Everclear - Return To Santa Monica

Everclear – Return To Santa Monica
2011, Cleopatra Records

Through it all, Art Alexakis just keeps going.  His band, Everclear is on its third lineup, with the only original remaining member being Alexakis himself.  The Portland, Oregon band, formed in 1992, were darlings of the alternative rock scene throughout the 1990’s, leaders of the pop-based rock response to the grunge sound coming out of Seattle.  There has been a trend in the last few years of bands re-recording their hits, as aging acts separate from the major label apparatus have found a way to regain control of their catalog for licensing.  Everclear jumps on the bandwagon today with Return To Santa Monica.

The up side to such a move is it improves a band’s ability to generate income; for fans it can be an opportunity to hear a fresher version of a favorite hit or three.  Everclear does right by the fans with Return To Santa Monica, offering up a nearly live sounding collection of reborn hits from their catalog.  “Santa Monica”, “I Will Buy You A New Life”, “Father Of Mine” and “AM Radio” are particularly vibrant.  “Unemployed Boyfriend” seems even better than it did the first time around, though whether this is due to a change in the rendition or a change in the times it uncertain.  Everclear rounds out the remakes with “Wonderful” and “Everything To Everyone”.

Perhaps the biggest treats for fans, however, are the cover songs spread throughout the album.  The remake of Tom Petty’s “I Won’t Back Down” is classic, and Steve Miller’s “The Joker” gets a new look.  Death Cab For Cuties “I Will Follow You Out Of The Dark” is among the highlights on the disc, as is the closing number, Van Morrison’s “Brown Eyed Girl”.  The only misfire on the entire album is a somewhat messy cover of The Police’s “Every Breath You Take”, which Alexakis muddles his way through on, showing neither the vocal range nor (here, at least) the sense of personality to pull this tune off.

These sorts of collections are as much for financial gain of the artist (as opposed to a label) as they are for fans.  Sometimes such collections can be ill-gotten nightmares, but Everclear manages to pull the whole thing off with a bit of panache.  The album plays like an intimate live show, with even the production values bending in that direction.  So instead of a boring retread of hits and covers you know, listeners get a quality, live-in-studio set of songs that will have you tapping your toes and remembering the 1990’s fondly.

Rating: 4 Stars (Out of 5)
Learn more about Everclear at www.everclearonline.com or on Facebook. 
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JD Pederson – It Seems Like Only Yesterday

JD Pederson – It Seems Like Only Yesterday
2010, JD Pederson

Every singer/songwriter is a sum of his or her influences.  For JD Pederson those influences are solid ones.  Whether it’s the San Francisco sound of Boz Scaggs and Tower Of Power, or the style of artists such as The Eagles, Jackson Browne and Van Morrison, Pederson has developed a strong personal style based in classic sounds.  What makes Pederson special is that he’s taken these roots and catalyzed them into something new and unpredictable.  It’s there in Pederson’s live shows; you never know what he might come up with next.    You’ll find the same feel to Pederson’s debut album, It Seems Like Only Yesterday.

Pederson opens with “We Go Way Back”, inhabiting the space between country and rock n roll with an easy-listening mien.  It’s a song of reminiscence with a nice melody, and shows off Pederson’s easy-going voice in style.  “My Favorite Sunset” is a vaguely saccharine ballad that captures a moment in song.  Pederson injects an island feel into the song, and in spite of the slightly trite feel you’ll leave with the impression that such things are born of true emotion rather than a cynical attempt to inspire feeling.  “Learn The Dance” is all about growing up and taking responsibility for yourself.  Pederson exhorts listeners to dig into life and take what it has to offer; an anthem to personal responsibility with a dose of carpe diem thrown in.

“Call Me” finds Pederson sounding a lot like Ezra Idlet of Trout Fishing In America.  It’s a down tempo love ballad that’s sorrowful, yet still somehow motivated by hope.  “Kiss & Tell” shows more energy; a catchy tune with a sense of mystery and remorse.  This is a sharp, clean arrangement with great guitar work that shows a slightly different dimension to Pederson’s songwriting.  “Welcome To The Party” is a musical dissertation on graft, politics, and the internal machinery that keeps the political process out of the hands of the people it represents.  The observational style of songwriting shown here displays sharp and incisive lyrics with plenty of wit in a funky, blues-rock arrangement.  “No Good For You” is a dirty blend of rock and blues that’s highly enjoyable.  It’s a classic story in the first person about a friend waiting in the wings for his friend’s girlfriend to her eyes his way.  More than that, he’s actively working to put himself into position to steal her away.  The guitar work here is as filthy-good as the premise, and the song is full of delicious piano licks and fills.

