Antioquia - Viajero

Antioquia – Viajero
2012, Antioquia

Once in a while, something truly original comes along.  San Francisco-based art rockers Antioquia bring a unique sound, dubbed “Afro-Colombian Psychedelic Lovefunk” on their third album, Viajero.  Touring throughout the U.S. over the past four years, Antioquia has become a fan and festival favorite.  While staying mainly below the radar of commercial radio, Antioquia makes some of the most infectiously danceable rock and roll out there. Comparisons have been made to Fela, Pere Ubu and the Talking Heads, but the sound mix on Viajero is more of a blend of Was (Not Was), Rusted Root and the B-52’s.

Viajero is ingeniously constructed, with rock, ska and pop numbers woven in and around occasional segues into drum circles.  Throughout much of the album there is a sense that Antioquia is constantly on the edge between genius and epic fail.  The sound is a bit messy at times; the instrumentation is not traditional rock and roll, and the band takes a lot of chances.  Luckily they are up to the challenge, and the cascade of small successes here becomes thrilling to the listener.  The psychedelic space/punk opening song “Idaho” sets the tone, done in a scatter-art style with co-vocals that almost always entirely fail to be exactly in unison.  The energy and commitment of the band make this work better than perhaps it should.  “Attack Of The Killer Balafon” is an ironic little instrumental featuring the named subject surrounds by snarky electric guitar accents.  Instrumental humor is often subtle and hard to miss; not so here.

The edges get a bit rougher on “Sister”, marrying a nasty but subdued guitar lick, open percussion and aggressive female vocals with a heavy dose of feminism.  The artsy folk/punk style here is messy yet sonically appealing.  “Who That Be?” is one of those moments where you’ll be certain the wheels are about to come off the bus, but Antioquia survives the experience unscathed.  “Steamship Enterprise” is an ambitious art-rock exploration that builds from a basely repetitive opening into an expansive turn.  Antioquia gets an A for effort here, but there’s no payoff to the vision here.

Funky, messy and fun aptly describes “Mountains”, which sounds like it should have been a Don Was/Fred Schneider collaboration.  The drum circle comes alive on “No Sleep Til Oakland” and none too soon.  This song starts out as an unimaginative number, but is saved by the rhythmic transition.  It’s almost as if the band, recording live, realized the song itself wasn’t working and decided to simply drum instead.  “Rage Of Love” is a bit more experimental, starting out as a meandering number but growing into an expansive mellow rocker with progressive inclinations.  As stylistically unsettled as the number is, it works in the milieu that Antioquia has built here. 

“Dibon” is a brief drumming interlude that transitions into the catchy, angular pop of “Donde Quiero”.  Balafon, electric guitar and percussion drive this along, with lyrics in both English and Spanish.  Rachel Antony-Levin takes the vocals here, with a voice running the gamut from Tori Amos to Pat Benetar.  The song muscles up into a heavier rock sound before taking its leave.  Whimsical ska-pop is the order of the day on “There’s A Man Jumping Off The Planet”.  This entertaining little number devolves into a messy jumble of instruments and musical ideas at the end, but it’s a fun trip.  Interestingly enough, this is also the most polished song on the album; and might have some real potential as a single. 

Antioquia returns to the drum circle on last time for “Kassa – Nisoro”, before stepping out with a thoroughly asymmetric closer in “Back To The Mountains”.  This is perhaps the only true misstep on the album.  This live, in-studio recording is messy and unpolished; and it’s very apparent that Antioquia was having a blast doing it, but it simply does not sound very good.  Put at the end of an envelope that pushes the envelope artistically and musically, “Back To The Mountains” is really something of a letdown.  It’s an unfortunate choice for the last thing a first time listener will hear, as it doesn’t leave the best impression of the band.

