Joshua Panda - Joshua Panda

Joshua Panda - Joshua Panda
2010, Joshua Panda

You'd never guess it, but Joshua Panda is all of twenty-five years old. Keep that in mind as you listen to his self-titled album, a recent independent release. Panda sounds like a seasoned story-teller and songwriter in the vein of Randy Newman. With influences as diverse as Van Morrison, Tom Waits, Sam Cook, Townes Van Zandt, Kris Kristofferson and Otis Redding, Panda has a brilliant performing persona that's too good to be anything other than genuine. Joshua Panda is proof positive; encompassing twelve original songs and one cover that leave no doubt about Panda's talent, durability and essence as a songwriter or performer.

Joshua Panda opens with "Masquerade", a devilishly good bit of Americana songwriting that would seem more at home amidst the great singer/songwriters of the 1970's. Panda shows a lyrical depth and sense of melody that are rare in combination. "Rosie" is a rousing number straight out of New Orleans. You'll want to dance along as Panda spins a fun tale in an irresistible arrangement. "It's All Relative" has a dually melancholy/hopeful feel in a lover's lament about the world outside and the saving grace of love. Panda tackles "Are You Hurting At All" with a classic country flare that would sound at home in Nashville in the 1950's or early 1960's. It's a highly stylish and realistic bit of songwriting that should sit well across generations of listeners.

"Pastor" is a mildly raucous bluegrass tune sung from the perspective of a father who fends off a wolf from his daughter. The wolf just happens to be the local pastor. It's a great tune; very well written and Panda is in perfect voice here. "Tattle Tales" is the most purely entertaining track on the album. Panda will remind listeners of Randy Newman with his wit and lyrical touch as well as his musical versatility and tendency to write songs "in character", and "Tattle Tales" is a perfect example of these qualities. "Lemonhead Wine" documents an unfortunate stay in South Dakota involving government work and the narrator's preferred method for passing time. All of this is offered in an entertaining country/zydeco blend that's thoroughly infectious.

"Weight In Gold" is a utilitarian love song, singing the praises of a good woman in classic country overtones. "I-77 Blues" is more early rock and rhythm n blues. Panda is very convincing through the rapid-fire lyrics and vibrant arrangement that features some of the hottest piano playing this side of Jerry Lee Lewis. "Mama's Song" is a loving tribute of sorts, to a mom who clung to her son when her husband left, only to lose that son to music. It's a sweet number that uses gentle humor to describe an entirely human situation. Panda closes with a wild version of Tom Waits' "Come On Up To The House", a party-time song done in the zydeco style. Just try to sit still.

Joshua Panda runs through much of the American songbook stylistically. Country, zydeco, rock n roll, rhythm and blues and even hints of gospel and soul can be found on Panda's self-titled album. What's abundantly clear is that Joshua Panda is an entertainer with a capital E. Panda's versatility and depth as a performer is matched by raw musical talent. Panda walks you through vignettes drawn from the lives of persons both imagined and real in much the same fashion as Randy Newman. Even if you're lukewarm on the music on Joshua Panda, the energy will draw you in. Don't miss this guy.

Rating: 4.5 Stars (Out of 5)

Learn more about Joshua Panda at http://www.joshuapanda.com/ or www.myspace.com/joshuapanda.  Joshua Panda was originally due for an August release but appears to have been delayed.  You can preorder the CD from Panda's website.  Expect digital availability from iTunes and Amazon.

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.

Review: Jesse Dee - Bittersweet Batch

Jesse Dee – Bittersweet Batch
2008, 7not Records

Boston native and Burlington, Vermont resident Jesse Dee has a love for classic soul music that shines through everything he sings. Notably an artist and graphic designer, Jesse Dee made the decision to make a career of music. He’s already open for R&B Legend Al Green, and credits influences such as Otis Redding, Sam Cooke, Etta James and the old Chess vocal groups as influences. Jesse Dee is a former member of college favorites Decifunk, and also has done time with The Dirty Whites and Sea Monsters. Jesse Dee’s solo debut album, Bittersweet Batch, hit shelves in September of 2008. If it’s any indication you’ll be hearing a great deal more of Dee in the future.