“Peace Of Mind” is a bit simplistic and plain, but features some great guitar work and a decent melody.  The sound here is a bit too inside of itself; wanting to explode and be larger than life, but never quite gets there.  “The Sound Of Goodbye” is a flat, Adult/Contemporary Ballad.  The song itself is decent, but the production here misses the boat.  The vocals are too low, the piano too high, and the guitar solo is too far out in front.  This sounds more like a patchwork of musical parts thrown together in a slipshod manner than a cohesive piece of songwriting.  Pederson closes with “Headed Home”, once again involving a mismatch in the production booth.  Pederson’s pleasant but soft-spoken voice gets lost in the mix. 

JD Pederson’s It Seems Like Only Yesterday lives up to the classic singer/songwriter mantle it bears across the first seven songs.  Pederson shows a competency in lyrics and arranging that places him above the pack.  His gift for melody and creating a story environment in his songs is notable, and at times he rises to the crest of brilliance.  The last three tracks seem more like filler, and are a disappointing epilogue to what is otherwise a very strong effort.  It Seems Like Only Yesterday certainly will give listeners motivation to see what JD Pederson does next.

Rating: 4 Stars (Out of 5)

Learn more about J.D. Pederson at http://www.jdpederson.com/.  It Seems Like Only Yesterday is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

The Hippocrites - The Goodbye Waltz

The Hippocrites - The Goodbye Waltz
2010, Dirt Floor Records

The last time we heard from The Hippocrites they were based in New Haven, Connecticut and were shopping a three-song demo, In Rock N Roll We Trust that was intended to turn into a full length album in 2008. Things don’t always work out quite as planned, but sometimes delays are worth the wait. The now Naples, Florida-based Hippocrites have finally created their full length debut, The Goodbye Waltz. While In Rock N Roll We Trust was a positive experience, The Hippocrites have certainly refined their sound in the past two years.

The Goodbye Waltz opens with "I Don't Have A Heart", a solid americana/rock tune in the Tom Petty tradition. Vocalist Jesse Como sounds more than a bit like Van Morrison, with a solid voice and a workman's delivery that is unaffected and appealing. "I Don't Have A Heart" makes a great transition between a verse that's anomalous to a wonderfully catchy refrain you'll be singing for days. "Hurricane" thoroughly reinforces the Van Morrison comparison in a song about the fleeting nature of love in an imperfect world. "Jesse James" climbs on the power of what you might call an ambling bass line and the powerful, emotive vocal line. James tells his story in autobiographical fashion through the song, a story that's both sad and unrepentant and intriguing in its passion. "Baby Blue" is the story of a lifelong rover who's looking for a home but can't seem to take himself off the road. The song has a pleasant melody that seems vaguely familiar on first listen.

"The Ballad Of Georgie Porgie" hits on a soul and funk vibe as a song of loss and remembrance with someone of a poor, pitiful me theme. It's a great arrangement, and Como is torturously emotive on vocals. He channels a bit of Adam Duritz on "Beautiful Girls", getting repetitive and a bit lost in the process even while providing a solid vocal performance. "Lie To Me Tonight" is a plea for solace in the face of impending loss. The song has a whiny, desperate feel to it that works well with Como's voice but isn't entirely a pleasant listen. The closing track "A Little More Time" attacks a similar concept with more grace and subtlety in a well constructed arrangement featuring great vocal triads over a gentle country facade.

The Hippocrites may vacillate throughout The Goodbye Waltz but never give the lie to their musical intentions. The Goodbye Waltz is consistent and solid throughout. Even on the slower songs there is a consistent energy and commitment to each musical turn that speaks well for the future of The Hippocrites. Vocalist Jesse Como isn't the most dynamic front man out there, but he sells each song with a passion that gathers attention even in the moments where his voice questions the wisdom of some of the higher notes he attempts. The Hippocrites have a very solid effort on their hands in The Goodbye Waltz.

Rating: 3.5 Stars (Out of 5)

Learn more about The Hippocrites at www.myspace.com/thosehippocrites.  The Goodbye Waltz is available digitally from Amazon.com and iTunes.  CDs will be available soon.  Keep checking The Hippocrites' MySpace page for availability.

