Heather Fay - Cherish The Broken

Heather Fay – Cherish The Broken
2013, Heather Fay (The Scrape Knee’d Girl)

Heather Fay writes from the heart and the mind, blending the two into a coherent read on humanity and her life experiences.  Fay’s distinctive storytelling mien integrates factual and emotional styles akin to artists such as Tom Waits, Carole King and Fiona Apple.  Fay is a regular in Connecticut and New York City (The Living Room, Rockwood Hall), but also performs regularly online via Google Hangout.  Fay’s latest album, Cherish The Broken, is a dynamic collection of songs spanning the genres of folk, pop, country, bluegrass and Americana.  Fay’s style is unadorned and straight from the heart, but shows real intellect and understanding of the world.

Cherish The Broken features stripped down arrangements that allow Fay’s songwriting and voice to shine.  Leading with “Drive You Out Of My Mind”, Fay begins a cycle of emotional breakdowns and breakthroughs.  Here she is trying to move on after a heart break.  She keeps things simple here with a stripped down arrangement and a sweet, unaffected voice.  “Autumns Chill” is lovely still life in song, carved from the bedrock of folk tradition.  “Breaking My Heart” moves back to a country sound with an ironic monologue to the man who is breaking her heart telling him just how good he is at it.  “Scrape Knee’d Girl” is a holdover from Fay’s first album.  It’s offered here in a gorgeous, stripped down arrangement.  A song of insecurity that grows into strength, this is one of Fay’s finest songs.  The autobiographical number is a gorgeous, plain-spoken piece of poetry about being yourself no matter what, told in the parallel story of a mother who set on making life better for her daughter than she had herself.

“I Would For You” is a speculative, questing love song.  The organic arrangement is decorated by the occasional flourish, highlighting the simple and elegant beauty of the songwriting.  It’s easy to imagine this song covered in a fuller arrangement and turning into a radio hit.  “Stay” is a mellow love song with outstanding instrumentation including strings, guitar and mandolin.  The song is utterly gorgeous; lush in spite of its simplicity.  “I’ve Been Known” is a song full of resignation, delivered in a counterintuitive snappy rock arrangement.  The song is extremely catchy yet understated, building into a solid chorus with a memorable melody.

“Life Is Beautiful” finds just Fay and guitar waxing eloquent on the important things in life.  This is the artist at her most heartfelt and real, and sounds like it was cut live in the studio in a single take.  “Where We’ll Meet Again” is sad yet hopeful, a sweet remembrance with hope for reuniting one day.  The song is pretty, simple and sweet.  Fay closes with a surprising cover of Michael Jackson’s “Thriller”, a unique folk/country ballad.  It works better than you might expect, due in large part to Fay’s unpretentious approach.

Heather Fay turns in an incredibly nuanced and artful performance with Cherish The Broken.  With simple adornment and an utter lack of calculation, Fay’s songwriting and earthy voice carry the day. Fay uses modern technology to continue to create music and delivery live performances while keeping family as the center of her life.  It’s a laudable approach.  It’s also easy to see how Fay could be a huge star one day.  Fay is one of the leaders of the new model for delivering music to the masses.  She’s successful because she’s real, honest, true and talented.  Cherish The Broken is brilliant.

Rating: 5 Stars (Out of 5)

Learn more at www.heatherfay.com.  

Red Abbey - Bulldozer

Red Abbey - Bulldozer
2011, Red Abbey

Red Abbey started out as a New York City Duo, but has expanded their influence to Las Vegas in the last couple of years.  Thien-nga Palmer and Trey Ordaz have built a singular blues/rock sound from guitar and violin.  Red Abbey first came to our attention in March of 2010 with their debut EP, On My Way.  The duo returns this year with an updated sound in the form of Bulldozer.  Produced by Ken Hertz (Beyoncé, Michael Jackson, Missy Elliot), Bulldozer takes a band with a viable sound and tries to turn it into a commercial enterprise.

Bulldozer opens with the title track, a muscular alt-rock number that marks a new intensity of sound for Red Abbey.  Thien-nga Palmer flashes her unusual, sultry voice, which comes across as a mix of Joan Jett, Chrissie Hynde and Mick Jagger.  Palmer shines on the verses, but the chorus does her no favors.  Red Abbey gets points for attitude and flash in spite of the sonic uncertainties here.  "Life's Avenues" plays like a cynical attempt to craft airplay out of a mix of alternative rock and 1980's hair metal.  The arrangement is catchy, but Palmer's vocal here is more about effect and sound than melody.  "One Way Ticket" starts out with a time-worn rock riff, turning into a funky rocker with blues in its genes.  Unfortunately the transition to a breakneck chorus is jarring and gives up the ghost on any melodic sensibility.

"Broken Heart" shows distinct improvement.  The first of three holdovers from the band's On My Way EP has great pop sensibility and allows Palmer to use her voice for singing rather than trying to craft sounds. Red Abbey spruced up the arrangement a bit but left the song essentially unchanged.  "Me", also from On My Way, is an energetic rocker that will have you dance and jumping around.  This anthem for self-sufficiency is the catchiest song on the album, and the most likely on the album to challenge for airplay.  "Over And Done" is vibrant, guitar-oriented rock with a driving beat.  The chorus fails to keep up with the energy and sound of the verses, with Palmer slipping into a stylistic sound again that sells her voice short.

