Nikhil Korula - Solo Sessions

Nikhil Korula – Solo Sessions
2013, Nikhil Korula

Nikhil Korula is a classically trained vocalist and songwriter who spent several years immersed in the west coast jazz scene.  This exposure helped Korula to network with the current members of his Nikhil Korula band.  With several Triple-A singles and relentless touring, the Nikhil Korula band have built an international following.  Gigs with artists such as John Mayer, Jason Mraz, Dave Matthews Band, O.A.R., Tim Reynolds, Les Claypool (Primus) and Colin Hay (Men At Work) have served to build the band’s fan base as well as influencing the band’s sound.  Now Korula steps out on his own with The Solo Sessions, a five song EP that shows off his dulcet voice and his unusually smooth songwriting style.

Korula opens with “Spark”, a poppy and positive number with influences from Dave Matthews and Earth, Wind and Fire.  Korula gets in the listener’s head here with a rhythmic arrangement that you’ll be singing for days, as well as an upbeat message that leaves the listener with a positive feel.  “He Said, She Said” sounds like it could be a Dave Matthews Band outtake.  The mellow feel is thematic, right down to the occasional sax trills, and Korula even seems to channel Matthews vocally here.  It’s a well-written tune that might be a bit too sound-alike for some, but it’s very much worth a listen.  Korula ends up sounding a bit like Darius Rucker on “Broken Roads” with a sound that falls somewhere between his early work with Hootie and the Blowfish and his country material.  “Broken Roads” is a contemplatively melancholy tune, and Korula brings out the best in his voice.  “Silent Tears” keeps the same aesthetic in another moment melancholy piquant.  Strings in the arrangement offer lovely shading, and the chorus has a sing-song quality that you will carry with you.  Korula says goodnight with “Fade Away”, a mid-tempo rocker with a message about not giving up.  This is a nice choice for a closing tune after the melancholy of the two proceeding songs, and leaves listeners with an optimistic feel that will bring them back.

Nikhil Korula is undoubtedly a talented vocalist with a supple voice that allows him to take on several sounds across an album or EP.  This can be both beneficial and detrimental with music fans, but even if you find the sound derivative you have to acknowledge he’s good at what he does.  The material on Solo Sessions is first class, and Korula fills up each song with an ultimately capable voice and a boat load of charisma.  This is an EP you will find yourself returning to again and again.  And Nikhil Korula is one lucky break from being a household name for many years to come.

Rating: 5 Stars (Out of 5)

Learn more at www.NKband.com.

Darius Rucker - Charleston, SC 1966

Darius Rucker - Charleston, SC 1966

2010, Capitol Records Nashville

Darius Rucker rose to fame as the voice of Hootie & The Blowfish, blasting out of the South Carolina bar/frat scene in the early nineties with a string of Top-40 hits from their 19-times platinum debut album Cracked Rear View.  While never matching the magnitude of their initial success, Hootie & The Blowfish carved out their own niche in pop music over the course of five successful studio albums and significant charity work.  Rucker's first foray into solo work was with the 2002 R&B album Back To Then, a moderate success.  In 2008, Rucker signed with Capitol Nashville as a country artist, releasing Learn To Live, which generated three #1 singles, a platinum album and CMA Award for Best New Country Artist.  Rucker recently returned with his second country album, Charleston, SC 1966, already earning his fourth #1 country single.

Charleston, SC 1966 opens with “This", a love song that gives thanks for all the things that didn't work out along the way ala Garth Brooks' "Unanswered Prayers”.  The song is a brilliant blend of country and the sort of pop/rock associated Hootie and other Charleston bands of the early 1990's.   "Come Back Song" is a feel good country/rock with a solid melody; a competent album track.  "Might Get Lucky" is all about using honey to get sugar.  It's a love song written from a predominately male perspective, where utilitarian meets a realization of how lucky he is. 

"Southern State Of Mind" is a brilliant tune about missing/loving home.  Much like Billy Joel's "New York State Of Mind" in title and approach, "Southern State Of Mind" features a vocal performance that simply rolls into your ears and the melody sticks with you.  "Love Will Do That" is a catchy country rocker that explores love's ability to turn your world on its ear, particularly when it’s new.  "The Craziest Thing" keeps this idea rolling with practical application.  Exuberant and full of joy, "The Craziest Thing" is as catchy a tune as you'll find on a 2010 release, and it wouldn't be hard to imagination this one providing Rucker with a fifth #1. 

"We All Fall Down" is a song about the humanity of humanity, as it were.  Rucker manages to sound mournful and confident at once, inspired by a beautiful and stirring melody.  "I Don't Care" is a good-time buddy song about girl watching and features Brad Paisley in a duet with Rucker.  Drop this as a single leading into the summer months and it will rule country radio all season long.  "She's Beautiful" is a celebratory love song, one of two or three songs on the album that's decent but a bit mundane.  This one will at least inspire some interest as a dedication/mix tape song.    "I Got Nothin'" is enjoyable country/pop with a sad edge, with a great melody that manages to be catchy in spite of the melancholy feel.  Rucker closes with "In A Big Way", a song about getting back to the joys of a simpler life where things like home, family and time spent together mean the most.  This is another potential big hit for Rucker; a wonderfully memorable melody with an iconic feel and gorgeous cadences that make you want to sing along.

