electric arrangement. The highlight of the album is Release The Funk a delicious Rock instrumental laced with funk and some serious piano chops. The piano and sax combo is reminiscent of the days when Richie Canata played with Billy Joel.

Intro #2, a decent instrumental guitar segue opens up Love To See You Smile. This is a slow love song that tries to be a bit more typical in the ballad category but just never captures the energy you might expect. Heringer goes for epic composition on Goodnight. Lengthy at 6:01, Goodnight goes from straight forward songwriting to Progressive breakdowns before settling back into its base theme. The songwriting is very strong, although the tune does get a bit unfocused at times. Summer Roof gets similar marks, falling so heavily into a jam mentality that the melody gets lost.

The Paradise Sessions speak of many things. Andrew Heringer and his band have a great deal of talent. They write and play well, and they like to jam. They just seem to have a difficulty marrying the songwriter aspect with the jam musician aspect of themselves. The great jam bands can take you on nearly endless detours and suddenly settle into the theme and make you feel like the whole thing was planned. The Andrew Heringer band gives the impression, even on their album, that sometimes the fact that they get back to where they started is almost more luck than planning. This is fine for an Improv band, and there's nothing wrong with flying by the seat of your pants once in a while, but The Paradise Sessions dances right off the tracks at times, making those transitions seem more jarring than at-ease. There's a lot of good here, but the process, perhaps, could use a bit of refining.

Rating: 3 Stars (Out of 5)

You can learn more about The Andrew Heringer Band at http://www.andrewheringer.com/ or www.myspace.com/andrewheringer. You can purchase a copy of The Paradise Sessions from Big Cartel.

Review: Eyeswide – The Acoustic Project

Eyeswide – The Acoustic Project
2009, Eyeswide

Neil Crowe is a Barrie, Ontario singer-songwriter who is paying his dues on the Toronto music scene. Playing five nights per week, Crowe has lately taken on the moniker Eyeswide when performing acoustically. The Acoustic Project CD is a collection of nine tunes that have been stripped down to just Crowe, his guitar and voice. Crowe has an ability to build a rapport with his audiences; let's see how this carries over into the recorded media.

The Acoustic Project sets sail with What Do You See, a short, simplistic tune that's perhaps more of an Epilogue than anything else. There's a morose, depressive feel to the first track that carries over in part to E-Dub. The refrain here is repetitive to the point of breaking, perhaps the desired effect given the near-obsessive feel the song has. The narrator is in love unrequited, perhaps, and still pushing for a response from his intended. #22 opens with a guitar riff that's reminiscent of Dave Matthews but fails to show much of real lasting effect. Further Down The Road continues in the depressive-state that is strongly reminiscent of The Smiths. Part of this is fed by Crowe's voice, which is dark and textured like a rough grain bread. Armor Up picks up the pace a bit, but still has that same emotional monotone going on. Conscious Man and Eustress continue in this emotionally numbing musical path, sinking further and further into a sort of pious destitution. A Song I Think She Might Like and Man On Fire, both of which seem to try and separate themselves from the morbid sense of loneliness that pervades the album, but neither can quite pull free of its gravity.

Eyeswide may as well get points for emotional honesty, but the presentation and tenor of The Acoustic Project just doesn't won't add up to repeat listens for most music fans. This was a difficult disc to sit through; not because it's bad, but it came too close to sitting down next to someone on the train or bus who begins to pour their life in all of its sadness and loss on your shoes. I know there are folks who get into the sort of self-possessed tales of woe that are on The Acoustic Project, and some of them may even like what they hear here, but it's difficult to recommend.

Rating: 2 Stars (Out of 5)

You can learn more about Eyeswide at www.myspace.com/eyeswidetheband. As of publication date, Eyeswide’s MySpace page indicates that the album will be titled, simply, “Eyeswide” upon release. No release date is yet available.

