Jason Sinay - Ape & The Wall Of Questions

Jason Sinay – Ape & The Wall Of Questions
2011, Apus Maximus

Jason Sinay is a musician’s musician; a top-of-the line session player who has worked with the likes of Jerry Lee Lewis, Neil Diamond, Dr. John, Neil Young, Keith Richards, Tift Merrit, Billy Preston and Ivan Neville (among others).  The seemingly natural born guitarist can play literally anything and play it well.  While Sinay has spent much of his career in the background supporting musical luminaries, he is also quite capable as a front man.  The point is proved on his second solo album, Ape & The Wall Of Questions.

Sinay opens up with a bluesy-folk take on the classic “Jack-A-Roe”.  Sinay’s voice is competent and clear, but it’s his subtly impressive guitar work that takes center stage here, evoking thoughts of such masters as Clapton and Knopfler.  “The Carney” commits to a relentless ennui, brought to life in a repetitive verse structure that is artistic and quietly alive.  The story/portrait here is intriguing, exploring the life of a carnival man.  Sinay paints in broad musical strokes, highlighting it all with country accents on guitar.  This is an outstanding piece of songwriting.  “Next Revolution” takes yet another turn, with Sinay offering up an Eagles-esque California Country style ballad.

“Santa Rosa” invokes thoughts of Tom Petty, both in it’s relentlessly Americana sound and even in the tones of Sinay’s voice.  This road song is all about getting back to the one he loves.  In spite of treading a musical trail that’s been covered thousands of times, Sinay manages to make it fresh and personal.  “I’ll Bring You Diamonds” finds Sinay throwing off melodic and understated licks that are right out of the Jimi Hendrix songbook.  All of this is done to the accompaniment of a sweet groove and a melody you’ll be humming/whistling for days.  On “Gimme The Time”, Sinay works out the kinks and wrinkles of a working class love song in no uncertain terms.  Sinay’s distinctive pop sensibility is dressed in Americana leanings, and the chorus is the sort that gets crowds on their feet.

“Love Minus Zero (No Limit)” is a deeply symbolic song about a love whose depths simply won’t be qualified in mere words.  This plays like an instant classic, as Sinay brings together all of the elements of a great song for five minutes.  “Hey Mama” is a solid R&B roots number that hearkens back to the early days of rock and roll.  This entertaining and danceable number sets up the closer, a rock and roll kiss-off called “Bertha”.  Sinay settles into a classic rock sound for his goodnight, perhaps coming full circle from his musical roots.

Some might listen to Jason Sinay’s Ape & The Wall Of Questions and assume that he’s just showing off.  Well why not?  Sinay is obviously a prodigious talent with a six string in his hand, and shows himself here to be more than a capable songwriter and vocalist.  Ape & The Wall Of Questions is a breath of fresh air, showing off a talent that is still growing and building.  Jason Sinay is an artist you’ll want to catch on to early and follow throughout what promises to be an exciting career.

Rating:  4.5 Stars (Out of 5)

Learn more at www.jasonsinay.com. 

The Ray Renzi Project - Oldzkool

The Ray Renzi Project – Oldzkool
2011, Oldzkool Records

In an age of genre hyphens, there are acts out there that blend so many styles they make the word genre practically obsolete.  Rhode Island's The Ray Renzi Project is one such act, blending jazz, rock, blues, country, R&B, Celtic, folk and more than a little Jimmy Buffet into an ever shifting musical patois that is as unpredictable as it is appealing.  All of this is evident on The Ray Renzi Project's album Oldzkool, a solidly appealing conglomeration of anything and everything you ever could have wanted out of the pop music era.

Oldzkool opens with "As Simple As", a catchy, straightforward rocker with Americana and blues in its ancestry.  It's philosophical and mellow song of love with a philosophical bent, supported by some impressive guitar fills.  "How Strong Is My Love" is a straight-ahead rockin' blues tune that is more entertaining musically than lyrically.  Renzi and his band have an ear for catchy blues/roots based rock n roll, with nods to both Mark Knopfler and Eric Clapton for style.  "Love Will Find It's Way" is a 1960's-style pop ballad with a memorable melody and a classic feel.  The song may sound a bit bland up against the material that precedes it, but is refreshing in its melodicism and pure pop sensibility. 