Darius Rucker could succeed in almost any genre, in almost any era.  Mixing an iconic voice, a brilliant sense of melody, an affable personality and a team of crack co-writers who keep him honest, Rucker could turn out hits by the dozen over the years.  Longtime fans were a bit surprised by Rucker's turn to country music in 2008, but he showed not only that he belonged with Learn To Live, but also the sort of humility and grace that are rare in a top-shelf performer.   Charleston, SC 1966 finds Darius Rucker picking up where he left off.  The songwriting is superb, and Rucker's voice is as enjoyable as ever.  Perhaps most importantly, Rucker has made sometimes melancholy country form his own without losing the easy grace of his earlier work with Hootie And The Blowfish.  One suspects that the time will come when Rucker will cross back over into the pop/rock realm not so much by forsaking country music as by dragging it across the divide with him.  Charleston, SC 1966 is utterly brilliant, a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Darius Rucker at http://www.dariusrucker.com/ or www.myspace.com/dariusrucker.  Charleston, SC 1966 is available from Amazon.com as a CD, Deluxe Edition CD with DVD or Download.  iTunes has the album in both Standard and Deluxe versions.

Sally Jayne - Remember Me

Sally Jayne - Remember Me

2010, Onalia Productions

Sally Jayne isn't about to tell you who they are. The band tries, in existential terms, to be a reflection of the world around them. The music of Sally Jayne is a chronicle of the human condition as seen through the lens of one small band from Jackson, Mississippi. The band title is something of a command, telling all lost souls (Jayne, as in Jane Doe) to rush forward and claim themselves (Sally forth). This purpose is scattered across four songs on the band's debut
album Remember Me.

Wildy's World was provided with a short form EP to review the album. The presumption in such cases is the best material from the album is on the EP. The EP opens with "Feel", a mid-tempo alt-rock tune with an infectious chorus; with it Sally Jayne sounds a bit like a cross between Creed and Hootie And The Blowfish. The novelty of the sound and repeatable chorus should build real momentum for this track as a single. "The Letter" is a guitar-driven ballad whose opening reminds vaguely of White Lion's "When The Children Cry". Vocalist Marcos Martinez-Rogers really does sound a bit like Darius Rucker. His voice is soulful, although not quite as full or warm as Rucker's signature sound. Sally Jayne heads for a rockier sound on "Chapter One" while maintaining the slow pace and soulful sound that seems to be their trademark. Sally Jayne closes with "Remember Me", a complex and dark rocker that shows a bit more classic rock lean than available elsewhere on the EP. It's a decent closer that serves to show off the breadth of Sally Jayne's sound.

Sally Jayne has enough in their sound to create moderate interest, but the style is essentially similar to a thousand other bands trying to crack the shell of commercial alt-rock radio. The songwriting here is solid, but there's a spark that just doesn't full engage at times, as if Sally Jayne know there's something explosive here but haven't quite figured out how to unlock it yet. Give them time. It will come.

Rating: 2.5 Stars (Out of 5)

Learn more about Sally Jayne at http://www.sallyjayne.com/ or www.myspace.com/sallyjayne. Remember Me is available as a digital album through Amazon and iTunes.

Rooney - Eureka

Rooney - Eureka
2010, California Dreamin’ Records/ILG

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

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

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: Shady Cats - Love Callin’

Shady Cats - Love Callin’
2006, Grady Crumpler

Raleigh, North Carolina’s Shady Cats has been a long time in the making. Singer/songwriter Grady Crumpler started playing a regular gig near his home back in 1995. After being invited to play a private party, he hooked up with drummer Bill Eagen, who provides the rhythmic core for Crumpler’s songwriting. Together with a revolving committee of musicians, they became known as Grady Crumpler & Last Call, and eventually Shady Cats. Shady Cats began recording songs and demos nearly a decade ago. This piecemeal approach led to a focus on the songs rather than a specific sound for the band. Crumpler shopped songs to various producers. Consequently Shady Cats’ debut album, Love Callin’, has three producers of note involved. John Plymale (The Pressure Boys, Squirrel Nut Zippers, Superchunk, Meat Puppets); Dick Hodgin (Hootie & The Blowfish) and John Custer (Corrosion Of Conformity, Cry Of Love) all bring their masterful hands to bear on Shady Cats’ work. The result is an uneven but promising album that makes up in creativity what it sometimes sacrifices in continuity.

Love Callin’ opens with the uber-catchy title track. Vocalist Grady Crumpler has an enigmatic and enjoyable voice that's occasionally reminiscent of Elvis Costello. "Love Callin’" is a great start; if this song had been released circa-1986 the members of Shady Cats could have bought mansions with the proceeds. "Lost Myself" marches the line of demarcation between 1970's classic rock and 1980's pop; a territory that Shady Cats tread throughout much of Love Callin’. "Lost Myself" has one of those melodies that stay with you and recur at the oddest moments. Crumpler shows a deft lyrical touch on "She Kisses Me With Her Eyes". The song is virulent, catchy enough to knock "Lost Myself" out of the catbird seat in your brain, and the imagery is just off the beaten path enough to catch your attention.

Shady Cats have a special guest on "In The Moment", with legendary producer and performer Don Dixon (REM, Guadalcanal Diary, Hootie & The Blowfish, Moxy Fruvous) sitting in on vocals. Dixon's vocals are top notch, but the song gets a bit too wrapped up in its soul-searching feel. "You Got A Way" finds Shady Cats back in the early 1970's sonically, featuring big guitar riffs and barre chords as rock and jazz mix in uneasy but pleasing measures. On "Lines", Shady Cats head for a solid rock arrangement with country accents (primarily in the guitar line). "Lines" is a highly enjoyable song that stands out in spite of not being ostentatious. Shady Cats show serious chutzpah on "I Want Independence", with Crumpler laying down the most serious guitar solo on the album. Shady Cats find pop magic on "Take Me", a high-speed rocker with R&B roots that could be a hit in any decade in the rock era. If "Love Callin’" would have enabled the members of Shady Cats to buy mansions back in the 1980's, "Take Me" would have bought the entire town.