Joshua Panda - Joshua Panda

Joshua Panda - Joshua Panda
2010, Joshua Panda

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

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

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: Jarrett Fenlon - Sprung

Jarrett Fenlon - Sprung
2010, Jarrett Fenlon

San Francisco's Jarrett Fenlon is a performer with two distinct personalities. On one hand is the cultured bluesman, singing with a mostly lyric voice and pop mentality that puts a nice sheen on songs about hard knocks. On the other hand is the passionate balladeer that is primarily influenced by folks such as Van Morrison or Rod Stewart. This duality has been on display in San Francisco for some time now, as well as up and down the West Coast in small venues as Fenlon has worked on paying his musical dues. Fenlon brings both personas to his sophomore album, Sprung,

Fenlon has a great voice for the blues-based material, a lyric tenor with a gruff edge and a world-wary approach that's perfect for the working man's art that is the blues. On the ballads Fenlon can be hit or miss, occasionally struggling for pitch and tone. Both voices make ample appearances on Sprung, which opens with the Breezy folk/pop of "Autumn". This is a great bit of songwriting and a perfect way to kick off the album. "Love Slave" is an entertaining blues-based tune about how powerless love can make you feel. Fenlon is convincing as a blues vocalist in spite of the smooth sound he showed on "Autumn". "Boots" become an object of affection on this fun number with exquisite instrumentation. Musically this is the best offering on the album.

Fenlon digs into his first bossa nova on the title track, a study in fear of commitment from the male perspective. On "Love A Little Bit" you'll hear the first hints of pitch and tone issues as Fenlon sounds quite uncertain in an awkward folk ballad with horns. Things are a bit better on "From The First Moment", but difficulties persist. The arrangement is a pleasant one, but the song and performance pale in comparison to the more blues-based material. "Mean Ol' Woman" is the well-written story of an uptown girl who falls in love with a downtown boy. The song uses humor both descriptively and as a weapon and will be a must in concert. Fenlon closes with the cliché ballad "True Love". The arrangement is decent enough, but the song just doesn't have any spark and Fenlon's vocal issues make this a tough choice.

Jarrett Fenlon is of two minds as a performer: the Bluesy side works very well; the lyric side is much less consistent. Sprung is a solid effort that leaves ample room to grow. Some of the material on Sprung absolutely soars, and at other times it seems to be grounded. Over time, Fenlon will pick through these steps and find a path that suits him well. Right now it sounds as if he's still working it out.

Rating: 3 Stars (Out of 5)

Learn more about Jarrett Fenlon at http://www.jarrettfenlonmusic.com/ or www.myspace.com/jarrettfenlon. You can purchase Sprung on CD from CDBaby.com. If digital is more your speed, pick it up from Amazon.com.

Review: Tupelo - Live In Studio

Tupelo - Live In Studio
2009, James Cramer/IMRO

Dublin, Ireland’s Tupelo have taken to the Rhythm & Roots movement in much the way the fictional band The Commitments took to Motown in the film of the same name two decades ago. Playing some of the finest venues in Dublin and beyond, Tupelo brings their original compositions to life in a sound that would be called Americana on this side of the pond. Tupelo recently sent us a disc called Live In Studio. This appears to be a demo for an upcoming album, done primarily in one take without overdubbing. The mix is a bit rough at times, but the songwriting and play are high quality.

Tupelo opens with The Blue Gardinia, a feel-good drinking song. The style here is somewhere in the neighborhood where Folk and Country meet. Vocalist James Cramer has a pleasant, anachronistic sound. Firefly is gentle but catchy. You may find yourself wanting to dance along but not sure if you should. I did find it curious that one of the violins on this song appears to be just a bit out of tune. Man Like Me and San Francisco Bound are decent if a little bland. Tupelo comes to life on Figure It Out, imbuing the song with a bit of fiddle-tune energy. Leaving On Tuesday is a decent tune; a mellow song with real energy inside.

Tupelo comes fully alive on Little Rosalie, a moderately upbeat love song with a hint of Pop sensibility. Little Rosalie will get your toes tapping. Katrina is a highly personal look at the effects of Hurricane Katrina. The hurricane itself has become something of a cultural icon for songwriters, particularly in the Folk, Country and Blue genres. Katrina is a decent song, but there comes a point when a subject has been picked clean and every recapitulation highlights the same skeleton. Tupelo goes where they've wanted to go all along on My Daddio. The song is a joyous ode to Dads where the musicianship and energy are at the top of the meter, and My Daddio is the highlight of the album. Tupelo keeps the Celtic spirit up on My Family's Land, although this time it's a mournful tune about returning to our roots. Tupelo closes with the Bluegrass flavored I'm Going Home, a song about a wrongfully convicted man who is finally getting out of prison. The song is full of joy in spite of all that's gone wrong.

Tupelo follows an interesting path on Live In Studio. You get the live energy of the band in a somewhat reserved recording that may not do Tupelo complete justice. I am guessing that this recording was done in a series of single takes with minimal dubbing, which is fine, but the production and recording produces some uneven mixes at times and may have been managed a bit better. On the whole, however, Live In Studio is convincing. If Tupelo ever passes through town, I'm there.

