Tom Levin - Them Feet

Tom Levin - Them Feet
2014, Distrosong

Swedish-born Tom Levin was educated in the United States and Australia.  His Alaskan exchange family heard him singing in the shower and encouraged him to join the school choir.  The rest, as they say, is history.  That encouragement set Levin’s feet upon an inevitable path to a career in music.  The 2007 NMW Awards winner for “Male Artist of the Year” (he beat out John Mayer, James Blunt and Daniel Powter) has had significant chart success in Sweden, and continues to draw regular crowds at shows in the United States.  Levin releases his latest album, Them Feet, on January 29, 2014.  It is the first of two new albums from Levin in 2014, and it’s going to be hard to beat. 

The first thing to understand about the evolution of Levin’s work is that moves forward by moving backwards.  Levin writes brilliant pop songs, disguised as deliciously stripped down mishmashes of country, Americana, gospel and pop ménage.  The title track, “Them Feet”, is a brilliant piece of songwriting, a look at true love with a long view.  Levin is utterly convincing in describing a love that builds even as time breaks down.  The song is cut from a minimalist cloth.  Flourishes are saved for occasional accents while Levin allows the songs to speak for themselves.  “I Raise My Flag” is a song of determination that is delivered with low key style that nearly belies its subject matter, unless of course you cue in to the quiet intensity of the chorus. 

“Pull Yourself Together” could be a country tune, a pop tune or a classic rock number, but Levin crafts it as a quiet diatribe that’s all the more intense for its quiet Americana delivery.  This has hit written all over it.  “As Long As it’s Good” is cut from similar cloth, with Levin allowing the inherent pop brilliance of the song shine in its own rough-hewn style.  These are songs you will be singing and/or humming for days after you hear them, and they are utterly accessible.  Levin sings in a perfectly imperfect voice and range that your average music fan can sing along with; his messages are universally understandable; and his approach is earthy and real. 

“Once I Almost Killed A Horse” is an off-beat story song that finds Levin reminiscing about the keystone moments in his life that led him to his current love.  The individual references may not mean anything to any one particular listener, but the tapestry of life experiences has a journeyman’s appeal that’s inescapable.  Levin delivers this all in a low key fashion that’s part conversational and part reverie.  “Company Man” sees Levin digging into an American gospel style, but the halting arrangement saps the momentum of the album.  Atmospheric reverb counters Levin’s bare voice on “June’s Memory Lane”, a quiet gem hiding out in the last third of the album.  This moving still life of a song is a thing of beauty, as Levin uses vocal brush strokes to bring to life a scene full of vibrant quietude.

On “Father To Son”, Levin imparts important bytes of wisdom in a brilliant piece of Americana/pop songwriting that details the transition of a father as his own son joins the clan of fatherhood.  The personal reflections and expressions of love here are palpable, with Levin showing a deep personal connection that pulls the listener in.  You’ll want to call your Dad after hearing this song.  “King Neptune” is a song of memorial with a fairy tale-like feel.  Levin shows respect for a man of integrity and honesty, much like himself.  The beat of the song is penetrating, delivered on guitar rather than through percussion, and drives home the quiet sincerity of Levin’s lyrics.

Them Feet is not built on any measure of perfection, unless you consider the vitally accurate rendering of streams of the human heart as perfection.  If you do, then Tom Levin has created as near to a perfect album as you could hope for.  There are bumps and bruises here, just as in life, but Levin navigates them all with the quiet certainty of one who has found the meaning of his life and is working to play it out to full effect.  Levin’s lyrical style might be dubbed “conversational reverie”, as he mixes memories and moments into his current observations with a poet’s touch.  The music is stripped down and accessible, but never fails to hide his pure pop genius.  Them Feet is brilliant in its imperfection.

Rating:                        4.5 Stars (Out of 5)
Learn more at www.tomlevin.com.

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.

Jesse Terry - Empty Seat On A Plane

Jesse Terry – Empty Seat On A Plane
2012, Jesse Terry

Jesse Terry is an award-winning singer/songwriter based in New York City, but you won’t often find him there.  Terry is an old-school road warrior, spending much of his time in clubs across the U.S. or at festivals where he can share his music with more fans, potential or otherwise.  Along the way, Terry has won Grand Prize in the John Lennon Songwriting Contest and the CMT/NSAI Songwriting Competition, among others.  Terry has shared the stage with the likes of Darrell Scott (Robert Plant), Shawn Mullins, Dar Williams, David Wilcox, Lori McKenna and Rachel Platten.  Jesse Terry released his newest album, Empty Seat on A Plane, in July of 2012.  Produced by Neilson Hubbard (Kim Richey, Glen Phillips, Matthew Perryman Jones), the album moves with deep emotional waves and sparkling storytelling.