Shady Cats dig in with a positive message on "All The Way", but message falls a bit flat in a lounge arrangement that sounds contrived and very much out of context with the rest of Love Callin’. "Till The Rain Comes" sticks with the positive thinking, pointing out that sometimes even the rain is a good thing. The sound here is a cross between Elvis Costello and Fleetwood Mac (particularly in the harmony vocals); a retro sound that sounds amazingly relevant for the music scene of today. Shady Cats wind down with the theatrical rock aria "Desperation", among the most enjoyable tracks on the disc. The Cats taken listeners on an interesting turn at the albums close, dangling another side of the band as they walk out the door that is likely to bring listeners back the next time around.

Shady Cats put their best foot forward on Love Callin’, blending 1970's classic rock and 1980's pop and in the process serving up a highly palatable brand of rock 'n roll that's highly palatable for today. Grady Crumpler is a solid lead on vocals, and accents the songs on Love Callin’ with mildly adventurous guitar work that will please the ears of casual listeners while seeming a bit too tame of fans of classic rock. Love Callin’ is a safe album, but some of the songs here are so catchy they might need to be quarantined.

Rating: 3 Stars (Out of 5)

You can learn more about Shady Cats at www.shadycats.com. You can purchase Love Callin' as either a CD or Download from CDBaby.com.

Review: Wes Tucker & The Skillets - The Scorpion And The Dove

Wes Tucker & The Skillets - The Scorpion And The Dove
2009, Wes Tucker

Mainstays of the Washington, D.C. indie scene for the past five year, Wes Tucker & The Skillets have won several local awards and have earned a reputation for their dynamic live shows. With a sound that's instantly familiar yet fresh, the band makes new fans whenever they take the stage. On their sophomore effort, The Scorpion And The Dove, Wes Tucker & The Skillets capture a vibrant energy that's a mix of melody, poetry and the pure enjoyment of the band to be making the music they are.

The Scorpion And The Dove opens with "What You Stole", a cautionary tale about not being able to get back what you give away. Listeners may note a vague similarity to Hootie & The Blowfish, in large part because of the soulful voice of Wes Tucker and a sound that wouldn't have been out of place on the Carolina frat circuit in the mid-1990's. "Let It Ride" is a straight-up country tune; a secular song about faith and moving on when things go wrong. Tucker shows a wonderful touch with lyrics here, couched in a subliminally catchy melody and arrangement. "Three Yellow Roses" shows how good a lyricist Tucker is "no matter how long the story we're defined by where we begin", and the smooth arrangement matches his poetry perfectly.

Tucker gets philosophical on "The Scorpion And The Dove", a song about mankind's tendency to self-destruct through conflict with one another. The song references prophecies about the end of the world while asking if prophecy is a necessity or simply the end road of one path; asking whether we can change. "Good To Go" shows a more powerful rock sound and features some of the best solo guitar work on the album. It's a very enjoyable listen that will appeal more to classic rock fans. "Sad And Proud" is all about needing one another to get by. The southern rock/Americana arrangement will perk up some ears, and the message is a positive one.

Tucker's muse turns more firmly to love for the rest of The Scorpion And The Dove, although that's been the underlying theme from the start. "Beloved One" is a song of love, devotion and thanks. It reminds us that sometimes we are not so much saved so much by our own faith but by the faith of another; a wonderful sentiment in a joyously mellow Americana arrangement. You'll want to get your dancing shoes of on "Let Me Know" as Tucker brings the funk on a tune guaranteed to move your feet. "Take It Slow" is all about the need, sometimes, to step out of the world and tend to the one you love. It's a potential mix-tape star. "Worry Stones", however, is likely to end up as a wedding song. It's a highly artful and poetic song about faith and love, and the power the two have to change lives. "Worry Stones" is a love song first and foremost, but avoids syrupy cliché. The Scorpion And The Dove closes out with the rhythmic acoustic guitar of "Quick Strike", a stripped down tune that allows Tucker to show off his poetic side one last time before saying goodbye.

The Scorpion And The Dove is a striking album; you'll walk away from your first listen feeling like you've been listening to it for years. Wes Tucker has crafted the sort of album that you'll go back to again and again.

Rating: 4 Stars (Out of 5)

You can learn more about Wes Tucker & The Skillets at http://www.westucker.com/ or www.myspace.com/westucker. You can purchase The Scorpion And The Dove as either a CD or Download from Amazon.com.

Review: Locksley - Be In Love

Locksley - Be In Love
2010, Feature Records

Locksley may have their roots in Madison, Wisconsin, but there’s nothing cheesy about these Brooklyn-based alt-retro rockers. Locksley’s sophomore album, Be In Love, burns with the sort of pop magic that made bands like The Beatles huge back in the day. Locksley can go with a big guitar sound or a compact pop song and make them each sound like the catchiest thing you’ve ever heard. Jesse Laz and Kai Kennedy split vocal duties, chipping in rhythm and lead guitar, respectively. They are joined by Jordan Laz (bass/vox) and Sam Bair (drums). Locksley can brag fans such as The Kinks’ Ray Davies, who has spoken effusively about the band. Locksley has also had their music featured in advertisements from such companies as STARZ Movie Network, MTV, AT&T and Sylvania, as well as in movies such as TMNT, Cloverfield and Over Her Dead Body. Be In Love dropped digitally in February. The CD is due for release on March 16, 2010.

