Matt And The City Limits - Crash

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

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

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

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

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

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

     Amazon MP3             iTunes

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

Vintage Blue - Strike The Mics

Vintage Blue - Strike The Mics
2012, Vintage Blue

Every band hits that point where they either break down or break through.  Chicago quintet Vintage Blue hit that point in early 2010, and flew through the barriers like a speeding bullet.  Formerly known as Tanglewood, Vintage Blue went through personnel and stylistic changes, first noted on their 2010 debut EP, California Road.  Vintage Blue’s second offering, Strike The Mics, due out on Valentine's Day in 2012, finds the band picking up where they left off on California Road.  Coming into the album with no stylistic preconceptions, Vintage Blue had remade themselves in the tradition of great rock n roll.  Ben Bassett (vocals, lead guitar); Ryan Tibbs (vocals, rhythm guitar, harp); Will Crowden (drums); Cesar Corral (bass, vocals); and Matt Zimmerman (sax, keys, vocals) enlisted the help of producer Jamie Candiloro (The Eagles, Ryan Adams, Willie Nelson) to help them narrow their musical focus.  Consequently, Strike The Mics is the band’s most vibrant and enduring work to date.

Drawing on a wealth of influences and sonic palettes, Strike The Mics is a cathartic experience.  The album kicks off with the horn-laden blend of classic and alternative rock that is “Set You Free”.  Featuring the sort of chorus that sticks in your head, this song is a great introduction for the band, and the sort that could launch a pleasant association with commercial radio.  “Unchained” is a high-energy rocker at full gallop.  Strong vocal harmonies and a modern rock feel complete the sound in a number you’ll find it impossible to simply sit through.  Vintage Blue strips things down for the start of “California Road”, building into a fuller sound that’s melodically pure and well constructed.  The simple chorus is easy to sing along to, and you’ll find it recurring in your head once you’ve heard it.

“Speak” is funky folk/rock with a funky back beat.  The chorus sounds like it could have been written by Rob Thomas of Matchbox 20, and it wouldn’t be surprising to see this song embraced by commercial radio programmers.  Vintage Blue has shown flashes of Americana influence throughout the album, but that influence breaks free on “Sleep On This”, a down-home rocker about being in love with an ever moving target.  The song is incredibly catchy, with a pop sensibility that simply won’t quit.  “Here To Stay” digs more into Vintage Blue’s emerging country/rock sound amidst a laid back sound and a big chorus you won’t soon forget.

“Just Breathe” is a smooth, classic-rock power ballad with refinement, originating more from a working-class rock lineage than the glam rock sound that so often characterizes classic power ballads.  This is the highlight of the album, both compositionally and instrumentally.  The guitar work is primo, and the vocal harmonies absolutely click.  “Help Me See” is one of those quietly catchy tunes that sneak up on you.  Solid on the first listen, but it will grow on you with each successive pass through.  Vintage Blue sounds like a cross between Toad The Wet Sprocket and Wilco here, displaying the mellow pop sense of the former and the full Americana influence of the latter.  “Great Divide” is an “Ah” moment; a forlorn love song built around a lovely finger-picked guitar core.  Do not be surprised if you end up with this number on repeat.  Vintage Blue bows with “True”, a musical epilogue that plays like the closing credits for a movie.  Catchy and upbeat, this song will get stuck inside your head and stay there.  The horns come back here and support a sound that’s danceable and pop-radio friendly while showing some songwriting substance all at the same time.  This should be a concert favorite; and in an era where great pop music was truly appreciated this would be a top-10 hit on the radio.

Vintage Blue does so much well on Strike The Mics that it’s difficult to summarize.  Ranging from singer/songwriter balladry to classic rock to modern rock and alternative, the band is eclectic in its range and songwriting talent.  Vocalists Ben Bassett and Ryan Tibbs are both capable front men, and the band plays with an energy and chemistry that are absolutely undeniable.  Vintage Blue has managed to take the core experience of the band’s history and mix it with new energy and new blood to come up with a winning rock and roll formula.  In another era these guys would be mega stars.  As it is, this is the sort of band you don’t soon forget.  A live show is bound to be an experience you won’t forget, and Strike The Mics is likely to become a treasured and oft-played part of your collection.

Rating:                  4.5 Stars (Out of 5)

Learn more at www.vintagebluemusic.com.

Adam Cross - Sirens

Adam Cross – Sirens
2011, Adam Cross

Aiken, South Carolina singer/songwriter Adam Cross has seen his heartbreak.  This is evident on Cross’ self-released debut album, Sirens.  Whether you take the title as a warning, or perhaps as a treatise on the things that draws us out of ourselves (and sometimes pushes us back in), Sirens is a remarkably mature and subtle disclosure of vulnerability and strength, healing and pain. 

Sirens opens with the pure pop rock of “Dance”, a catchy-yet-reserved statement of intent that is the perfect intro to Sirens.  Cross has an appealing voice; staying within a comfortable range that doesn’t restrict his ability to deliver a quietly dynamic performance.  “A Feeling” is a melancholic reflection on love as faith, in a love that, if not requited, certainly isn’t available.  Cross builds the song nicely throughout, growing in intensity through the final bridge before drawing back.  “Scared To Pieces” is a love ballad written from a less than tenable romantic position.  The smooth, radio-ready chorus is full of sound and sonically appealing.  Cross is reminiscent of an edgier Rob Thomas here, both for his sound and for his pop sensibilities.