Antioquia’s let it all hang out attitude is one of the biggest driving forces behind the success of Viajero.  As with all great traits, it has the potential to be their undoing on occasion as well.  On balance, however, Viajero flirts with brilliance throughout, dancing on the edge of failure and success where magic sometimes happens.  The blend of sounds and styles here is unique, and the slightly unpolished sound on Viajero means the experience have here will be much closer to what you’ll hear live.  It’s hard not to like Antioquia.

Rating: 4 Stars (Out of 5)

Learn more at www.antioquia-band.com. Viajero is available digitally from Bandcamp.

Ten Year Vamp - Lust --- Win a signed copy!

Ten Year Vamp – Lust
2011, Ten Year Vamp

Albany, New York rockers Ten Year Vamp would appear to be on an inexorable rise.  For an Indie band working outside of the major label framework, Ten Year Vamp has been extremely successful at getting their music placed/licensed, and has even managed to chart in Billboard magazine.  The band itself is as tight as a wire, and lead vocalist Debbie Gabrione is the type of front woman who can captivate an audience from the first note.  The band’s last album, 2009’s Don’t Act Like You Know Me, received top billing on year end charts, and had several tracks voted best song of 2009 across the Mediaverse.  Ten Year Vamp returned recently with a five-track EP entitled Lust, exploring the human conditions of love in lost in highly catchy modern rock arrangements.

Lust opens with "Got 2 Me", an amped up love song about the power of love to turn her head. The high energy rocker is full of honest vulnerability meshed with toughness that's appealing in a 1980's Pat Benatar style. "Thinking Of Me" keeps the temp and energy going with a catchy rocker that seems ripe for use in a edgy romantic comedy. Gabrione's vocals are superlative as always, and you simply won't be able to sit or stand still. Ten Year Vamp slows things down a bit for "No Risk", a passive, maudlin ballad that overstays its welcome. The song is well-played, and the vocals are excellent, but the song seems sorely out of place here. Gabrione and company rev it up again with "Making Me Want You", a feral rocker full of love and lust. Amazing pop sensibility and fiery rock sound are perfect complements here. Ten Year Vamp wrap things up with "Don't Be Alone With Me", a solid rocker that fits in with the general theme of the EP but doesn't have quite the same energy level.

Debbie Gabrione and Ten Year Vamp are impressive as always. Her vocals are matched step-by-step by strong play from the rest of the band. Lust is an uneven experience, with Ten Year Vamp running full throttle on three of the five songs presented here. The slower moments don't reflect poorly on the band, but just don't seem to fit well together with the other tracks.

Rating: 4 Stars (Out of 5)

Learn more at www.tenyearvamp.com or www.myspace.com/10yearvamp.  Purchase information is below, but if you are one of the first ten people to email Ten Year Vamp at info@tenyearvamp.com, with a subject line of "FIRST TEN", you'll win a signed copy of Lust!

  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.

Raining Jane - The Good Match

Raining Jane - The Good Match
2011, Raining Jane

Los Angeles rockers Raining Jane has turned being Indie into an art form.  From 2004 to 2009 the band played better than 120 shows per year.  They've been regular tour partners with Sara Bareilles over the past ten years, and have been writing songs and performing with Jason Mraz since 2007.  Aside from their solo work, Raining Jane has played on a number of albums for other artists; most recently on Willy Porter's wonderful How To Rob A Bank.  Raining Jane has earned song placements on Grey's Anatomy and So You Think You Can Dance, and continues to dance right on the edge of national consciousness.  All that may change in 2011 with the release of Raining Jane's latest album, The Good Match. 

Raining Jane opens with the mid-tempo rock n roll love song "The Good Match".  The edgy, almost urgent feel of this song makes for a compelling introduction if you're not familiar with Raining Jane.  Either way, it's a great tune, and a great way to kick off the album.  "Oh Song" features an intriguing melody that wends its way through your consciousness.  There's a deep pop sensibility here in an off-the beaten path number that sounds like a cross between the Go-Go's and Wilson Phillips with a bit of Lisa Loeb thrown in.  "Storming" is a blue pop ballad that almost wants to be country; the cello adds an unusual dimension here that's appealing.  Chaska Potter's voice is absolutely gorgeous here.

