Ron Jackson - Flubby Dubby

Ron Jackson - Flubby Dubby

2011, Roni Music

Ron Jackson is one of the most versatile and well-traveled guitarist in New York City.   With performances in over twenty countries, and collaborations with artists such as Taj Mahal, Little Anthony and The Imperials, Cissy Houston, Dee Dee Bridgewater, Benny Golson and Les Paul, Jackson earned his stripes long ago.  A graduate of The Berklee School of Music, Jackson is himself an instructor at several schools throughout the greater Metropolitan New York region.  Jackson has also performed in the orchestra of such Broadway/off Broadway shows as Rent, Avenue Q, Bring In Da Noise, Bring In Da Funk and Saturday Night Fever.  Jackson's album, Flubby Dubby, produced by the legendary Melvin Sparks, shows off his signature soul/funk style of jazz guitar, refreshing in its energy and classic in its sound. 

Flubby Dubby opens with "One For Melvin", featuring stylishly laid back guitar work, and Hammond Organ work that's absolutely over the top.  The free-form style here is hot and highly entertaining, evoking a 1960's Vegas chic.  The energy here is fantastic.  "The Look Of You is frenetic and upbeat; one of those recordings that conveys the pure joy the musicians must have felt as they laid it down the first time.  Jackson's arrangement of Paul McCartney's "The Long And Winding Road" uses the classic melody as a starting point, but quickly breaks into free-form improvisation.  This is definitely a jazz take, but manages to keep McCartney's distinctive melodicism intact even when spinning yarns grown far from the original melody line. 

"Flubby Dubby" is a nearly eight-minute epic full of vibrant energy.  Jackson pulls in the occasional Hendrix-inspired fugue, ala "Purple Haze", which isn't as perplexing as it might, at first, sound.  "Love Ballad" is a subtle turn that features some of Jackson's best guitar work on the album, and the NPG-style horn section is a nice touch as well.  Jackson's take on Frank Perkins' "Stars Fell On Alabama" features a sweet, lyric guitar style that speaks distinctly of the decade the song was born (1930's).  Organist Kyle Koehler gets a chance to show off, sounding like he's taking stylistic cues from Ray Charles and Miles Davis simultaneously.  "Technophile" has a frantic feel, with synth/organ set to a complex house beat.  It's a tremendous listen that challenges the listener to keep up, and is a nice change of pace.  "A Calypso Party" is a winsome little tune you'll have a hard time not dancing along with.  Flubby Dubby closes with "Get In The Country", a dynamic free-form improv piece with serious hints of funk in the bass line.  Jackson and Koehler exchange blistering solos that are very much worth sticking around for.

Most people can name the big names in jazz, just as in pop, rock, blues, country or other genres.  Somewhere between those elite names and the scores of working musicians haunting jazz clubs all across the country are guys like Ron Jackson.  Well known in the right circles, Ron Jackson is quietly one of the jazz guitarists in music.  Ask any big name musician who has taken part in the New York Jazz scene, and they will know exactly who Ron Jackson is.  Its artists such as Jackson who help define the artistic brilliance of big names as session men and live support.  But often such artists as much talent (and sometimes more) than the folks they support.  Jackson is known, but his name recognition is not requisite with his talent level.  Flubby Dubby displays Jackson's talent in inarguable terms, as a composer, arranger and performer.  This is an album that's difficult to put down.

Rating: 5 Stars (Out of 5)

Learn more about Ron Jackson at www.ronjacksonmusic.com or www.myspace.com/ronjacsonmusic.    Flubby Dubby is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Original Cast Recording - Things To Ruin: The Songs Of Joe Iconis

Original Cast Recording - Things To Ruin: The Songs Of Joe Iconis

2010, Ghostlight Records

Ghostlight Records continues their groundbreaking documentation of under the radar cast recordings with Things To Ruin: The Songs Of Joe Iconis.  While theatrical in nature, Things To Ruin isn't so much a musical as a series of musical vignettes around the theme of human imperfection and the constant effort to be more than we are.  Iconis is one of the bright young voices in musical theater; the winner of multiple awards including the 2006 Larson Award and 2007 Kleber Award.  Things To Ruin brings to light the collision between life and dreams, spread out across the battlefield of scarred and damaged but essentially decent human beings.  Delivered in a musical score that takes its tunefulness from 1960's rock and its ruthless beat from New York City punk, Things To Ruin is struck with such honest poise and stark human imperfection it has the potential to speak across generations.  The Cast of Things To Ruin includes Nick Blaemire, Katrina Rose Dideriksen, Badia Farha, Sarah Glendening, Eric William Morris, Lance Rubin and Jason "Sweet Tooth" Williams.

