Gattis - E.P.

Gattis - E.P.
2010, Breaking New Records

Will Gattis has been acknowledged to be Maine’s Best Singer/Songwriter (2007), but his talents have been acknowledged all up and down the Eastern Seaboard.  As front man for the band Gattis, Will Gattis mixes his distinctive songwriting style, which is part Paul McCartney and part Ben Folds, with a unique charisma that charms an audience immediately.  On Gattis’ latest effort, the accurately entitled E.P., listeners get a full dose of Will Gattis’ distinctive sense of melody and his eminently listenable voice.

E.P. opens with wonderfully catchy "You And Me".  The song has a timeless melody and a chorus you can't help but sing along to.  Catchy but not overpowering, the song evokes thoughts of The Beatles meets Ben Folds.  You won't be able to get this song out of your head.  "Metropolis" is a gorgeous Ben Folds-style epic ballad about the death of Superman that simultaneously explores society's need for heroes from a quasi-sociological perspective.  This is geek-pop sublime, drenched in a melody so sweet you'll dream about it.  "Lily" is a low-key pop ballad that has the silly sweetness of a McCartney number but the energy and style of a Ben Folds tune.  The chorus, once again, will refuse to vacate your brain.  Gattis closes with "Christopher", a caricature in song about the speed of life and the feeling of getting passed by.  It's a simple, piano-driven arrangement that can't escape comparisons to Folds but is distinctly original nonetheless. 

One thing is abundantly clear; Gattis has a distinctive talent for infectious pop music that both breaks and proves the rules about what a pop song should be.  Names like the Paul McCartney and Ben Folds can't help but come up in a conversation about Gattis, or if you're more Indie rock oriented, think bands such as Woodward and Tally Hall.  Either way, Gattis' E.P. is utterly brilliant pop with quirk and style.  It certainly deserves recognition as a  Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Gattis at www.willgattis.com or www.myspace.com/gattistheband.  E.P. is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

The Gay Blades - Savages

The Gay Blades – Savages
2010, Triple Crown Records

Lead singer/guitarist James Dean Wells, AKA Clark Westerfield, and drummer Quinn English, AKA Puppy Mills are The Gay Blades.  They might just be two men, but the sound they create is huge.  The Gay Blades continue to surprise and excite fans with a sound that’s rich and dynamic.  On their latest album, Savages, The Gay Blades show themselves as a band maturing from the adolescent glee and irreverence of Ghosts without giving up an ounce of the sound that makes pop radio programmers dance with glee yet satisfies a wide range of music fans.

Savages opens with “Rock N Roll (Part I)”, a catchy and variable rocker with lots of little musical alleys to explore.  Imagine if The Tragically Hip and The Rheostatics did a Glam jam together and you’ll get an idea of the sound here.  “Try To Understand” is an upbeat rocker with a dynamic sound ala 1960’s Tom Jones.  Westerfield has a dynamic and intriguing voice, but he’s particularly hard to understand here as his enunciation is fluid and indistinct.  “Mick Jagger” is a catchy Rolling Stones clone that’s highly tuneful, although Westerfield continues to be hard to decipher. 

“November Fight Song” is among the best songwriting on the album, a song of existential angst about fighting to remain relevant or perhaps even to exist.  The Gay Blades go completely over the top here and succeed smashingly with a song that could rule the radio into the winter.  “Burns And Shakes is catchy and lively, messy and fun; the sort of song that’s right at home in a live set on a Saturday night at your local venue/watering hole.  Melodrama is the word of the day on “Wasted On The Youth”, a stripped- and slowed-down tune full of angst and a detached sort of regret.  “Every Night Is Like A Revival” is the true gem of the set.  Westerfield wears a Freddie Mercury vibe in a large swaying rocker with a great melody.  Savages closes with “This Is How Our Conversation Ends”, a throwaway snippet couched in silence. 

The Gay Blades have their ups and downs on Savages; the material that works well works extremely well, but there are some less than exciting moments on the album as well.  On the whole it’s a solid set from a pair of young bucks who growing into and finding their adult sound.  Savages is likely to appeal to The Gay Blades’ core fans and make them some new ones in the process, and listening to the album is likely to leave you thinking that there’s a lot of great material to come from The Gay Blades.  For now, Savages is a successful transitional album for The Gay Blades.