Renzi channels Jimmy Buffett on "A Cold Margarita" while working in references to artists such as Buffett, Alan Jackson and Bertie Higgins, amongst others.  It's a bit of kitschy fun that's part tribute and part parody, but very well played.  "Jazzette" is a brief instrumental diversion that makes the most of saxophone and guitar in a convincing jazz turn.  It's a solid change of pace that highlights the range and depth of the band.  "Come On Over" is 1950's rock/R&B with a walking bass line.  Catchy and enjoyable, the song features some of the best vocal work on the album, both in the lead and in harmonies.  "I Don't Know Why" moves forward into the mid-1960's with a roots-rocker built on a post-Beatles melodicism and a catchy beat.

Renzi goes for the heart on the Orbison-esque "So Alone Tonight", a song of sadness underscored by the mournful steel guitar that fills space between vocal lines.  Beautiful in its dark emotion and shading, the song is a time-machine moment that will bring you back to the days when artists such as Orbison were regulars on the Billboard charts.  "Flanagan's Shannon View" is a dose of pure Irish-Caribbean stew, a Jimmy Buffett-style number played with country instrumentation and deep Celtic influences, it's certainly an aural experience you won't forget.  It's actually not bad, although so many steps off the beaten path it might be something of an acquired taste.  Oldzkool goes out in a blaze of surf guitar, on the Dick Dale-styled "Surfette".  It's a solid, guitar-led instrumental rant that is so out of flow with the album it belongs.

The Ray Renzi Project has but one focus on Oldzkool, crafting original tunes inspired by some of the great artists and styles of the 1950's, 1960's and early 1970's.  The band is very competent, with Renzi solid on vocals and guitar, and the rest of the crew backing him note-for-note through an extremely varied set of songs and styles.    The Ray Renzi is the ultimate cover band playing songs you've never heard before, but which sound suspiciously familiar the first time you listen.  This is done with an amiable presence that shines through even from the recording studio; a care free attitude that could only be born of the golden age of rock n roll.

Rating: 4 Stars (Out of 5)

Learn more about Ray Renzi on his website.  Additional information about the Oldzkool project is available here.  Oldzkool is available from Amazon.com as a CD or Download.  The album is also available on iTunes.

JP Den Tex - American Tune

JP Den Tex - American Tune
2009, Commes Les Chansons

JP Den Tex is Dutch born and sings like an Englishman, but some part of his heart has always been reserved for America. Den Tex took his own American odyssey and documented it in song on American Tune. Steeped in the deep richness of Americana, Den Tex sings and writes in the vein of Elvis Costello and Nick Lowe but finds a voice that’s uniquely his own.

American Tune opens with "The Dreamer", a solid Americana composition informed by blues, country and rock influences. Den Tex' guitar style is a mix of Knopfler's quiet intricacy and Clapton's innate mellowness. The song has a solid melody that's catchy but not ostentatious; a great opener. "Love So Helpless" is about the futility we feel at times when tragedy befalls those we love and occasionally the unseen consequences. "When I'm Down" is danceable and catchy with a chorus you'll be humming for days; truly one of the highlights of the album. "Mon Desir Noir" is a continuation of the story begun in "Love So Helpless", exploring how the shock and shame of tragedy can drive people who otherwise love each other apart. "Down And Out In Phoenix" examines the aftermath of such a relationship, where broken dreams abound and the future looks as barren as the desert that surrounds the narrator.

A new chapter opens in American Tune with "Un Amour Fou A San Francisco", a french/English take on new beginnings, new cities and new love. "Bowbow" turns out to be one of the most enjoyable turns on the album; very entertaining with a dirty blues feel. "Bowbow" is extremely catchy even if the meaning is at times opaque. Den Tex shows deep insight into the creation process with "True Art Is Lonely", portraying the striving for perfection as a solitary pursuit. "Vagabond Heart" is an acoustic, early-rock arrangement complete with doo-wop style backing vocals. Catchy and fun, it’s an ode to all of those who don't quite fit in. Answers come on "Hero" with the realization that victory often comes in the form of facing up to our own baggage, and the rewards seem to come quickly once we face ourselves. Den Tex closes with a brilliant cover of "We'll Sweep Out The Ashes", a Joyce Allsup-penned tune recorded by Gram Parsons and Emmylou Harris among others. Den Tex duets with Vera van den Poel providing a unique aperture into the camaraderie of loneliness and the moments when its boundaries are shared.