Cross engages in a confessional style on the stripped-down “Save Me”, punctuating the effort with a jump into his upper vocal register on the chorus.  This last leaves him a bit exposed with a sound that’s less than ideal, but the song has great flow and works on many levels.  “Time Of Our Lives” is a wonderfully upbeat love song, although the verse has a stilted feel that’s somewhat distracting.  The execution here doesn’t quite match the intent, but it’s a solid, pop-friendly effort.  “Thursday” is a song of loss, written through the perspective of time, although Cross’ deliberate vocal style offers the impression of a suitor who is choosing his words carefully.  He’s still in love, you see, and still pursuing her even if he isn’t certain what it is he wants from the pursuit.  There’s a stylistic grace to this song that works, even with its somewhat awkward pace, as he struggles with the competing feelings of love and hatred.

“Burning Castles” wants to a big pop/rock song but never quite lives up to its pretensions.  It’s a solid tune, but just never fully becomes.  The chorus is mildly catchy, and Cross builds the musical tension appropriately, there’s just never a payoff.  “Time Wasted” laments a relationship that didn’t work out, seen again, through the lens of time.  This one has a nice, Adult Alternative sound that will play well with radio programmers and fans alike.  “Tragedy” finds Cross introducing more of an electronic element into the arrangement.  The result is a somewhat uninspired sound that seems ripe for pop radio but fails to live up to either the melodic or creative potential Cross seems to possess.  Sirens closes with “Lost”, a six-minute acoustic number that’s among the best on the album.  There’s a prayerful melancholy that pervades this number, as Cross laments both a past lost and a seeming lack of future.  The chorus is gorgeous and slow, dressed in dark musical timbres.

Adam Cross impresses with Sirens, even if he doesn’t always hit his mark.  There’s a distinctive musicality in Cross’ songwriting that has an edgy, Indie-feel, yet a melodicism that pop sensibility that make him accessible to the commercial market.  Musical melancholia fans will enjoy Cross’ tales of love lost, just missed or never gained.  All of this is delivered without a sense of self-pity, but rather with a clinical eye that has assessed the past and present, and in spite of the pain, taken something of a logical approach to each heartbreak.  If Sirens is any indication, there are great things to come from Adam Cross.

Rating: 3 Stars (Out of 5)

Learn more about Adam Cross at www.adamcrossmusic.com or www.myspace.com/adamcrossmusic. 

Emory Quinn – See You At The Next Light
2010, Emory Quinn

Back in the Fall of 2002, Clint Quinn Bracher and Nathan Emory Rigney started playing together while students at Texas A&M University.  An Open Mic appearance that year turned into a full-time job, with the band playing 120 gigs per year by 2007.  The then-duo began recording in their dorm room.  Along the way they picked up bassist/keyboardist Case Bell, and in 2008 added drummer Tony Rios.  Emory Quinn bases themselves out of San Antonio, Texas these days and continues to build a solid fan base.  Emory Quinn recently released their third studio album, See You At The Next Light.

See You At The Next Light opens with “Hand In Hand”, a solid blend of country, folk and rock tune about love, devotion and sticking together no matter what.  Vocalist Clint Bracher sounds like a cross between Glen Phillips (Toad The Wet Sprocket) and Tom Petty, and delivers a catchy, motivated melody line that takes on a life of its own.  “Moving On” is mildly catchy with a nice hook and solid vocal harmonies.  This is a summertime tune; a solid album track.  “Heart In Mind” sounds like something that might happen if John Mellencamp and Rob Thomas were to collaborate; having an understated pop sensibility that catches up on you and grows on you with successive listens.

“Finds Danger” is part love song and part outlaw tune.  The arrangement is solid if a little bland, reflecting the melancholy feel of the story-teller’s retrospective tale of love.  Nathan Rigney’s guitar work particularly stands out on this tune.  “Holes Through The Windows” is about as disturbing as songs get; the tale of a drunk, a song of murder and obsession that shifts focus just enough to leave right and wrong seriously in question.  “Tear Down The Walls” is a solid, straight-forward number that leaves vocal charisma at the coat check.  The Blue Rodeo-style arrangement and weeping pedal-steel guitar both add nicely to the sound however, and the overall effect is aurally pleasing.  “Be Here Now” recounts the cost of telling the truth and ponders what might have happened if he’d told a lie.  This rumination is accomplished in a comfortable Americana arrangement that owes a bit of its ancestry to Wilco. 

“When I Dream” finds Bracher sounding a bit disaffected on the vocal line, choosing an almost talk/sing style at times that seems very much at odds with the upbeat folk/rock/country arrangement yet somehow works nonetheless.  The keyboard work on this tune is a nice touch, cementing the band’s sound quite nicely in a crossover-ready style that could easily light up switchboards at both rock and country outlets.  “Calling Your Name” finds Bracher in a similar juxtaposition with the arrangement, although this time the result isn’t quite so enjoyable.  “Calling Your Name” drags in a monotonous style that will have some reaching for the skip button.  Emory Quinn closes with “Falling Down Again”, a catchy number with an almost Celtic/bluegrass feel that’s quietly infectious.  This is the best piece of songwriting on the album even if it is not the most commercial sound offered here.

Emory Quinn sure seems to be cooking up something good in San Antonio.  See You At The Next Light blends rock, country and folk with a subtle pop sensibility and casual story-telling style that works its way quietly into your brain.  Don’t be surprised if See You At The Next Light grows on you.  Emory Quinn has written the sort of album that opens to you slowly, but lasts a long time in your memory.

Rating: 4 Stars (Out of 5)

Learn more about Emory Quinn at www.emoryquinn.com or www.myspace.com/emoryquinn.   See You At The Next Light is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Jon Davidson - Perfect Cliché

Jon Davidson - Perfect Cliché
2010, Jon Davidson MusicPortland, Oregon’s Jon Davidson is known to many as the front man for rock band Silversafe, but he’s made a fair amount of noise as a solo artist since the 2008 release of his debut album, Perfect Cliché. 2010 finds Davidson back with a remixed and re-recorded version of the album including five additional tracks. Known for his vibrant live performances, Davidson shows a dynamic musical personality that borders on dissociation.