Be In Love opens with the good natured rock n roll of "Love You Too", a big poppy ballad that sounds like it should be from the 1960's. The vocalist here sounds a bit like Steven Tyler in his lower register here. "Darling, It's True" has a 1960's party rock feel to it and a virulently catchy tune. The same can be said of "One More Minute", where Locksley sounds a bit like Spacehog. Any of the first three tracks on the album could be successful singles. On "Days Of Youth", Locksley may remind you a bit of Hootie & The Blowfish if the latter had been a British act instead of a Carolina band. And that's the vibe that pervades Be In Love; the same sort of home style, vaguely retro comfortable pop sound that drove the insane success of Cracked Rear View.
"21st Century" is a coming of age song focusing on the moment caught standing on the cusp between childish things and adulthood. It's a song of dreams and aspirations and a bit of worry over giving up what's known, all done in an infectious rock arrangement that will be rolling around your noggin for days. Locksley slows things down a bit for a 1960's style ballad in "Away From Here", complete with twangy surf-style guitar sounds and a sway-inducing rhythm. "The Whip" explores a dysfunctional relationship in wonderful poppy rock fashion. This is another potential single, as is the deliriously bouncy "Down For Too Long", which will have you bouncing and singing along from the opening notes.

"It Isn't Love" is an urgent garage rock pop storm that takes on a slightly darker tone that much of Be In Love without abandoning the essential character of the album. "The Way That We Go" takes on an almost sing-song quality that leads you marching into the closing waltz, "The World Isn't Waiting". Like any good party, Locksley winds up with a social dance; this one with a social message. The focus here is love, as it has been throughout, but the larger message is to get on with your life. Love if you will; laugh if you will; make mistakes; but do. The feel of "The World Isn't Waiting" is perhaps a bit too dated to be a big single, but it's definitely got the pop qualities needed to get a lot of attention.

Locksley scores big with Be In Love. Retro pop and rock are the order of the day here, as Locksley mines a 1960's garage rock sound with melodies so pure they would make Brit Rock fanatics flush. If a return to rock n roll is the next popular wave in music, it will be because of bands like Locksley. Drop this album in the middle of 1963 and Locksley might have been as big as The Beatles.

Rating: 4 Stars (Out of 5)

You can learn more about Locksley at http://www.locksley.com/ or www.myspace.com/locksley. You can order Be In Love as a CD or Download from Amazon.com.

Review: Tad Dreis - The Reluctant Hook (and the day that it caught)

Tad Dreis - The Reluctant Hook (and the day that it caught)
2009, Tad Dreis

Tad Dreis comes from vibrant Chapel Hill, North Carolina music scene that helped launch bands such as Hootie & The Blowfish and Edwin McCain to national prominence. Writing and performing quirky Folk/Pop tunes can be a tricky game, but Dreis has a real knack for finding the perfect hook or turn of phrase. Comparisons to Robyn Hitchcock and Loudon Wainwright III as they might have sounded jamming with the Beatles are apropos. Dreis releases his third album, The Reluctant Hook (and the day that caught it) drops on September 11, 2009. With Dreis' wide touring and acclamations in the past few years (including a 2006 nomination from APCA as Best Solo Artist), The Reluctant Hook might just be the album that breaks things wide open for him.

Dreis is a singer-songwriter with a focus on traditional style story songs that occasionally stray into uncharted territory. A prime example is the opening track, The Makeup Company; a tune about an experience with a call center with supernatural powers and a penchant for showing off. It's an amusing tale that seems almost plausible based on past experience. Button For You is pure Americana, stylistically similar to Blue Rodeo or Wilco. It's a song about being so caught up in the day-to-day that you can't enjoy the things that really matter. This is primo songwriting. My Backstory is all about the perils of becoming well-known, particularly all of the "truths" that become public knowledge without ever being checked for accuracy. The arrangement and even Dreis' voice call to mind fleetingly Canadian quartet Moxy Fruvous.

Blues For Werner is a lovely tune about the more melancholy aspects of being a truck driver. It's a gentle arrangement full of affection that stands out because of its pure honesty. Very often in life our basic comforts revolve around the most simple of material items, be it a pair of comfy jeans, or a blanket (ala Linus from Peanuts). The Rug That Swore is the story of a boy and his carpet. Yes, it's a bit odd but so sweetly done you'll find yourself getting into it. It's a great tune. Three Forms Of Media explores all the methods for hooking up in a modern age (phone, eMail and hand-written notes), and how those methods can be used to push things awry when someone isn't playing fair. It's a humorous tune with a sudden twist at the close. Advice For Ladies highlights the advantages of a woman having a "humorous gay friend". It's an amusing tune with more than a little truth to it. Dreis closes out with I'll Be There and Pear Blossoms, both decent tunes but perhaps lacking a bit of the mischievous glint that pervades the rest of the album.

Tad Dreis is a stellar singer-songwriter who happens to have a mildly twisted sense of humor. His approach is a classic one, able to appeal to a broad spectrum of fans. Intelligent lyrics with wicked turns and strong melodies make The Reluctant Hook (and the day that it caught) an outstanding listen, even if it things tail off a bit at the end.