Terry kicks things off with “Empty Seats On A Plane”, a solid piece of folk pop that is deep in imagery.  As the title track and opener, it’s actually one of the more mundane tracks Terry wrote for the album, but a solid, if quiet, start.  “Let The Blues Skies Go To Your Head” is surprisingly introspective given the title.  Terry’s voice is distinctive, buzz worth with hints of a whine at times.  “Wishful Thinking” is a gentle piece of Americana that’s aesthetically pretty and poetically refined.  Terry continues to catalog his deepest thoughts and fears.

“Grace On A Train” is a standout track, with Terry seemingly telling two stories at once, one real and one in allegory.  This is as fine a piece of songwriting as you’ll find, and sounds like a hybrid cross of Paul Simon and John Mayer (at his best).  Terry shows off his ability at subtle word play in “Tightrope”.  There’s definitely more of a Paul Simon feel to this tune, and Terry’s literate lyrics and sprightly, rhythm-driven guitar arrangement are real charmers.  Jesse Terry goes for a gospel/Americana feel on “Bitterroot Valley”, the result is a pleasant listen, although it’s not clear from the listener’s perspective whether Terry really got to where he intended on this one.  A funky backbeat drives “Blue Touches Blue”, which plays as an almost perfect counterpoint to “Bitterroot Valley”.

“Coyotes” is a heartfelt ballad about being an outsider looking in.  Jesse Terry develops the song perfectly, with tremendous slow build in energy and intensity that sucks the listener in.  The spacey guitar work that dots the edges of the song is unusual and cool, a fine artist’s touch.    Terry strips things down to the base for “Barefoot Child”, a straight-forward reflection on the world that is full of a quiet beauty and grace.  “Sacred Or Nothing” ironically turns on itself perhaps, turning out to be one of the two weakest tracks on the disc, but Terry recovers well with the awkwardly sentimental but comely “Scenic Route”.  Jesse Terry says goodnight in perfect fashion with the swaying rhythms of “Pearl Diver”.  Terry paints entire scenes in words here against a clear, clean melody that is built of a simple beauty.

Jesse Terry is an amazing talented singer/songwriter.  His ability to sculpt powerful images with words impresses from the outset of Empty Seat On A Plane.  His tendency to get wrapped up in his own inner emotional dogma can be kind of a drag for the listener as well.  At his best, Terry is like the second coming of Paul Simon as a songwriter, with a voice that’s somewhere in the range of John Mayer.  At his worst moments, Terry’s voice and inward focus can make him sound whiny or self-pitying.  On balance, Empty Seat On A Plane is a powerful experience for the listener – one bound to make a lasting impression.  There’s little doubt that Jesse Terry is going to have a big following one day.

Rating: 3.5 Stars (Out of 5)

Learn more about Jesse Terry at www.jesseterrymusic.com. 

Matt And The City Limits - Crash

Matt And The City Limits – Crash
2011, Island/Def Jam Records

Matt Berman has been making an impression in gigs over the past couple of years, both for his voice and his jazz-infused saxophone style.  Together with his band, Matt And The City Limits, Berman caught the ear of Island/Def Jam Records.  The rest is a story out of the old days of major label dominance.  The upshot was the release of Matt And The City Limits debut album, Crash.  Dropped digitally last fall, the album saw a full CD release in February of 2012. 

The comparisons to folks such as John Mayer, Dave Matthews, Jason Mraz and Rob Thomas are going to be made.  Berman has obviously been influenced by the sounds of some of these acts, but also brings a sense of jazz construction to his songwriting that is not typical for adult alternative rock music.   At the same time, Berman’s sense of melody and presentation is a bit bland.  In spite of some out of the box musical ideas, Crash never really impresses.

That Girl, the first track on Crash, is highly representative of the aura of the album: commercially viable but a bit too much like too many other things on the radio these days.  “Crash” is a middle of the road ballad with a 1970’s lo-fi feel.  The mix is a bit off, the saxophone over-emphasized to the detriment of other instrumentation.  “Keep Love” is a step up; very catchy and with some real pop sensibility, but there’s a vaguely disheveled feel to the mix.  “Beauty Is That Blind Eyes Can See” puts Berman’s strengths and weaknesses in focus.  From a songwriting perspective, this song is very young and not well developed.  By the same token, Berman shows a talent for delivering songs with a sincerity that can’t be feigned.  This will become more significant as he grows into his songwriting skills over time.
”Change” and “On The Other Side” are relatively bland, filling the space leading up to the closing track, “Bring It On Home To Me”.  This instrumental take on the Sam Cooke classic blends jazz and rock in a near-perfect mix that sounds like segue way music from G.E. Smith’s Saturday Night Live days.  The mix here is a bit off, once again, but the overall effect is a good one.

Matt And The City Limits show real musical potential on Crash.  A young songwriter, Matt Berman nevertheless gets points for raw talent and sincerity.  Crash is a solid start, and it will be curious to see what Berman has up his sleeve the next time around.
Rating: 3 Stars (Out of 5)

Learn more about Matt And The City Limits at www.mattandthecitylimits.com.    You can purchase Crash from the e-tailers below, or through the Wildy’s World Amazon.com store. 