The other carry-over from On My Way, "What Can I Say", is funky rocker that doesn't live up to the original.  "Breakout" goes for more of a punk aesthetic.  Palmer handles the sound well enough but is capable of much more vocally.  It's a solid active rock number that's all about attitude and edge.  "Pleasure Pain" is the epitome of the stylistic choices that seem to form the backbone of Bulldozer, and it is the least listenable song on the disc.  Red Abbey closes with the bluesy "Beat", and Thien-nga Palmer brings the sultry back with her best performance on the album.  Unfortunately it took ten songs to get here.

Red Abbey's debut EP set the bar high for the band as a whole, and a vocalist, in Thien-nga Palmer, who can hold her own on most any stage, anywhere.  Bulldozer would be a solid effort for a whole host of Indie rock acts, but falls far short of Red Abbey's capabilities.  The search for a more muscular sound isn't necessarily a bad idea, but Palmer tries to accomplish with affectation that which she can flat out do with her voice.  The former restricts the latter and the end result is a performance that is simply less than.  There are definitely some things to like about Bulldozer underneath the shellac of radio-ready sound.  Hopefully Red Abbey will get back to their base sound and build it up naturally the next time around.

Rating: 2.5 Stars (Out of 5)

Learn more about Red Abbey at www.redabbeyband.com or www.myspace.com/redabbeyband.   Bulldozer is available digitally from Amazon.com and iTunes.  CDs are available through Red Abbey's webstore.

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.

Monica Mancini - I've Loved These Days

Monica Mancini - I've Loved These Days
2010, Concord Records

Even if you're talented in your own right, it never hurts to have a famous mom or dad. Monica Mancini has long since escaped the filial shadow, amassing an impressive body of work over the years between studio work and appearances on countless movie scores over the years, but she got her start in her dad's The Henry Mancini Chorus. Over the years Mancini has recorded with artists such as Quincy Jones, Michael Jackson and Placido Domingo, and she has sung with symphonies the world over. Mancini's latest studio effort, I've Loved These Days is a collection of highly refined cover songs and features guest appearances from Brian Wilson, Jackson Browne, Take 6, Stevie Wonder and Felix Cavaliere. With production by none other than Phil Ramone and Gregg Field, I've Loved These Days greets the world steeped in impeccable sound and taste.

I've Loved These Days opens with Jackson Browne's "These Days", with Browne sitting in on vocals and guitar. Mancini offers up an interpretation that is both honest and reserved, like a quiet conversation with an old friend. Mancini's is one of those voices that wraps itself around you and welcomes you like family; not flashy but warm and full of life. Brian Wilson and Take 6 sit in on the Beach Boys' classic "God Only Knows". Mancini is superb, but the true highlight is when all of the voices merge in harmony, creating some heavenly atmospherics in the process. Mancini's take on Paul Simon's "American Tune" (the first of two Simon tunes on the album) is inspired; her mildly understated delivery dovetailing perfectly with the highly thoughtful poetry Simon provides.

Stevie Wonder sits in on harmonica for "Blame It On The Sun", a song he wrote and originally performed with Syreeta Wright. Mancini's take here is genuine and fresh, full of a wistfulness that is palpable. "Without Him" (Harry Nilsson) finds Mancini opening up the dynamic range a tad, showing flashes of the performer she is on stage. Felix Cavaliere sits in on Hammond B-3 for his "How Can I Be Sure", a song full of trepidation and a solid mix of love and on-going heartbreak. Mancini shows more of her dramatic side here, getting inside of the song like it came from her own heart. The Beatles classic "I'll Follow The Sun" is presented in Muzak format, and Mancini does justice to the vocal line, but Shelly Berg's arrangement is just too passive to match the song's heart.

On "Ballad Of The Sad Young Men", Mancini sounds more like a classic chanteuse, offering up a sleepy but heartfelt lullaby for all who have seen better days. "Something So Right" (Paul Simon) finds Mancini at her best; quiet and reserved but with real energy that speaks of emotion and intellect. You might guess that Mancini connects with Simon's work on a personal level from the two selections offered here. Mancini's take on Billy Joel's "I've Loved These Days" comes off sounding like a quiet soliloquy from a Broadway show. Where Joel's original is a reminiscence from someone who started at the bottom and made it to the top, Mancini's is a bit too refined to be believable in the same context. Nevertheless, Mancini quietly bowls you over with her vocal performance, and the song works in spite of the dichotomy. Mancini closes with Janis Ian's "Joy", a thoroughly heartfelt rendition that even the most severe Ian fan would approve of.

From the airbrushed cover photo right down to the last meticulously crafted and produced note, I've Loved These Days has been perfected and polished to immaculate proportions. This turns out to be the one complaint about the album. Everything here is so finely crafted that you lose sight of what a great performer Mancini really is. I've Loved These Days is exceptional, most likely a Grammy nominee before all is said and done, but it would be nice to have heard Mancini tackle these songs in a less scripted recording environment. Considering some of the people involved in this project, and the wonderful textures and nuances of Mancini's voice, what is highly refined and polished might have become magical.