Rating: 4 Stars (Out of 5)

You can learn more about Tad Dreis at http://www.taddreis.com/ or www.myspace.com/taddreis. You can purchase The Reluctant Hook (and the day that it caught) as either a CD or download through CDBaby.com.

Review: PromiseLab - When The Lights Go Down

PromiseLab - When The Lights Go Down
2009, Tbn Audio

Baltimore, Maryland quartet PromiseLab was born as a duo in the basement of a row house and has metastasized into a soulful, rock band with a sound that demands to be heard. Singer/guitar player Shayne Hudson and drummer Larry Rohleder were the genesis of the band, with bassist Jon Adams and lead guitar Keff Klinetob filling out the roster. PromiseLab released their debut album, When The Lights Go Down on Rohleder's Tbn Audio label and are ready to take their brand of Rock N Roll to the world.

There's a mellow vibe that pervades When The Light Go Down. Opening with the title track, PromiseLab uses a blend of Rock, Funk and Soul to create a groove that makes you want to dance and sing along. Wrong Way finds PromiseLab seemingly trying to capture a middle ground between Hootie & The Blowfish and John Mellencamp; its quasi-Americana feel plays right into this blend sonically. Everything thus far sounds good, but I'm still waiting for a track to knock me out, blow me away or however else you care to think about. For all of the talent and decent sound that are part of When The Lights Go Down, that wow moment never comes. Songs like Stand By, New Dawn and Where To Now provide that easy-to-consume, easy-to-forget vibe that makes for great pop radio fodder but doesn't really make a lasting impression. Even on more upbeat songs like Burned Again the emotional Pop oomph just doesn't appear. The best moment on the disc comes with the last song, 1991, a country song that seems more authentic than the rest of the material presented on When The Lights Go Down.

PromiseLab is a talented bunch of musicians who are decent songwriters and would make for an enjoyable live show. On recorded media the cracks show a bit too clearly. While the songs offered by PromiseLab are pleasant and listenable, they didn't stick with me in any substantive way even after a dozen trips to the CD player. The album is good, but there isn't anything here that hasn't already been said or done better, and the end result is a pleasant bit of music without much bite.

Rating: 2.5 Stars (Out of 5)

You can learn more about PromiseLab at http://www.tbnaudio.com/ or www.myspace.com/promiselab. You can purchase a copy of When The Lights Go Down at the TBN Audio Store.

Review: Jets Overhead - No Nations

Jets Overhead - No Nations
2009, Vapor Records

Victoria, British Columbia, Canada's Jets Overhead returns with their sophomore album, No Nations, the follow-up to 2006's Bridges, which earned the band a Juno nomination as "New Group of the Year". Produced by 54-40's Neil Osborne (the guy who wrote I Go Blind; made famous in the US by Hootie & The Blowfish); No Nations has a cinematic modern rock texture that fits perfectly with the band's tendency to create scene-heavy videos. Jets Overhead has already received attention from KCRW (Los Angeles) and WXPN (Philadelphia) for No Nations, and the masses can't be far behind.

No Nations opens with I Should Be Born, a mid-tempo, mellow rock tune with a big, layered sound and an insular vocal approach reminiscent of The Cowboy Junkies' Margo Timmons. This is the sort of mellow rock than can explode into a big sound on the concert stage, and vocalist Antonia Freybe-Smith sounds like she has a lot more power and texture than comes across here. Heading For Nowhere features Adam Kittredge on vocals with Freybe-Smith on harmony. The melody here is very strong and works well in this straight up rock arrangement. The chorus in particular is the sort that you sing along with the first time you hear it. Weathervanes (In The Way) soars on the same melodic highways and byways of old Alan Parsons tunes; the harmonies constructed within the song are nothing short of gorgeous.

Sure Sign is a pleasant listen but gets so stuck in its own chorus it can wear on the listener after a while. Freybe-Smith returns to the forefront on Time Will Remember; perhaps my favorite song on the disc. The musical aesthetic is still largely quiet and reserved but there's a lot of life underneath where guitar, piano, bass and percussion intermingle. Always A First Time carries a delicious mix of optimism and melancholy, all wrapped into amazing vocal harmonies and a simple yet positive arrangement. No Nations wraps up with Tired Of The Comfort, using the same mix of lush harmonies and melodies that get stuck in your aural canal to create a mellow yet moving listening experience.

No Nations took a few listens to really get into, but now I don't want to take it out of the CD player. It's a quietly compelling album, chatting you up with nuances deep and varied, slipping in melodies that keep you on the line and shut you down with harmonies you can't resist. Jets Overhead have created not just an album in No Nations, but a listening experience.

Rating: 4 Stars (Out of 5)

You can learn more about Jets Overhead at http://www.jetsoverhead.com/. You can purchase a copy of No Nations through Amazon.com. Downloads can be purchased from Amazon MP3 or iTunes.

Review: Brandon Swift - Brandon Swift

Brandon Swift - Brandon Swift
2008, Backspace Records

Brandon Swift hit the reset button after a freak accident led to a re-evaluation of priorities. Deciding to embrace the concept of Carpe Diem, Swift focuses on the positive experience of life. This energy and optimism shines through on Brandon Swift, his debut CD. Swift is touring the United States in a converted van with living quarters and a solar panel to play for anyone who will listen and live each day as the gift it is.