JP Den Tex spins a tale of love, loss, grief and renewal on American Tune. The fall from grace is hard, but rebirth the more difficult task in a quietly competent collection of songs that won't wash over you but quietly insinuate themselves into your mind. Den Tex is a deft story-teller, changing pace and perspective enough to keep the story vibrant. In an age where concept albums have lost their luster, Den Tex offers a shining example of what's right with the form.

Rating: 3.5 Stars (Out of 5)

Learn more about JP Den Tex at http://www.jp-den-tex.com/ or www.myspace.com/jpdentex.  American Tune is available from Amazon.com as both a CD and Download.  The album is also available through iTunes.

Review: Jeff Beck - Emotion & Commotion

Jeff Beck - Emotion & Commotion
2010, Deuce Music Ltd/ATCO

What can you say about a guitar player who was good enough to replace Eric Clapton? Jeff Beck has achieved legendary status in the world of rock n roll, having played alongside folks such as Jimmy Page, Jon Paul Jones, Rod Stewart, Ronnie Wood, David Bowie, Hans Zimmer, Paul Rodgers and Carmine Appice. Pink Floyd even wanted Beck to replace Syd Barrett but were never brave enough to ask him. Beck has been both lauded and derided for his flashy guitar style over the years, but he has also not sat on his laurels, which include five gold and two platinum albums and three Grammy Awards. Jeff Beck takes another expansive step with his latest album, Emotion & Commotion, due out on April 13, 2010 on Deuce Music Ltd./ATCO.

Emotion & Commotion opens with the serene and mellow “Corpus Christi Carol”, showing deep nuance and strong melodicism. “Hammerhead” is much more lively; a guitar-led instrumental that lapses into a languorous state. “Never Alone” is similarly somnolent, but fits in with a beautiful arrangement. Beck tackles the Harlen/Harburg classic “Somewhere Over The Rainbow” in one of his most lyric and gorgeous performances on the album. On “I Put A Spell On You”, Beck plays second fiddle to guest vocalist Joss Stone, who thoroughly makes the song her own. Beck provides a brilliant secondary voice here, showing a wonderfully reserved style of play that ties the song together like a finely wrapped gift. On “Serene”, Jeff Beck’s guitar mingles with the voice of coloratura soprano Olivia Safe to create moments of abstract beauty.

Imelda May adds her sultry alto to the mix on “Lilac Wine”. This may not be the most dynamic performance on the album, but it is the most riveting as May and Beck mix it up in gentle undertones. Beck takes a Malmsteen turn on “Nessun Dorma” from Giacomo Puccini’s Turnadot. Beck performs with a full orchestra, choosing a very refined role for his guitar. Joss Stone comes back for one more turn on “There’s No Other Me”. Stone and Beck each are great on the song as a solo performer. As a duet, this song goes sadly awry, as there’s no clear indication that Beck and Stone are actually playing together. Stone in particular knocks it out of the park with a thrilling vocal performance, and Beck hits all of the right notes, but there’s little sense that either considered the other as part of the performance. Emotion & Commotion closes with “Elegy For Dunkirk”, with Olivia Safe providing her vocal talents once again. “Elegy For Dunkirk” is a tough closer, more focused on plodding notes than any real sense of progression. Safe is exquisite, as expected.

Emotion & Commotion is a solid if inconsistent effort. Jeff Beck has heard the criticism over the years of being too flashy, too fast, etc., and appears to be determined to undue those criticisms on Emotion & Commotion. If anything, Beck over-compensates at times, drawing out notes and phrasing to a point where the concepts of progression and melody become lost. Beck is a fantastic guitar player at base, and proves it throughout much of the album, but the highly lyric sensibility of the album may not sit well with fans of his older material. On the whole, Emotion & Commotion is worth listening to, but isn’t likely to go down among Beck’s best.

Rating: 3 Stars (Out of 5)

Learn more about Jeff Beck at http://www.jeffbeck.com/. Emotion & Commotion is available as either a CD or Download from Amazon.com. There is also a special edition that includes a DVD and a Japanese pressing with two bonus tracks.