Rating: 4.5 Stars (Out of 5)

Learn more about Monica Mancini at http://www.monicamancini.com/. I've Loved These Days drops on June 15, 2010. You can pre-order a copy through Amazon.

Review: Glenton Davis - Are You Ready

Glenton Davis - Are You Ready
2010, Arbitrage Records

Glenton Davis may have been born with a silver spoon in his mouth, but the man can play and sing. The veteran of The Taft School and Yale University started out his professional life at J.P. Morgan in New York City, surviving the financial crisis of 2008 while plying his musical wares in Manhattan clubs. As luck would have it, some radio stations in Canada picked up his song Get On The Floor, helping to peak at #475 on the top-500 Canadian AC charts. This helped Davis some to the decision to pursue music full time. Leaving the financial world, Davis worked with French drummer/producer Julien Mannoni to craft his next EP, Are You Ready. Along the way, Davis has worked with songwriter Tomi Martin (Michael Jackson, TLC) and super-agent Jim Halsey. His influences include Stevie Wonder, Michael Jackson, James Brown and The Isley Brothers. Are You Ready is set for an April 22, 2010 release in the US, and will mark the US debut of Get On The Floor.

Are You Ready opens with the radio edit of Get On The Floor. Davis' voice is decent enough, but a bit too soft to project the iconic image that would drive what is essentially a slightly above average dance tune on to bigger and better things. Get On The Floor has a solid dance beat, but isn't overly memorable. An Extended Club Remix follows, clocking in at 8:12. The effort would certainly gain some traction on the club scene, but once again, Davis just doesn't project the sort of persona here that would really drive the song. She Don't Have To Know has a base arrangement of bass and percussion; Davis blends horns and synth around the middle at times to fill out the sound in a song about engaging in an illicit relationship. Davis shows off his pipes here in a performance that reminded me a bit of Stevie Wonder. Davis can't quite carry tunes with the conviction Wonder manages, but he has a similar range and willingness to step outside the Pop box and take the occasional risk. Davis closes with Dangerously In Love 2, a lovely ballad likely to appeal to the hopeless and Hopeless romantics out there. Davis does some vocal gymnastics trying to marry the overpopulated lyrics of the chorus to the more economical melody, which does become a bit distracting, but the song itself is a solid effort that could stand up next to a lot of the contemporary ballads on Urban and Pop radio.

Glenton Davis perhaps might rise to the level of his mentors and heroes. For now, Davis is a solid songwriter with a good ear and a pleasant voice. He doesn't show the vocal personality or extremity of talent on Are You Ready to take on an iconic shadow on CD or stage, but has enough of each to be intriguing. Get On The Floor may have had modest chart success in Canada, but it's Dangerously In Love that likely has the most commercial potential on the EP. I'm sure this isn't the last we've heard of Davis.

Rating: 3 Stars (Out of 5)

You can learn more about Glenton Davis at www.glentonmusic.com or www.myspace.com/glentondavis. Are You Ready drops April 22, 2010. Keep checking Davis’ website for more information!

Review: The Lost Fingers - Lost In The 80's

The Lost Fingers - Lost In The 80's
2009, Sony Music

Canadian trio The Lost Fingers know a little about what it takes to make good comedy. Don't get me wrong, there's nothing comical about the music of The Lost Fingers, but George Carlin used to say that the job of comedian was to take things you already knew and show them to you in a different light. That's what The Lost Fingers do on Lost In The 80's, a collection of cover songs presented in jazzy, acoustic renditions that are likely to surprise and amaze you. The Lost Fingers, named in memory of jazz guitar great Django Reinhardt, have already achieved Gold Record status in Canada and been nominated for two Juno Awards with Lost In The 80's. The album is now available in the US for the first time.

The Lost Fingers open with a cover of Technotronic's Pump Up The Jam, a tune that starts a bit slow but quickly comes up to speed. The jazzed-up version will appeal to fans of Squirrel Nut Zippers, and the instrumental work is absolutely flawless. You Give Love A Bad Name (Bon Jovi) has a frenetic feel, particularly in the guitar part, which is about as blistering as you can get with an acoustic guitar. You Shook Me All Night Long (AC/DC) could easily have been translated as a high energy tune, but The Lost Fingers made the brave decision to present it as a languorous tune complete with scat-singing. The risk pays off here in one of the most intriguing songs on the album.

The rendition of Luc Plamondon's Incognito (made famous by Celine Dion) is surprising in that it sounds like it might have come out of a European holiday film. Incognito goes down as a fine cup of espresso. Samantha Fox' Touch Me (I Want Your Body) again sounds like a Squirrel Nut Zippers rendition and is highly danceable (although perhaps not in the fashion Ms. Fox might have originally envisioned). The guitar work here is especially fantastic. Stevie Wonder's Part-Time Lover is given real life as a swing tune. In spite of some stylistic touches and changes in instrumentation the song remains essentially unchanged from the original, although it is interesting to hear the nuances acoustic instruments bring out in the classic Pop/R&B tune. Likewise for Kool & The Gang's Fresh; this cover works a lot better than I might have expected and is likely to bring big smiles live.