     Amazon MP3             iTunes

Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Madi Diaz - Far From The Things That We Know [EP]

Madi Diaz - Far From Things That We Know [EP]
2011, Tiny Ogre

Madi Diaz is a face in the crowd in Nashville; one of the minions of new era singer/songwriters infiltrating Music Way.  But once you here evocative sound and her penchant for contrast a songwriter, Diaz will quickly become unforgettable.  On September 20, 2011, Diaz releases a three-song EP, Far From The Things That We Know, is a preview for a full-length album due out in early 2012.  Produced by John Alagia (John Mayer, The Dave Matthews Band), Far From The Things That We Know will place Madi Diaz firmly on the map, and build significant anticipation for the full-length release to come.

Far From Things That We Know opens with "Let's Go", a middle of the road pop number you'd expect to hear at Lilith Fair.  Diaz pumps up a simple arrangement with a full sound, and her voice is a pleasure to the ears, but the song doesn't make much of an impression either way.  "Johnny" hits the mark; an urgent entreaty in song, harking back to the era of Saturday night drag racing on the edge of town.  Diaz crafts a nice, fluid melody here to take the edge of a lover's premonition, and sounds like a blend of Emm Gryner and Sara Bareilles.  Diaz closes with "Heavy Heart", an intriguing piece of melancholy folk/pop with a sweet melody.  Diaz' pretty, reserved sound is memorable.  She doesn't blow listeners away, but draws you in with a sense of quiet that is intriguing.

Rating: 3.5 Stars (Out of 5)

Learn more about Madi Diaz at www.madidiaz.com or www.myspace.com/madidiaz.  Far From The Things That We Know is scheduled to drop September 20, 2011.  Keep checking Diaz’ website(s) for details.

The Heavy Pets - The Heavy Pets

The Heavy Pets - The Heavy Pets
2010, 102 Degrees Productions

Fort Lauderdale, Florida's The Heavy Pets are stylistic chameleons, blending sounds and styles seemingly without thought. The band seems to have an innate melodic sensibility that allows almost anything to work for them, a characteristic abundantly display on The Heavy Pets, the band's self-titled third album. Sounding like something a jam session between Supertramp, Train and John Mayer, "Drenched" kicks off the album in fine style with a funky feel and soulful vocals. The song is catchy and laid back all at once; a monologue from a man trapped in sadness but seeing the light in a particular lady. It's a great opening track and likely single. "Girl You Make Me Stupid" features a rapid-fire vocal/lyrical style and is highly danceable with a hip-hop feel. It's a look at the inept feeling of being a fool in love and explores how it carries over once the relationship has passed away.

For those familiar with Canadian rockers Max Webster, you'll swear "How Would I" has to be a cover of some undisclosed tune. We assure it's an original, but the guitar work sounds a lot like Kim Mitchell riffing on a theme. It's another highly catchy tune and the vocal harmonies here are outstanding. From here the 1970's take over for "Grace Blix" and "Jackie Bones"; the former an off-beat ballad and the later a guitar oriented classic rock tune that makes for a solid album track. "Lazy Anna" gets stuck in its own monotony, playing like a rap tune with rhythmic and a-melodic vocals on the verses. Things even out for the rest of the album somewhere at the midline. Over the final six songs The Heavy Pets move through solid classic-rock oriented musical blends that are enjoyable listens but don't have the vitality of the first three tracks. "No More Time" stands out here for its pleasant reggae/rock/Americana blend, and "Ichabod Train" makes a nice closer with its folky feel.

The Heavy Pets put in a solid effort on their self-titled album. The only problem is more one of perception. The Heavy Pets starts out so strongly that the rest of the album is something of a letdown by comparison. To be fair, much of this album will likely play better live than in the studio, and perhaps some of the letdown referenced above should be laid at the foot of the production board. It's clear that The Heavy Pets have a knack for writing dynamic and listenable rock music; this is a band to keep your eyes on.

Rating: 3 Stars (Out of 5)

Learn more about The Heavy Pets at http://www.theheavypets.com/ or www.myspace.com/theheavypets.  The Heavy Pets is available in multiple formats from the band's webstore.  Downloads are available from Amazon.com and iTunes.

Guy Sebastian - Like It Like That

Guy Sebastian - Like It Like That
2009, Sony Music Australia

Guy Sebastian is a soul singer from Australia with a sound that's so retro it's fresh. The judge on Australia's version of The X-Factor is also a surprisingly good vocalist and songwriter, blending 1960's Pop and R&B with more modern sounds in a fashion that could catch chart fire very quickly. Sebastian's US debut, Like It Like That was released in June of this year, featuring performances from John Mayer and Jordin Sparks. Produced by David Ryan Harris (Mariah Carey, Nick Jonas, John Mayer), Like It Like That seems likely to open a lot of doors in the US for Sebastian.