Rating: 3 Stars (Out of 5)

Learn more about The Gay Blades at www.thegayblades.com or www.myspace.com/thegayblades.  Savages is available from Amazon.com as a CD or Download.  The album is also available digitally from iTunes.

Review: Crash Kings - Crash Kings

Crash Kings - Crash Kings
2009, Universal Motown

Brothers Tony and Mike Beliveau were brothers long before they were band mates, but as two-thirds of the Crash Kings, the brothers Beliveau have shown the sort of chemistry filial connections can bring to a rock band. Add in the stellar drum work of Jason Morris, and you have a recipe for success. The Los Angeles trio released their debut album in May of 2009. The self-titled debut disc perhaps hasn’t garnered the attention it deserves to date, but it’s not for lack of talent or musicality.

Crash Kings open with "Mountain Man"; a tune somewhat reminiscent of early Led Zeppelin for its stark rawness. Vocalist Tony Beliveau has all the makings of a big time glam-rock front man and a voice that jumps out of the speakers and grabs your attention. "1985" will have you dancing like its 1985. The arrangement here is somewhat sparse, but there's no question about the intensity or control involved. "It's Only Wednesday" is a piano-driven rocker delivered in an open arrangement that allows Beliveau to reign supreme over the top. The further you get into this album the more hooked you'll be. There's something indescribably catchy about Crash Kings the vibe they create on their self-titled debut.

"Come Away" finds Crash Kings settling into a mellower Brit-sound that will be familiar to fans of bands like The Killers and Oasis. Beliveau shows his lyrical side on songs such as Come Away and Non Believer before launching into the blistering pace of "14 Arms". Crash Kings let their glam hang out on this one even while sticking with the quasi-acoustic sound that holds sway here. Beliveau stomps and prowls like Freddie Mercury and blows the roof off. "Raincoat" embarks on a story driven by nervous energy as expressed in the uneven pace of the bass line and the percussive, Ben Folds-style piano line. "Raincoat" is the most sonically satisfying song on the album. "Saving Grace" is the sort of Glam/Brit-Pop anthem that launches national adulation and worldwide tours. Progressive and Pop elements help this song to enter the ever declining arc of the parabola extending toward Pop perfection. Crash Kings close out with "My Love", a theatrical love song that will remind listeners of a cross between Queen and The Beatles, and perhaps even a bit like Michigan rockers Woodward.

Rock N Roll is dead. Yeah, right. Crash Kings are at the forefront of a new generation of rockers with retro influences who are creating vibrant, challenging music. It's difficult to imagine a band like Crash Kings not making it big, although on a major label even the brightest talent can be snuffed out and relegated to the bar circuit by one inept executive who doesn't get it. Regardless of what sort of push they get, expect Crash Kings to be on a lot of critics "best of" lists. Crash Kings will hook you on the first listen and still be with you far down the road.

Rating: 4.5 Stars (Out of 5)

You can learn more about the Crash Kings at http://www.crashkingsmusic.com/ or www.myspace.com/crashkings. You can purchase Crash Kings as either a CD or Download from Amazon.com.

Review: Gills And Wings - Gills And Wings [EP]

Gills And Wings - Gills And Wings [EP]
2009, Gills And Wings

Gills And Wings was born in Miami Beach, Florida, from the songwriting partnership of Danny Reyes and Santiago de la Fuente. The pair moved to Virginia Beach to work with guitarist Alex McCallum (Jason Mraz) and added bassist Matt Hulcher and drummer Andrew Hackett in the process. Together, the quintet has gone to create music with the ethereal air of Radiohead or Coldplay and the glam of Bowie or Queen. Gills And Wings, the band's debut EP, serves as a throwing down of the gauntlet to the next generation of rock stars. Gills And Wings have arrived.