Brandon Swift appears to have thoroughly absorbed the mid-1990's North Carolina scene that included artists such as Hootie & The Blowfish and Edwin McCain and added in a bit of Black Crowes southern blues flavoring. Shine sums up these influences in one wonderfully eclectic and instantly commercial tune that should be licensed from here to Nashville and back. Lonely touches on a sort of unrequited love in sharply melodic terms and serves as an appropriate lead-into Surrounded. Surrounded is one of those pop tunes that are instantly recognizable the first time you hear it. Swift shows the same sort of Pop/Rock songwriting flair as Rob Thomas on a song that's as well-written lyrically as it is musically.

Stay With You is a classic Rock N Roll love song, perfect for mix tapes, marriage proposals or dedications to that special someone. Swift accomplishes all of this without sounding like a walking cliché, which is an accomplishment in itself. This is a great tune. Walkin' is another winner, taking on a Blues/Americana/Country mix that's irresistible. You'll want to dance and sing along. Satellite has a great melody that will stick with you and leads into another classic Rock love song, Wandered All Around. Swift has a knack for quirky love songs that don't fit perfectly in the mold without sounding of the mold. Swift closes out with Start With Yourself, a song pull of positive thinking and a killer melody. The message, "If you want to change the world then start with yourself" follows one of the great paradigms of Gandhi's teachings (Be the change you wish to see in the world). It's a great tune; once again mixing truth and a positive attitude without falling into cliche.

Brandon Swift has the voice of a Rock N Roll front man, sounding just a tad like a cross between Edwin McCain and a young Jon Bon Jovi. His songwriting is outstanding; intelligent, tuneful and with a singular voice as a composer that will speak to people. Brandon Swift is a spectacular introduction to the man as an artist and he artist as a man. A positive future icon in the world of Rock N Roll has emerged.

Rating: 4.5 Stars (Out of 5)

You can learn more about Brandon Swift at www.myspace.com/brandonswift. You can purchase a copy of Brandon Swift at Backspace Records.

Review: The Public Good - No. 1

The Public Good - No. 1
2009, Lost Lyrics

Washington, D.C.'s The Public Good may look and sound a bit familiar to fans of the 1990's Chapel Hill, North Carolina scene that produced acts such as Hootie & The Blowfish and Edwin McCain. Another band from that much-celebrated scene was The Popes, featuring songwriters John Elderkin and Steve Ruppenthal, who now form the nucleus of The Public Good. Their debut album, No. 1, will be released on August 1, 2009. Produced by Brian Paulson (Wilco, Beck, Squirrel Nut Zippers, Superchunk), No. 1 features real life through the lens of classic singer/songwriter storytelling infused with wit, emotion and not just a little bit of charm.

No. 1 opens with Baby, Baby, Baby, a bit three-chord guitar pop at its finest. It's a very catchy tune about a husband/dad feeling left out once the baby arrives. This is a great pop arrangement with some Beach Boys style harmonies in the breadkown. (Imagine The Girlfriends I'd Have) If I Still Had Hair is a humorous what if song from an vocalist who sounds like he could be a third-cousin of Paul McCartney. There is a distinctive melodic sense to the songwriting even if the songs themselves range from brilliant pop ditties to aggressively mundane attempts at wit. The Only Way is a decent track with hints of The Tragically Hip woven in. Other highlights include Cigarette and Nightmare.

The Public Good may well turn out to be aptly named. The presentation on No. 1 is very rough, musically. There is some real story telling potential in the songs presented here, but there is also an innate awkwardness in the lyrical structure that needs to be worked out. Songs like Baby, Baby, Baby highlight that potential. In the right hands this could be a bit pop hit. For now, The Public Good is off to a good start. No. 1 is more than sufficient to help build a fan base.

Rating: 3 Stars (Out of 5)

You can learn more about The Public Good at www.myspace.com/thepublicgood or http://www.thepublicgoodonline.com/, where you can purchase a copy of No. 1.

Review: Brent Jordan - Blue. Shout. Blind.

Brent Jordan – Blue. Shout. Blind.
2008, Brent Jordan

A boy is born, destined to play guitar. Influenced by the sand hills and sunshine of North Carolina and the sounds of Southern Blues, he eventually makes his way to San Francisco. With a voice that’s all heart and soul, and a songwriting style he learned from childhood palaver with the likes of Johnny Cash, James Taylor and Van Morrison, Brent Jordan offers up a sophomore album full of autobiographical songs, Blue. Shout. Blind.

Blue. Shout. Blind. opens with Pretty Little Thief, a gritty bit of Americana Folk/Pop. Jordan will remind listeners strongly of Darius Rucker. John's Song has one of those melodies that just stick in your brain, working in touches of Blues and Soul. The Prophet Song proves Jordan's Blues chops in an acoustic setting you won't forget. Jordan shows a bit more of his musical diversity on American Morning, a song that sounds like it was inspired by mid-career Billy Joel and finds Jordan sounding a touch like Marc Cohn on vocals. It's a great musical offering that might attract the ear of other artists as a song to cover. The best overall song on the disc, though, is On The Radio. Jordan built a Southern Rock N Blues sound with a lot of bounce to it. Be sure to check out the alternating waltz and 4/4 sections of Laugh In The Face Of It All and the classic folk sound of Across The World.