Sebastian opens with "Like It Like That", an incredibly catchy pop tune with a pure 1960s feel. You'll find yourself dancing, laughing and singing along to this romantic summer/party song; you won't be able to get it out of your head. Sebastian sounds a lot like Tom Jones on "All To Myself", a big R&B/pop number that shows off Sebastian's expressive voice in fine fashion. "Art Of Love" is a duet with Jordin Sparks, and a big missed opportunity. The production here is very modern and slick, complete with vocal effects and too much clutter. Both Sebastian and Sparks have tremendous voices and would have been better left to simply spin the song over a minimal arrangement, but David Ryan Harris appears to have been aiming for the Top-40 charts here and in the process ruined what should have been a benchmark duet.

Sebastian gets back to pure pop with "Attention" before sidling into "Magic", a duet with Australian singer Tarryn Stokes. This time they get it right, with both Sparks and Sebastian at the top of their respective games. "Bring Yourself" is a classic 1960's-style soul ballad and offers what may the most dynamic vocal performance of the album. "Never Hold You Down" keeps that classic feel, updating it just enough to make it fresh without losing the essential retro flavor of the tune. Sebastian channels Marvin Gaye on "Fail To Mention" and keeps in the same vein with "Never Be You". Gaye fans may do a double take the first time they hear "Fail To Mention". "Coming Home" is a pure pop/classic R&B confection you can't help but love. Sebastian pulls a major change of pace for the final song, "Perfection", detailing the creation of a woman in heaven. This tune puts the better half of humanity on a collective pedestal and is likely to make a lot of young hearts swoon when Sebastian sings it in concert. At the same time it's quite saccharine and could inspire an equally strong polar reaction from those not inclined to the tune.

Guy Sebastian is at his best when he keeps it simple. This is an artist very much steeped in the traditions of classic R&B and soul music. Sebastian explores these sounds with a distinctive pop sensibility that gets under your skin on Like It Like That. When Sebastian tries to be too modern or too sweet it comes across as less than truthful, but when he stays true to his sound he's personality plus. Like It Like That has its off moments, but balance it's so good you won't be able to put it down. Look out American, here comes Guy Sebastian.

Rating: 4 Stars (Out of 5)

Learn more about Guy Sebastian at http://www.guysebastian.com.au/ or www.myspace.com/guysebastian.  Like It Like That is available through amazing as a pricey import on CD or as a Download.  The album is also available digitally via iTunes.

Jaimz Woodard - Addiction

Jaimz Woodard - Addiction
2010, Jaimz Woodard

Jaimz Woodard is an up-and-coming songwriter, among other things. While in the process of writing material for what will be his debut album, Woodard was called to active duty in Iraq. On the verge of returning home, Woodard has not lost his muse and plans on continuing work on his debut album, Addiction. Woodard was nice enough to send along some of the songs he's working on for Addiction for review.

Woodard's title track, "Addiction", is an angry affair built within a spare arrangement. Woodard's voice isn't exactly what you'd call pretty, but he does bring a presence to the microphone that's undeniable; sort of like Trent Reznor without the histrionic sense of self. "The Cat's In The Cradle (2010 Iraq Deployment version)" is competent, although don't try to follow the melody line too closely, as Woodard has strongly reinterpreted it in post-melodic style or simply doesn't have a strong sense of pitch. "Hometown Blues" features acoustic guitar over the sort of canned electronic beat known to anyone who's ever owned a Casio keyboard; it's an ode to childhood friends and the tendency to lose touch with your roots as the tide of life carries everyone to their own destinations. "Rearranged" has a darker, heavier feel backed up against a programmed beat. The sound quality and composition is reminiscent of some of Steve Lieberman's lighter tunes, although Woodard's attempts at vocals can't match the yelled intensity of The Gangsta Rabbi. Woodard's demo closes with "Standing Here Today", the best songwriting on the album (thus far). Woodard still doesn't have a strong relationship with the melody line, or at least not one you'd expect. This is more of a distraction than anything.

Jaimz Woodard deserves all credit for the sacrifices made to go so far from home and fight for a much maligned cause in difficult times; he and his brothers and sisters and arms deserve all credit and support for standing up each day for an ideal of peace and liberty, regardless of what you might think of the political motivations of those who direct the war in which they fight. As a musician, Woodard is competent on guitar, and does show flashes of songwriting skill. The mixes presented on the early demo for Addiction are quite rough and may not be reflective of the planned full length album; an eventuality that would benefit Woodard greatly. The mixes offered here are FAFO (friends and family only); not really worthy of being put out as a commercial endeavor. That being said, "Addiction" and "Standing Here Today" both show real promise as a songwriter. The disparity in styles can be both positive and negative in a post-modern, post-genre music world, but these songs do suggest Woodard at least has real potential as a songwriter. Vocally, Woodard is closer to Wesley Willis than John Mayer; able to present only ghostLes of the fine melodies I'm certain he hears in his head. Addiction may turn out to be something good, but it's going to take a lot of work.