Rating: 3.5 Stars (Out of 5)

You can learn more about Tupelo at http://www.tupelo.ie/ or www.myspace.com/tupelomusicireland.

Review: Michael Buble - Crazy Love

Michael Bublé - Crazy Love
2009, 143/Reprise Records

Michael Bublé is back with his latest, an album entitled Crazy Love. The multiple Grammy-winning Bublé turns introspective and autobiographical on Crazy Love, which features 11 standards/covers and two original tracks. Bublé has sold over 22 million albums around the world, and his 2005 release, It's Time, holds the records for the longest run on the Billboard Traditional Jazz Charts at two years (with 80 weeks at #1). Guests on Crazy Love include the acapella group Naturally 7, and Sharon Jones and The Dap Kings. Production responsibilities were shared between David Foster, Bob Rock and Humberto Gatica.

Bublé opens with a darkly modern take of Cry Me A River. With a martial air, Bublé illuminates the song in bright new fashion while holding on to it's classic nature. All Of Me is done in more classic style with a touch of Vegas flair. Bublé does a good job with Georgia On My Mind, but I have been forever spoiled by the late, great Ray Charles on this song. Bublé's version is good but just doesn't stand up to the original. Bublé does much better with his cover of Van Morrison's Crazy Love. This is a classic song that mixes elements of Folk, Rock and Soul, and Bublé and his ensemble work magic here. Bublé opens up to a Broadway meets The Partridge Family style tune with the ebullient Haven't Met You Yet. This is a hopeless romantic's tune with a bouncy chorus you won't be able to get out of your head. Bublé is inspired here, and the arrangement as a whole plays to all of his strengths in a golden Pop moment.

Bublé visits the 1950's for his rendition of All I Do Is Dream Of You. The collective spirit of Louis Prima and Bobby Darin shines down on this particular number in one of the brightest moments on Crazy Love. Bublé creates a moment of musical déjà vu with Hold On, a song so instantly familiar I was certain it was a cover. This is an incredible tune that could be a pop classic, sounding like something that might have been written by Elton John or Billy Joel. Bublé goes Honky-Tonk with a live jazz/rock cover of The Eagles' Heartache Tonight. This is a fun version that's a bit livelier even than the original and certain to inspire some dancing. You're Nobody Till Somebody Loves You is done in classic Sinatra style and paves the way for Baby (You've Got What It Takes), featuring Sharon Jones and The Dap Kings. This is the highlight of the album, as singing with Sharon Jones seems to bring out a more soulful side of Bublé.

Bublé's cover of Billy Vera & The Beaters' At This Moment is another bit of magic. Bublé sticks pretty close to the original here, and while his voice may be prettier he doesn't hope to match the sound and heart of Billy Vera. Nevertheless, Bublé's performance is dynamic in it's own fashion and serves the song very well. Accapela group Naturally 7 lends their vocal talents on Hoagie Carmichael's Stardust. The result is a rendition that sounds like a young Bobby Darin singing with The Mills Brothers. The vocal arrangement here, in particular of Naturally 7, helps to build a classic sound for one of the greatest compositions of the twentieth century. Bublé closes out with the Latin-styled Whatever It Takes, a song of love and devotion that's a bit cliché but sweet.

Michael Bublé does it again. Crazy Love is the sort of transitional album that will allow Bublé to keep his traditional fans while beginning to build more present among folks with slightly more modern tastes in music. Crazy Love is certain to continue Bublé's string of Gold and Platinum albums while earning him serious Grammy consideration. Crazy Love is the work of a consummate professional at the top of his game.

Rating: 4 Stats (Out of 5)

You can learn more about Michael Bublé at http://www.michaelbuble.com/ or www.myspace.com/michaelbuble. You can purchase Crazy Love as either a CD or download via Amazon.com.

Review: Joe Colledge - Out Of The Blue

Joe Colledge - Out Of The Blue

2009, OMS Records

Morristown, New Jersey's Joe Colledge cut his teeth as an original singer-songwriter in a market glutted with cover bands. The Philadelphia native has been on a steady rise in the Indie music world since the release of his debut EP/Demo Convent Station in 2005. In 2007 Colledge hooked up with producer Anthony Vitale (Glen Phillips, Marshall Crenshaw) and was signed to OMS Records. The resulting album, Table For One, won Colledge numerous accolades and placement on several end-of-year "Best Of" lists. Colledge looks to keep that momentum with his third release, Out Of The Blue. Co-produced with Vitale, Colledge looks continues to mature in his songwriting as he uses music to understand life, and vice versa.