Review: Arc Angels - Living In A Dream

Arc Angels - Living In A Dream
2009, Visions

Arc Angels are a Blues/Rock super group of sorts, consisting of Doyle Bramhall II (guitar/vox); Charlie Sexton (guitar/vox); Marc Campbell (Arc Master); Chris Layton (drums) and Mark Newmark (bass). Newmark is a new addition to the band in 2009, replacing original bassist Tommy Shannon. Layton and Shannon were members of Stevie Ray Vaughan's Double Trouble until his untimely death, and have also recorded with Buddy Guy, Kenny Wayne Shepherd, John Mayer and Storyville. Bramhall has played with Eric Clapton and Roger Waters, while Sexton has toured with Bob Dylan. The band short-circuited in 1999 due to Bramhall’s substance abuse, but has reunited for shows periodically since 2002. In 2009, Arc Angels decided to give it a try once again. The resulting CD, Living In A Dream, is a live recording that captures the intensity and talent of a band that never really got a chance to find what they were made of the first time around. Living In A Dream is a three-disc set. Disc one is the live CD; Disc two is 4-track EP featuring three new studio tracks and one live track from Antone's. The other disc is a DVD videos, live cuts and other material.

Arc Angels survive in the Diaspora between Southern Rock, Blues and Americana, and Living In A Dream captures that zeitgeist perfectly. Arc Angels open with Paradise Cafe, a delicious bit of Southern Rock that sounds like a catchy, danceable Bob Seger tune. Carry Me On is a decent power-ballad that's a bit on the bland side but otherwise well done. My favorite song on the disc, The Famous Jane, explores the life of a Hollywood starlet (possibly Jane Seymour?) in fairly real-life terms. It's an incredibly mature and thoughtful biography in song. Good Time is top-flight Blues-Rock with an amazingly soulful vocal. She powerful Blues influence carries over to She's Alright, although the extended guitar jam is a bit much.

My other favorite from the live disc is Sent By Angels, which features a strong, memorable chorus and outstanding guitar work. Crave And Wonder finds Arc Angels stepping back a bit in a mildly catchy Americana/Rock arrangement. It's a good listen and a strong change of pace. Shape I'm In features some of the best guitar work on the album in a high energy tune you won't be able to get out of your head. Living In A Dream sounds a bit like The Black Crowes, leading into the final track, a ten-minute instrumental called Too Many Ways To Fall. No one will dispute the talents of the respective members of the band, but this one lasts perhaps five minutes too long.

The bonus CD includes three new tracks and a live version of Spanish Moon recorded at Antone's). Spanish Moon is a bit drawn out but a great song. Crave And Wonder is presented here as a studio track, actually surpassing the live version on Disc One. What I'm Looking For is a dark and moody mid-tempo rocker that's decent but not their best. Too Many People is a pleasant surprise, featuring a Beatles-esque chorus that should be an instant crowd favorite and inspire sing-a-longs from the seats.

Arc Angels still have the energy and sound that made them a critical favorite back in 1992. It's a shame that it's taken so long, but the Arc Angels are back. Living In A Dream is a wonderfully balanced and enjoyable listen, and the new tracks give fans big hopes for what might be coming down the line. Living In A Dream is a definite keeper.

Rating: 3.5 Stars (Out of 5)

You can learn more about Arc Angels at http://www.arcangelsmusic.com/ or www.myspace.com/arcangelsmusic. You can purchase Living In A Dream online from Double Stereo.

Review: Taylor Mills - Under The Surface

Taylor Mills - Under The Surface
2009, Aqua Pulse Records

It's likely you've heard Taylor Mills' voice before and not realized it. Mills has been touring and recording with Brian Wilson's band for ten years now. You can't miss her, she's the only female member of the band; the electric blond with the angelic voice. She's also performed with the likes of Billy Joel, Elton John, Jeff Beck, John Legend, Neil Young, Bruce Springsteen, Eric Clapton and Paul McCartney. Mills' 2007 debut album, Lullagoodbye, incited a significant amount of critical praise. Never one to rest on her laurels, Mills is back with her sophomore effort, Under The Surface. Co-produced by Scott Bennett (Brian Wilson) and husband Todd Sucherman (Styx), Under The Surface takes a slightly more low-key approach that Lullagoodbye. With a voice like Mill's, you couldn't blame her for showing off a bit, but Mills lets the songs be a vehicle for her instrument rather than the other way around. Mills lets the songs shine, providing an enthralling listening experience.