Rating: 1.5 Stars (Out of 5)

Learn more about Jaimz Woodard at http://www.jaimzwoodard.com/ or www.myspace.com/jaimzwoodard.  Addiction will not be ready until late 2010 or early 2011, but you can download a handful of Woodard's songs from Amazon and iTunes.

Sean Waterman - Enough

Sean Waterman - Enough
2010, Sean Waterman

Atlanta’s Sean Waterman fell into music early, catching the guitar bug while in 4th grade. The Brooklyn-born singer/songwriter, now 23, has written a prodigious number of songs in the singer-songwriter tradition, and has even had some of his work performed by South Carolina jazz vocalist Ann Caldwell. These days Waterman is gigging in support of his first formal EP, Locomotive Hearts. The first single from that EP is “Enough”. Written in a full acoustic-guitar sound, “Enough” is certainly pretty, but the dynamics never really change throughout the song. It’s a tune about feeling trapped in a relationship where you can never really make your partner happy. Waterman layers on emotional weight with vocal effects; exploring the depths of sorrow, anger and vulnerability, but Waterman never seems to feel any of these. It’s a very well-written tune, but the delivery feels a bit false. It’s as if Waterman wrote the song as an intellectual exercise, but either never really felt what he wrote or just won’t let himself fall into the song completely.

Rating: 2.5 Stars (Out of 5)

Learn more about Sean Waterman at www.myspace.com/seanwatermanmusic.  "Enough" is available as part of the Locomotive Hearts EP, and may be downloaded both as a single as well as part of the full EP from
Amazon.com.

Phil Ayoub - Arrivals And Departures

Phil Ayoub - Arrivals And Departures
2010, Phil Ayoub

Boston-based singer/songwriter Phil Ayoub created a lot of buzz with his last album, Schoolbus Window Paper Heart, earning airplay on over sixty radio stations across the US and playing live shows from coast to coast. With a mild musical manner but an intensely infectious joy in his craft, Ayoub tells unvarnished stories in often mellow but moving musical arrangements that get under your skin. Ayoub's latest album, Arrivals and Departures picks up with he left off. Filled with 14 songs of finely crafted singer/songwriter tunes that run the gamut from Americana to folk to rock n roll, Arrivals And Departures features several songs that could help Ayoub make the jump to the next level of name recognition. Arrivals And Departures was primarily written while traveling, often while waiting in airports for a flight. The album is produced by Tim Bradshaw (John Mayer, David Gray) and features drum work from Kevin Figueiredo (Extreme).

Ayoub kicks things off with "The Bearded Lady", comparing the draw of an unhealthy relationship with that of a circus act; a situation where you can't look but you can't look away. This is delivered in a very catchy Americana arrangement laced with the sort of pop hooks that capture music directors' imaginations. "Get Out (Live A Little, Love A Lot)" is all about living life to the fullest. Ayoub wraps this tune in an irresistible piece of music you can't help but love. It's easy to see how "Get Out" could become a fan/concert favorite; the song is ripe for treatment as a single and has potential licensing opportunities that seem limitless (particularly in the health lifestyle category). "Flowers At Work" shows Ayoub's romantic side; express as a penchant for kitschy little love songs that have a Paul McCartney flair. The song also shows Ayoub's ability to craft gently perfect arrangements that put the listener instantly at ease and draw you into whatever story he's telling.

Ayoub has a bit of fun with "Body Language", a catchy tune about methods of communication that (usually) need no common language. "Bad Habits" is a tongue-in-cheek rocker that engages in a bit of post-adolescent bravado in a message to all of the ladies listening. It's another tune that keeps a mellow mood but simultaneously delivers a catchy melody you can't quite escape. Things get a little darker on "Goodnight Romeo", a song about dealing with the loss of a loved one by sinking into one's darker, self-destructive tendencies. There's a desperate feel to this song that is palpable as Ayoub delivers this vignette on emotional pain in the mild, unflinching tones of the deeply depressed. At the same time it's a pretty melody, and the song is imbued with a lively energy that somehow avoids being at odds with the subject matter.

"Tara's Birthday" is a musical cat scan of sorts, looking at slices of one woman's life as seen through her own eyes on various birthdays. The song is incredibly charming with a sort of detached melancholy as it tells the story of an eternally single woman as she tries to come to terms with who she is. It's incredibly well written and ultimately tuneful. "Walk You Home" is a sweet, uncomplicated love song with a pretty melody and a low-key approach that sets the stage for the album's best track. "32 Memory Lane" might have Paul McCartney's lawyers checking his song list to make sure Ayoub didn't somehow lift this track from the archives. Catchy, quirky and sweet;”32 Memory Lane" is among Ayoub's best songwriting and is guaranteed to be rattling around inside your brain for weeks.