Perhaps one of the most interesting covers given his untimely demise is The Lost Fingers' take on Michael Jackson's Billie Jean. It's the best cover of Billie Jean I've heard; the Jazz setting works particularly well for this tune, bring out some of the natural energy in the chorus. Wham's Careless Whisper gets similar treatment, and once again the cover works better than I would have thought. In this case it actually sounds better than the original. Soft Cell's Tainted Love is interpreted here is a moody and off-kilter tune with some unusual vocal harmonies. It's once again one of the best covers of the song I've heard, although all covers of Tainted Love have forever been overshadowed by Dan Akroyd's nasally percussive version from Coneheads.

The Lost Fingers enter the Space Cadet service with a terrific rendition of Paula Abdul's Straight Up. As usual, the strong vocal lines are simply an appetizer for the splendid instrumental play of The Lost Fingers. Alannah Myles' Black Velvet gets sent up in a version that captures the wanton sensuality of the original. This may be one of the more underrated songs of the 1980's; a classic in sheep's clothing, but The Lost Fingers unmask it for the quintessential song it is. Lost In The 80's closes with a pair of Francophone tunes. The first is Joe Le Taxi, a song written for Vanessa Paradis in 1987 by Franck Langolff and Étienne Roda-Gil. Sung in French, the song has a Mediterranean feel that sneaks into the Gypsy Jazz arrangement. The Lost Fingers follow up with Belleville Rendez-vous from the animated Les Triplettes de Belleville (2003). Written by Benoît Charest and Sylvain Chomet, the song was nominated for an Academy Award for original singer Béatrice Bonifassi. The Lost Fingers run with the song, providing a high energy reading that's highly entertaining and bound to inspire some dancing.

The Lost Fingers bring a breath of Fresh Air to the 1980's and beyond, provide renditions of classic songs so full of energy and life you can't help but be hooked by the experience. It's no wonder The Lost Fingers are major stars in Canada; I have no doubt they'll repeat their success in the United States, Europe and beyond. Lost In The '80's rises above the genre of "cover album" to true artistry; make sure you give it, and The Lost Fingers, the time of day.

Rating: 4 Stars (Out of 5)

You can learn more about The Lost Fingers at http://www.thelostfingers.com/ or www.myspace.com/thelostfingers. You can purchase Lost In The 80’s as either a CD or Download from Amazon.com.

Review: Human Nature - Reach Out

Human Nature - Reach Out
2009, Sony Music

Forget about the world-wide follow or Las Vegas stage show. You know that any Motown/R&B cover band endorsed by Smokey Robinson has got to be good. Human Nature is that band. Starting out nearly two decades ago in Australia, Human Nature has taken a love of classic Motown music and turned it into a world-wide phenomenon with eight albums generation millions of sales in CDs, singles and downloads around the world. Originally known as the 4Trax Brothers, the band changed their name when they signed with Sony Australia. Human Nature went triple-platinum with their debut album, Telling Everybody (2006), earning support spots for Michael Jackson and Celine Dion for their Australian tours and being asked to stay on for European legs for both artists. Human Nature's stature continued to grow and they were honored to perform the Australian national anthem at the 2000 Summer Olympics in Sydney along with Julie Anthony.

Originally a boy band, Human Nature decided to try a more adult sound for their 2005 Australian release, Reach Out. Reach Out reached #1 in Australia and has been certified platinum five times over. Human Nature made their first adventure to the United States in 2008 with their Motown show, with a two-month stay at Atlantic City's Tropicana Casino. 2009 finds Human Nature with an extended engagement at Las Vegas' Imperial Palace Hotel, and the release of Reach Out in the United States.

Reach Out opens Reach Out I'll Be There, originally performed by The Four Tops. Human Nature could almost be mistaken for The Four Tops at the height of their game, and Reach Out I'll Be There is a spirited and faithful cover. You Keep Me Hanging On (The Supremes) keeps the vibe going; the harmonies here are spot on Human Nature keeps the song moving along nicely. Marvin Gaye's I Heard It Through The Grapevine hits the perfect notes on the arrangement, but the vocal line just can't compare to Gaye's original. Smokey Robinson himself makes a guest appearance on Get Ready; proving he can still sing but not really meshing well with Human Nature who threaten to overpower his sweet falsetto. One of the highlights of Reach Out is the cover of The Temptations' The Way You Do The Things You Do. This is a classic song that would be hard to ruin, but Human Nature is inspired and inject the song with a new energy that is virally infectious.

Human Nature packs in another highlight with My Girl (The Temptations); staying very close to the original but altering the vocal harmony work a bit and actually enhancing the sound. The Jackson 5 are represented here, a perhaps unwitting tribute in light of the tragic death of Michael; ABC is done with the vivacity of the original, but the original is so iconic that all covers fall short. Ain't No Mountain High Enough (Marvin Gaye & Tammi Terrell, Diana Ross) is decent; I didn't get the same sense of energy on this tune as on much of the rest of the album, but it still comes across okay. Dancing In The Street (Martha & The Vandellas) refreshes the classic tune with a chart-worthy performance, although it doesn't have the pure hubris of the Mick Jagger/David Bowie version recorded in 1985. Human Nature closes out on River Deep, Mountain High with guest vocalist Mary Wilson (The Supremes). This turns out to be the best track on the disc. Wilson can still bring it with the best of them, and Human Nature wraps their voices around hers in a bit of Motown heaven.