Jon Davidson cannot decide who he wants to be. Is it glamorous pop star ala Rob Thomas; vital and angry rocker like Live or dance club king? This three-headed hydra shows itself one head at a time on Perfect Cliché, creating more confusion and cognitive dissonance than post-genre cred. Opening with "Beautifully Bittersweet", Davidson displays the disaffected anger of the current generation in an angry arrangement reminiscent of Live while maintaining the pop approach and sensibility of Rob Thomas. The muscular guitar drives this song, a likely player on the commercial stage should he decide to release it as a single. "It Won't Be Long" is a bit harder and full of jangly guitar. The pop sensibility remains, and "It Won't Be Long" is catchy and enjoyable even if it strays a bit heavily into the modern rock/alternative radio formula. "Perfect Cliché" has a great chorus although the vocals are mixed a bit too low. The song is very likeable, although the live version offered as a bonus track sounds much better.

"Sunrise" shows off Davidson's ability to write catchy little choruses with great melodies. The orientation here gets a bit too electro-pop in light of what's come before, but expands Davidson's musical palette in the direction of electronic and dance music for the first time on the album. "Hermit Crab" once again offers a great chorus, and the instrumentation works very well. The vocal line doesn't really stand out here, but the overall mix works well for pop and modern rock radio formats. "What Can I Say?" is the sort of ballad that makes hearts melt and sends teenage girls running giddy in the streets. It's offered in power ballad style but in a primarily acoustic arrangement that opens up the melody quite nicely. Davidson returns to the catchy rockers he's comfortable with on "Never A Metaphor", which manages to be very commercial without trying to be. Try getting this tune out of your head; the chorus will sing itself.

Perfect Cliché suffers a bit of a lull at the end, punctuated by the catchy and crunchy rock/pop of "Finger In The Eye". Driven by a big guitar riff and a solid chorus, "Finger In The Eye" is the class of the last half of the album. Davidson fills things out with four alternate versions of songs on the album.

Jon Davidson wants to be all things to all people on Perfect Cliché; this shizophonic approach to making music is an honorable pursuit, but the pop/dance oriented material just doesn’t work for him. When Davidson is out in front of a crunchy guitar sound and surrounded by big riffs he sounds very much like the big rock star. Unfortunately the dance material sounds like a bad joke by comparison. It’s inclusion turns a solid effort that nonetheless raises questions about his musical direction. Davidson is currently working on a new album with producer Jeff Johnson, engineer Chris Holmes (Korn) and mix-master Randy Staub (Metallica, U2, Our Lady Peace, Nickelback). I suspect some questions will be answered in that process.

Rating: 3 Stars (Out of 5)

Learn more about Jon Davidson at http://www.jondavidsonmusic.com/ or www.myspace.com/jondavidsonmusic. Perfect Cliché is available as a CD or Download from Amazon.com.  The album is also available digitally through iTunes.

Transmit Now - Downtown Merry-Go-Round

Transmit Now - Downtown Merry-Go-Round
2010, Silent Majority Group

Orlando’s Transmit Now has come a long quickly. The band had their coming out on the Vans Warped Tour in July after winning a spot in an on-line contest. Since then, Transmit Now have won a contest through MTV, been featured on several MTV shows and even had one of their songs accepted during the People’s Choice Awards. With two prior EPs under their belt, Transmit Now signed to the Silent Majority Group in 2009. Today, Transmit Now unleashes their first full-length album on the world. Downtown Merry-Go-Round is a mix of high energy pop/rock and punk energy.

Downtown Merry-Go-Round opens with "What You're Thinking", a strong active rock tune with the pop sensibility to have some traction on the radio dial. The hooky chorus will grab you the first time you hear it. "Poster Boys" is another highly marketable rock tune, peppy and full of energy and ultimately tuneful. "Let's Go Out Tonight" has the hooks and theme to be a big summertime anthem. With the right breaks this tune could be all over the radio this summer. Transmit Now stays mostly on track through tunes such as "Issues", "Everything's Alright" And "Wish You Well", although the sound does border on formulaic.

"The Last Thing" is the compulsory sensitive ballad and a decent attempt even if it sounds a bit like a Rob Thomas cast off. Transmit Now finds their chutzpah again on "Stop Stop", a high-energy rocker that will have fans breathing a sigh of relief. This tune is highly danceable without giving up a sense of the band's aura of controlled recklessness. "Pick Up The Phone" has a wonderful sense of urgency that pervades the song; a dynamic rocker that is another likely winner at commercial/alternative radio. This song has one of the best choruses I've heard yet from the crop of albums due in late spring/early summer. Transmit Now closes with "Fast Ride", a proto-typical radio/rock tune featuring the sort of easy-to-consume chorus that corporate radio loves but lacking the dynamic energy that seems to make the band tick.

Downtown Merry-Go-Round is a decent effort. Transmit Now seems to be caught between creating a commercial album and the rock-n-roll cycle they crave. It's a fair mix; commercial enough to gain the band real attention in pop circles, but with enough honest rock nuggets to keep the purists mollified. Downtown Merry-Go-Round will likely expand Transmit Now's notoriety, hopefully enough that the album can find them worrying a bit less about whether radio will play their singles.

Rating: 3 Stars (Out of 5)

Learn more about Transmit Now at www.myspace.com/transmitnow or www.myspace.com/transmitnow. Downtown Merry-Go-Round is available on CD from Amazon.com. Downloads can be obtained via iTunes.