Out Of The Blue opens with Rock Song, laying down a Middle-American Blue Collar feel with big pop hooks. The song has great movement and is a strong way to start off. Waiting For Love is a bit more straight-forward rock with a health dose of vocal triads in the chorus. Colledge is bound to grab some attention with Won't Let Go, perhaps the greatest ode to autoeroticism since The Divinyls I Touch Myself. I will be incredibly surprised if this song doesn't end up licensed for a teen movie ala American Pie. Lay Down On Me wasn't my favorite song on the disc, but Colledge brought in Amy Regan and her exquisite voice on backing/duet vocals. It Finally Happened is an upbeat Pop/Rock tune that sounds a bit like Summer Nights from Grease in the refrain. American Dream is your prototypical September 11 tribute song; a bit schmaltzy but heartfelt and very personal to those who were directly involved. Colledge closes out with a cover of Three Dog Night's Shambala, making it sound like a danceable Van Morrison tune.

Out Of The Blue is an uneven effort with some very strong moments along the way. Joe Colledge has a strong, likable voice and an affable presentation. Word is that he develops great rapport with an audience, so the weaker tracks here likely will play well live. It's hard to capture that live feel on CD, but Colledge is a talented enough songwriter to overcome any such difficulty. Make sure to take some time to check out Joe Colledge and Out Of The Blue.

Rating: 3 Stars (Out of 5)

You can learn more about Joe Colledge at http://www.joecolledge.com/ or www.myspace.com/joecolledge. You can purchase a copy of Out Of The Blue from CDBaby, or you can download the album from iTunes.

Review: Michel Ackermann - Kite

Michel Ackermann - Kite
2008, Michael Ackermann

Michel Ackermann was a professional pianist who had never really considered singing and songwriting. He had studied with no less than Virginia Zimberlin and had played with trombonist Jiggs Wigham, as well as many other ensembles and groups in and around his native Berlin. One night Ackermann had a dream that he was performing (with singing) songs in front of a large concert crowd in Cologne, and used that as motivation to begin writing and singing. With influences ranging from Randy Newman and David Gray to Van Morrison and Joe Henry, Ackermann has a quirky songwriting style than can be both frustrating and refreshing, depending on the song. Ackermann's debut EP, Kite, was released in 2008.

Kite opens with the title track, a pensive piece of down-tempo Piano/Synth Pop. Kite is a pleasant listen that harkens back to 1970's Adult Contemporary AM Radio material. Back On The Road takes on a little more life, working in a funky beat and some jazz colorings particularly in the piano part. I'd Rather Be With You, a highly cyclic and mildly soulful love song that has a strong foundation in the writing but relies too heavily on a one line chorus that repeats way too many times for listening comfort. Ackermann leaves listeners with Our Love, the funkiest and most lively track on the CD.

Michel Ackerman scores big with Our Love, but the rest of the EP falls a little bit flat in energy and songwriting. Ackerman is obviously quite an accomplished pianist; as a lyricist he's decent but seems to run into awkward moments he can't seem to overcome. The instrumental breakdowns tend to be the highlights of the songs. Based on what I heard on Kite, I'll be curious to see where Ackermann goes next musically.

Rating: 2.5 Stars (Out of 5)

You can learn more about Michel Ackermann at www.myspace.com/michelackermann. You can purchase a copy of Kite through CDBaby.com.

Review: Ted Hefko And The Thousandaires - Egyptland

Ted Hefko And The Thousandaires - Egyptland

2009, A. Ted Hefko

Ted Hefko grew up in Wisconsin, learning his love of music from the diverse artists in his father's collection: Bob Marley, Stevie Wonder, Bob Dylan, Miles Davis, Fela Kuti and Albert King (among others). With school on both guitar and tenor sax, Hefko began playing out in high school. After school Hefko headed down to New Orleans and a degree in Jazz Saxophone from the University of New Orleans, going on to study with Hannah Jon Taylor. Hefko has played for or with such artists as Warren Batiste, Blake Amos, Tondrae, Los Sagitarios and Los Bebes del Merengue. Hefko relocated to New York City in 2004 and has immersed himself in the city's Jazz, Rock and World scenes since then. His latest recorded effort, Egyptland blends Jazz, Southern Funk, Blues, Folk, Rock and Latin styles in almost effortless fashion.