Reach Out is essentially a re-release, although it's new to audiences in North America. It's a first class cover album with an outstanding guest appearance by Mary Wilson and a strong one by Smokey Robinson. The way for this show coming to the US was likely paved by Broadway's Jersey Boys, and handles the classic hits of Motown in similarly reverential fashion. What a way to celebrate the 50th Anniversary of Motown; an album full of the spirit that Motown always exuded from folks who love the songs and treat them with the respect they deserve. Human Nature is a first-class vocal group, and the performances here are generally top-notch. Make sure you check out Human Nature's Reach Out; and if you're in Vegas, see the stage show!

Rating: 4.5 Stars (Out of 5)

You can learn more about Human Nature at their webpage or on MySpace. Reach Out is available on CD in North America exclusively through Barnes And Noble. Downloads can be purchased from iTunes. Reach Out will go into wider release on CD on February 9, 2010. Human Nature is appearing at the Imperial Palace Hotel in Las Vegas through May of 2010. Information about the show, including ticket info is available through http://www.humannaturelasvegas.com/.

Review: Carmine Appice's Guitar Zeus: Conquering Heroes

Carmine Appice's Guitar Zeus: Conquering Heroes
2009, Fuel Label Group
Carmine Appice has legendary status in the world of Rock N Roll. A founding member of Vanilla Fudge, Cactus and Beck, Boggert & Appice; Appice has also played with KGB, Paul Stanley, Pink Floyd, Stanley Clarke, Ted Nugent, King Kobra, Blue Murder and Ozzy Osbourne. Appice also played in Rod Stewart's band for a time, co-writing Young Turks and Do Ya Think I'm Sexy. In 1995, Appice created the Guitar Zeus project, an opportunity to do one-off performances/recordings with some of the best guitarists in the world. A total of three Guitar Zeus albums were released during the 1990's, featuring most of the top guitarists of the previous 20 years. Conquering Heroes, released August 25, 2009, compiles the best of those performances on two CDs.

Fans of 1980's Rock will have a field day with Conquering Heroes. Take your pick: Mr. Big's Paul Gilbert is here, Neal Schon (Journey), Brian May (Queen), Jennifer Batten (Michael Jackson), Elliot Easton (The Cars), Mick Mars (Motley Crue), Warren DeMartini (RATT), Richie Sambora (Bon Jovi) and even Steven Seagal. If the 1970's are more your thing, you can choose between Steve Morse (Sea Level/Deep Purple), Ted Nugent, Denny Laine (Moody Blues/Wings) or Bruce Kulick (KISS, Meat Loaf). Highlights include the Progressive guitar wizardry of Yngwie J. Malmsteen (This Time Around), Wayne DeMartini (Perfect Day), Ted Nugent (Even Up The Score, Days Are Nights), Ty Tabor (Killing Time, Trippin' Again), Slash (Where You Belong), Kenji Kitajama (My Own Advice) and Mick Mars (Under The Moon And Stars).

Conquering Heroes is a great opportunity to catch some of the biggest guitar heroes of the past two generations doing what they do best, and occasionally offering some surprise turns in the process. This is some of Appice's finest work behind a drum kit, and each tune runs over with the vibrant energy of a new relationship. If you yearn for the days of the strutting guitar god, then Conquering Heroes is for you. Very well done.

Rating: 4 Stars (Out of 5)

You can learn more about Carmine Appice and the Guitar Zeus project at www.myspace.com/guitarzeus or http://www.carimappice.net/. You can purchase a copy of Conquering Heroes at Amazon.com.

Review: Smokey Robinson - Time Flies When You're Having Fun

Smokey Robinson - Time Flies When You're Having Fun
2009, ROBSO Records/ADA Distribution

It's been fifty years since Smokey Robinson stepped into the limelight as one of the ubiquitous faces of Motown Records. Over time the acknowledgements have compounded, whether being honored on Hollywood's Walk Of Fame, receiving an honorary Doctorate from the Berklee College Of Music, a Rhythm & Soul Heritage Award from ASCAP or Kennedy Center Honors, Smokey Robinson has had an artistic and personal impact on music and on our culture. Robinson is known for numerous hits with The Miracles and on his own (Shop Around, Tracks Of My Tears, Tears Of A Clown, I Second That Emotion, Cruisin' and many others), but he's also written a slew of hits for artists such as The Temptations (My Girl, The Way You Do The Things You Do), Mary Wells (My Guy), The Marvelettes (Don't Mess With Bill) and Marvin Gaye (Ain't That Peculiar, I'll Be Doggone). Robinson doesn't sit on his laurels, however, returning on August 25, 2009 with an album full of 10 originals and 2 cover tunes: Time Flies When You're Having Fun. The voice shows a little wear from fifty years of crooning but is none the worse for it all. There's no one quite like Smokey Robinson.