Phil Ayoub keeps impressing people. Whether fronting his former band Riverside Train or as a solo artist, Ayoub doesn't seem like the consummate front man. His easy going style would seem at odds with the dynamics of a rock n roll star, but Ayoub delivers each song with a quiet internal intensity that brings the moments, places and people he tells about to life before your eyes. Add to that a penchant for creating melodies and arrangements that captivate the mind and you have a distinctive recipe for success. Arrivals And Departures perhaps doesn't hit on every song, but the material that hits home is so well crafted and performed you won't want to put the album down. Arrivals And Departures is an essential album from an artist who is only getting better and better with time.

Rating: 4.5 Stars (Out of 5)

Learn more about Phil Ayoub at http://www.philayoub.com/ or www.myspace.com/philayoub.  Arrivals And Departures is available as a CD or Download from Amazon.com.  The album is also available digitally from iTunes.

SJ - I Like You/Lo Mejor De Mi

SJ - I Like You/Lo Mejor De Mi

2010, Acoustic Soul Records (8/31/10)

Miami Beach, Florida singer/songwriter SJ is relatively unknown, but has already earned comparisons to artists such as Jack Johnson, John Mayer and James Blunt. SJ's first single, "I Like You" displays a deft touch for melody, lyrics and an inherent pop sensibility that's like to have major record labels calling at his door. It's an innocent love song that lacks the narcissistic pretense of many pop ballads currently on the radio. Delivered in an acoustic arrangement, "I Like You" is the sort of song that can catapult an artist from unknown to world renowned overnight. SJ also offers a spanish-language version, "Lo Mejor De Mi", a move likely to broaden his popular appeal. Don't be surprised if "I Like You" is all over the radio soon.

Rating: 5 Stars (Out of 5)

Learn more about SJ at http://www.sjacoustic.com/ or www.myspace.com/sjacousticmusic.  "I Like You" and "Lo Mejor De Mi" drop on August 31, 2010.  I Like You (Radio Version) and Lo Mejor De Mi are available for pre-order from Amazon.

Review: Brian Pounds - After You're Gone

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

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

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

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

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

Rating: 3 Stars (Out of 5)

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

Review: Justin James - Perfect Sometimes

Justin James - Perfect Sometimes
2010, Gold Sky Records

Sometimes it takes a tragedy (or near-tragedy) to open doors. So it was for California surfer/singer/songwriter Justin James. James suffered a shark attack several years ago, losing massive amounts of blood and setting him up for a year-long bout of recovery and rehabilitation. The gift of an acoustic guitar during that time became James’ greatest passion, and a new path was born. James celebrates the remaking of himself with the release of his debut album, Perfect Sometimes in 2010.

James shows the potential to be an entertaining and engaging performer on Perfect Sometimes. Opening with the title track, a catchy, silly little love song that’s a perfect introduction, James establishes himself in the same vein as John Mayer and Jack Johnson. The only down side to this is that it becomes very apparent at points throughout the album that a fair amount of digital manipulation of James’ voice is occurring, making it difficult to know what is live and what is AutoTune. “Beautiful Crime” is radio-ready pop with elements of soul and a light dance beat. The song is a bit formulaic but is a likely winner at pop radio. “Stay Close To Me” is also highly radio friendly, featuring a killer hook and a sound that will have John Mayer fans doing a double take the first time they hear it. James hits a rough patch in the middle of Perfect Sometimes, with tracks such as “Sometimes”, “Deeper Waters” and “Missed Again” coming off a bit bland.

James makes something of a comeback on “You Don’t Know Me”, a lively mid-tempo rocker with a decent hook and perhaps a small commercial upside. “Moonlight” is a dreamy samba that sounds nice but carries no emotional weight. James’ finest moment comes on "Gypsy Girl", a highly enjoyable song delivered in a solid Americana arrangement. Perfect Sometimes bows with “On My Way”, a sweet pop song that bookends the album well. This is one of those tunes that doesn’t bowl you over, but goes down as easily as a cool drink on a warm summer afternoon. It leaves listeners with a good last impression.

Justin James shows flashes of what he might become on Perfect Sometimes. The songwriting is a bit uneven throughout the album, but James’ better moments are definitely worth checking out. Don’t be surprised if James sees modest commercial success out of Perfect Sometimes, but there is real growth potential here. It will be curious to see where James goes next.

Rating: 3 Stars (Out of 5)

Learn more about Justin James at http://www.justinjames.com/ or www.myspace.com/justinjames. Perfect Sometimes is available as either a CD or Download from Amazon.com.