Breaking out of the gate with the sort of melodic glam Queen was known for, Gills And Wings breaks the glass with Rebirth Of A Nation. Guitarist Alex McCallum even captures some of Brian May's signature guitar sound, and vocalist Danny Reyes is a fair approximation for the vocal style of Freddie Mercury without being a sound-alike. Rebirth Of A Nation is about changes in the US and is delivered in sarcastic overtones, contending, perhaps, that the "rebirth" in this case may not be for the better. Catastrophe falls into the category of "mellow glam"; Reyes' voice drives this angst-filled number about letting your mouth get you into trouble. Solitude carries the same sort of heavy Baroque feel, but is perhaps a bit less accessible than the rest of the EP. On The Dealer, Gills And Wings offer up the viewpoint of a flawed man doing his best to show broken people love of a sort. The vocal performance is chilling, and the song is compelling for both its humanization of a social archetype and willingness to step outside of the politically charged conventional view. The song is amazing, showing a rare gift for capturing a person, place or moment in song. Gills And Wings closes with Circus, an infectious Pop/Glam number that will get stuck in your brain and stay there for days.

Gills And Wings have a sound with enough Prog and Glam in it to be considered Retro but are fresh enough to fly fans of Modern Rock and Pop. You'll hear Freddie Mercury comparisons regarding MLV, and they aren't unfounded, but Reyes lays himself out in his voice in a way that is highly personal and rarely found in a vocalist who is simply mimicking another. Gills And Wings have a very bright future. The self-titled EP is a great start.

Rating: 4 Stars (Out of 5)

You can learn more about Gills And Wings at www.myspace.com/gillsandwings or http://www.gillsandwings.com/. Gills And Wings [EP] can be downloaded from Amazon.com or iTunes.

Review: A New Vice - A New Vice

A New Vice - A New Vice
2009, Band-Aid On A Bullet Records

Hollywood, California has long been a good place to pick up a new vice. Perhaps that's the inspiration for A New Vice, a band that's been blowing them away at The Knitting Factory and The House Of Blues. With a reputation for amazing live shows, A New Vice channels that live energy into the self-titled debut album. Managed by Ron Welty (Offspring), A New Vice slots in well amidst bands such as Foo Fighters, 30 Seconds To Mars, Three Days Grace and Nickelback, but carries with them a sense of authenticity and unpretentiousness that is refreshing in the world of Modern Rock.

A New Vice opens with Lights Turning Green, a wonderfully guitar-driven active rock tune with real spirit. Big riffs and hooks are the raison d’être here, and if you listen to the opening the song practically sings its name to you. A New Vice relies on a sing/speak vocal style in the verses that's not exactly rap but isn't too far removed, with more traditional rock choruses added on. Faithfully is a heavy ballad for modern times with great presence and a dynamic vocal line, and is perhaps the most radio-ready track on the disc. The next song, Fake, could almost be an inside joke for the band. Following a song entitled Faithfully, Fake has a cadence in the chorus that sound suspiciously like it was drawn from the Journey song of the same name. The song is instantly memorable with highly emotional vocals and a faux-happy chorus.

Wait For Me expands on the big A New Vice's momentum blending and Emo feel with an almost 1980's Whitesnake style of Rock N Roll. The result is highly entertaining and a great listen. As You Fade finds A New Vice trending more toward the melodramatic side with a highly emotional Rock N Roll song that's enjoyable but begins to show the limitations of the band as well. In essence, vocalist Sash Kuzma is overwrought much of the time he is singing, rarely varying sound, style or approach through the first half of the album. After a while it creates an impression that the songs on A New Vice all sound the same or similar. A New Vice does change things up a bit later on, but the impression is pretty firmly planted by that time. Let Me Go is the first sign of variation, changing approach and intensity a bit. It's a decent song but doesn't manage to shake the overall impression. Thinking About You may be the saving grace of the band in this regard, a true power ballad in which Kuzma shows shades of Freddie Mercury in his most dynamic and engaging performance on the disc. A New Vice closes out with Promises, a vitriolic song that's more style than substance and somewhat reinforces the impression that Kuzma sings essentially at one level only.

A New Vice has real potential, but would be well-served by expanding the horizons just a tad and showing a bit more depth stylistically. Otherwise they are likely to get pigeonholed into the "all their songs sound alike" genre where bands go to whither slowly away. That would be unfortunate, because there is something special about this off-beat quintet. Listening to A New Vice, there's enough here to imagine these guys taking to the biggest stages somewhere down the line. I just think they have a bit more growing to do as a band before they get there.