Things To Ruin opens with "I Was Born This Morning (The Cicada Song)", an ensemble song that reflects the vitality, vanity and recklessness of youth.  It's an angry, vital rocker built on a simplistic piano riff and shows its roots in shows such as Rent quite clearly.  Jason "Sweet Tooth" Williams goes large on the dynamic and funny "Nerd Love", taking excitement from his intended's asthma attack "nothing's quite as rad as asthma baby, it's as cool as lung disorders can be".  "The War Song" cuts a political edge in a song about gaining control over your own life, an interesting juxtaposition of being in a war versus the concept of self-actualization.  It's an entertaining tune that uses humor to soften the blows but goes full for the body. 

"Asleep On My Arm" finds Nick Blaemire talking his way through a relationship of convenience, weighing the pros (she's his boss's daughter) and the cons (boredom, restlessness) in an immature dialogue that's expositive of the character without casting him entirely unflattering light.  "The Guide To Success" is one of the highlights of the show, offering words of wisdom from the rich and powerful on how to succeed in a jaded world.  The lyrics border on trite, but Iconis' performance is fittingly cold and sinister and stands out.  "Head Shot" explores humanity's tendency to try to fix deep problems with superficial changes.  Sarah Glendening, Katrina Rose Dideriksen and Badia Farha work this one up nicely with a delicious mix of desperation, denial and angst.  "The Whiskey Song" is a rock n roll ode, but you could just easily here this song in an arrangement ala The Pogues.  Perhaps the Celtic/Punk style would have been too trite, but the arrangement here almost makes the song sound like it's in disguise.

"Son Of A Gun" is an anthem for the eternal bachelor, and Eric William Morris sings it with all of the conceit and corresponding insecurity of those afraid to commit and afraid of being alone.  It's a brilliant performance and one of the better character sketches on the album.  "Just Means" is a classic letdown song (it's not you, it's me) that belies its own principles with hedging lyrics and an emotional unease that's compelling.  The song is solidly written, but Badia Farha brings it to life in palpable and messy emotional terms.  "Helen" finds Jason "Sweet Tooth" Williams and company discovering that a former pre-school girlfriend has found her way into the adult entertainment industry.  It's a song where the idealistic expectations of youth run headlong into the grey-scale realities of adult life    "Almost There" finds Katrina Rose Dideriksen on the verge of realizing her dreams; confidence grows even as she prepares to step across the threshold into the life she wants and she can't help but shout it out to the world.  Self-actualization comes with "Never Heard Nothing", a coming of age song as adults.  The show closes with a reprise of "I Was Born This Morning", an acknowledgment that we are all reborn each day based on our actions and inspirations.

Things To Ruin is an incredibly ambitious and ultimately messy experience, but that's the point.  The Original Cast Recording flows about as well as life does, which is to say that sometimes it does and sometimes very poorly.  Nevertheless there isn't a missed opportunity here.  You don't get every detail about the characters, and you don't need them.  This isn't that kind of story.  Things To Ruin is a series of inter-connected vignettes about different people with different dreams that serves to illuminate that each day is a choice built on the culmination of choices previously made.  Failure or success aren't capricious, but built with each waking moment and always subject to a change in direction.  It's the search for this knowledge and the ultimate realization that ties Things To Ruin together.  Joe Iconis is a dynamic writer, and the Cast Recording is well-cast.  The show may have a limited appeal to those who have been involved in the theater community, not having the universal appeal of other shows set in the same sort of setting.  Essentially, Things To Ruin is a bit too full of its own virtues, assuming a connection with a lifestyle that only those who ever performed a live in the performing arts will truly understand.  But for what it is, it is an extremely successful illustration in song.

Rating: 3.5 Stars (Out of 5)

Learn more about Joe Iconis at http://www.mrjoeiconis.com/ or www.myspace.com/joeiconis.  Learn more about Things To Ruin: The Songs Of Joe Iconis at www.sh-k-boom.com/thingstoruin.  Things To Ruin is currently available digitally through Amazon.com or iTunes.  The double album will be released on CD on November 16, 2010.  Pre-orders are available through Amazon.com.