Jesse Dee is the real deal. You won’t hear the sort of aural airbrushing on Bittersweet Batch that is some common these days. Dee’s voice is highly emotive and textured, with the sort of vocal flaws that made the classic R&B and Soul singers so distinctive and interesting to listen to. The album opens with Alright. Dee’s rough-velvet voice is right up there with Melinda Doolittle for bringing classic soul back into the spotlight. Slow Down is one of my favorites in the album, with a highly positive message and a great arrangement. This song will stay with you. Over & Over Again sounds like classic Motown, complete with Stax horns. Dee brings the funk on Reap What You Sow, a must-listen song. My Two Feet brings in the sounds of New Orleans on a great classic pop song. Dee revisits New Orleans on New Blades Of Grass; a song about Hurricane Katrina and about the will of New Orleans residents to rebuild and survive that tragedy. Be sure to check out Alive & Kickin’ as well; the biggest soul/rock/gospel/roadhouse sound on the album.

Jesse Dee kicks it old school on what may be the most traditional Soul/R&B release of the year for 2008. If you are a fan of these genres then Bittersweet Batch is a must-have disc.

Rating: 4 Stars (Out of 5)

You can learn more about Jesse Dee at http://www.myspace.com.jessedee/, where you can purchase a digital download of Bittersweet Batch.

Review: Halie Loren - They Oughta Write A Song

Halie Loren - They Oughta Write A Song
2008, White Moon Productions

Halie Loren made quite an impression with her debut album, 2006's Full Circle. Loren proved she could write and perform songs that walk the line of emotional breakdown with a power and grace that are nearly unheard of in popular music. Loren, who is seemingly something of a musical restless heart, follows up with an album of classic jazz songs entitled They Oughta Write A Song. As good as Loren was on Full Circle, she sounds as if she were born to sing jazz. They Oughta Write A Song hits all the right notes from start to finish.

Starting off with the pensive title track, Loren's silky alto slides through the songs here like a hot knife through butter. Loren is smooth and full of a sensual grace that recalls Eartha Kitt at the top of her game. A Whiter Shade Of Pale is a gorgeous reading by Loren; she owns it like she wrote it, and it is one of the highlights of the CD. Blue Skies is performed in a mischievous, funky jazz arrangement that you won't soon forget. For all that's been said thus far, Halie Loren raises her game another notch on Autumn Leaves. The muted piano arrangement allows for maximum appreciation of Loren's virtuosic vocal, steeped in melancholy remembrance and regret.

Halie Loren really shakes things up on Fever. Get out your ice water, AC and oscillating fans. They won't be enough. Loren proceeds to find the heart of The Blues on God Bless The Child. I keep wanting to point out particular songs as highlights, but the difficulty is that everything here is just so good that the word highlight becomes meaningless. That being said, Perhaps, Perhaps, Perhaps is amazing. There is a mischievous quality to this performance that allows Loren to reach even higher and touch perfection for two minutes and twenty-one seconds. How Should I Know, The Dock Of The Bay and I Don't Miss It Much are up to the level that Loren has established throughout the album, and Summertime is absolutely glorious. Summertime is one of those songs that EVERYBODY who sings Jazz or Broadway tunes tries on at least once. As such it’s easy to listen to each new rendition with a jaded ear, but occasionally a particular performance will still pique interest. Halie Loren's version is full of soul; adopting the warm and easy feel of the prototypical summer's day that the song uses as its scenery. Loren waxes and wanes in intensity as she builds toward the song's peak. Her performance is a master class that avoids the attempt some singers make to overpower the song on the final chorus, letting the power of the song speak for itself.

I'm torn. After hearing Full Circle I very much anticipated Loren's next project. After hearing They Oughta Write A Song, it seems as if Loren was born with Jazz in her veins. Loren is one of those artists that can sing pop, rock, jazz and even Broadway without missing a beat. She could be equally successful in each realm. Hopefully over time she'll make time for both the pop/rock material and the jazz/show tunes. They Oughta Write A Song deserves to take a place among the great vocal jazz albums. Halie Loren becomes the first artist in the history of Wildy's World to have two Wildy's World Certified Desert Island Discs! They don't make them like this anymore.

Rating: 5 Stars (Out of 5)

You can learn more about Halie Loren and even purchase a copy of They Oughta Write A Song at http://www.halieloren.com/.