Rating: 3.5 Stars (Out of 5)

You can learn more about A New Vice at http://www.anewvice.com/ or www.myspace.com/anewvice. A New Vice’s website seems to suggest the self-titled debut was released in September, 2009, but no on-line outlets are noted. Keep checking the band’s website for details.

Review: Entice - Let The Fire Come

Entice - Let The Fire Come
2009, Entice

Entice is three parts Orange County glam with a heaping helping of Rust Belt sensibility thrown in. Isaac Leland (vox/piano/guitar); Kevin Brunhofer (bass/backing vox) and Kevin Doyle (drums/backing vox/electronics) are all Southern California born and bred, while lead guitarist Tony Chopp made the trek all the way from Michigan, finding a musical home in Entice not long after landing in SoCal. It's a match made in Heaven for the quartet, whose smooth, heavy modern sound has been opening eyes locally and has started to generate some regional buzz. Entice's first full-length album, Let The Fire Come, mixes solid songwriting, a lot of technical skill and a slick commercial sense that's aided by producer Scott Silletta. Entice they will.

Entice kicks off the set with Take A Number, mixing Alt-Rock guitar and New Wave synth sounds to create a sonically pleasing and slightly out of the norm feel. Vocalist Leland adds an urgent air to the music, driving at each song with incessant energy and a sense that he's just holding onto the rails. Take A Number is a great Rock radio song with a chorus that will stick with you. Tell Me There's More is a big Rock ballad that shows shades of Freddie Mercury and Chris Martin; the song is great Pop-Radio ready material without a lot of long-term lasting power. Let's Just Go leads with piano once again, burnished by a melodic guitar lead that evolves into a mellow Pop/Rock arrangement. The energy isn't as high here as on other tracks and this wasn't really a personal favorite, but the melody is strong and still stick with some listeners on that basis alone.

My Kind Of Disaster is flat out a great Pop/Rock song. The melody and rhythm actively work to burn themselves in your mind, and Leland is the consummate Rock front man here. The Freddie Mercury comparisons are never more apropos than here, even the sound of his voice on the CD suggests at least of that sound is electronic. Let The Fire Come has an elegance about it that's a bit unusual in Rock N Roll, harking back to 1970's Progressive Rock with serious lyric overtones. The song is a thing of beauty, bolstered by some great falsetto vocal work by Leland. Soon brings an overtly dramatic sense to Let The Fire Come, doing a long, slow build in intensity that bespeaks of the intensity of emotion behind the song. This is the most moving composition on the album, driven by its own sense of inevitability. All This Is Free carries with it a similar sense of power, a slow-to-mid-tempo tune driven by a wall of guitar sound and enigmatic vocals before spiraling down into nothingness in its final seconds. Who's Got Your Money is an emotionally and sexually charged tune built on a driven guitar riff and a sense of anger that is palpable. Let The Fire Come closes out with You're Infected, a slightly stilted song that lives on the edge of sanity. The piano-driven arrangement is gorgeous with it's gothic feel and big harmonies.

Entice comes along in an era when they've never been less appreciated. This is the sort of Rock N Roll that's too esoteric to make Pop radio, too lyric to make it on Modern Rock Radio, and just too good to go unheard. In the late 1970's or early 1980's, Entice would have been superstars. Their sound today is better than a lot of major label artists, but it takes time and work to get the sort of attention Entice deserves. Let The Fire Come is a bit unfocused as an album, but the individual songs are great and there is a sort of vague cohesion that comes about along the way. I recommend Entice's Let The Fire Come as a great listen that holds a few surprises for those who listen carefully.

Rating: 3.5 Stars (Out of 5)

You can learn more about Entice at www.myspace.com/enticetheband. You can purchase a download of Let The Fire Come through iTunes, or you can name your price through Bandcamp. Contact Entice through their MySpace page for information regarding potential release on CD.