Original Cast Recording - Bloody, Bloody Andrew Jackson

Original Cast Recording - Bloody, Bloody Andrew Jackson
2010, Sha-K-Boom/Ghostlight Records

Those lucky enough to catchy the Public Theater performance of Bloody, Bloody Andrew Jackson that ran through June of this year has seen the future of Broadway musicals. The rest of the world gets a peek when the show begins previews for its Broadway run on September 20, 2010. The next day, Ghostlight Records will release the original cast recording. In the spirit of shows such as Rent and Spring Awakening, Bloody, Bloody Andrew Jackson brings a pure rock n roll feel to life on stage, as male lead Benjamin Walker electrifies in his Broadway musical debut. Written and directed by Alex Timbers with music & lyrics by Michael Friedman, Bloody, Bloody Andrew Jackson has received a slew of shining reviews from New York press and looks to be the hot show for the 2010-2011 Broadway season. The soundtrack, produced by Kurt Deutsch and Dean Sharenow may be one of the hottest cast recordings to come out of the Great White Way since Wicked.

Bloody, Bloody Andrew Jackson opens with "Populism Yea Yea", a thrilling punk/pop diatribe against the mindless group psychology that seems to come over people in the political process. While clearly aimed at the story of Jackson and the "early 19th century", the lines between then and now are almost tangible to the listener. "I'm Not That Guy" is a political outsider's stump speech where Jackson lays out the elite establishment as the antithesis of what America needs and then offering himself as the alternative. The song features a great melody and a memorable chorus. Benjamin Walker is in the throes of rock star bravado here as a sort of Norbert Leo Butz on steroids. "Illness As Metaphor" explores self-abuse as a means to feel better. The song postulates on Jackson and his wife's use of self- or co-inflicted pain as a means of gratification. The self-destructive nature of the song once again may be drawn as a parallel to today's world where the political process essentially allows anything to get where you want to be (as long as you cover it up or apologize later).

"I'm So That Guy" gives an apt picture of the dual nature of political opinions and the phenomenon of the "flip-flop" in the ends/means argument of getting elected. Walker also brings out Jackson's violent, aggressive nature in highly emotive fashion. "Ten Little Indians" may well be a humorous aside based in Jackson's documented hatred of Native Americans as sung by the exquisitely voiced Maria Elena Ramirez as Jackson's wife Rachel, but it doesn't work well out of context with the show. As happens sometimes with cast recordings it would be a noted omission if left off, but likely needs a bit more context than is offered here. Political backroom deals and the elite's contempt for the common man are the concurrent themes of "The Corrupt Bargain", as told by a female Greek chorus with vocal cameos from the political players themselves. The song is full of cutting humor and blistering vocal harmonies. Don't be surprised if this is the song used for events like the TONYs or the Macy's Thanksgiving Day Parade.

"Rock Star" is a big-time, catchy rock n roll tune that shows Jackson's inflated opinion of himself on the grandest scale with a melody and arrangement that are absolutely virulent. This is the song that will be running through your head for days after you've seen the show or even just listened to the soundtrack. "The Great Compromise" is Rachel's soliloquy; a bitter monologue about continually giving ground to her husband's choices. The song is angry and precipitously short, foretelling what is to come. "Public Life" finds Jackson examining his place in the public eye in the wake of his wife's death. Ironically, as a final devotion he dedicates his life to serving the public; essentially her last complaint. Altruism is the word of the day, although it will soon become clear that Jackson's sense of altruism can't be separated from his warrior mentality.

"Crisis Averted" features Jackson on the stump and the reaction to his message. Friedman and Timbers show people's ability to justify away almost any bit of barbarism in the political process as a sort of self-serving quid pro quo, while also suggesting a sheepish adherence to political message over substance. Andrew Jackson's personal imperialism shines through on "The Saddest Song", with Jackson perhaps losing some of the boundaries between himself and the country. Jackson's need to fight and scratch and claw hasn't disappeared just because he's achieved what might have been nominally his dream. "Second Nature" digs into this concept as more of an American ideal; the sort spelled out in policies such as manifest destiny. The message is essentially "if it's there, we'll take it". The song is not one of regret but of sociological realization. It's a quiet introspective moment of justification as Jackson sets his personal philosophy to rights with the world around him. The cast recording closes with "The Hunters Of Kentucky", a rock n roll recast of parts of Samuel Woodworth's poem about The Battle Of New Orleans which later became a campaign song for Jackson. The song was part historical recounting and part propaganda and begot popular misconceptions about the facts surrounding the fight. It's a great bit of irony and a fabulous closing number, underscoring Jackson's great accomplishments while highlighting his tendency for self aggrandizement.