Egyptland opens with The Roofer, a tribute to one of the many displaced from New Orleans by hurricanes (in this case, Betsy). Hefko sounds a bit like Van Morrison here on vocals and inhabits the song's character as if he lived the story himself. Wet Wool In The Rain plays with Latin sounds and Southern R&B in a delicious tune serious commercial potential. Hefko seems most at home on Twenty Three Dollars And Twenty Three Cents, a classic bit of quasi-acoustic blues, singing for all he's worth while his top notch band makes hay in the background. Hefko gets righteously instrumental on The Short Man's Complex, an entertaining tune that will have you be-bopping in your seat or even jumping up to dance. Bad Kids is something of an ode to juvenile delinquency. Not so much a tribute to it, but a retelling of one particular story that may or may not be true. The arrangement is slow and repetitive and wants to lull the listener to sleep. Egyptland closes out with Big Shoes, a pasting of phone queue jazz with some progressive tendencies.

Ted Hefko And The Thousandaires have created an album in Egyptland that runs the gamut from magic to mundane. When Hefko is on his game as a writer the music is inspired, but there are also moments here that are so tired and without energy they put the listener to sleep. Hefko is a passable vocalist with a real love for the music he plays, but the unevenness of the performance across Egyptland is a little disheartening. Closing out on an easy-listening jazz piece was also a bit disappointing, as Hefko's gig seems to be his mix of styles and originality. Nevertheless, Egyptland is a solid release with some issues, but worth checking out.

Rating: 2.5 Stars (Out of 5)

You can learn more about Ted Hefko And The Thousandaires at http://www.ted.heko.net/ or www.myspace.com/tedhefkoquartet. You can purchase downloads of Egyptland at Digstation. CD copies are available through CDBaby.com.

Review: Nicholas Mrozinski - Together We're Stronger

Nicholas Mrozinski - Together We're Stronger
2009, Wake The World Music

Saint Paul, Minnesota's Nicholas Mrozinski lost over one hundred pounds since his last album, acquiring a world of new energy and perspective. Mrozinski channeled both into his newest project, Together We're Stronger, with the help of some of the best and brightest of the Minneapolis music scene. Together We're Stronger features Mrozinski's signature voice and far-reaching influences in a project that can be downright confounding but also produces flashes of genius.

Mrozinski brings a Joe Cocker air to Together We're Stronger, opening with the Country/Americana flavored Window Of Sage. It's a song about stripping away the things that slow us down on the path of life, getting back to the basics that sustain us. The song develops into a lyrically dense bit of musical poetry, including a big, warm chorus that works in horns, guitar, bass, keys and some strong vocal harmonies in the background. Easter And Keeko takes stock of the important things in a Van Morrison-esque Folk-Rocker with just a hint of edge. This is a joyous song, although in the subdued persona Mrozinski projects. What's This allows Mrozinski to show off his soulful side, with a strong R&B style tune with distinctive Country undertones. This is a great tune that will get stuck inside your noggin and refuse to leave. Above All Else is a sorrowful song of devotion that underscores the need to seize the moment. The song drips emotion without sounding cliché as Mrozinski's big, textured voice takes the helm of the melody and drives it home.

Queen Of The Angels tries to loosely recreate an urban soundscape underscore by a funky bass line that makes you want to get up and move. There's a vaguely psychedelic feel to the song that all includes a spiritual element to it. This is one of the more intriguing compositions on the disc as Mrozinski plays with sounds grandly throughout the song, all thrown up against a light Reggae beat. At The Table With Passion grabs hold of a Country/Gospel hybrid with a vaguely mournful feel to it. The song is wordy and borders on a bit too busy in the vocal line but essentially works. Strong devolves into a true mess, using universal ideas to draw in elements of Reggae, Rock, R&B, Gospel and Jazz to create a sonic stew that becomes inextricable. Together We're Stronger closes out with Della Jean, a gentle instrumental that eases listeners out of the listening experience.

Listening to Together We're Stronger is like listening to a soundtrack for Attention Deficit Disorder; Nicholas Mrozinski is all over the map stylistically without any real sense of plan or flow. There are some great moments here, and the musicianship is generally very strong, but the disorganized feel of the album is distracting. Mrozinski seems particularly adept and musically in touch on the melancholy Country material and somewhat out of place on the more R&B/Soul influenced material. Together We're Stronger is a solid listen, but just has too many questions about itself to really connect with listeners on a consistent basis.

Rating: 2.5 Stars (Out of 5)

You can learn more about Nicholas Mrozinski at http://www.thefeelin.com/ or www.facebook.com/thefeelin. You can purchase Together We’re Stronger through Mrozinski’s web store.

Review: Bunmi Adeoye - Paper Dolls, Glass Houses

Bunmi Adeoye - Paper Dolls, Glass Houses
2008, Bunmi Adeoye

Bunmi Adeoye (Boo-mee A-Day-Oh-Yeh) is a hopeless romantic, and one who has been scorned judging by the songs on her debut CD, Paper Dolls, Glass Houses. With the melodic sense of Carole King, the gritty truth-to-tell nature of Tracy Chapman and the vitriol of Ani DiFranco, Adeoye spins a web of tales that will hit home with anyone who's even been on the bad side of a breakup. The Toronto-based Adeoye lists influences as disparate as KT Tunstall, Damien Rice, Barbara Streisand, Judy Garland, WHAM!, Sade, and Harlequin romance novels.