"Wish You Were Here" is a haunting love song written to one who is far away.  The mix of longing, remembrance and hope evokes subtle layers of beauty as the emotions mix and roil in gentle waves.  "A World That's Made For Me And You" is a bright and airy, yet low-key pop song about the perfect place and the perfect love.  Raining Jane's vocal harmonies are absolutely enchanting here.  The ladies of Raining Jane side step into country-tinged folk pop with "Enough", featuring a slow-arching chorus that's unforgettable and vocal harmonies that can only be described as angelic. 

Raining Jane goes for gold with "Paper Cut", a silly little love song that gets stuck in your head and refuses to go away.  This low-key acoustic pop number will take you by surprise and stay with you for a long, long time.  "From Me To You" has many of the same qualities, although the theme is a bit more complex.  Once again, however, getting the song out of your head will take some effort.  Raining Jane's cover of Pat Benetar’s "Love Is A Battlefield" is tortured and dark; beautiful and tragic all at once.  Benetar sang it as an anthem, whereas Raining Jane presents the song as a dark, needful entreaty that slowly grows in confidence but never loses the sense of heartbreak.  Running Jane closes on a somber, hopeful note with the lyric beauty of "New Year", combining voices in a plaintive wish for goodness to become.  This quiet moment of reflection and hope for the future carries a plaintive beauty that leaves a distinct impression; you'll find yourself drawn back for more.

Raining Jane shows a distinctive ability to write gorgeous, substantive pop songs in folk/rock arrangements that make an impression.  The voices here are first class, and Raining Jane's chemistry as a band finds all the pieces fitting together as if they were never otherwise.  The Good Match is an inspiring listen; the sort that makes lifelong fans out of novices.  Don't miss this album.

Rating: 4.5 Stars (Out of 5)

Learn more about Raining Jane at www.rainingjane.com or www.facebook.com/rainingjane.  The Good Match is available on CD through Raining Jane’s web store.

Isabel Rose - Swingin' From The Hip

Isabel Rose - Swingin' From The Hip
2010, The Jubilee Recording Company

Isabel Rose is a lady who makes things happen, both onstage and off. Screenwriter, novelist, movie star, off-Broadway star... none of these callings has proven too much for Isabel Rose. It should be no surprise that her debut album, Swingin' From The Hip looks poised to prove another facet of this versatile and prolific performer. Born on Manhattan's Upper East Side, Isabel Rose has steeped in New York's culture almost from her birth, and her love of both jazz, Broadway and pop music shines through on Swingin' From The Hip.

Rose opens with the bossa nova swing of "Aquarius", adapted from the rock musical hair. Rose has a fine voice, a bit reserved but full of warm tone and a bit of Vegas swagger here (that sophisticated Rat Pack swing). Rose swings up Irving Berlin's "Lovely Day" (Call Me Madam) in fine fashion, keeping the Broadway feel of the original while updating it for hep cats everywhere. Rose goes big band for Rodgers & Hammerstein's "I Enjoy Being A Girl" (Flower Drum Song). The arrangement fits Isabel Rose nicely. "Temptation" is well done, and leads into the slinky nightclub arrangement of Pat Benetar's "Hit Me With Your Best Shot", injecting burlesque undertones into a generally torch-styled interpretation.

One of the highlights of the album is Rose's version of "Haven't We Met", where her voice takes on a slightly darker aspect that's nothing short of breath-taking. The clarity of vocal tone and warmth of Isabel Rose's voice is a real treat. Rose plays it straight on the Harry Noble-penned "Hold Me, Thrill Me, Kiss Me", which originally spent 18 weeks on the Billboard pop charts for singer Karen Noble in 1952. Rose seems to have a special connection with this one, and makes it her own without substantially changing the song. Rose gives listeners a lighter moment with her cover of "I Only Wanna Be With You", the first single Dusty Springfield ever released. Perhaps Rose's only misstep on the entire album comes on the George Ira Gershwin tune "Boy Wanted". Perhaps it's just the chemistry of the song, but Rose never really sounds like she connects with this one (and its tough trying to stand in the shoes of Ella Fitzgerald, even for a performer of Isabel Rose's talent).