Review: Savio Rego - All I Want

Savio Rego - All I Want
2009, Savio Rego

Born in Bombay, India and raised in San Jose, California, Savio Rego knows a thing or two about the blending of cultures. Rego taught himself to play guitar at the tender age of 13, picking out the notes of Guns N Roses' Patience; just as he saw no boundaries in learning guitar; Rego knows no limits to his avenues of musical expression. Incorporating elements Jazz, Latin, Blues, Folk, Electronica and Trance into a charming pop framework is Rego's vibe, and he appears to have found something special on his latest album, All I Want. All I Want has been available on MySpace for about four months as of this writing and has already sold over 2,000 copies on word of mouth alone.

All I Want opens with Senorita, a Latin Jazz flavored piece of Folk/Pop featuring Rego's smooth vocals. Sung in both English and Spanish, it's a modern urban mix-tape must. The melody here is intriguing, but it's the guitar work that will get you on this one; Rego builds a stellar minimalist arrangement around a strong melody line and creates a bit of magic. On Be Mine, Rego comes across as sort of a Latin Dave Matthews; once again aiming for the mix tape stratosphere on a dreamy love song that will melt hearts. Rego sticks with the minimalist aesthetic he advanced on the opening track, highlighting his guitar skills and voice simultaneously. Miss You is a musical monologue spoken (or sung) to a loved one who is away from home. The musical structure doesn't change but there's a distinctive melancholy that comes through Miss You. This is the sort of song that Casey Kasem started his Long Distance Dedications for.

Muse gets a bit repetitive, reflecting a relentless desire. At times it sounds as if Rego is talking about a hypothetical woman, and at others he could be talking about the theoretical Muse. It's never 100% clear in the song. One issue that seems to be developing over the course of the album is a marked homogeneity in sound. Rego rarely varies from the sound, style or dynamic that he established with the first track. This makes for a very consistent sound across the disc but may also lead to a perception that all of his songs sound the same. Ditto Jamaican Queen, another minimalist acoustic-guitar based tune in that same soft dynamic. There's no discernable Latin feel here, but the Folk/Jazz elements are here to one degree or another.

By the time we get to Chai Time Rego himself must be tiring of the sound, as he engages an electric guitar with looped beats and synth to mix things up just a bit. The result is a New Age/Jazz styled instrumental you might here in a subtly lit coffee house or a doctor's office. It's a decent listen in terms of relaxation but doesn't display a great deal of originality or direction. Rego heads for the Blues on Moving On, the best all-around track on the disc. Rego's vocal dynamics still haven't changed, but there's more energy and vitality to this song than on anything that came before. Rego winds down with Love Me For Me (Solo), a song that sounds like it should be a standard. The vocal sound has been consistent throughout, and Rego returns home to the sound the carried him through most of the album for the closing track.

All I Want is a solid album, with a solid, consistent series of performances from Savio Rego. This is an album that may lose its luster with listeners after a while because the sound is so consistent throughout that if you're not listening carefully you may confuse on track for another. Rego is a talent, to be sure, but he would benefit distinctly from collaboration. All I Want is simply too monochromatic to retain deep interest. There are no nooks and crannies to dig into.

Rating: 2.5 Stars (Out of 5)

You can learn more about Savio Rego at http://www.saviorego.com/ or www.myspace.com/savioregomusic. You can purchase All I Want as either a CD or download at www.cdbaby.com/cd/saviorego2.

Review: Loomis & The Lust - Nagasha EP

Loomis & The Lust - Nagasha EP
2009, Kings Of Spain/BMI

Santa Barbara, California is home base for Loomis & The Lust, but after listening to their debut EP, Nagasha (July, 2009) I suspect they'll be spending a lot less time at home. With such diverse influences as The Kinks, The Animals, Chet Atkins, David Bowie, Red Hot Chili Peppers and Franz Ferdinand, Loomis & The Lust create an original brand of Rock N Roll with an honest affection for 1970's classic rock and a hook-laden philosophy straight out of the 1980's. Nagasha was produced by Brandon Mason (David Bowie, Secret Machines, Bono, The Edge), and features some of the catchiest, most danceable Rock N Roll of the year.