Review: Barefoot Truth - Threads

Barefoot Truth – Threads
2010, Barefoot Truth, LLC

Mystic, Connecticut quintet Barefoot Truth are examples of the power of new media to make or break a band. In an era where the myopia of major radio has grown to epic proportions, services like Pandora have unprecedented power to help a band explore their fan base. That happened last year for Barefoot Truth, when Pandora Radio picked up their song “Roll If Ya Fall” and put it in rotation alongside artists such as Jack Johnson and Dave Matthews Band. Almost overnight Barefoot Truth went from a local band to a band in demand all along the east coast of the US. Looking to build on that momentum, Barefoot Truth returns with Threads in 2010.

Threads opens with “OK”, a delicious pop arrangement full of great hooks that is absolutely radio ready. Lead vocalist Will Evans sounds more than a little like Rob Thomas here, although that sound doesn’t necessarily hold throughout the album. “All Good Reasons” is highly enjoyable, a light and airy arrangement, mostly acoustic, blending elements of Americana and Pop. “From The Earth” is a call to arms for all of mankind to band together on the basis of the one thing we all share; coming forth from the Earth. The song casts aside ideology and demands that fate not be accepted. The arrangement is wonderfully executed, but the message perhaps doesn’t carry the power intended. Barefooth Truth sticks with the heavy environmental message on “Damage Done”, taking to task the power brokers and captains of industry for the deluge to come. The song is well-written, but lacks the veracity it might have had even six months ago before the climate-gate scandal.

“Roots Of Stone” finds Evans using a rapid-fire lyrical style ala Jason Mraz. The song is a bit on the dark and heavy side and sonically is the class of the album. “Curtain Call” is the sleeper single on Threads; danceable and dynamic pop full of funk that you’ll find yourself listening to again and again. Barefoot Truth raises their musicianship a notch for “Without A Fight”, a sort of pragmatic tune about not giving up on yourself. The piano work in this tune is worth checking out. Threads closes out with “Day I Die”, offering up an intriguing bit of fatalism in light of the call to cast fatalism aside in “From The Earth”. The musicianship and composition here are superior. Barefooth Truth show how young and fluid their perspectives are on “Day I Die”, but also firmly establish their ability to write an “It” song. This can only lead to good things down the road.

Barefoot Truth have something special cooking up in Mystic. Perhaps it’s the salty air or the pizza. Whatever it is, Barefoot Truth have broken through the regional cap and gained national recognition. Barefoot Truth shows the ability to craft and deliver songs with wide appeal without kowtowing to the bastardized pop that haunts commercial radio. The band doesn’t succeed with every song on Threads, but the band gives a solid effort on every song, raising their game at times on the album and showing flashes of what they might become. Threads is a great follow-up.

Rating: 3.5 Stars (Out of 5)

You can learn more about Barefoot Truth at http://www.barefoottruth.com/ or www.myspace.com/barefoottruth. You can purchase Threads as either a CD or Download from CDBaby.com.

Review: Ted Garber - American Rail

Ted Garber - American Rail
2010, Ted Garber

Ted Garber cut his teeth on the street corners of New Orleans, busking while a student at Tulane University, but performing has always been in his blood. Garber's father was a long-time regular on the Washington D.C. folk scene, and Garber grew up with a desire to be on stage. Garber's mix of Folk, Blues and New Orleans style R&B captivates audiences with both its refreshing honesty and musicality, drawing collaborators from bands such as Eddie From Ohio, Junkyard Saints and Last Train Home. Garber's latest album, American Rail displays the everyman grit of early Springsteen and a musical creativity that is both intriguing and surprising.

American Rail opens with It's About Time, a raucous mix of Blues, Soul and Rock N Roll that's highly danceable. Garber has an eccentric baritone voice that is engaging and pleasant to listen to. Break Me Down is an energetically mellow tune about losing yourself in another while setting boundaries to keep that from happening. Garber hits on a vibrant samba beat with virtuosic Latin guitar riffs on Montevideo, sounding like he's having a ball with the song. I should note that the entire band behind Garber sounds engaged at a high level; this is one tight unit that enjoys playing together.

Strike It Up is a solid blend of Rock N Roll and Soul, complete with Stax-style horns and a chorus that you can't help but sing along to. Strike It Up is the sort of song that gets a crowd moving, and Garber sounds at his very best here. Giving Tree comes back to a mix of Funk, Soul, Blues and Jazz that you could only be from New Orleans. Garber and band mix it up here with delicious results, guaranteeing dancing feet in any crowd. Waste Some Time is another highly catchy Rocker with Soul and Blues in its lineage. Garber seems to have a talent for these catchy tunes you just can't get out of your head. Live shows have to be absolutely insane.

March Of The Working Class Hero is in much the same vein: Great rhythm, catchy arrangement, high speed lyrical flow (ala Jason Mraz) and an insane need to dance/sing along. A Lot Like Me is a song about looking back at the follies of our own youth; with the realization that things work out alright in the end. It's an incredibly tuneful and catchy tune and will resonate with anyone who's old enough to share its perspective. Garber closes with Another Monday, an energetic Rock N Soul tune about getting through the weekend.

If you could splice the DNA of Dave Matthews with that of Rob Thomas, adding in a dose of Taylor Hicks and Jack Johnson, you'd end up with an artist not entirely unlike Ted Garber. Smart, tuneful songwriting combined with a memorable voice and a band as tight as the gates at Fort Knox make for highly enjoyable listening on American Rail. This is music you can listen to with friends, and it might just turn into a party.

Rating: 4 Stars (Out of 5)

You can learn more about Ted Garber at http://www.tedgarber.com/. You can purchase American Rail as either a CD or Download via CDBaby.com.