Review: Greg Capozzi - One More Day

Greg Capozzi - One More Day
2009, Vienna Records

Greg Capozzi returns this summer with his latest disc, One More Day. The songwriter, author and worship leader follows up 2006’s Show Me The Way and 2007’s The Mission with his most dynamic and vibrant album yet. Piano based Rock n Roll done up in classic rock robes is the order of the day on One More Day, with Capozzi challenging himself to hit new heights. The Christian message of the music is unmistakable and perhaps even more out front than in the past (if possible).

One More Day opens with The Beacon, an Elton-John-style 1970's classic rock number. The love song or testament to God is quite well done. Capozzi steps out of the CCM mold to deliver a quality song that would succeed in secular circles with different lyrics. Heart & Soul is a stab at a traditional pop ballad, but written to God. The song works but gets a bit too cliché. Wake The Dead is a sermon in song; the sort of song that will get a church on its collective feet. This worship song about spiritual warfare gets a bit too wordy at times but is otherwise very well written. I Just Wanna Go To Heaven finds Capozzi rising to new dramatic heights with an almost Freddie Mercury-style vocal (ala Who Wants To Live Forever). All of this is wrapped in lush, Classic Rock harmonies that will stick with you.

It's Not About You gets more of a Billy Joel/Elton John vibe to it; an anthemic rocker that will stick in your head. Your Grace Is Enough gets where Capozzi's been heading on One More Day; a soaring Arena Rock anthem complete with vocal triads, a big, layered guitar sound and a hook-filled chorus that will inspire you to sing along. Capozzi closes out the set with You Are My First Love, another power ballad with God as the focus. This works to some degree but just isn't as dynamic as the big rock tunes here.

One More Day is perhaps Greg Capozzi's most compelling work to date. It's clear that Capozzi pushed himself musically on this disc after solid but safe efforts on Show Me The Way and The Mission. The result is an album that is good enough to cross genres on the basis of the music, although the Christian content is so strong and in your face that it will probably always be classified as CCM. A great effort in any case.

Rating: 4 Stars (Out of 5)

You can learn more about Greg Capozzi at http://www.gregcapozziministries.com/ or www.myspace.com/gregcapozzi. You can purchase a copy of One More Day at www.cdbaby.com/gregcapozzi4.

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

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

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

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

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

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

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

Rating: 5 Stars (Out of 5)

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

Review: Nancy Newlis - Dreamers 2009

Nancy Newlis - Dreamers 2009
2009, Nancy Newlis

Nancy Newlis is a Russian born singer/songwriter who studied composition with a teacher who studied with Dmitri Shostakovich. Newlis is known inside Russia as a member of Babie Leto, and has appeared on television several times in her homeland. These days Newlis is living in New York City and gigging in support of her EP, Dreamers 2009. With a deep voice ala Nina Simone, Newlis is distinctive in sound and style.

Newlis has a highly distinctive voice, sounding like an odd but interesting vocal composite of Freddie Mercury, K.D. Lang and Nina Simone. Her swarthy contralto can be a bit unsettling at first, but you'll never forget that voice once you've heard it. Dreamers 2009 opens with Dreamers, a song with wonderful pop sensibility and real movement. You'll find yourself wanting to clap and sing along. Newlis tackles keeping up with the Joneses in Social Standing, a bizarre diatribe with piano work reminiscent of Tori Amos. Mistakes is an interesting one minute snippet that I'd be curious to hear fleshed out, as it has real potential. Dear Friend is a bizarre letter to a friend set to music that doesn't make a lot of sense lyrically but is set to a great musical arrangement. The album closes out with the highlight, Good Morning, Heartache. Newlis gives a wrenching vocal push to this song.

Nancy Newlis is a bit outside the pop box. Hers is a voice and style that will automatically turn off some listeners, but those aren't the folks she's singing to/for anyway. I can't say I got into everything on Dreamers 2009, but she has a distinctive talent and style that makes you curious to hear what she'll come out with next. Everyone once in a while it's a real gem.

Rating: 3 Stars (Out of 5)

You can learn more about Nancy Newlis at www.myspace.com/nancynewlis or http://www.nancynewlis.com/, where you can purchase a copy of Dreamers 2009.