Under The Surface opens with Melody, a song about an aging singer who sees his better days behind him. Melody expresses the power of music to uplift and at times even save someone, but also acknowledges that dreams don't always age well. Sparks Will Fly is a song about sitting on the fence. The protagonist views the world as something that is happening to her, waiting for romance to happen to her. Stuck, she pines for a time to come. The song is very well-written, and Mills illuminates it with a gorgeous and precise vocal line. Mills truly shines on Kiss My Soul, a classic 1980's style rock ballad in a relaxed, quasi-acoustic setting. The song itself is decent, but Mills shines so bright here she actually makes the song better. Best Intentions is a heartbreaker about those times when a relationship falls apart not because of a lack of love or desire but simple inertia. Taylor Mills is at her most vulnerable in a song that rings too real and true to be pure creation. Best Intentions it the best of the best in the crowded field that makes up Under The Surface.

Living Room finds Mills shaking off the outside world to be fully with the one she loves. It's a great bit of low-key rock with a powerful, dynamic vocal line that could shake up a room in a live setting. Mills is joined by Scott Bennett on the duet If We Let Go. The vocals are great and the sound is professional, but this tune sounds too much like something from a 1970's movie drama/romance. As before, the performance makes the song better than it would be on its own. Mills closes out with St. Louis Misery, a song about adultery that begs for some country twang. Mills' vocal is impassioned and incredible, but you can almost hear the ghost of a pedal steel guitar playing along.

There's not much to be said about Taylor Mills' voice that hasn't already been said. Her performances on Under The Surface are brilliant, eschewing the now standard histrionic displays of modern pop for pure artistry. Mills digs into each song on Under The Surface, allowing the process and performance to reveal the layers and magic in her voice, rather than trying to impose herself on the songs. The result is an album that doesn't necessarily blow you away on first brush, but gets better with each successive listen. Under The Surface is aptly titled; don't be surprised if this album ends up on a lot of end-of-year "best" lists.

Rating: 4 Stars (Out of 5)

You can learn more about Taylor Mills at http://www.taylormills.com/ or www.myspace.com/taylormillsmusic. You can purchase copies of Under The Surface, signed or unsigned through Taylor Mills’ webstore.

Review: 8 Ball Aitken - Rebel With A Cause

8 Ball Aitken - Rebel With A Cause
2009, Phoenix Movement Records

Sometimes the music we grew up with (individually or as a culture) is harder to hear, so wave of international artists finding success with American Roots music is no surprise. Along comes Queensland, Australia's 8 Ball Aitken, a banana picker turned guitar picker who appears to be channeling the very soul of Country, Blues and Roots music as it grew out of the Southern United States. 8 Ball Aitken's debut album, Rebel With A Cause has generated two top-10 Country singles in his native Australia and won him a 2008 EMI Music Blues & Roots Song Of The Year Award for Yellow Moon. Aitken has played dates in the UK, Singapore and North America, recently putting in a stellar performance at Canadian Music Week. It's only a matter of time before North American audiences catch on to 8 Ball Aitken.

Rebel With A Cause opens with Cyclone Country, a bluesy Southern Rocker with some serious honky-tonk in its lineage. Aitken has a wonderfully smooth and lyric rock voice that contrasts nicely with the heavily country-influenced Rock N Roll. Cyclone Country is built on a killer lick that would make ZZ Top beam with pride and a chorus you can't help but sing/hum along to. Cowboy Movie is all about taking a stand for what you know to be right regardless of the consequences. The allegory is poetic if unexpected and the melody is pure honey. The Party has a vague Dire Straits-does-Country feel to it; this is a tune that's sure to be a favorite live and will get your hips swaying even if you're not inclined to dance.