Rose rebounds nicely on Lerner & Lowe's "On The Street Where You Live" (My Fair Lady), an amazing swing version of the Broadway classic. Rose is inspired here, as will you be. Johnny Mercer's "Ac-cent-tchu-ate The Positive" gets the royal treatment from Rose. Vocally the song is well performed, although the tempo, and therefore Rose, do sound a bit rushed at times. Rose closes with Cy Coleman's "The Best Is Yet To Come" in a stripped down arrangement that shows off Rose's voice and also features some tremendous guitar work.

Isabel Rose is now officially a quintuple threat. Swingin' From The Hip should establish Rose as a vocal force to be reckoned with, and you can't help but have respect for the highly professional and accomplished band she has behind her on the album. Rose recalls the days when great performers would tackle almost any style and make it their own. It's not just a matter of having a voice or a band; there's a cult of personality that surrounds great performers. Sinatra. Babs. Bette. Torme. Bennett. Newton. It wouldn't be entirely surprising if twenty years down the road people were adding Rose to that list.

Rating: 4.5 Stars (Out of 5)

Learn more about Isabel Rose at http://www.isabelrose.com/. Swingin' From The Hip drops in the digital world on September 14, 2010, with a CD release planned for October 19, 2010.  You can pre-order the digital release from Amazon.com.

Basia Lyjak - The Complete Collection

Basia Lyjak - The Complete Collection
2010, Basia Lyjak

Canada’s Princess of Rock N Roll, Basia Lyjak, has created quite a stir with a series of singles that combine the rough edge of 1980’s rockers such as Pat Benetar, Blondie and Joan Jett with some of the pop sensibilities of artists such as Celine Dion or Chantal Kreviazuk. Lyjak has the voice and the look of a superstar. A demo of Lyjak’s singles, The Complete Collection, fell into our hands recently.

The Complete Collection opens with "Never Wanted Anything", a powerful, emotional rocker with shades of Pat Benetar and Celine Dion. This is a solid, radio-ready track with real oomph and honest emotion. "What It Feels Like" is an angry tune that allows Lyjak's rough edges some elbow room. "Don't Talk" is a great rock single with serious pop credentials that could be a hit with the right push. "Stuttering" would be entirely at home on 1980's pop radio and has one of those choruses you simply can't get out of your brain. This may be one of Lyjak's best overall tunes to date. "Torn" gets a bit repetitive, but has a big solid radio-ready sound that's likely to gain it some attention. "Lies" is pure anger and vitriol in song; solid rock songwriting with pop pre-texts. Lyjak saves her best for last; "Bye Bye" is a potential chart hit with a big upside. Get this song placed on the right TV show or movie soundtrack and you have the potential for this one to go viral.

Basia Lyjak combines the aura of a pop star with the rough edge of 1980's rock queens such as Joan Jett, Pat Benetar and Blondie. Lyjak perhaps isn’t ready to take the crown of Lee Aaron, but the day may come when she’s knocking on that door. The Complete Collection should be just a start for Lyjak, who has the sound and style to build a solid career at the glamorous crossroads where rock and pop meet.

Rating: 3.5 Stars (Out of 5)

Learn more about Basia Lyjak at http://www.basialyjak.com/ or www.myspace.com/basialyjak. Lyjak sells her singles and downloads directly through her own website, cutting out the middle man and saving listeners big dollars over what the big box e-tailers charge. You can also get digital with Amazon.com or iTunes. Photo credit: Ron Boudreau.