Review: Max Morgan - Interrupting The Silence

Max Morgan - Interrupting The Silence
2009, Chime Entertainment

Max Morgan has already been heard all over American media outlets and his debut CD hasn't even been released yet. Placement on televisions shows such as Gray's Anatomy and Private Practice; on networks such as The NFL Network and ESPN; and on websites such as Seventeenmagazine.com, AOL Music and NYPost.com have made Morgan omnipresent of late. No one doubts Morgan has a good publicist, but a publicist just pries the door open. Morgan has garnered so much attention and press because he is an uncommonly talented and charismatic singer/songwriter/musician. The Liverpool, England native and Southern California resident brings a highly melodic and lyric vocal sound to a broad cross section of musical styles on his debut CD, Interrupting The Silence. Produced by Marc Tanner (Aerosmith, Madonna, The Calling), Interrupting The Silence is a bright comet currently circling the pop/rock scene; when it lands on March 31, 2009, the impact will be amazing.

Interrupting The Silence opens with the plaintive and melodic Loneliest Man In The World. As songs go this is up there in the Paul McCartney stratosphere of epic melodies. In another era this song would have been a multi-platinum single. Morgan has the sweet vocal essence of Chris Martin and the poise to deliver this song like an epitaph in waiting. Sold Out To The Scene brings a little 1980's pop/glam to the album in a crossover dance/rock package that is unforgettable before pulling on your heart strings with the gorgeously sad Wait For Me. Morgan follows up with the big time guitar rock anthem Suffer, which is a great deal more upbeat than the title may imply.

Morgan stomps and howls through hair rocker Ya Better Believe with all of the machismo and flamboyance that defined the more over-the-top front men of the 1980's. Having shown so many sides, Morgan settles next into the dramatic Nobody's Coming To My Rescue. Not since Freddie Mercury has any vocalist in Rock N Roll shown the breadth and stylistic vigor to tackle so many divergent styles and sounds and do them all successfully. Max Morgan has that kind of talent and appeal, and don't be surprised if this guy reaches the pinnacle of the rock world at some point in his career. Other highlights include Trouble, Don't Stop, the urgent rocker Fell and Prayer For No One.

Max Morgan is a rare, rare talent. It's impossible to say how things will pan out in the long run, but Morgan could be one of those once-in-a-generation talents who will transcend stardom to the point of attaining icon status. The musical and vocal talent is here, as is the charisma to reach out across the various voids that exist between artist and listener. Interrupting The Silence is a Wildy's World Certified Desert Island Disc, and is the sort of debut that can be very difficult to top. But something tells me Morgan can and will.

You can learn more about Max Morgan at http://www.maxmorgan.com/ or www.myspace.com/maxmorganband. Interrupting The Silence will be released on March 31, 2009. You can pre-order copies of the CD through Amazon.com.

Review: Lloyd Dobler Effect - Lloyd Dobler Effect

Lloyd Dobler Effect - Lloyd Dobler Effect
2008, Lloyd Dobler Effect

Lloyd Dobler Effect is a Washington D.C. based band with big plans. Having toured extensively over the last four years, Lloyd Dobler Effect has played with a virtual whose who of Rock N Roll. Lloyd Dobler Effect celebrated 2008 by releasing their debut studio album, Lloyd Dobler Effect. The album had been in the works since 2004, but an air of perfectionism settled over the band, and combined with a heavy touring schedule it just didn’t happen. Two live albums filled the space between, but for long suffering fans, the album is finally here.

Lloyd Dobler Effect opens with Have Faith, a wonderful pop rock song with smooth vocals from singer Phil Kominsky and an unerring melody. Through in some funky guitar work up front and a smokin' rhythm section and you have the base recipe for a fine album. Meet Me In London is a big, joyous rock song that sounds like it could have been a Gin Blossoms tune. This is first class Rock N Roll, the sort of stuff that even ten years ago would have been a major radio hit. Radio is a big arena-rock style song. Vocalist Kominsky has this interesting vocal tick that kicks in from time to time. Occasionally you'll hear this vocal quality that is eerily reminiscent of Freddie Mercury. It's generally gone as quickly as it came, but certainly notable when it occurs.
Spain is a loping rocker with big harmonies on the chorus and Spanish guitar licks cementing the phrases together. Kominsky and mates seem to ricochet through self-titled debut between slow, meandering, harmony filled rock anthems and frenetically guitar-driven rockers. Release Me is a prime example of the latter, reigniting the comparisons to the Gin Blossom in the process. Fans of the Tragically Hip will also find shades of their favorite band here as well. You'll want to surf the funky guitar licks of Might Be Love and the Latin-Rock tune Stranger, which is the absolute highlight of this disc. Vacillating between Latin and Rock sounds with some electric slide guitar work thrown in, Stranger is by far the most dynamic and interesting composition here. The recorded version runs five-and-a-half minutes, but you could easily hear this getting stretched into an extended jam in concert. Other highlights include Empty Reach, Harvard and I Have The Touch.