Time Flies When You're Having Fun opens with the title track, a poetic monster but melodically a bit less than what I was expecting. Robinson has always had a distinctive talent for lyrics, and his voice is still unquestionable even with the toll of fifty years in the business, but something about this track just didn't click for me. Robinson's take on Norah Jones' Don't Know Why is true to the original but has more of a live feel. Robinson still records to this day with the entire band in one room, giving a more organic feel to the album and to this track in particular. Girlfriend finds Robinson digging into a more modern R&B/Dance feel, played organically. The result is a song with serious commercial value without compromising the timeless spirit that runs through the heart of Robinson's music.

Joss Stone steps in for a duet with Robinson on You're The One For Me. Stone tries to adapt a more lyric vocal style here to meld with Robinson's trademark sound but it just doesn't work out well for her. When singing with Robinson she sounds fine, but the heavy vibrato that creeps into Stone's softer sound makes a mess of the vocal line. This came as a surprise as I generally enjoy Stone's voice, but not here. One Time is an active R&B song that's as smooth as they come. I don't know if it will pull much weight on commercial radio with Robinson on vocals Robinson is a little outside their demographic, but put this song with a young up-and-comer and you've probably got a top ten hit. The biggest treat on the disc is Please Don't Take Your Love; hearing two legends such as Smokey Robinson and Carlos Santana trade lead lines is worth the price of admission on its own.

Whatcha Gonna Do is a soulful love jam with some serious jazz-inspired piano work. The vocal line gets to be a little repetitive late in the song, but overall it's a strong track. Satisfy You had a classic feel, along the lines of I Second That Emotion, but done in a modern R&B arrangement. The melody is archetypal for Robinson's songbook and may well join the ranks as one of his best songs. You're Just My Life features Robinson in a duet with the exquisite India.Arie. India.Arie holds her own alongside the Motown legend, providing listeners with a duet to remember. Robinson closes out Time Flies When You're Having Fun with an unnamed bonus track that turns out to be Robinson's take on The Jackson Five's One More Chance. Whether this was a late add-on in tribute to Jackson or planned ahead of time it's a classy rendition from a classy artist.

Time Flies When You're Having Fun is a wondrous mix of old and new; Smokey Robinson doesn't sacrifice himself or his sound but does manage to mix in a bit of the sounds of today with classic songwriting that would have been at home at any time in the Motown Era. The album has a couple of ups and downs but on the whole is a strong effort that should satisfy existing fans while opening the ears of a new generation to the wonder that is Smokey Robinson. Very well done.

Rating: 4 Stars (Out of 5)

Time Flies When You’re Having Fun drops on August 25, 2009. You can pre-order the CD through Amazon.com, or you can pre-order the download through iTunes.

Review: Elvis Presley - Elvis: The Ed Sullivan Show - The Classic Performances

Elvis Presley - Elvis: The Ed Sullivan Show - The Classic Performances
2009, Image Entertainment

There was a King long before Michael Jackson's publicist declared him the King Of Pop. Elvis Presley remains one of the best-selling artists of all time, and retains one of the most loyal followings this side of The Beatles. Elvis was wild, raw and sang in a style that in his time was revolutionary. In a world that had never heard of television events, Presley made his first appearance on the Ed Sullivan Show on September 8, 1956, drawing a then-unprecedented 60 million viewers. Presley went on to appear on the show 2 more times, generating 15 performances and not a little controversy. For Presley's third and final appearance on the show, Presley sang ballads and a gospel tune and was filmed only from the waist up because of suggestions of indecency about his prior performances. You'll hear different versions of the story, everything from complaints about his wild hip gyrations to a coke bottle in his pants for one of the previous performances that gave an obscene impression. Either way, it was ratings gold. Image Entertainment finally does these performances justice; release all fifteen performances on DVD on Elvis: The Ed Sullivan Show - The Classic Performances.

On the DVD you get all three performances, (9/9/56; 10/28/56 and 1/6/57), each re-mastered and presented looking/sounding better when they originally aired. Songs include: Don't Be Cruel, Hound Dog, Heartbreak Hotel, Too Much, Love Me Tender, When My Blue Moon Turns To Gold Again and 9 other classic songs. The highlights for Elvis fans are in the bonus materials, which include a home movie of Elvis shot live on August 7, 1955. There are documents from the Graceland and Sullivan archives and a brief piece on why Ed didn't host Elvis' first performance. If you're a fan of Elvis Presley then this is a must-have compilation. If you don't really know a lot about Elvis, this is a great way to get a taste of what the man was like as a performer in his early days, as well as getting an impression of what Elvis-mania was really like. The DVD is in Black and White and runs only 47 minutes in length, but it's worth every cent.

Rating: 4 Stars (Out of 5)

You can learn more about Elvis Presley at http://www.elvis.com/. You can purchase a copy of Elvis: The Ed Sullivan Show – The Classic Performances at Amazon.com.