Review: Cheryl Catherine Smith - Cheryl Catherine Smith

Cheryl Catherine Smith - Cheryl Catherine Smith
2008, Cheryl Catherine Smith

Cheryl Catherine has the sort of back story that speaks of urban legend, mythology and hearsay, yet I am assured it's all true. A father who may have been part of the Mafia in New Jersey drove to Vancouver to see his two children when Smith was eight. The next day he was found dead. Smith's life spun slowly out of control from there. Smith frantically searched for meaning and purpose, trying everything from modeling to religion to drugs. Personal tragedy (rape) and success mixed in a whirlwind leading up Smith's own suicide attempt. Somewhere in there Smith came to terms with her own path; since that time the creative possibilities in her music have opened up a whole new world for Smith, who has been compared to Pat Benetar, Pink, Leonard Cohen and even Bette Midler. Smith's self-titled debut CD, released in 2008, is starting to gain serious traction in Canada and the United States, even garnering airplay in the UK.

Opener All Dark Places is set to a dance beat and speak of the void in anyone who has been hurt that waits for love to fill it. The vocal is lush and entrancing with a rocker edge to it. This will be the second single in the US and has serious commercial potential. Smash Up My Telephone opens with a talk/sing introduction before heading into a lyric bridge and a guitar-heavy chorus. This is another tune with real potential commercial impact. It's just off the beaten path enough to stand out and finely crafted enough as a Pop/Rock song to swim with the big musical fishes. Why Does She Hate You has already earned status as a moderate radio hit in the US. It's a driven rock song that calls to a cross between Pat Benetar and Patti Smyth. With the right push from a label this would easily be a top-10 single. It's that good.

Smith heads for deeper waters on My Body Bends, a song about the sort of insecurity, fear and plain that leads some to the point of ultimate decisions such as suicide. The song is shocking in its presentation, sounding otherwise like a 1980's Pop/Rock song. Pardon Me is a protest song of sorts against the power brokers of the world. It's spoken word over ethereal keyboard and a heavy, slow rhythm. It may be Mother Nature speaking or some other goddess figure but could just as easily be any deity you choose. I Am Strong is done as a country tune about getting out before things fall apart. The song appears to be written from the perspective of someone afraid of things working out rather than of them falling apart. It's great writing, fully in character and in situ. Time Is On My Side is a radio-ready Country/Rock anthem about believing in yourself. This could easily become the theme song of a television show and could become an anthem for all those striving to make their dreams come true.

September Morning addresses growing up and beginning to see that all the things that looked black and white at 18 are really all different shades of grey. This is a theme that has been done many times over in popular music, but Smith avoids cliché and creates a cogent and poetic pop song. Superhero walks the line between love song and best friend song; it could be read either way. Regardless of your reading this is a classic pop tune with serious potential for licensing and an outside chance of breaking at radio. It's a catchy melody, a solid and well-delivered subject laid out in poetic language and a steady pop beat that leaves it open to dancing. This is real mix-tape material and an instantly likeable tune. Smith heads back to the Country sound on Let Sleeping Dogs Lie; singing in the warm alto part of her range and letting herself go completely in the singer/songwriter pastiche she's so good at. Smith closes out with the Rockabilly/Rhythm N Blues On My Way; an acknowledgement that in spite of whatever has come before Smith is heading toward her dreams. It's a song that most working musicians can identify with. It reflects confidence and belief in self and is done with an almost magical touch on lyrics.

Cheryl Catherine Smith is the real deal. Her sound varies from Rock to Pop to Country without any variation in the quality of her songwriting. Cheryl Catherine Smith is the sort of album that breaks out and big, turning a relative unknown into a known commodity and occasionally even into a big star. There's enough material here with real commercial impact to sell a lot of albums/downloads, but Smith never seems to aim for a commercial sound. It's more like she writes what she writes and some of it is just so good that commercial radio can't ignore her. Once you've heard Cheryl Catherine Smith you won't be able to ignore her either.

Rating: 4 Stars (Out of 5)

You can learn more about Cheryl Catherine Smith at http://www.cherylcatherinesmith.com/ or www.myspace.com/cherylcatherinesmithfans. You can purchase a copy of Cheryl Catherine Smith at www.cdbaby.com/ccsmith.