The Lloyd Dobler Effect has a very dynamic and engaging musical presence that comes across even on CD. Fifteen or twenty years ago Lloyd Dobler Effect would have been kings of the pop/rock world. In today's environment I would guess that they are destined to long term success as a band, but the whole radio star thing is a dead end unless you're with a major (or are very, very lucky). Lloyd Dobler Effect is an A&R professional’s dream find, and their self-titled debut is as tight as they come. A highly enjoyable album that is very much worth your time.

Rating: 4 Stars (Out of 5)

You can learn more about the Lloyd Dobler Effect at http://www.lloyddoblereffect.com/ or www.myspace.com/lloyddoblereffect. You can pick up a copy of Lloyd Dobler Effect on the band’s website or at www.cdbaby.com/cd/lloyddoblereffect2.

Review: Julie - An Act Of Communication

Julie - An Act Of Communication
2008, Baby Bird Records

Los Angeles based Indie-Rock band Julie makes music so fresh and authentic you'll do a double take. Julie is the long term culmination of a friendship between front man Ethan Blumenfeld-James and guitarist Dustin Bath that dates back to their high school days. Originally a drummer, Blumenfeld-James stepped out in front with the addition of Mark Milan, Jon Spence and Adam Alessi. The band has never looked back as they have discovered a chemistry that borders on musical alchemy. Their debut CD, An Act Of Communication, commits to the permanent record a sound that has wowed crowds in LA and promises to take Julie far beyond the confines of The City Of Angels.

An Act Of Communication opens with LA Kids, a vaguely Prog sounding anthem that is very catchy and very radio ready. Do Si Do is post-punk pop/prog mix that sounds like a Spacehog cover. You won't be able to sit still while this song is playing. Lead vocalist Blumenfield-James doesn't sound like Freddie Mercury, per se, but he has some of the same vocal personality. Julie slows things down a bit with Through Your Mind's Eye, a big Progressive sounding ballad that is more romantic nature than about romance.

One of my favorite songs on An Act Of Communication is Learn To Crawl. It has some funky instrumentation, intelligent lyrics, and a big stadium aura to it. Foggin' Up A Clear View continues down the path of quasi-symphonic Progressive rock yet manages to sound very modern. Be sure also to check out Lonely Streets, which has a very strong pop/rock element to it. I Couldn't Imagine takes an interesting turn for Julie, coming off as a big time Country/rock tune with some R&B roots. The song sways its way right into your head and won't leave. Other highlights include Un-Tongue-Tied; The Queen-like Long Way Down; Sippin' On Moonbeams and the eerily dead on cover of The Beatles Blackbird. My favorite tune on An Act Of Communication is Restless Hearts. This returns Julie to the territory as bands such as Spacehog, but has a strong pop sensibility and a highly memorable melody.

Julie is one of the more enigmatic bands I've come across this year. They march very much to their own drummer; big Prog song construction mixing elements of jazz, ska and country at times into a sound that is difficult to classify and even harder to put down. An Act Of Communication is the sort of album that will hook some new fans, and put a few potential fans off. It's eclectic and off the beaten path, but has enough touchstones there to have a real shot at big things. And the losses will be far outweighed by the new fans. An Act Of Communication is an incredibly brave, daring, outrageous and glorious album. A Wildy's World Certified Desert Island Disc for certain. Get your copy sooner rather than later.

Rating: 5 Stars (Out of 5)

You can learn more about Julie at http://www.julietheband.com/. You can purchase a copy of An Act Of Communication at www.cdbaby.com/cd/julietheband2.