Review: Griffin Anthony - Crazy Ways

Griffin Anthony - Crazy Ways
2010, Griffin Anthony

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

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: The Andrew Heringer Band – The Paradise Sessions

The Andrew Heringer Band – The Paradise Sessions
2008, Dawson Records

Sacramento California’s Andrew Heringer is a singer-songwriter who has tied his fortunes to a Rock N Soul Jam Band. Heringer has shown a natural pre-disposition for the stage from his early teens, and his Dave Matthews/Jason Mraz style songwriting has helped him build a steady fan base on the West Coast. The Andrew Heringer Band is currently working on a new album, due out in late 2009 or early 2010, but for today we’ll be checking out their debut, 2008’s The Paradise Sessions.

Heringer opens with Sit & Stare, a song all about the cat & mouse games that come with getting to know someone. It's a great tune with some light jazz flavoring. Heringer's voice is pleasant to listen to with a slightly rough texture. Molly opens with a free-form sax solo that slowly segues into the song called Intro #1. Molly is a loving ode that manages to be catchy; sounding a bit like Rob Thomas meets Dave Matthews. Heringer hits all the right notes on A Thousand Years, a sweet love song set in an acoustic/electric arrangement. The highlight of the album is Release The Funk a delicious Rock instrumental laced with funk and some serious piano chops. The piano and sax combo is reminiscent of the days when Richie Canata played with Billy Joel.

Intro #2, a decent instrumental guitar segue opens up Love To See You Smile. This is a slow love song that tries to be a bit more typical in the ballad category but just never captures the energy you might expect. Heringer goes for epic composition on Goodnight. Lengthy at 6:01, Goodnight goes from straight forward songwriting to Progressive breakdowns before settling back into its base theme. The songwriting is very strong, although the tune does get a bit unfocused at times. Summer Roof gets similar marks, falling so heavily into a jam mentality that the melody gets lost.

The Paradise Sessions speak of many things. Andrew Heringer and his band have a great deal of talent. They write and play well, and they like to jam. They just seem to have a difficulty marrying the songwriter aspect with the jam musician aspect of themselves. The great jam bands can take you on nearly endless detours and suddenly settle into the theme and make you feel like the whole thing was planned. The Andrew Heringer band gives the impression, even on their album, that sometimes the fact that they get back to where they started is almost more luck than planning. This is fine for an Improv band, and there's nothing wrong with flying by the seat of your pants once in a while, but The Paradise Sessions dances right off the tracks at times, making those transitions seem more jarring than at-ease. There's a lot of good here, but the process, perhaps, could use a bit of refining.

Rating: 3 Stars (Out of 5)

You can learn more about The Andrew Heringer Band at http://www.andrewheringer.com/ or www.myspace.com/andrewheringer. You can purchase a copy of The Paradise Sessions from Big Cartel.

Review: Mission Hill - Mission Hill

Mission Hill - Mission Hill
2009, Toucan Cove Entertainment

Boston quartet Mission Hill has built up a significant fan base gigging relentlessly on the East Coast over the past few years. Shows with Candlebox, The White Tie Affair and Secondhand Serenade have served to widen their fan base, but it's the music that wins over fans' hearts and minds. Introspective and self-conscious by nature, Mission Hill speaks from the heart on their debut EP, Mission Hill. Mission Hill was recently ranked number one on Alternative Addiction's "Top Ten Unsigned Bands" list, and lead vocalist Adam Jensen won an LA Music Award for Indie Male Vocalist Of The Year. I suspect that such accolades are only the tip of the iceberg.

Mission Hill opens with This Town, reflecting on a relationship gone wrong and the difficulty of moving on. The narrator is on the verge of wanting reject all he knows to get away from all things familiar and escape the pain of losing her. While Jensen sounds nothing like Michael Stipe (more like a deeper voiced Rob Thomas), there's a definite REM connection here. Forever Anyway is an autobiographical tune about Jensen's love for his hometown that takes on an almost Americana flavoring. The vocal harmonies here are phenomenal, and the melody is one that will get stuck in your brain. Long Time Comin' is a goodbye song. The narrator has finally had enough and is saying goodbye. The song is incredibly well written and could have potential as a Country tune as well as the Rock/Americana arrangement it's presently in. Don't be surprised to see this song licensed for a soundtrack somewhere down the line. The best songwriting on the disc is still to come, however. Jen (When I Grow Up) is one of the most mature and introspective love songs you're likely to come across. This is a definite mix-tape song, though with limited application. If we did a song of the year category here at Wildy's World this would have to be in the discussion. Ending with Down With Young Love, Mission Hill rocks out for all they're worth; an impressively high-energy tune that I suspect is a big time favorite in the live show.

Mission Hill seems destined to transcend their regional status and become a band with national recognition. The quality of the songwriting and musicianship combined with the front-man presence of Adam Jensen would make them a sure thing in a perfect world. Regardless, Mission Hill is very much worthy of your rapt attention. This is great stuff!

Rating: 4.5 Stars (Out of 5)

You can learn more about Mission Hill at www.myspace.com/missionhillband or http://www.missionhillband.com/. You can purchase Mission Hill EP digitally from iTunes. Physical CDs do exist, but I could find no outlet online. Message Mission Hill at their MySpace page for more information if interested.