The first thing you’ll notice about Adeoye is that she has a magnificently unaffected voice. I don’t know what sort of vocal training she’s had, but Adeoye sounds like a natural singer. There’s an earthy quality to her singing that sets the listener immediately at ease, and her tone is gorgeous without ever sounding garish. She is the sort of singer you could literally listen to all day long. Adeoye kicks of Paper Dolls, Glass Houses with Stop Lying, an emotionally, lyrically and melodically intense song representing one half of an argument in a relationship that’s going nowhere. The emotional edge here is palpable, and Adeoye’s voice makes it all the more believable. The song has a theatrical quality to it, almost as if you could build a show around it, but retains the Folk/Pop sense it was written in. Unbreakable Heart is a dance song that sounds like it might have come chronologically before Stop Lying, the urgent refrain of someone who will do anything to make a bad relationship work. Long Time Coming is an empowering song about throwing the bum out and works as a perfect prologue to the first two tracks.

Player Hate turns the tables on the players, in one of the hottest songs to emerge from the cauldron of 2008. Player Hate is blunt enough to make Ani DiFranco blush, and is the sort of song that could really break out on Pop/Urban radio. Tell Me is a Reggae-flavored pop song with a melody that just won’t stay out of your noggin. The harmonies here are downright gorgeous in their own right; this is another potential pop hit. Adeoye takes on the Barenaked Ladies’ What A Good Boy next, in an amazing cover of one of the band’s best non-singles. The song itself is about expectations and pre-conceived notions we grow up with around gender and the limitations they can place on us as we grow. It’s not an issue so much of overt sexism but the ideas so ingrained in our consciousness that we never think about them. Adeoye makes the most of a great song. Sad But True is a dark and beautiful song of detached mourning about a relationship the narrator could never win at. Adeoye’s vocal line here is striking and the harmonies are angelic. Adeoye closes out the album with a cover of Van Morrison’s Brown Eyed Girl. It’s a beautiful rendition, much slower and more contemplative than the original. Adeoye takes one last to shine on the vocals; a real pleasure to hear.

When I first listened to this album I was somewhat blown away; each successive listen has made that sense of “Whoa!” grow a bit. Bunmi Adeoye is a distinctive talent. She joins a cadre of strong, intelligent female singer songwriters (Tori Amos, Ani DiFranco, Tina Turner, Tracy Chapman, etc.) willing to, in turns, be tough, speak their mind, be vulnerable… just be themselves. Paper Dolls, Glass Houses is the sort of disc that grabs you on the first listen and tightens its grip a little on each successive play. Adeoye is a gem who should not stay hidden; she’s ready for the grand stage. Paper Dolls, Glass Houses is a distinctive find, a Wildy’s World Certified Desert Island Disc, and an absolute must for your music collection. Make sure you check it out today!

Rating: 5 Stars (Out of 5)

You can learn more about Bumni Adeoye at http://www.bunmisings.com/, www.myspace.com/bunmisings or www.twitter.com/bunmisings. You can purchase a copy of Paper Dolls, Glass Houses at CDBaby.com.

Review: Brent Jordan - Blue. Shout. Blind.

Brent Jordan – Blue. Shout. Blind.
2008, Brent Jordan

A boy is born, destined to play guitar. Influenced by the sand hills and sunshine of North Carolina and the sounds of Southern Blues, he eventually makes his way to San Francisco. With a voice that’s all heart and soul, and a songwriting style he learned from childhood palaver with the likes of Johnny Cash, James Taylor and Van Morrison, Brent Jordan offers up a sophomore album full of autobiographical songs, Blue. Shout. Blind.

Blue. Shout. Blind. opens with Pretty Little Thief, a gritty bit of Americana Folk/Pop. Jordan will remind listeners strongly of Darius Rucker. John's Song has one of those melodies that just stick in your brain, working in touches of Blues and Soul. The Prophet Song proves Jordan's Blues chops in an acoustic setting you won't forget. Jordan shows a bit more of his musical diversity on American Morning, a song that sounds like it was inspired by mid-career Billy Joel and finds Jordan sounding a touch like Marc Cohn on vocals. It's a great musical offering that might attract the ear of other artists as a song to cover. The best overall song on the disc, though, is On The Radio. Jordan built a Southern Rock N Blues sound with a lot of bounce to it. Be sure to check out the alternating waltz and 4/4 sections of Laugh In The Face Of It All and the classic folk sound of Across The World.