Nagasha opens with Bright Red Chords, a song that will lodge itself in your brain before you even know it's happened. The melody here has a universal feel, like something you've heard so many times you know it even as you hear it the first time. With a catchy, dance-inducing arrangement, Bright Red Chords will stick with you for a good long time. Break On Love has a classic, Blues/Rock feel and would fit right into an AOR playlist. Sweetness sounds like it could be a mix of The Wallflowers and Dave Matthews (solo), carrying a chorus that's unforgettable, while Cure For Sale slows things down a bit in a gentle rocker that entrenches in the Wallflowers sound. Cure For Sale may well be the most marketable song on the disc, likely having significant allure for the licensing world. Girl Next Door is a big, raucous blues-influenced rocker that sounds like it could be the basis for a movie. The theme here is a classic for Rock N Roll, and Loomis & The Lust show what they're really made of, using double entendre and testosterone-laden intentions for an amusing bit of musical confusion.

Loomis & The Lust take Rock N Roll back where it belongs in the five songs presented on Nagasha, blending deep classic rock roots with some of the zeitgeist of the 1980's and a modern twist. I suspect Loomis & The Lust will see a lot of commercial success in the licensing realm, although I am not sure where they fit in currently in the world of radio. From anything I have read about the band the live show is the thing. Loomis & The Lust seems to convert new fans every time they step on stage. Consequently, while I highly recommend you check out Nagasha, I would urge you to make a point of seeing Loomis & The Lust if they come to your town.

Rating: 4 Stars (Out of 5)

You can learn more about Loomis & The Lust at www.myspace.com/loomisandthelust or http://www.loomisandthelust.com/. You can purchase the Nagasha EP directly from their band via their web store, or digitally via 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: 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: Taylor Carson - Standing Alone

Taylor Carson - Standing Alone
2008, TAC Records

Arlington, Virginia’s Taylor Carson is another singer/songwriter in the Dave Matthews/John Mayer/Jack Johnson vein, a purveyor of bed sheet soul and folk. 2008 saw a breaking away of sorts for Carson, who after two albums with a full band decided to truly take the stage for himself on Standing Alone. The album is essentially just Carson and his guitar, and he makes the most of the opportunity by delivering highly emotive and personal songs in folk/rock arrangements for one.

Standing Alone opens with Fade Away, a wonderfully well-written song about the uselessness of dwelling in the past. Fade Away is intelligently conveyed in a gorgeous acoustic guitar arrangement. Fly bears out the fact that Carson has a bit more texture to his voice than the folks mentioned above, but the vocal style doesn't change much. Fly is a heartfelt ballad that doesn't fit to the typical Pop radio ballad form. Hips & Minds is a highly entertaining juxtaposition of the thinking and carnal aspects of human interaction and attraction. Carson is all out with his emotions on every song thus far on Standing Alone, proving the title to be more than just words.

Afraid stays with a highly emotive style with Carson going all-in on the emotionally wrenching vocal line in a song about loss. The arrangement works well, with Carson providing a rhythmically varied guitar background. Chances carries a positive message about reaching for your dreams and is probably the song on Standing Alone with the greatest licensing/commercial potential. Heavy (The Whiskey Song) is all about taking solace at the bottom of a bottle at the loss of a love. The idea is a bit cliché, but the song is well written, and Carson's raspy voice is the perfect tonic here. Taylor Carson hits a high on The Way You Walk Away, a sweet come-on song that has real commercial potential. The folk arrangement here is great, but with a full-band sound and the Pop/Rock side of this song fleshed out a bit more I could see this song taking radio by storm. The album closes out with Understand Why, an introspective song about love and the fear of crossing the bridges that come with it. Understand Why is a bit of mix-tape magic that will gain Carson a lot of fans.

Taylor Carson doesn't have a pretty voice, but it's an interesting voice that keeps you listening. The raspy textures of his vocal lines work with his emotive style to create a dramatic sense in even the slower songs presented on Standing Alone. The songwriting here is excellent, although I would like to hear what a full band would do with these songs. Taylor Carson has a real future here. Standing Alone is a great start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Taylor Carson at http://www.taylorcarson.com/. You can purchase a copy of Standing Alone at www.cdbaby.com/carsontaylor.