Hands On Top Of The Wheel is a straight-forward Country Rocker ala The Eagles, (complete with a sound-alike vocal). This is probably the song on the disc with the biggest commercial potential, particularly for licensing. Aitken incorporates some deliciously dirty slide guitar work on Black Swamp Creek, although lyrically the song is a bit cliché. Outback Booty Call is an amusing Southern Rock tune with clear intentions and a bit of a twist at the end. This should be another concert favorite and I could picture this ending up on a movie soundtrack somewhere. Yellow Moon features a driving bass line and great Southern Rock n Blues sound, Texas style. The track is memorable and will keep you moving. Guitar Man sounds like it should be a classic Rock staple, but it's an Aitken original. There's a feel here that's very similar to John Fogerty, and the song itself will have you scratching your head wondering where you've heard it before. Rocky Road is an upbeat, catchy southern Rocker that leads into The Other Side, which goes back a few decades for a classic sound that is refreshing.

Rebel With A Cause is one of those albums you simply can't ignore. Even with the occasional flaw it has to be in the discussion of top Roots Music efforts for the year thus far. Aitken's voice is so fluid and his delivery so down-home that he puts you immediately at ease. The musicianship on Rebel With A Cause is world class, and the songwriting is more legitimate and more original than much of the roots material you're likely to hear. 8 Ball Aitken has a real winner on his hands here.

Rating: 4 Stars (Out of 5)

You can learn more about 8 Ball Aitken at http://www.8ballaitken.com/ or www.myspace.com/8ballaitken. You can purchase a copy of Rebel With A Cause at CDBaby.com.

Review: Shaky Foot - Down On The Rain

Shaky Foot - Down On The Rain
2009, Shaky Foot

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

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

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

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

Rating: 3 Stars (Out of 5)

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

Review: 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: Foster McGinty - Peach Red

Foster McGinty - Peach Red
2009, Foster McGinty

Foster McGinty's roots are deep in the Missouri soil of Cape Girardeau, but he's a New York City boy these days with the Rock N Roll swagger to match. Deeply introspective as a lyricist, McGinty brings a guitar style that's been compared to the theoretical love child of Jimi Hendrix and Eric Clapton's Cream. McGinty has established himself in the New York music scene with headline performances at Kenny's Castaways and The Bitter End, but has traveled all over the US en route to where he stands. With Peach Red, McGinty establishes himself as something fans have known him to be all along, a rock star.

Indeed, McGinty embraces the same fusion of Rock and Blues that drove folks like Hendrix, Cream and even Led Zeppelin to stardom. Opening with Can’t Help But Shine, McGinty even shows elements of Funk in his Blues/Rock mix. The guitar work throughout the album is excellent. 10 Moons sounds like it was heavily influenced by Hendrix and is the sort of song that a classic rock cover band would latch on to with relish. McGinty gets into a more hard-nosed, Southern Rock sound on Dream Catcher, perhaps the best written track on the disc, but the aural highlight is Burning Bee Hive. The Hammond Organ and bass guitar steal the show on this one, mixing it up below the guitar line to create some wonderful musical and rhythmic wizardry. You’ll also want to check out Turqoise, Circus Mind and My Time Of Uncertainty.

Foster McGinty plays like a rock star. His guitar chops are unquestionable. The songwriting here is a bit uneven at times, but no duds can be found among the ten tracks presented here. Peach Red is a fun introduction to a man who remembers, or at least has recaptured, what it was like to play Rock N Roll in the late 1960’s and early 1970’s. Foster McGinty offers us a bit of musical history on Peach Red; updated for today, but none the worse for wear.

Rating: 3 Stars (Out of 5)

You can learn more about Foster McGinty at http://www.fostermcginty.com/ or www.myspace.com/fostermcginty. You can purchase a copy of Peach Red at www.cdbaby.com/cd/fostermcginty2.

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

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

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

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

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

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

Rating: 2.5 Stars (Out of 5)

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

Review: Jeremy & Rebecca - What We Leave Behind

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

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

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

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

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

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

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

Rating: 4 Stars (Out of 5)

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

Review: Lisa Smith's Powerhaus - Maze Of Souls

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

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

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

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

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

Rating: 3 Stars (Out of 5)

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

Review: David Grissom - 10,000 Feet

David Grissom - 10,000 Feet
2009, Wide Lode Records

David Grissom is something of a legend within the music industry, but the casual music fan won't know his name in spite of hearing him play many times over. As a session and touring guitarist, Grissom has worked with the likes of The Dixie Chicks, John Mellencamp, Joe Ely, Buddy Guy, Storyville and The Allman Brothers. His songs have been recorded by Tricia Yearwood, John Mayall, Montgomery Gentry, Webb Wilder and more. We reviewed Grissom's debut album, Loud Music last year. Now he's back with 10,000 Feet, mixing Stevie Ray Vaughan style blues and AOR rock with good old fashioned Texas songwriting for one of the most accomplished classic rock albums of the year, thus far.