Review: Steve McLeod - Human Uniform

Steve McLeod - Human Uniform
2009, Civil Service Entertainment

Steve McLeod grew up in a musical family with instruments lying around just asking to be learned and played. His studies started early with formal classical piano training. McLeod taught himself to play bass by watching tapes of Louis Johnson (The Brothers Johnson) frame by frame. Picking up the guitar a bit later on, McLeod was bit hard after discovering Jimi Hendrix. After playing for a number of years around his native Melbourne, Australia, McLeod recorded an instrumental album, but at some point in the mixing process became convinced that instrumentals were too limiting. The end result is McLeod's debut album, Human Uniform, due for an August, 2009 release.

Human Uniform is something of a musical mish-mash, mixing classic rock with R&B in unusual arrangements. Push The Pedal opens the album sounding like a cross between Jimi Hendrix and Michael Jackson with a bit of Prince and Lenny Kravitz thrown in. The song is musically creative but lyrically bland. Winter Love, along with Oblivious, fill the bill for generic radio pop/rock. Both are accessible and pleasant without making any significant, lasting impression. McLeod crests on Unknown Afternoon, a song with real potential held back by McLeod's tendency to try and squeeze too much instrumentation into the song. A less is more philosophy would work well here as it’s actually a pretty decent bit of songwriting. Everyone's Searching For The Beautiful Life is just a mess. McLeod tries out some interesting ideas musically here, delving into Prog territory with unusual progressions and atypical compositional structures. Ultimately the song turns into a stew of musical chaos; a binding together of musical shards rather than a coherent attempt to craft a tune. You'll also want to check out Skeleton In Human Form, a brief but valiant attempt to get back on track.

Steve McLeod wrote, sang and played everything on Human Uniform. He also self-produced. Songs like Unknown Afternoon suggest that McLeod can write, but I tend to think he was too involved in this project to hear it clearly. There's a tendency to try and do too much that runs throughout the album. McLeod is really quite good with the guitar, but often there's so much going on in the instrumentation you can't really appreciate that fact. Working with other musicians for recording and having an impartial ear at the board may help McLeod by building some creative tension into the writing and recording process and allowing more of his innate talent to shine through.

Rating: 2 Stars (Out of 5)

You can learn more about Steve McLeod at http://www.stevemcleodmusic.com/ or www.myspace.com/steviemyspace. Currently the only on-line outlet I could locate is iTunes, and they only have McLeod’s single, Push The Pedal. Contact Steve McLeod through his MySpace page for more info.

Review: Blacklight Poster Children - Blacklight Poster Children EP

Blacklight Poster Children - Blacklight Poster Children EP
2009, Blacklight Poster Children

So you think you know the guys from Bangkok Five? Heh. Singer Nik Frost and drummer Ray Blanco turn all of your Rock N Roll conceptions on their inner ear with the release of Blacklight Poster Children's self-titled EP. No worries, rock fans, Bangkok Five is still kickin' and screamin' in SoCal; Blacklight Poster Children is just a little side project with forays into Funk, Hip-Hop, Soul and Rap. Blacklight Poster Children is filled out by the Nymphs' Jet Freedom and Struggles. This is perhaps the best urban album from a rocker since Don't Talk Dance (Barenaked Ladies/Big Sugar/Bourbon Tabernacle Choir side-project).

Blacklight Poster Children opens with the Blacklight Poster Children Theme Song. Sadly, the introduction is the least enjoyable song on the disc, sounding more like a sonic mess.. Backlight Poster Children mostly make up for it the rest of the way, starting with Cool Lil' Devil. This is a funky, 1980's style rap; very enjoyable and highly danceable. Pop Lock Body Rock, besides having a title that's flat out fun to say, is a catchy dance number you won't be able to resist. The verse is a bit stoic, but the refrain will stick to your brain. Love Relations is an example of good intentions gone wrong; the message is great, but the vocal here is less than stellar and the arrangement unimaginative. Leaders Of The New School, on the other hand, find Blacklight Poster Children channeling a bit of Rock James. This is a great pop song with Rock N Roll elements and is my personal favorite from the disc.

Blacklight Poster Children want you to dance, and you will. Blacklight Poster Children is a bit uneven, but is generally a very fine collection of party music displaying fine musicianship and a real sense of joy in the songs. Make sure you check out Blacklight Poster Children and invite them to your next party. They'll be real popular guests.

Rating: 3.5 Stars (Out of 5)

You can learn more about Blacklight Poster Children at their Authentik Artists page or at www.myspace.com/blacklightposterchildren. You can purchase downloads of Blacklight Poster Children at Amazon MP3 or iTunes.

Review: Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2

Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2
2009, Concord Records

We're only publishing one review because we want you to pay special attention to this one. Regardless of what genre of music piques your interest, there occasionally comes along a recording that crosses so many boundaries, and is so original or unique that it eventually becomes recognized as a master work. These are the sort of albums that can be re-released multiple times across generations (in this case 47 years later), and still have enough commercial oomph to make significant noise on the album charts. In this case, we have an album that not only retains strong commercial punch nearly 50 years later, but was also the beginning of a revolution in music that has helped father (or grandfather) genres such as Americana while foreshadowing the marriage of Country to genres such as Blues, Rock and Pop. Aside from all of that, Ray Charles also spoke of great changes in the midst of the Civil Rights Movement of the 1960's.