Review: Brydan Smith - Blue Skies EP

Brydan Smith - Blue Skies EP
2009, Brydan Smith

Brydan Smith is a Burlington, Ontario, Canada-based singer-songwriter with a penchant for serious, reserved songwriting and a pleasant voice. His debut CD, Blue Skies EP, will spark comparison to Ray LaMontagne, Jack Johnson, Dave Matthews, John Mayer, The Decemberists and perhaps even Nick Drake. Brydan Smith was inspired to pursue a career in music after seeing LaMontagne live a few years back, hoping someday to touch listeners the way LaMontagne’s music touched him.

Blue Skies opens with the title track, a pleasant listen that just didn't leave much of an impression other than the fact that Smith sounds a lot like Jack Johnson. Whiskey Dreams is a low-key folk tune about the urge to drown worries while working to climb out of the bottle and trying to live again. The song is very real to life and doesn't really convey a lot of hope that things will work out. Come Down features a soulful but repressed vocal from Smith. It's a great listen, although I'd like to hear Smith come out of his shell a bit more on the vocal line. Marianne is very similar in presentation; it's almost as if Smith the singer is holding back. The song itself is a beautiful tune, but the presentation here just doesn't quite do it justice; almost like a spoken word tune with accidental fluctuations in pitch. Bring Us Down doesn't change the direction of the album at all as the closer, sticking with a similarly monochromatic scheme.

Brydan Smith has a decent voice and a lot to say, but song construction and melody lines are too similar from song to song, and too compressed in range and dynamics to be very listenable over the course of an album or even an EP. There's almost a sense of monotone (ala Steven Wright) that pervades Blue Skies, a title that one might suggest is meant to portray hope for the future or better days ahead. Smith is a talented lyricist, but the presentation of the songs can be tough to tackle.

Rating: 2.5 Stars (Out of 5)

You can learn more about Brydan Smith at www.myspace.com/brydansmith, where you can purchase tracks from the Blue Skies EP. No word yet on CD distribution.

Review: Nick Daugherty - Movin' Higher

Nick Daugherty – Movin’ Higher
2009, Skyrocket Records

Los Angeles singer/songwriter Nick Daugherty is a former military officer with a penchant for deep lyrics and soulful arrangements. Among the upper echelon of performers on the L.A. music scene, Daugherty sets his sights on bigger things in 2009 with the release of his debut album, Movin’ Higher. Produced by Mandi Martin (Ray Charles, Sam Cooke, Oleta Adams, Amy Kuney), Movin’ Higher finds Daugherty throwing his heart and soul into every single track. It’s no surprise considering his list of influences, which include Sting, Billy Joel, Clapton, Stevie Ray Vaughan, Dave Matthews, Paul Simon and Derek Webb (Caedmon’s Call).

Daugherty opens with Movin' Higher, the title track, a mix of Americana, Blues and good old-fashioned pop music. The song is highly melodic with soulful backing vocals and a whole lot going on between the staves. Daugherty breaks into some easy flowing R&B on Out Of My League, a Delilah-worthy tune if ever there was one. Sick Day has a Barry Manilow does R&B feel to it that's pleasant to listen to although a bit odd in retrospect. The music here is generally in the Easy Listening/Adult Contemporary category, and works so well because Daugherty's voice is so pleasant and unimposing. Daugherty hits serious mix-tape territory with A Thousand Times Tonight, a sweet "falling in love" song that is sure to melt some hearts.