Bloody, Bloody Andrew Jackson features perhaps the most dynamic original rock n roll score to hit Broadway since Rent dawned on Broadway in 1996, and Benjamin Walker should see some serious TONY buzz next spring and seems destined be the next rising star in New York. You'll hear grumbling from the traditional Broadway crowd, but this is a show that will pull in the younger crowds in record numbers. Don't be surprised if the TONY buzz goes beyond Walker to the show itself, Alex Timbers, Michael Friedman and even album producers Kurt Deutsch and Dean Sharenow. This show is likely to be a monster, and the soundtrack is a must.

Rating: 4.5 Stars (Out of 5)

Learn more about Bloody, Bloody Andrew Jackson at http://www.bloodybloodyandrewjackson.com/.  Bloody, Bloody Andrew Jackson will open for previews on Broadway on September 20, 2010.  The Original Cast Recording will be released on September 21, 2010.  You can pre-order the CD from Amazon.com.  Expect wide availability from outlets traditional and digital.

Review: Sliimy - Paint Your Face

Sliimy - Paint Your Face
2009, Perezcious Music/Warner Bros. Records

French sensation Sliimy has ranked as the #1 trending topic on Twitter as well as garnering over one million streams on MySpace without ever releasing an album outside of France. Paint Your Face went to #2 in France, earning gold record certification while Sliimy was still in high school, and allowed Sliimy to gain opening spots for Katy Perry and Brittany Spears on their European tours. Sliimy has shaken the stodgy world of music critics with a sound fresh and full of the exuberant energy of youth, being compared to a pre-adolescent Prince. Discovered by Perez Hilton, Sliimy is the first artist on his Warner Bros. Records imprint, Perezcious Music. Paint Your Face will be released digitally in the United States on September 15, 2009.

Paint Your Face opens with Wake Up, an infectious dance-oriented pop tune that's a can't miss hit. It's pure bubblegum, but the sort that gets in your brain and takes over your thought process. Sliimy walks the line between rap and Jason Mraz style lyrical streams over a toy keyboard and a tight quasi-acoustic dance arrangement. Magic Game follows a similar dance approach but brings some crunchy guitar into play to give the song a vaguely harder edge. If you check out the cover of Paint Your Face you'll note the cover photo finds Sliimy exploiting the Prince comparisons, which are not entirely unfounded in Pop sensibility, but no one will confuse Sliimy and Prince musically. The material presented stays firmly in the Bubblegum Pop and Dance realm. Sliimy spends the entire album singing in falsetto, occasionally blurring gender lines with a voice that's not always discernable (ala Angel from Rent).

Songs such as Paint Your Face, Baby and Trust Me all follow a similar path, acoustic based Dance/Pop with an infectious nature and no real meat to grab onto as a listener. This is music for moving, not pondering and is thoroughly enjoyable for what it is as long as you're not seeking an intellectual listening experience. Mum slows things down a bit both rhythmically and emotionally. Full of angst and regret, Sliimy seems to mourn the loss of something here but it's not entirely clear what. Tic Tac has all the earmarks of a major Pop Hit; this is the sort of song that could go Gold and even Platinum across multiple countries and musical charts. Don't be surprised if Tic Tac is eventually released as a single and becomes omnipresent in popular culture for a couple of months. Ditto My God, the sort of simple Pop/Dance/Love song that makes household names. Womanizer attempts to get to some meat, but is too repetitive and is frankly handicapped by Sliimy's singing voice which is something of a difficult listen. On the faster, Pop-oriented tracks this is hidden by a dearth of legato phrases and rapid-fire lyrics, but where his voice is more exposed Sliimy has a lot of difficulty maintaining a concrete relationship with the appropriate key. The result is a quirky sound that is interesting, perhaps even cute at first, but wears on the listener after a while.