Review: Jer Coons - Speak

Jer Coons - Speak

2009, Jer Coons

Jer Coons is a twenty year old singer/songwriter from Vermont's Green Mountains who bucks local musical trends by trying to sound like himself rather than like Phish. Coons missed his first date with destiny after sleeping through his American Idol audition and so has turned to the Indie route to find fame and fortune. Coons' first full length album, Speak, drops on September 29, 2009, and features a brand of pop music that will seem instantly familiar. Comparisons have been made to John Mayer, Jason Mraz and Damien Rice (Mayer and Mraz make a certain amount of sense), but elements of Rob Thomas and Toad The Wet Sprockets' Glen Phillips also should be in the discussion. Whoever you might hear flashes of on Speak, there's no doubt that coons is very much himself.

Coons leads off with the title track, Speak, built on a catchy riff and a beat that will get your feet moving. Speak is the perfect first single; a song that will stick in your memory well after its done playing and make you want to find out what else he's got. Too often that first single can lead you to an album of mediocre material; not so with Speak. Coons delivers song after song. Legs slows down with some Jimi Hendrix inspired guitar work wrapped into an Acoustic Pop song with a Jason Mraz style lyrical density and a chorus that just melts over you. Legs is written from the perspective of the guy who lost out on the girl who's still very much stuck on her. It's a great big of songwriting that has major licensing potential written all over it. Girl In My Head is about waking up and realizing you've been spending too long waiting for someone who isn't going to come around. It's a great Pop/Rock tune showing a very mature perspective and deftly worded process.

Ceiling is all about the aftermath of a relationship that's fallen apart and has pop radio hit written all over it. Ceiling doesn't fall into the syrupy trap of self-pity, but has a distinct narrative that's involved but detached. This is the sort of tune you hear as an interlude in a movie when a relationship between two major characters has fallen apart or it at least in temporary jeopardy. You'll Never Know seems to address the doors we miss by failing to make good decisions; the story is told in the realm of a dysfunctional relationship that seems inescapable. Wait (Just A Little) is all about the hopeless hope that sometimes pervades the longer-term aftermath of a lost relationship. He's still waiting for her to come back even though she probably never will. This is all explained in a strong Acoustic/Pop arrangement with commercial bite. Coons closes things out with The Only Trace, a closing of the books and accounting of losses on the relationship Speak has been focused on. There's a deep seated yet unsure hope for something else to come along, but the narrator can't even imagine what that might be.

Perhaps the most remarkable thing about Speak as an album is that Jer Coons spends eleven songs dissecting a lost relationship with someone who was his world without ever asking for or engendering pity. There's an almost mercurial, academic air here that balances the longing that is so evident. From a songwriting standpoint this is interesting because it leaves Coons describing his emotional attachment without ever really showing it. The songs on Speak are well written, and the Acoustic/Pop arrangements go down like candy, but that disconnect can be just a bit unsettling at times. It makes sense in terms of self-protection, but gives the songs a Hollywood sheen that might undermine the meaning for some. Nevertheless, Speak is a very strong album that should have strong commercial impact for Coons.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jer Coons at http://www.jercoons.com/ or www.myspace.com/jercoons. Speak drops on September 29, 2009. Look for availability through Amazon.com, iTunes and various other online outlets.

Review: Brandon Swift - Brandon Swift

Brandon Swift - Brandon Swift
2008, Backspace Records

Brandon Swift hit the reset button after a freak accident led to a re-evaluation of priorities. Deciding to embrace the concept of Carpe Diem, Swift focuses on the positive experience of life. This energy and optimism shines through on Brandon Swift, his debut CD. Swift is touring the United States in a converted van with living quarters and a solar panel to play for anyone who will listen and live each day as the gift it is.

Brandon Swift appears to have thoroughly absorbed the mid-1990's North Carolina scene that included artists such as Hootie & The Blowfish and Edwin McCain and added in a bit of Black Crowes southern blues flavoring. Shine sums up these influences in one wonderfully eclectic and instantly commercial tune that should be licensed from here to Nashville and back. Lonely touches on a sort of unrequited love in sharply melodic terms and serves as an appropriate lead-into Surrounded. Surrounded is one of those pop tunes that are instantly recognizable the first time you hear it. Swift shows the same sort of Pop/Rock songwriting flair as Rob Thomas on a song that's as well-written lyrically as it is musically.

Stay With You is a classic Rock N Roll love song, perfect for mix tapes, marriage proposals or dedications to that special someone. Swift accomplishes all of this without sounding like a walking cliché, which is an accomplishment in itself. This is a great tune. Walkin' is another winner, taking on a Blues/Americana/Country mix that's irresistible. You'll want to dance and sing along. Satellite has a great melody that will stick with you and leads into another classic Rock love song, Wandered All Around. Swift has a knack for quirky love songs that don't fit perfectly in the mold without sounding of the mold. Swift closes out with Start With Yourself, a song pull of positive thinking and a killer melody. The message, "If you want to change the world then start with yourself" follows one of the great paradigms of Gandhi's teachings (Be the change you wish to see in the world). It's a great tune; once again mixing truth and a positive attitude without falling into cliche.

Brandon Swift has the voice of a Rock N Roll front man, sounding just a tad like a cross between Edwin McCain and a young Jon Bon Jovi. His songwriting is outstanding; intelligent, tuneful and with a singular voice as a composer that will speak to people. Brandon Swift is a spectacular introduction to the man as an artist and he artist as a man. A positive future icon in the world of Rock N Roll has emerged.

Rating: 4.5 Stars (Out of 5)

You can learn more about Brandon Swift at www.myspace.com/brandonswift. You can purchase a copy of Brandon Swift at Backspace Records.

Review: Garfield Mayor - Take And Take

Garfield Mayor - Take And Take
2009, RTEL Records

Coventry, England’s Garfield Mayor was the first signing for Rob Thomas’ new label (with Evan Lamberg of EMI Music Publishing), RTEL Records. Mayor portrays a neurotic sense of loss throughout Take And Take; all wrapped in light and airy pop music confections. The result is an interesting mix of light and dark that never really coalesces into something as powerful as it could be.