Staring At The Sun is a song about getting in lost in your own social scene, it's a high energy though slightly muted rock song with a high commercial ceiling. This sounds like movie soundtrack material for a teen comedy; don't be surprised if a bunch of artists pick this up as a cover tune. Daugherty steps back from the precipice of Rock N Roll with a jazz-flavored, Manilow-style ballad in Jamie. The songwriting here is exquisite, with Daugherty showing a lyrical finesse that is uncommon. This is another tune that sounds like licensing is in its future. The same lyrical acuity is noted on I Won't Stand For Watching You Fall Down. This song also hits on some mix-tape magic, but does skate dangerously close to the edge of cliché at times. The album closes out with Something More and Please Come Back Home. The latter is a love song written in a Blues and Gospel Rock format that's highly appealing to the ear.

Nick Daugherty writes Rock N Roll with some Blues, Gospel and R&B flavoring, depending on the mood of the song. Comparisons to folks like Barry Manilow, Marc Cohn and Joshua Kadison are inevitable. Daugherty's voice is a great sounding every man's voice; easy on the ears and with enough energy and heartfelt emotion to get listeners to buy into his songs. As a songwriter Daugherty is outstanding, possessing a talent for crafting lyrics that convey meaning without sounding trite. The material on Movin' Higher has a definite reading on the Schmaltz scale, but so what? When it's done well in the context of great songs, schmaltz is just another form of showmanship. Daugherty proves that showmanship is definitely a talent he possesses, and Movin' Higher is a great introduction who should be making music for many years to come.

Rating: 3.5 Stars (Out of 5)
You can learn more about Nick Daugherty at www.myspace.com/nickdaugherty or http://www.nickdaugherty.com/. You can purchase a copy of Movin’ Higher at Amazon.com, or download the album from iTunes.

Review: Remedy - Paleofidelity

Remedy – Paleofidelity
2009, Remedy

Remedy comes blasting out of Halifax, Nova Scotia as a two-headed musical monster offering a mixture of varied rock tunes and a slew 1970’s era Funk Rock songs as well. The band is a classic power trio with Steve Harley on vocals and guitar, James Bond on bass and Gil Roy on drums and backing vox. Harley and Bond are longtime members of the ECMA music scene, previously gaining attention as members of Devora and Sweet Tooth. Remedy’s debut album, Paleofidelity, was released April 4, 2009.

Paleofidelity is all about the Funk, my friends. In listening through for the first time, I was convinced that Remedy was headed for strongly commercial territory with songs familiar enough in style to get picked up by radio programmers but new and different enough to break out of the commercial pack. The first four songs on Paleofidelity would seem to bear this idea out. Up From The Bottom is Funky Rock N Roll with a bit of Blues thrown in. Rhythmic vocal lines accentuate the song structure and the strong, soulful vocals of singer Harley. Rude Reaction is a highly commercial hybrid of Reggae, Dave Matthews and Rob Thomas, all rolled up into one song. The melody here is the sort you're tempted to sing along with the first time you hear it and the harmonies are downright gorgeous. You Said To Me takes the Active Rock route with a bit of Elvis swivel in the rhythms. The vocal harmonies are again superb and the song is extremely commercial in sound despite its dark undertones. The sound on Paleofidelity starts to morph with Emergency Light, a classic early 70's Blues/Rock tune ala Led Zeppelin (although not quite as hard). The song is lyrically dense and the harmonies once again are sublime.

All of sudden, from track 5 on, Remedy is a different band, with a distinct emphasis on 1970's Funk/Rock. I'd have to say that the first four songs here were highly enjoyable and original (even if a little derivative at times), but the remainder of the album seems to get stuck on a sound and style and stay there (although it’s very well played). I love great Funk, but Remedy set the bar so high with the opening four songs of Paleofidelity that the rest of the album comes off as something of a letdown even though it’s very well executed. You'll want to check out Any Other Way, All In A Days Charade and So Much Better, but I'd almost recommend tracking the CD backwards on a playlist. Either way, you get to hear two sides of Remedy on Paleofidelity. Regardless of your tastes, there is a lot here to like.

Rating: 3 Stars (Out of 5)

You can learn more about Remedy at http://www.remedymusic.ca/ or www.myspace.com/remedythehalifaxfunkmachine. You can purchase a copy of Paleofidelity at www.cdbaby.com/cd/remedymusic, or you can download the album from iTunes.