Brent Jordan is really good at what he does. The mix of Folk, Rock, Blues and Soul with singer/songwriter simplicity treats him well, and his voice is warm and distinctive enough to create a favorable impression. Blue. Shout. Blind. is a fitting introduction to the artist; familiar enough to grab onto and new and different enough to keep hold of. Fans of Carolina Rock (i.e. Hootie & The Blowfish, Edwin McCain, et. al) will love Brent Jordan, as well anyone with an ear for great pop music.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brent Jordan at www.myspace.com/brentjordanmusic. You can purchase a copy of Blue. Shout. Blind. at www.cdbaby.com/brentjordan2.

Review: Honor By August - Found

Honor By August - Found
2009, Honor By August

Based out of Washington, D.C., Honor By August has culled a reputation as one of the last bastions of mainstream Rock N Roll. In a day and age when most bands are looking to enhance their genre hyphenation by incorporating disparate sounds into songs, Honor By August offers a refreshingly classic pop/rock sound based on melody, harmony and great hooks. These efforts have already garnered Honor By August significant attention, winning the Billboard World Song Contest, gaining exposure on ESPN and sharing the stage with artists such as Bon Jovi, Hootie & The Blowfish, Edwin McCain, Peter Frampton and Third Eye Blind. Honor By August's sophomore album, Found hits the streets today. Honor By August might really be the next big thing.

There's a certain knack to songwriting in an ensemble; some groups never have it, some develop it over time, and some just click. Honor By August seems to have a magical connection wrapped up in their creative process that turns hooks into phrases, phrases into songs and songs into gold. Similar to bands like Matchbox 20, Semisonic, Hootie & The Blowfish and Third Eye Blind, there is a distinct pop sense that runs through everything they touch. Listen to the soaring choruses, bright melodies, gorgeous harmonies, intelligent and heartfelt lyrics, or any other quality you want to choose and there's a bit of magic there. Opening with the title track, Found is pure pop rock right from the start. Even amid the high quality songwriting and performances on Found there are distinct high points. Johnny (Pass Me Another) explores barstool camaraderie in an intelligent and emotional story song that is miles above the usual pop fodder. There You Were is the sort of love song that melts hearts. It's not a sappy ballad, but a mid-tempo Pop/Rock tune with a soaring chorus that is bound to be on most every mix tape made in 2009.

Say That It's Over is a catchy plea to put an end to war, complete with a chorus reminiscent of Toad The Wet Sprocket on steroids. Hometown Heroes takes the pop sensibility to a new level on a song that will be new to listeners but is instantly recognizable nonetheless. It details one of the dreams of any performer: coming home a star. Awake & Alive, the closer, is a poignant and quiet moment of reflection on origins and identity before Honor By August says goodnight. Other highlights include Half A Day Away, See This Through and Love Lies Awake.

Honor By August has a distinct polish to them that belies their Indy status. Found is the sort of album that makes major labels come calling. With the right exposure and a lucky break or two Honor By August could be one of the most popular bands of 2009. Found leaves me very excited for the future of Honor By August, and wanting to track down their first release. Don't pass this one by.

Rating: 4.5 Stars (Out of 5)

You can learn more about Honor By August at www.myspace.com/honorbyaugust or http://www.honorbyaugust.com/. You can purchase Found at www.cdbaby.com/cd/honorbyaugust2.

Review: Flint Zeigler - The New Harmony Sessions

Flint Zeigler - The New Harmony Sessions
2008, Flint Zeigler

Tennessee's Flint Zeigler has known musical success before. As a member of Grantham Road he charted on the Roots Music Report (#26 for the 2006 album Parade); receiving significant airplay in markets such as Philadelphia, South Carolina, Ohio, Virginia, Alaska and New York City. Grantham Road played with Hootie & The Blowfish, The Badlees and Saving Jane. Zeigler's soulful voice (somewhere between Darius Rocker and either March Cohn or Michael Kroll) and melodic guitar style wrap themselves around and through songs about love, family, spirituality, faith, loss and God. While not overtly Christian music, there is a strong Judeo-Christian ethic at the base of Zeigler's songwriting. Produced by David Foreman (Dwight Yoakam, John Hiatt), The New Harmony Sessions is an uplifting and thoughtful album in the classic singer/songwriter tradition.

I had to check a couple of time when I first put this in to make sure I'd grabbed the right discs. Flint Zeigler sounds so much like Michael Kroll (long one of my favorite Indie artists) that I was certain I'd made a mistake; but no. There are subtle differences if you listen closely, but they could be brothers to judge by their voices. Zeigler brings eleven autobiographical songs on The New Harmony Sessions that are among the most enjoyable I've heard in 2009; Zeigler is a master story-teller in song. The CD opens with Martyrs, a wonderfully soulful song about working your way through personal and marital difficulties in the face of a sometimes cruel world. It's a positive message that is often eschewed for easy answers and the song is, quite frankly, inspiring. Zeigler delivers all of this with a melody hat will stick in your head like superglue and a classy, soulful arrangement.

Gone Away is a song that could go a long, long way for Zeigler. It was written about spending an evening alone with his wife; about wanting to be never separated from the one you love. Expect this to be licensed in the extreme. It's a mix-tape song, a wedding song and a potential part of the soundtrack to millions of everyday lives. This song works because even though it is a highly personal memoir of one evening in Zeigler's life, it's universal. Survive is a contemplative declaration that is very powerful in its quiet determination. In These Days is a song of faith and a lamentation of the general loss thereof in society. Zeigler references Martin Luther, Mother Theresa and John The Baptist, among others, as signs of inspiration of days gone by, and mourns the absence of similar folks in this day and age. Zeigler thinks that either God has stopped speaking to us or we've stopped listening, and this is the heartfelt extension of those ideas into song.