Review: Cristen Grey And The Moving Dunes - 10,000 Things

Cristen Grey And The Moving Dunes - 10,000 Things

2009, Divalicious Publishing

How does one go from the lead guitarist of a heavy metal band to a singer/songwriter/purveyor of edgy Adult Contemporary anthems and ballads? When you're New Mexico native Cristen Grey you realize all things are possible. The former guitarist for All Eyes spent time on the road opening for acts such as Quiet Riot and Cinderella, but always returned home for a dose of peace and quiet. In 2007, Grey struck out on her own, writing edgy and energetic adult pop with a knack for melody and a dusky alto voice that draws listeners in. Her new band, The Moving Dunes, is a perfect complement for Grey's edgy appeal, softening the edges and blurring the hard lines and leaving behind a cohesive group that is greater than the sum of its parts. The recorded fruition of this union is 10,000 Things, the debut album from Cristen Grey And The Moving Dunes.

10,000 Things opens with So Much Better, a cascading Pop/Rock tune that celebrates the joy in finding that special someone and the perspective that can bring. So Much Better won Best Rock-Adult Contemporary Song at the 2008 New Mexico Music Awards for Grey and has strong commercial potential. Rock Bottom has a classic rock song feel; this is one of those rare tunes that transcends genre and rises above simple monikers such as Rock or Adult-Contemporary. Grey is a fabulous songwriter and Rock Bottom is a turn of genius. It's not overly complex; just a near-perfect Pop song. I Want The World draws on Grey's days as a heavy metal rockergrrrl, incorporating some guitar work with big crunch and interspersing with a Rolling Stones style breakdown. This one is more a treat for the ears than anything else.

Out Of Control is another pure Pop song with a Rock edge. Originally licensed for the Independent short film Bloodline, Out Of Control would have real chart potential with the right break. Grey's best overall vocal performance comes next on Bad Emotion (nominated for Best Mainstream Rock Song at the 2009 New Mexico Music Awards). The feel here is sort of an Ann Wilson meets Pat Benetar dynamic with some serious guitar work involved. Grey's other award winning song, Absolute (Best Rock-Adult Contemporary Song, 2007) is a halting gem that creates a sonic pun in contrast with its title. This melancholic ballad might be the most commercially viable tune on the disc (and there are several that qualify). I wouldn't be surprised to hear another artist pick this up and make a hit out of it down the road if Grey doesn't do so herself.

Now You Know has an anthemic feel to it, with a chorus that soars in muted tones and gorgeous vocal harmonies. Sonically this is my favorite song on the disc; a blues-tinged power ballad that's not far behind Absolute for best on the album status. You'll Believe is another song on the disc with hit potential written all over it. There's a definite Heart-like quality to the tune and Grey pours her all into the vocal line for a stellar performance. Grey shows a Country/Bluegrass side on Stir Up A Swarm, highlighting the power of misdirected words. The surprising show of versatility cements the album and artist's status as essential. Sticking with the southwest/country theme, Grey launches into the closing number, God Drove By In A Big Limousine. This musical bit of whimsy is about as entertaining as they come, inviting you to get up and dance and remember that it's all in fun.

As a reviewer it's hard to not have some kind of notion about an album when you pop it in to listen. There's cover art or a press release or buzz you've heard about the band that informs your listening experience. Sometimes this is a good thing, and sometimes not so much. I try to keep these pre-conceived ideas out of the review process, and for the most part it works. I have to admit, however, that when I popped in 10,000 Things I was expecting a whole lot. Former metal guitarist performing Adult-Contemporary music. Hmmmm. Much to my surprise, Christen Grey And The Moving Dunes turn in a dynamite performance on 10,000 Things. The band is incredible and deserve credit for helping Grey refine her talents, but the songwriting and distinctive voice and personality of Cristen Grey drive this project from start to finish. Grey is a talent; one of those individuals who could likely thrive in any genre she made the effort at. As a songwriter she has a gift for melody, rhythm and the turning of phrases. As a vocalist she has a smoky sound that waltzes the border between sultry, refined and earthy; occasionally dancing into one territory or another but never giving itself away. Make sure you take the time to get to know Cristen Grey And The Moving Dunes. You won't regret it.