Sliimy seems like the perfect candidate for fifteen minutes of fame. With a quirky sound, a distinctive look and a lot of viral buzz likely dreamed up by a brilliant marketer and a chance encounter with media whore Perez Hilton, Sliimy will likely dominate the US airwaves for a time, only to join the likes of Jordy, Newcleus, Right Said Fred and all of the other bright yet brief comets who have burst upon the Pop music scene over the years and disappeared almost before we knew they were gone. There is some real songwriting talent here, but the presentation is so atypical and musically limited that the honeymoon isn't like to be a long one.

Rating: 3 Stars (Out of 5)

You can learn more about Sliimy at http://www.sliimy.net/ or www.myspace.com/sliimy. Paint Your Face hits virtual and real shelves on September 15, 2009. Expect wide availability through both brick-and-mortar retail and through online outlets.

Review: Chess In Concert

Chess In Concert
2009, Reprise Records

On May 12th and 13th of 2008, London's Royal Albert Hall came alive for a concert production of the musical Chess. With a score by Bjorn Ulvaeus and Benny Andersson (both of ABBA), and lyrics by the legendary Tim Rice, Chess has become one of the cult musical hits of the last twenty-five years. Chess has seen multiple versions in its first quarter century, many mixing and matching elements of the original West End and Broadway productions, but Tim Rice declared this concert version to be the "official" version of the show. There are no less than six recorded versions of the show that have been sold at one time or another, and each varies a little or a lot from the others. In conceiving this performance, an all-star cast was chosen to perform with the City Of London Philharmonic Orchestra. World-renowned singing star Josh Groban reprised the role of "The Russian" Anatoly (he previously performed as Anatoly in a 2003 Actor's Fund Of America Concert), while Idina Menzel (Wicked, Rent) took the lead of Florence. Rent's Adam Pascal is Freddie (The American). Other principals include Clarke Peters as Walter, Marti Pellow (Wet Wet Wet) as the Arbiter, David Bedella as Molokov, and Kerry Ellis (Wicked - London) as Svetlana. Reprise records released Chess In Concert as a DVD, a 2-CD set and a one CD highlights disc on June 30, 2009. A special edition combination CD/DVD is available solely on websites of stars Josh Groban and Idina Menzel.

Chess is a Cold War musical that views the political struggle between the United States and The Soviet Union through the prism of the 1972 World Chess Championship. Freddie, The American, is loosely based on the character of former World Chess Champion Bobby Fischer, while Anatoly has been speculated as having basis in the lives of Russian Chess Masters Anatoly Karpov and Victor Korchnoi. Granted this recording can pick and choose from two separate concerts for the material presented on CD and DVD, but the recording is nearly flawless. Fans of Idina Menzel may be a bit surprised to hear a more lyric vocal style from the Tony winner; hitting some notes in head voice you might never imagine after hearing her belt her way through Wicked and Rent. Her performance is outstanding, as is that of Groban. As a longtime fan of the show it was a bit jarring to hear Groban voice the role of Anatoly without a Russian accent, particularly in light of David Bedella's incredible Russian accent as Molokov, but Groban's so good it just doesn't matter in the end. Perhaps the most pleasant surprise is Adam Pascal as Freddie. Pascal is a great singer, which I knew, but he took the role of Freddie right over the top, putting in the best vocal performance in that role of any of the six recordings now or previously in print. The other pleasant surprise was Kerry Ellis. I hadn't come across Ms. Ellis before, but it shouldn't surprise considering her status as leading lady in the West End production of Wicked (and previous stint as Elphaba on Broadway as well). David Bedella was perfect as Molokov, and Marti Pellow put in a strong vocal performance as the arbiter, but may have been miscast, sounding less than authoritative in a role full of its own power.

There isn't a bad moment on the disc, although Menzel's stage pronunciation gets a bit over-emphasized in the recording on a couple of occasions (this is more of a production issue than anything). The City Of London Philharmonic is flawless throughout, and the ensemble pieces sparkle and shine like jewels at the bottom of a sunlit stream. Rice's lyrics are as sharp and enduring as ever, and the score speaks for itself. Highlights abound. Groban pulls off an amazing vocal performance in Where I Want To Be, and Menzel knocks it out of the park on her first solo venture, Nobody's Side, with a tough-yet-vulnerable feel that defines the character of Florence. Pascal and Menzel find an interesting bit of chemistry on Florence Quits, where Freddie goes Brooklyn on Florence and she gives it right back. The long association of Menzel and Pascal may have helped out here, but they sound like two lovers tearing each other apart.