Felt Like Rain is a wonderfully dark folk/rock tune with some amazing guitar work and a plodding, soulful vocal that is extremely memorable. Other highlights include the reserved Sorrow And Gin, Touch And Bloom and Room Of Cards.

Flint Zeigler is a masterful story teller with an ear for melody and a talent for writing striking yet reserved guitar-based arrangements for his songs. The New Harmony Sessions tells true life stories in song. I found myself getting more drawn in with each song. Zeigler will charm you with sometimes dark stories full of light and life; Stories about hard times where faith and hope are the only life raft remaining, and in the end the sunshine always peaks through. This is an amazing album that should march across all sorts of musical barriers. Zeigler is an amazing talent. Check out this disc.

Rating: 4.5 Stars (Out of 5)

You can learn more about Flint Zeigler at www.myspace.com/flintzeigler or www.myspace.com/granthamroad. You can purchase a copy of The New Harmony Sessions at www.cdbaby.com/cd/flintzeigler.

Review: David Martinez - David Martinez

David Martinez – David Martinez
2008, David Martinez

Corpus Christi, Texas-based David Martinez has developed something of a following over the past few years. Significant touring of the U.S. Northwest and West Coast have helped Martinez build a critical buzz as well as develop some very helpful contacts. In 2008, Martinez released his second CD, entitled David Martinez. Produced by Leroy Miller (guitarist - Smash Mouth, Hog), David Martinez is 10 songs of acoustic based folk/rock. Nine songs are all Martinez, and Leroy Miller helped revamp one of the tunes, but it quickly becomes clear why Martinez has generated so much attention.

David Martinez has ups and downs on his self-titled debut. He seems to get a little lost on some of the mid-tempo songs (The Otherside, Waiting), but has a real ear for upbeat folk/pop music. Can’t Find You is incredibly catchy with something of a Del Amitri vibe. What You Need is a great party song. It’s the sort of song that if it hits at the right point in spring it will stay on the radio all summer long. Walk On Air is another good one; an upbeat love song with some funk in its genes and some pretty excellent guitar work. Visions is something of a surprise, falling more into the AOR/Rock category. Great harmonies and a big chorus make this a very memorable tune.

Martinez does well with songs like the opening track, Heal, which sounds like it has Hootie and the Blowfish in its ancestry. Sweet Sister walks the line; a schmaltzy ballad that’s a bit overdone and cliché but has an honest quality that’s endearing in spite of all that. There are a few songs here where Martinez just sounds lost, like perhaps he had a great lyric or chorus or hook that he built a song around but never found the passion for the whole of the song that he did for its genesis. Nevertheless, six songs out of ten are very much worth hearing. The rest aren’t bad, but won’t stick with you either (that’s not a bad ratio).

David Martinez sounds young, and has a fair amount of talent. His voice is just a bit left of center and memorable. He won’t blow you away with his vocals but he is pleasant to listen to. Martinez seems to find moments of true musical inspiration at times on David Martinez, generally in the more upbeat folk/rock tunes. Fans of Pat McGee band, Hootie and the Blowfish, Del Amitri and the like will definitely dig David Martinez. All others should at least hear a song or two that catch their interest.

Rating: 3.5 Stars (Out of 5)

You can learn more about David Martinez at www.myspace.com/davidmartinez. You can learn more about Producer Leroy Miller at www.myspace.com/leroymusic. You can purchase a copy of David Martinez at www.cdbaby.com/cd/davidmartinez2.

Review: Bohemian Grove - Bohemian Grove

Bohemian Grove - Bohemian Grove
2009, Bohemian Grove

Bohemian Grove is a Tallahassee, Florida based band that dabbles in Jazz, Rock & Blues. Lead vocalist Mitch Neubauer and bassist Jeff Davis currently form the core of Bohemian Grove. Bohemian Grove takes its name from the California campground of the Bohemia Club, one of the most exclusive all-male clubs in the world. Membership includes world leaders, captains of industry, artists, musicians and the generally filthy rich. The Grove is their escape from the world, and is often the meeting place from which major political and financial decisions are made. Bohemian Grove is in the process of recording their full-length debut, but submitted a demo entitled Bohemian Grove for review.

Bohemian Grove opens with Creature Habits, a jazz flavored light rock tune with strong and enjoyable vocals from Mitch Neubauer. It's a smart arrangement with jazz and funk influences that will have your toes tapping almost immediately. Next up is Disappearing Coast, a meandering waltz that allows Neubauer to really open his pipes with soulful vocals that drill through you. The arrangement here isn't terribly complex, but Neubauer creates a lot of interesting texture and rhythms with his guitar that make Disappearing Coast a delightful listen. Walk Away has a delicious blues feel to it and is likely to get stuck in your head. How's It Feel has an easy-pop feel to it, vaguely reminiscent of Hootie & The Blowfish. Kate's Song is an introspective love song exploring the giddiness of new love.

Bohemian Grove is a very eclectic mix of jazz, funk and singer-songwriter pastiche, all in a mellow, easy listening package. This is a feel-good, enjoyable recording that is pleasant to listen to. Neubauer's voice soars across the five songs presented here in a majestic manner. Bohemian Grove isn't a highly commercial project, but is likely to engender a small core of very devoted fans.

Rating: 3.5 Stars (Out of 5)

You can learn more about Bohemian Grove at www.myspace.com/bohemiangroveonline. Bohemian Grove will be releasing a full length album in 2009.