Rating: 4.5 Stars (Out of 5)

You can learn more about Cristen Grey And The Moving Dunes at http://www.cristengrey.com/ or www.myspace.com/cristengreyandthemovingdunes. You can purchase 10,000 Things as either a CD or download from CDBaby.com.

Review: Lisa Smith's Powerhaus - Maze Of Souls

Lisa Smith’s Powerhaus – Maze Of Souls
2008, Powerhaus

Lisa Smith is known to Canadian rock fans as Daneka, lead singer of goth rockers Exovedate. Chuck Page is known by guitar rock fans across Canada as one of the meanest axe players to strap on a six string. Put these two dynamic personalities together on stage and you have the type of pairing not seen since David Lee Roth and Eddie Van Halen decided they couldn’t share a sandbox. Smith’s powerful voice is capable of the vocal histrionics of Geoff Tate or Ronnie James Dio, the gruff extremity of Rob Halford, or the operatic metal of David Coverdale. Chuck Page is a blues/rock man, earning comparisons to Clapton, Jimmy Page and Jeff Beck. Put the two together and you have Lisa Smith’s Powerhaus, perhaps one of the best things to happen to the Toronto Rock N Roll scene in some time. Their debut album, Maze Of Souls, dropped in 2008 and is still making waves. Let’s check it out!

Maze Of Souls is a confounding album. Lisa Smith has an amazing rock voice; able to alter her sound to fit the song/style she’s singing within a limited breadth of styles. She’s somewhere between Lee Aaron and old school Pat Benetar stylistically. Her deep amber alto is lined with a bit of barbed wire when she wants it; there aren’t too many female rock vocalists like her nowadays. The band can rock when they’re up to it, and it seems like the potential is here for a an amazing ride on Maze Of Souls. What we find is a bit more typical of a 1980’s hair metal band, however. Maybe four songs of the eleven presented on Maze Of Souls truly inspire the listener, but there is a tendency toward blandness that belies the spark that the individual pieces can create. Maze Of Souls opens on The Verge, a straight forward classic hard rock tune. This is the listener’s introduction to Smith’s voice but is otherwise fairly typical of the genre. Red Door gets more into the hair metal sound, with Smith sounding a bit like Stephen Pearcy at times here. The Needle is the obligatory acoustic tune. This song gets stuck in a melodic and lyric rut pretty quickly, making up in repetition what it lacks in ideas.

Crazy For You turns things around in a big way. Huge hooks and a lively rock sound show off what the band is capable of, and Smith is right there driving the band along on what is by far the best song on the CD. Rat infuses a touch of blues into a straight up hard rock tune; the guitar work here is impressive and Smith’s vocal presence do a lot for an average song. Innocence Lost is perhaps the second best tune here, living on killer hooks and driving rock sound that will stick with you. The rest of the album is somewhat bland or even awkward (No More War) at times.

Lisa Smith has a voice that will knock you over the head and drag you back home. Within her range she’s a superstar, and Smith is smart enough to stay in her comfort zone on Maze Of Souls. The band is excellent, particularly guitarist Chuck Page, who has a bit of wizardry in his fingers. From the songwriting perspective Lisa Smith’s Powerhaus is generally pretty average or typical of their genre, although they do manage to find two or three breakout tunes here. A top notch producer could do big things with Lisa Smith’s Powerhaus; the potential is here.

Rating: 3 Stars (Out of 5)

You can learn more about Lisa Smith’s Powerhaus at www.myspace.com/lisasmithspowerhaus or http://www.chuckpagemusic.com/. You can purchase a copy of Maze Of Souls at www.cdbaby.com/cd/lspowerhaus, or you can download the album through iTunes.