10,000 Feet opens with Keep A-Rollin' On, with Grissom channeling Gary Richrath on guitar in an energetic guitar rocker. 10,000 Feet is a classic song; strong vocals highlight this highly melodic song. Take Me Back To Texas is a love song for that state, and Butterbean Friday is a tribute to the sort of Blues Stevie Ray Vaughan made famous. Good Day For The Blues is bound to be a concert favorite, complete with Bic or iPhone lighting scheme. Three songs in particular stand out from the rest as exceptional. True Love Don't Work That Way is the strongest entry, a driving blues/rock hybrid that you won't be able to get out of your head. Jet Trails In The Sky may be the deepest track here; an allegory for unrequited love that is poetic and reverential. My other favorite is Sqwawk. Built on Blues riffs, Sqwawk is set against a 1970's anti-punk arrangement that is intriguing. This is what it might sound like if Kim Mitchell ever jammed with Eric Clapton.

Grissom is a more than capable vocalist, but his guitar playing is the true standout on 10,000 Feet. This is a highly enjoyable album that just doesn't quit. Grissom hits you with great song after great song without sounding formulaic or tired. 10,000 Feet is a must-hear CD.

Rating: 4 Stars (Out of 5)

You can learn more about David Grissom at www.myspace.com/davidgrissommusic. You can purchase a copy of 10,000 Feet at www.cdbaby.com/cd/davidgrissom2.

Review: Stephen Luke - No Man's Land

Stephen Luke - No Man's Land
2009, Sweet Lucy Records

Cincinatti's Stephen Luke returned to music as a form of physical therapy after severing two tendons in his left hand. Taking lessons from guitarist Kelly Richey, Luke quickly reignited the fire he once felt as a teenager performing at local dances in the 1970's. In the process of learning from Richey, Luke started writing songs that caught his teacher's attention. Once fully recovered, Stephen Luke signed with Richey's Sweet Lucy Records and has released his debut CD, No Man's Land. Filled with classic roots rock sounds reminiscent of Tom Petty, Steve Earle or James McMurtry, No Man's Land also features Kelly Richey on guitar.

The CD opens with the title track, a straight-up classic rock tune with great harmonies. Long Way From Home has a funky/blues feel to it that's a pleasant listen. Powered By Love is the standout track; a Clapton-esque blues rocker with a rough feel. The second half of the album is a bit on the slow side, although Santa Ana Winds, I Must Dreamin' and Hurricane are all decent. Stephen Luke has a pleasant if not overly dynamic voice, but the guitar work here is excellent. Overall the disc is a pleasant listen but didn't bowl me over by any means. Guitar players, particularly those interested in electric blues will find a lot to like here. No Man's Land is a decent listen.

Rating: 3 Stars (Out of 5)

You can learn more about Stephen Luke at http://www.stephenlukemusic.com/. You can purchase a copy of No Man’s Land at www.cdbaby.com/cd/stephenluke.

Chantry – The Emancipation Of Elizabeth
2008, Alessandro Monopoli

Chantry is the musical alter-ego of Italian guitarist and videogame programmer Alessandro Monopoli. Based in Southam, Midlands, England, Monopoli creates his own brand of gothic/melodic guitar compositions that verge at times on the edge of progressive rock. Chantry has previously produced music for videogames and a demo, but The Emancipation of Elizabeth is their debut album. Chantry features guest artists such as Riccardo Crespi and Enrico Vicario.

Monopoli looks to enroll in the pantheon of guitar rock gods with The Emancipation of Elizabeth. Mixing the melodic lyricism of 1970’s guitar rock with the harder edge of Prog, Chantry bedevils and beguiles with their musical creations. Shades of Malmsteen, Jeff Beck, Clapton, Tommy Shaw/James Young and Eric Johnson rear their heads throughout the ten tracks presented here. Be prepared to be blown away as Chantry opens with Shine, and aggressively rhythmic guitar work with angelic vocals. Monopoli showers and sparks notes, phrases and runs from his guitar like a transformer on fire, filling the listener’s ears with a visceral sense of the music.