Take And Take opens with the title track, a slinky little rock song with dark undertones about greed and self-fulfillment at the expense of those around you. The arrangement is pleasing, with a tempo and cadence that will play well to commercial radio. Let Love Be Your Energy is an upbeat Pop/Dance tune that's perfect light fare for the dance club scene. The melody and arrangement are secondary to the dance beat here as Mayor provides a bit of mellow vocal tonic. The song itself is not particularly memorable, but efficient sugar water for the dance floor. The same might be said for Softly Softly (piano). New You sticks with the light Dance Pop aura Mayor has built around himself thus far, although the melody and arrangement are a bit more compelling here. New You is a decent pop song in its own right and would work well in an arrangement sans the dance beat.

Future Vs. History finds Mayor taking on a bit heavier sound in the intro as a tease before breaking into a light Pop confection with a serious side that never feels entirely genuine. Higher States gets a bit more of a Brit-Pop sound going on what is by far the best written tune on the disc. Mayor begins to make a serious case as a songwriter here, but returns to his lite Pop sensibility for the ballad When Stars Collide, which closes out Take And Take.

Take And Take is Reality TV pop music. It sounds good and plays well on introduction, but after a few songs you realize that the substance perhaps isn't what it first appeared. Mayor is a decent songwriter but doesn't really offer anything (with the exception of Future Vs. History) on Take And Take that motivates the listener to keep coming back. Mayor's voice is very pleasant in his upper register, but has a distinctive nasal quality in his chest voice that wears on the listener after a while. On balance, Take And Take is a decent listen, but not one you're likely to keep with you once the disc stops spinning.

Rating: 2.5 Stars (Out of 5)

You can learn more about Garfield Mayor at http://www.garfieldmayor.com/ or www.myspace.com/garfieldmayor. You can purchase downloads of the album at Amazon MP3 or iTunes. Physical CDs will be for sale at some point in the near future.

Review: Rob Thomas: Something To Be Tour - Live At Red Rocks DVD

Rob Thomas - Something To Be Tour: Live At Red Rocks
2009, E1 Entertainment

On June 30, 2009, E1 Entertainment will release Rob Thomas: Something To Be Tour - Live At Red Rocks on High Definition DVD. This June, 2006 performance was filmed for a 2007 edition of PBS's Soundstage, and features seven songs not aired on television. Thomas is a household name both for his solo career and his work as singer/songwriter for Matchbox 20. Thomas already has three Grammy Awards under his belt, as well as a Songwriter Hall Of Fame Starlight Award. He has earned Songwriter Of The Year honors from both Billboard Magazine and BMI for two consecutive years and will also release a new album, cradlesong on June 30th.

All of Thomas' hits are here: Something To Be, If You're Gone, 3AM and Smooth are prominent. The real treats however are among the tracks that didn't make it into the hour long Soundstage program. Problem Girl has long been a concert favorite, and When The Heartache Ends and You Won't Be Mine are inspired. Thomas even gets in a spirited cover of David Bowie's Let's Dance. The crowd on this night at Red Rocks was very responsive to Thomas, and he seems to feed off their energy throughout the show. I have to admit I had always enjoyed the songs I've heard on the radio from both Thomas and Matchbox 20, but have always thought of him as something of a cookie-cutter pop/rock performer. This DVD changed my mind. Rob Thomas is a performer first and foremost. He perhaps doesn't have the flair or flamboyance of some, but he's heart and soul into every song and it shows.

Rob Thomas has accomplished a great deal in the world of music in a short time. Twenty years from now people will be attending his shows and trading stories about the first time they saw Thomas or Matchbox 20 live. As a songwriter he's a rare talent with a keen knack for pop hooks and highly listenable songs. Something To Be Tour: Live At Red Rocks is the perfect compendium of Rob Thomas' career to date. I suspect he's just getting warmed up.

Rating: 5 Stars (Out of 5)

You can learn more about Rob Thomas at http://www.robthomasmusic.com/ or www.myspace.com/robthomas. Something To Be Tour: Live At Red Rocks will be released on June 30, 2009. You can pre-order copies at Amazon.com.

Review: Remedy - Paleofidelity

Remedy – Paleofidelity
2009, Remedy

Remedy comes blasting out of Halifax, Nova Scotia as a two-headed musical monster offering a mixture of varied rock tunes and a slew 1970’s era Funk Rock songs as well. The band is a classic power trio with Steve Harley on vocals and guitar, James Bond on bass and Gil Roy on drums and backing vox. Harley and Bond are longtime members of the ECMA music scene, previously gaining attention as members of Devora and Sweet Tooth. Remedy’s debut album, Paleofidelity, was released April 4, 2009.

Paleofidelity is all about the Funk, my friends. In listening through for the first time, I was convinced that Remedy was headed for strongly commercial territory with songs familiar enough in style to get picked up by radio programmers but new and different enough to break out of the commercial pack. The first four songs on Paleofidelity would seem to bear this idea out. Up From The Bottom is Funky Rock N Roll with a bit of Blues thrown in. Rhythmic vocal lines accentuate the song structure and the strong, soulful vocals of singer Harley. Rude Reaction is a highly commercial hybrid of Reggae, Dave Matthews and Rob Thomas, all rolled up into one song. The melody here is the sort you're tempted to sing along with the first time you hear it and the harmonies are downright gorgeous. You Said To Me takes the Active Rock route with a bit of Elvis swivel in the rhythms. The vocal harmonies are again superb and the song is extremely commercial in sound despite its dark undertones. The sound on Paleofidelity starts to morph with Emergency Light, a classic early 70's Blues/Rock tune ala Led Zeppelin (although not quite as hard). The song is lyrically dense and the harmonies once again are sublime.