Quartet may be one of the finest ensemble pieces this side of Frank Loesser's Fugue For Tin Horns, and even though this particular version isn't my favorite it's still extremely well done. Embassy Lament is enhanced as a quartet rather than the original duo, providing light moment with some gorgeous harmonies. Two particular diva moments stand out in the show as well. Idina Menzel owns the stage, crowd and hall on Heaven Help My Heart, proving that she can handle a lyric line as well as she can defy gravity. Likewise, Pascal takes Pity The Child home where it belongs. This is perhaps one of the finest male solo pieces in the Rock Musical era, and Pascal doesn't disappoint. Josh Groban, never one to be left out of the discussion, brings his own moment on Anthem, making any debate regarding accents moot once and for all. Kerry Ellis even takes a turn on Someone Else's Story as a lead up to her epic duet with Menzel on I Know Him So Well. Ellis' full, deep tone balances Menzel's edgier sound so perfectly you'd think they were born to sing together. Pascal also takes One Night In Bangkok, the biggest hit from the show, and creates a reading that's better than the original.

Chess In Concert will bring a collective wow from fans old and new. The show never really got much of a chance in the US because it was so badly butchered for the Broadway run, but there's a reason it keeps getting revised and revived in small runs all over the world. Rice, Ulvaeus and Andersson managed to create a bit of theater magic in Chess. Chess In Concert has been declared the definitive recording of the show by none other than Tim Rice, and so it shall be. It's only a matter of time before the show makes a return to London's West End and perhaps even Broadway. For now, Chess In Concert is a magical take on a show you can't afford to have at least a passing acquaintance with. Chess In Concert is an essential listen; a Wildy's World Certified Desert Island Disc; a classic. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Chess In Concert at http://www.chessinconcert.com/. You can order a copy of Chess In Concert from Amazon.com. There is also a DVD available and a highlights disc. The concert is also available through iTunes.

Review: The Velmas - Station

The Velmas - Station
2006, City Canyon Records

Albany, NY power trio The Velmas know how to Rock N Roll. Todd “Figaro” Minnick (bass), Mike “Harvey” Grosshandler (guitar) and Michael “Bruce” Bruce (drums) share songwriting duties, blend Rock, Punk, Classic/Southern Rock, Country, Reggae and Grunge into a dynamic sound that’s won rave reviews from critics and fans alike. The Velmas have been the alt-rock darlings of the Albany scene for a few years now and have played all over the Northeast US. Their most recent album, Station, achieved national distribution and the band has slowly been building a presence outside of their home market. Let’s check out Station.

The album opens with the smooth Modern Rock sounds of One More Day, gaining some pop sensibility as The Velmas transition into This Time. Regardless of the pop orientation, the first few songs on Station sound a bit too calculated to hit the Modern Rock market. The Velmas have everything gel on Tell Her I Love Her, a Weezer-esque pop/rock tune about unrequited love. Tell Her I Love Her has strong commercial potential and is the sort of song that can vault an unknown band into national prominence on short notice; it's just a question of getting it heard in the right venue. Midnight sounds like something that could have come right off the Rent soundtrack, and is probably a favorite at club shows where midnight is half time. Where'd She Go might be the best tune on the disc; it's just flat out, great Rock N Roll. Be sure also to check out Silenced, Forever With Me (Emily's Song) and Past Tense on the way to The Velmas' cover of Lionel Richie's Hello. Say what you want, but it's a good, Daughtry style cover of the song.

The Velmas play in a small pond right now (Albany, NY) but show the sort of talent and panache it takes to make it in a bigger market. Station is a strong effort that's worth checking out. It finds The Velmas playing with mixes of Pop, Rock and Post-Punk that work more often than not. My suspicion is that if they keep playing in that realm sooner or later they might just strike gold.

Rating: 3 Stars (Out of 5)

You can learn more about The Velmas at http://www.thevelmas.com/ or www.myspace.com/thevelmas. You can purchase a copy of Station at www.cdbaby.com/cd/thevelmasccr, or you can download the album from iTunes.