Review: Howard Jennings - Ready To Listen

Howard Jennings - Ready To Listen
2009, Howard Jennings

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

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

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

Rating: 3 Stars (Out of 5)

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

Review: Jon Troast - Living Room

Jon Troast - Living Room
2010, Jon Troast Music

Lake Geneva, Wisconsin singer/songwriter Jon Troast writes engaging music while challenging the conventions of the music industry. For the first six months of 2010, Troast is touring the United States for free, relying only on sales of CDs and downloads for support. It's about the music for Troast, but he's also trying to make the point that buying music supports artists. In 2009, Troast engaged in a 100 concerts in 100 days tour, playing 100 house concerts in as many days. Inspirations from that tour resulted in Troast's fourth album, Living Room, released in January of 2010.

Great songwriting, a great voice and charisma are all qualities that Jon Troast displays amply on Living Room, but there's a fourth quality here that's often overlooked. Troast has put together an album that flows like these songs were always meant to be played together. This style of cohesive writing is quickly disappearing in the age of digital singles. Living Room opens with One Little Corner, a wonderfully catchy tune about finding a happy place. Troast has a John Mayer pre-Interview sound and appeal and the song is built around a melody and flow that are unstoppable. If you've ever wondered what house concert tours are like from the artist's perspective then you'll want to listen to Living Room Tour. Virulently catchy, Living Room Tour blends Folk, Rock, Americana and even hints of Zydeco in a wonderful listening experience. Troast's personality comes through here in waves, as he shows an ability to sell a song that's on a par with Sinatra.

Troast rings up more magic on the Orchestra Folk/Pop number When Beauty Speaks. We've all had moments in our lives where a person, place or moment strikes us with such force we lose our ability to speak. Whether it's attraction, awe or importance, the ability for emotion to short-circuit thought is one of the most maddening, and identifiable aspects of being human. Troast captures it perfectly in song. Just Enough hits on the essential components of love and how they can sustain a couple through rough times. Both the songwriting and performance are top notch. Troast offers up a Bluesy ode to the center of family life on They Call Her Mama. It's an un-romanticized tribute to Mom's who give their all every day for their family; a great song to dedicate to Mom for Mother's Day or on any day. Another Mile is a love song written from the road; rock with a blues undertow. It's a bit amazing the quality of the songs Troast boasts on Living Room; and his ability to comport them in nonpareil.

Perhaps the best of the best is Favorites; a song about the simple joy of being with the one you love, no matter where that is. A gorgeous melody wrapped in a simple, sweet arrangement and heartfelt, poetic limits creates a true Wow moment for the listener. What Will You Hold Onto is heartfelt and poignant with striking instrumentation. Stark and challenging but in a gentle fashion, What Will You Hold Onto will tug at your subconscious for days after you've heard it. Troast closes with Somewhere Down The Road, a parting song for anyone who lives on or makes their living on the road. Somewhere Down The Road is archetypal in them, and you could hear it being selected as either an opening or closing track for a motion picture. The lyrics might also inspire its selection for a farewell song at funerals.

Jon Troast comes across as easy-going in his music, but that presentation has an electric quality to it that lights up the stage; even the listeners in his presence. Living Room is brilliant, an absolute gem of an album that you will still be gaining enjoyment from years down the road. It's the sort of album that turns an unknown singer/songwriter into a household name with the right breaks. Whether those breaks come or not, you do yourself a disservice to not be acquainted with the music of Jon Troast. Living Room is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Jon Troast at http://www.jontroast.com/ or www.myspace.com/troast.
You can purchase physical copies of Living Room from Jon Troast's webstore. Digital copies are available from Amazon.com.

Review: Griffin Anthony - Crazy Ways

Griffin Anthony - Crazy Ways
2010, Griffin Anthony

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

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: Dave Power - Addiction

Dave Power - Addiction
2009, Dave Power

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: 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: Sharif - Kisses And Lies

Sharif - Kisses And Lies
2008, Cursing Furniture Publishing

Los Angeles-based singer/songwriter Sharif certainly has significant presence in the music industry. Rave reviews for both his recording and live performances are an indication, but for the real story just take a look at the sort of people pitching in on Sharif’s latest album, Kisses And Lies. His backing band includes Tim Bradshaw (John Mayer, David Gray), Jon Graboff (Ryan Adams), Mark Goldenberg (Jackson Browne, Ringo Starr), Stewart Miles (Jason Mraz, Lifehouse, Shawn Colvin) and Brian Jones (Mandy Moore, Liz Phair). Additionally, appearances by Rhett Miller (The Old 97’s) and Robb MacLean (Limbeck) bring added interest. Kisses And Lies is self-produced and should serve to open a lot of eyes and ears to the talent of Sharif.

Kisses And Lies opens with Far From You, a vibrant and catchy tune about moving on after a relationship. Sharif has a pleasant voice that soars in this setting. Rhett Miller (The Old 97's) sits in on Dark Side Of The Dawn, a great bit of easy Americana about one way to cope with loss. This one will definitely get your toes tapping, and finds Sharif sounding a bit like Jason Plumb playing with Blue Rodeo. Another Wasted Rose is a brilliant bit of songwriting; it's not your typical country song of heartbreak. Very well written, Another Wasted Rose is full of strong imagery and an absolutely unforgettable chorus. There's nothing flashy here, just amazing songwriting. Worth The Fall represents the realization that even a relationship that ended badly was worth the time he had. The song is melancholy and a bit lost in a mix of sorrow and reverie.