All of sudden, from track 5 on, Remedy is a different band, with a distinct emphasis on 1970's Funk/Rock. I'd have to say that the first four songs here were highly enjoyable and original (even if a little derivative at times), but the remainder of the album seems to get stuck on a sound and style and stay there (although it’s very well played). I love great Funk, but Remedy set the bar so high with the opening four songs of Paleofidelity that the rest of the album comes off as something of a letdown even though it’s very well executed. You'll want to check out Any Other Way, All In A Days Charade and So Much Better, but I'd almost recommend tracking the CD backwards on a playlist. Either way, you get to hear two sides of Remedy on Paleofidelity. Regardless of your tastes, there is a lot here to like.

Rating: 3 Stars (Out of 5)

You can learn more about Remedy at http://www.remedymusic.ca/ or www.myspace.com/remedythehalifaxfunkmachine. You can purchase a copy of Paleofidelity at www.cdbaby.com/cd/remedymusic, or you can download the album from iTunes.

Review: Telly - Free Music For Sale

Telly - Free Music For Sale
2006/2008 Pantelis Karoussos

If you could roll John Mayer, Dave Matthews and Rob Thomas into one dynamic package you'd find Telly Karoussos. Based in Easthampton, Long Island, Telly has built quite a buzz around his live shows in the New York City and Long Island markets. Telly first released Free Music For Sale in 2006, but has reissued it in the run up to his upcoming album, You Of All People, due later in 2009. Most of Free Music For Sale was recorded in one take with minimal vocal overdubs and reflects an artist who is wholly alive when performing, even if just for the mic.

Free Music For Sale opens with Anything, a wonderfully dark and gritty tune with a conditionally positive message. This is a standout track any way you listen to it, and should gain significant commercial attention for Telly. Free is very much a Dave Matthews sound-alike, built on a highly complex arrangement that is a pleasure to listen to. The song really takes off during the chorus. This is another highly commercial offering that should gain strong attention from the grazing packs of licensers that scour markets like New York City for talent. Absolutely Everything has that seedy, back-alley quality that comes into play when discussing human intentions when it comes to a one-night stand. Telly's performance here is amazingly subtle given the dynamics of his voice.

At The End Of The Day comes out of the dark with a hopeful song with real pop legs. The arrangement isn't garish, but the hooks here will catch you and wrap you up like only the best pop songs can. Be sure to also check out The Dream and Where I Stand.

Telly has a sound that is highly familiar and comfortable, but dances along the darker edges of pop with primarily acoustic/organic songs that explore the human condition with a sense of reality balanced by a cautious optimism. Free Music For Sale is a thing of beauty; I'm frankly amazed that this album didn't launch Telly more firmly onto the national stage. In any case, here's a second chance to see what you missed the first time.

Rating: 4 Stars (Out of 5)

You can learn more about Telly at http://www.tellyjams.com/. You can purchase a copy of Free Music For Sale at www.cdbaby.com/cd/tellymusic or download the album at iTunes.

Review: Daniel Park - These Illusions

Daniel Park – These Illusions
2007, Daniel Park Music

Long known to New Mexico music fans as part of regional favorites Live Bait and Kiss To Betray, Daniel Park has taken his violin and guitar and struck out on his own. Born in South Korea, Park was introduced to music through the violin at the age of seven. The violin has always made Park, the musician, integral to ensembles he’s played with, but there was always a yearning, a need, to break free and take the lead. With his debut album, These Illusions, Daniel Park moves firmly to the forefront in offering up his earliest musical visions in song for all to hear.

Paving the same musical path as artists such as Edwin McCain, Rob Thomas and Jeffrey Gaines, Daniel Park mixes his own sense of balladry with bare-bones rock crooner and intent and a mix of pleasant sounding pop/rock tunes. The end result is eleven songs that generally sound not entirely unlike a number of other artists you might hear on the radio these days. The album opens with What We Should Be, a wonderfully melodic first single. Pleasant, listenable and marketable; What We Should Be should be a successful song for Park without really challenging the listener or the performer. Park gives us an idea of what he’s really made of on Shipwrecked, with frenetic guitar and a wonderfully catchy melody. DTR carries some of the same energy in a catchy, commercial package. It’s another song that could be successful based on sound/style without being overly memorable. These Illusions, on the other hand, find park raising his game again. Park keeps the momentum going into Times Have Changed. The upbeat rocker is one of the high points of the album; both well-written and commercially viable. (My personal favorite is still Shipwrecked). Goodbye is a decent listen, and Beautiful closes out the album on a very bright, let’s get this on a mix-tape moment.

These illusions could not be more apropos. Daniel Park appears to have a significant talent for songwriting. He’s able to deliver a song in a personal and personable fashion that’s strong enough to come across even in the recorded medium of a CD. Park also sounds like he’s trying write for someone other than himself on much of the CD. He’s talented enough as a songwriter to get away with it, but the seams show at times throughout These Illusions. In songs such as Shipwrecked, when park sounds like he’s having fun, or Beautiful, where part is playing and singing from the heart, there is no doubt about the sincerity or “realness” of the musical moment. But much of the album comes across as if Park is still trying to find his voice. In the process he's sounding like a hybrid of himself and some of the acoustic pop icons who have dominated the radio in recent years. He’s neither the first nor last to start out this way, and most song writers over time grow into their own voice (or comfort with it). That’s what we hope for Daniel Park. In the meantime, this is a good start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Daniel Park at http://www.danielparkmusic.com/ or www.myspace.com/danielparkmusic, where you can order a copy of These Illusions.