Review: Michael Staron - Rock Originals

Michael Staron – Rock Originals

2008, Michael Staron

Michael Staron is a composer, bass player, university lecturer and musical theater veteran. His music credits are extensive, including the likes of Roger Williams, Red Skelton, Sid Caesar, The Marvelettes, Eddy Arnold, Al Martino, Jerry Vale and Vic Damone. He’s also performed as a musician in numerous musicals, including Evita, Rent, Joseph And The Amazing Technicolor Dreamcoat (with Donny Osmond), A Chorus Line and West Side Story. Staron holds a Masters in Jazz Pedagogy from Northwestern University, and teaches at DePaul University, Benedictine University and Triton College. Despite all of this, Staron still manages times for original composition, performance and recording. His CD, Rock Originals, includes five original compositions you jazz fans won’t want to miss.

Rock Originals opens with Ham Stew, a vibrant Rock N Roller with an upbeat 1960's feel. Back On The Highway is a bit tired, plodding a long to a rock beat but never quite soaring. Questions has an early-1970's heavy rock feel. The song is catchy and philosophical without being too deep. Hail, Britania offers a funky/jazzy presentation that is fresh but is so repetitive that it ends up flat. Dear Ann is pleasant but ininspired.

Mike Staron crosses a lot of Rock N Roll boundaries in five songs that are better termed a collection than an EP. There is no grand theme or tie that binds between the songs. Consequently, Rock Originals comes across as disjointed and a bit disorganized. Staron has distinct talent as a musician, but this particular offering just didn't catch on with me.

Rating: 2 Stars (Out of 5)

You can learn more about Mike Stern at http://www.chicagojazz.com/MikeStaron or www.sonicbids.com/MichaelStaron2. You can purchase a download of Rock Originals on iTunes.

Review: Fireworks - All I Have To Offer Is My Own Confusion

Fireworks - All I Have To Offer Is My Own Confusion
2009, Triple Crown Records

Brains and brawn go hand in hand on All I Have To Offer Is My Own Confusion, the debut CD by Detroit’s Fireworks on Triple Crown Records. With a lead vocalist (David Mackinder) who sounds disturbingly like Anthony Rapp (Rent) and a muscular guitar-based sound, Fireworks wend their way through eleven intelligent and well-crafted songs. This disc is a nice surprise, based in Modern Rock but more complex and well-crafted than a lot of the stuff you'll hear on Modern Rock stations.

The disc opens with Geography, Vonnegut And Me, an energetic Pop/Punk anthem that is radio-ready and just off beat enough to get noticed. 2923 Monroe Street has a wonderful dark pop sense to it. This is what hits are made of, strong melodic lines, great vocals, accessible lyrics and an arrangement that kicks tail without abandoning that strong sensibility that seems to be at Fireworks' fingertips throughout the CD. You've Lost Your Charm is another example of the Punk/Pop sound that Fireworks brings to the table. This is one of the most purely radio-ready debuts I've heard thus far in 2009. Detroit represents two sides of Rock City, with a chorus reminiscent of classic KISS and verses that echo the thriving punk scene. Other highlights include Holiday, Again And Again and When We Stand On Each Other We Block Out The Sun.

Fireworks has a strongly commercial sound built on a marriage of Pop and Punk and lots of guitar. All I Have To Offer Is My Own Confusion is one of those albums that with the right push could be a monster hit. Ten years ago they would have been an MTV Buzz Band for sure. Make sure you check out All I Have To Offer Is My Own Confusion, and if Fireworks comes to town, line up for the show. You won't regret it.

Rating: 4 Stars (Out of 5)

You can learn more about Fireworks at www.myspace.com/fireworks. You can purchase a copy of All I Have To Offer Is My Own Confusion from Amazon.com, or download the album through iTunes. You can catch Fireworks on Tour with New Found Glory through May 10, 2009.

Review: Telling On Trixie - Ugly, Broke & Sober

Telling On Trixie - Ugly, Broke & Sober
2009, Nicoletto Small Music

New York City rockers Telling On Trixie bring the anthemic power-pop on their sophomore album, Ugly, Broke & Sober. After being voted Logo's #1 band of 2007 for their self-tited debut album, it would be easy to understand a bit of a sophomore slump. Telling On Trixie never heard of such a thing. Rather than standing pat with the formula that worked the first time, the band stretches their boundaries on Ugly, Broke & Sober without abandoning the melodic spirit that got them where they are.