Emergence finds Chantry opening up the floodgates on a melodic tear that hint at both the technical proficiency and creative passion poured into the music here. Flawed Archetype plays across the Prog/Classic Rock paradigm with big harmonic guitars, a driving rhythm and neo-Classical construction. My personal favorite track here is Red Roses In The Snow, an epic guitar ballad that won’t leave you alone once you’ve heard it. You’ll also want to check out Velvet Darkness They Fear and L’Amor Per L’Ultima Volta.

Monopoli creates musical fireworks on guitar in a way that is both reminiscent of the classic guitar icons of the rock era and refreshingly new sounding. The Emancipation of Elizabeth is perhaps the most exciting guitar album of the decade, in that it not only allows the guitar virtuoso to show off his chops, but drives musical constructions that are more complex and complete than many in the same genre. Chantry is a must for up-and-coming rock guitarists.

Rating: 4 Stars (Out of 5)

You can learn more about Chantry at www.myspace.com/chantrymusic. The Emancipation Of Elizabeth is available digitally at http://www.tunecore.com/. CDs are just becoming available. Contact Chantry through his MySpace page for availability.

Review: Monte Montgomery - Monte Montgomery

Monte Montgomery - Monte Montgomery
2008, Thirty Tigers

Monte Montgomery is a throwback to a time not so long ago when technical proficiency on guitar was only half of the equation. Guys like Jimi Hendrix, Eric Clapton, Yngwie J. Malmsteen, Mark Knopfler and even Eddie Van Halen were technically proficient but also played with a fire in their soul that was otherworldly. As rock has moved away from solo-driven guitar works, the heart required for virtuosic play has largely been left behind in favor of a number of technically proficient but musically cold guitar players. Monte Montgomery flies in the face of that trend, playing with a technical proficiency that is stupefying but also a creative genius and intensity nonpareil. As luck or fate or whatever prime mover you choose to credit would have it he's also a fine songwriter with a lyrical touch and a sense of theater that would make Dennis DeYoung proud. On his latest release, 2008's Monte Montgomery, Montgomery offers up what may be the last great guitar god album until his next release.

Montgomery opens with River, an acoustic blues rocker with significant slide work. On top of everything else, Montgomery has a wonderfully soulful voice that can rise to a scream or drop to a whisper without notice. Listening to Montgomery's fretwork is mind-numbing. You'd swear at times there are at least two, maybe three guitars playing, but it's all Montgomery. Let's Go has the sort of intricate guitar progression that makes your head spin. Guitarists will have a ball trying to pick these recordings apart and recreate them, and a good number will come up against their own musical mortality trying. Montgomery is truly in a class by himself.

Company You Keep is an instant classic. I was blown away by the virtuosity and lyrical impact of this song, all delivered with that vibrant blue-eyed soul voice. Montgomery even shows his mellow side on the sweet ballad Loves Last Holiday. Montgomery plays around with amazing runs and harmonics on You Can't Fool Everyone. The song has a distinctive pop feel in conjunction with some of the most amazing guitar work thus far on the album. Could Have Loved You Forever is destined to be a classic song for somebody. If it doesn't become a hit for Montgomery then someone will pick it up and re-record it a few years down the road to great effect. Other highlights include Be Still, How Far, Midlife Matinee and the amazing ten-minute take on Jimi Hendrix' Little Wing.

To listen to Monte Montgomery play you might assume he's playing an electric guitar throughout Monte Montgomery. In fact all of his guitar work is acoustic; frenzied fretwork, neck bends and all. Monte Montgomery is a lightning bolt to the music industry. This sort of album (or artist, for that matter) doesn't come along very often. A generation from now young pop music stars will be lining up to play with Montgomery on duet or tribute albums. For now, enjoy watching an icon in the making. Amazing album, amazing guitar playing, amazing talent. Monte Montgomery is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Monte Montgomery at http://www.montemontgomery.com/. You can purchase a copy of Monte Montgomery at Amazon.com.