By Your Side casts a mid-tempo devotion of expression; it's the classic "I'll Be There For You" statement in song and leads into Oceans Of Trouble. Oceans Of Trouble finds Sharif still mired in his loss; it's all he can think/write/sing about at this point in the album. Sharif goes off the beaten path a bit with The District Sleeps Alone Tonight, a vaguely off but highly enjoyable song. Sharif celebrates the joy of love on Deeper In Her Arms. The upbeat Americana arrangement has a great sound, border on early Rock N Roll with an R&B backbeat. Sharif seems to struggle a bit for much of the rest of the album, which songs such as Memories Like A Melody, The Price You Pay, Do I Want You Enough and Moment Of Trust having a marginal impression on the public at large. Sharif recovers in time for the last track, however. I Won't Need Your Kisses Anymore is a great closer. The energy that was lost for much of the second half of the album returns in a Blues-flavored, old school Country tune you won't soon forget.

Sharif turns in both great songwriting and performance efforts on Kisses And Liars. The first half of the album is absolutely brilliant while the second half gets mired in itself. It's as if all of the strongest material was placed on the album first and then weaker tracks were added later on. Don't get me wrong, the weaker tracks here don't necessarily equate to a problem, they just don't stand up well against the superior quality songwriting evident on the first half of the album. Either way, Kisses And Liars is worth checking out.

Rating: 3 Stars (Out of 5)

You can learn more about Sharif at http://www.sharifmusic.com/ or www.myspace.com/sharif. You can purchase Kisses And Lies as either a CD or download from CDBaby.com.

Review: Brant Christopher - Climb

Brant Christopher - Climb
2009, Brant Christopher

Brant Christopher is known to many as the front man for Koch Records' Fort Pastor. Fort Pastor is currently on hiatus, and Christopher has become involved, professionally and musically, with an organization called the Not For Sale Campaign, which seeks to end slavery around the world. Christopher is the Not For Sale Campaign's Artist-in-Residence, and has dedicated all proceeds from his latest solo album, Climb, to that program. A resident of Rockledge, Florida and native of Manchester, New Hampshire, Christopher has long sought to marry his music to social activism, and saw the opportunity with the Not For Sale Campaign.

Christopher gets into the gear with the title track, a song about not giving up when times get difficult and striving for what's right. It's a soulful tune with a hard edge that's a surprisingly pleasant listen. Criminal sounds like it's written from the perspective of Jesus, an accusatory song that might be aimed at Judas. This is confusing because it seems out of character, and I am guessing there is another explanation for the song. Either way, Criminal is steeped in Funk and Soul and will make you want to dance. Didn't Know seems to speak about those who are in bondage or whose economic and societal circumstances leave them without any say in their own lives. It's a heartfelt song that is told more as a story than a testimonial and likely has more power for that fact. The songwriting here is very strong.

Grace is a song of praise and thanks to God for his love and forgiveness in spite of (or because of) the narrator's shortcomings. It's not your typical praise song, written as something of a country ballad. It's a great tune with real commercial potential (to give you an idea, if written as a secular love song this would be a big hit on Country radio). Not For Sale is a beautiful ballad steeped in the Christian belief that all people are saved through the Crucifixion and Rising of Jesus; ("Love is not for sale, the debts already paid, the trade already made. Love is not for sale, to the least of these it's free, and the least of these is me.") It's a great song, sure to be under-appreciated outside of Christian circles because of the content. Shoes For Margaret is an incredibly touching song about the sort of sudden total loss most of us luckily never encounter. It's a stark reminder of the fact that there are many places around the world where people don't enjoy the social and economic advantages we have here in the West. Christopher closes out with What Do I Know, a decent mellow pop tune about trying to forget someone who's taken themselves out of your life that's reminiscent of some of the adult contemporary singer-songwriters of the 1970's and 1980's (Dan Hill, Dan Fogelberg, etc.).

Brant Christopher has a slightly gravelly-yet-lyric voice that's a pleasure to listen to, and songwriting acumen that is its peer. There's strong Judeo-Christian content on Climb, whether simply inspiring songs to actual prayer/praise in song. Eschewing the trends of Praise music, however, Christopher chooses to tell stories and weave webs that inspire and may even change hearts. If you're anti-Contemporary Christian Music there's nothing I can say to convince you, but Climb is a wonderfully written and performed album. Brant Christopher is good enough to make it in the world of mainstream Pop, but chooses to live where he's most comfortable; where faith, music and social activism blend into one. He's onto something.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brant Christopher at http://www.brantchristophermusic.com/. You can learn more about the Not For Sale Campaign at http://www.notforsalecampaign.org/. You can order Climb as either a CD or a download from Amazon.com.