Ugly, Broke & Sober opens with Shooting in 60, an anthem for today's celebrity-obsessed culture. Crash Me Up is an interesting experiment. Telling On Trixie asked their fans to submit words or phrases to be turned into song lyrics. Crash Me Up is the resulting word jumble. The exercise, and song, works, sounding like a cryptic but mostly cogent lyrical construct. The strong pop/rock arrangement and harmonic dressing doesn't hurt either. The most pleasant surprise of the album is the very dark interpretation of Belinda Carlisle's Mad About You. The tenor and tone of this version implies perhaps a different aspect of madness than the original, but the song is none the worse for this treatment. Lead vocalist Derek Nicoletto sounds a bit like Adam Pascal, or a poor man's Steve Perry, with much of the same vocal quality but not quite the same range.

The Deepest Dive is a prolific song of love for and faith in another person. This is a potential hit, with Nicoletto going for a more pure vocal sound. Ugly, Broke & Sober sounds like it could have been alternate song from the show Rent, both in style and content. Telling On Trixie breaks out their heavy boots on Your Silence, the heaviest rocker on the album (but still quite pop in sensibility). The album closes out with the spooky Steps To The Throne, which almost works but has some rough edges to it yet.

Telling On Trixie continues to take chances on Ugly, Broke & Sober. Most of them work, and even the instances where they fell short are intriguing. I'd much rather see a band take chances and miss once in a while than stand pat and calcify stylistically. Ugly, Broke & Sober is a strong sophomore effort that exceeds their debut in some ways. You can hear the artistic development that has occurred from album to album, and it makes one wonder if they'll keep on this path. If so, the future promises big things from Telling On Trixie. For now, Ugly, Broke & Sober is more than enough.

Rating: 3.5 Stars (Out of 5)

You can learn more about Telling On Trixie at www.myspace.com/tellingontrixie or http://www.tellingontrixie.com/. You can purchase a copy of Ugly, Broke & Sober at www.cdbaby.com/cd/tellingontrixie3.

Review: Joy Ike - Good Morning

Joy Ike – Good Morning
2008, Joy Ike

Pittsbugh, Pennsylvania’s Joy Ike is a musical late bloomer. The 25-year-old singer/songwriter just started writing and performing 3 ½ years ago, but is already considered the gem of the Pittsburgh music scene by both insiders and outsiders. The Nigerian born former publicist has acquired a reputation for lyrical depth and social conscience while delivering strong pop arrangements reminiscent of folks like Corinne Bailey Rae, Norah Jones and Fiona Apple. Ike’s second album, Good Morning, was released in 2008 to rave reviews in and around the Pittsburgh area, as well as some on the national scene.

Good Morning opens with a brief vocal intro, a Capella, that displays just what a gorgeous and warm voice Ike possesses. Ike steps out of a reverb chamber into real time like an angel stepping from your dreams into the now. You spend the next twelve songs hoping she won’t leave. Strongman is a piano-driven pop song with hints of soul, like an interesting hybrid of Tori Amos and Alicia Keys. Warriors Get Your Gear On is a wonderful, lyrically dense pop song projecting a somewhat serious perspective on a light and airy pop arrangement. Remember is a gem of a song, sounding like a soliloquy from a Broadway Pop musical. It’s a song about saving the world, or having the courage to try.

Jacob & Esau is a peppy, funk-tinged piano pop tune that sounds like Tori Amos stylistically and is wonderfully vibrant. Unconditional is a song of longing and devotion; certain mix-tape material in a piano-pop format. You’ll want to make time for the melancholy flavor of City Lights and the regretful beauty of Oh I Fight. Other highlights include the hauntingly beautiful and powerful Love Is; Hey, Where Are The Kids; the gospel-tinged The Least Of These and Hope. Hope is very similar in ideals to Rent’s Seasons Of Love, though different in style.

Joy Ike is the real deal; a singer/songwriter with something to say and ample to talent to deliver it. A warm and inviting voice wrapped up in strong and generous piano-driven pop/rock arrangements is the general recipe for Ike, who may be the best thing to come out Western Pennsylvania in a decade or more. Good Morning is an exciting introduction. Nice to meet you, Joy Ike, we hope to hear much more from you.

Rating: 4 Stars (Out of 5)

You can learn more about Joy Ike at www.myspace.com/joyike or http://www.joyike.com/. You can purchase a copy of Good Morning at www.cdbaby.com/cd/joyike2.