On June 2, 2009, Concord Records re-released two of Ray Charles’ classic albums on one CD. Modern Sounds In Country And Western Music Volume 1 & 2. The two albums were recorded in 1962 (February and September, respectively). Volume 1 was released in April of 1962, and is considered by many critics and fans to be Charles’ greatest recorded work. Not only was the album a commercial success (#1 album, 1 #1 single, 2 Gold singles), but it also bent social barriers with the fusion of R&B and Country during the height of the Civil Rights movement. The album also helped Charles to gain wide exposure on R&B, Rock and Country stations, turning the talented performer into a superstar. Volume 2 was rushed to release in October of 1962 based on the success of the first album, featuring 2 top-10 singles and a #1 single (You Are My Sunshine).

Volume 1, in particular, has been lauded by publications after publication as one of the top albums ever created. Blender magazine ranked it #16 on its list of The 100 Greatest American Albums Of All Time. Rolling Stone placed it on the list of its essential Rock Albums in 1997. Stereophile magazine lists Volume 1 on its 40 Essential Albums list, while Time magazine included Volume 1 on its 100 Greatest Albums of All Time. It’s easy to see why. Charles turned his inimitable talents on songs like Bye Bye Love, I Can’t Stop Loving You (#1 single), You Don’t Know Me (Top 10 single) and Hank Williams’ Hey Good Lookin’. With production by Sid Feller (Dean Martin, Peggy Lee, Paul Anka, etc.) and string arrangements by Marty Paich (Sinatra, Streisand, Ella Fitzgerald, Mel Tormé, Aretha Franklin, Michael Jackson, etc.), no stone was left unturned in creating perfect Ray Charles versions of each song.

In response to the tremendous success of Volume 1, Volume 2 was quickly recorded and released in October of 1962, using the same formula that had driven the success of Volume 1. The album included such hits as You Are My Sunshine (#1 single), Take These Chains From My Heart (Top 10 single), and Hank Williams’ Your Cheatin’ Heart (Top 40 single), as well as takes on Don Gibson’s Oh, Lonesome Me and the Chet Artkins/Boudleaux Bryant song Midnight.

Concord Records has done a great job handling these two releases, bringing them together for the first time outside of a box set and in an affordable form. The remaster on both is flawless, and give a great picture of the man, the artist, and the ground-breaking music he was creating at the time. The music is timeless and stands on its own as one of Charles’ greatest legacies, for both its artistic and social impacts. If you want to understand where today’s Americana styles started, with blends of country, rock and blues, look no further than Ray Charles. Without these two albums and the many that followed, the music you’d be hearing today might sound very different. Modern Sounds In Country And Western Music Volume 1 & 2 is a Wildy’s World Certified Desert Island Disc, and practically defines the concept.

Rating: 5 Stars (Out of 5)

You can learn more about Ray Charles at http://www.raycharles.com/. You can purchase Modern Sounds In Country And Western Music Volume 1 & 2 at Amazon.com or download it through iTunes.

Review: Aaron Barnhart - Missing Pieces

Aaron Barnhart - Missing Pieces

2009, Bonded Records/Fontana Records/Universal Music Group

Aaron Barnhart is on a track for big things. His debut album, Missing Pieces, came out in May on “Indie” label Bonded Records. Indie is in quotes because Bonded is owned by UMG, but that’s an article for another day. Barnhart is being put out there as the next teen dream, and he may well be. With production by Stuart Brawley (Michael Jackson, Don Henley, Celine Dion, Josh Groban), it’s clear that the folks at Universal Music are betting heavily on Barnhart’s success.

Missing Pieces opens with Day In Day Out, featuring a hook-filled, alt-pop melody that will stay with you. Barnhart has a voice you want to listen to and has a very radio-friendly writing style based in piano-fueled Rock and ballads. Missing Pieces is a song of angst; a passive generational missive on all that isn't happening. Barnhart sounds a bit like John Ondrasik of Five For Fighting here. Painkiller is a non-traditional love song written in a Southern Rock style that you won't soon forget. One More Second Chance is fairly typical as a ballad except that it sounds like it might have been originally written as a country tune.

The Water's Edge is my favorite song on Missing Pieces, an impassioned tune that longs for redemption in the revival of a failed relationship. The Water's Edge is a beautiful piano-based ballad that misses the syrup boat and may gain a lot of attention for Barnhart. Another Day is a close second for favorite song; a 1970's style rock tune with orchestral aspirations where Queen meets Chicago. The vocals here show Barnhart as his most dynamic.

Aaron Barnhart has an ability to connect with the listener even though a medium as cold and distant as a CD. His voice, at his best, is highly memorable, particularly as he moves into his upper range. Missing Pieces is aptly titled. When songs work they're amazing, but there are a few songs here that just don't. Barnhart's sound has distinct commercial potential, and his continued development as an artist will give him great opportunities to realize that potential. Missing Pieces is a strong start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Aaron Barnhart at www.myspace.com/aaronbarnhart or http://www.aaronbarnhart.com/. You can purchase Missing Pieces at Amazon.com, or download the album through iTunes.