Brent Jordan is really good at what he does. The mix of Folk, Rock, Blues and Soul with singer/songwriter simplicity treats him well, and his voice is warm and distinctive enough to create a favorable impression. Blue. Shout. Blind. is a fitting introduction to the artist; familiar enough to grab onto and new and different enough to keep hold of. Fans of Carolina Rock (i.e. Hootie & The Blowfish, Edwin McCain, et. al) will love Brent Jordan, as well anyone with an ear for great pop music.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brent Jordan at www.myspace.com/brentjordanmusic. You can purchase a copy of Blue. Shout. Blind. at www.cdbaby.com/brentjordan2.

Review; Big Bob Young - Hard Way To Make A Dollar

Big Bob Young - Hard Way To Make A Dollar
2009, A Man Around The House Records

Big Bob Young is a blue collar songwriter who never became a professional musician until the age of 27. Now 53 with his children grown, Young is making time for his first love, music. On his way to today Young has been an airman, a soldier, a farrier, a student, a clown, a telegram singer, a father and husband, a jazzman and a country band leader, and the tough-nosed songwriter with the well-worn voice has a lot to say. Young's backing band includes Michael Webb (Gary Allan) on anything with keys, Rick Lonow (Poco) on drums, Carlton Moody (Burrito Deluxe) on acoustic guitar/mandolin and Colin Linden (Bruce Cockburn) on guitar, slide and Dobro. 2009 sees the release of Big Bob Young's debut album, Hard Way To Make A Dollar.

Hard Way To Make A Dollar is a working man’s album; there’s no pretense or glitz, just no-nonsense story telling and a delicious blend of Country, Blues and Rock N Roll. With a sound more akin to Austin, Texas than Tullahoma, Tennessee, it’s easy to see that Big Bob Young’s style could have broad appeal. Hard Way To Make A Dollar opens with Ship Of Fools, a smooth Blues/Country mix featuring strong guitar play and a highly memorable melody. Best Of A Bad Situation is built on a blend of Country, Blues and early Rock N Roll sounds that would feel right at home in any old-school honky-tonk. Somewhere Tonight is one of those songs that will resonate with a lot of people. It’s about the power of faith or prayer. Young tells a moral in song without making it an issue of one particular religion; yet displays how faith-in-action has the power to change lives.

Hard Way To Make A Dollar is a great honky-tonk style tune about a waitress working hard to make ends meet. The song has a gritty realism without losing the heart of the protagonist and is touching while asking no sympathy. Mississippi Nights is a classic could love/tragedy song that regrets the one who got away. Young even gets in a bit of Swamp Country on Green County Stomp. Perhaps the most intriguing tune on the CD is I Call It Love, which ends up sounding like classic Van Morrison. I Call It Love is profound and sweet without becoming syrupy or cliché; A ballad not so much about a person or particular instance but the many faces of love. The most entertaining song on the disc is Can I Take You Home; a bit of New Orleans seeps into this witty and intelligent come-on song. The album closes out with Stand Up, a gospel tune straight out of the old south.

Throughout Hard Way To Make A Dollar, Big Bob Young is a gruff-but-friendly story teller with an easy approach and an insightful eye. The songs presented here are rooted firmly in country music, but make free use of Rock, Blues and even Gospel as each song warrants. As a story-teller, Young is on a par with Springsteen. Musically, the selection here is dynamic enough to keep even the most jaded listener interested. Hard Way To Make A Dollar is a must-hear CD, a Wildy’s World Certified Desert Island Disc. Make sure you take a little time to check out Big Bob Young.

Rating: 5 Stars (Out of 5)

You can learn more about Big Bob Young at http://www.bigbobyoung.com/. You can purchase a copy of Hard Way To Make A Dollar at CDBaby.

Review: Creative Belfast Presents: Sounds Of The City

Creative Belfast Presents: Sounds Of The City
2009, Creative Belfast

Belfast has something of a history for providing distinct musical talent to the world, with the most notable alumni of that city being the one and only Van Morrison and film composer David Holmes. Creative Belfast is a city-wide initiative to help promote the next generation of Belfast artists to the world. Their latest compilation, Sounds Of The City, collects fifteen of the most popular and/or most inspiring bands currently active on the Belfast scene onto one CD. Everything from country to Rock to Electronic/Dance music is represented here.

If the purpose of Sounds Of The City is give a stage to the wide array of talent in Belfast then it is a strong success. If the intent was to put the best foot forward of every band then the results are somewhat mixed. There's not a dud on the compilation, but some bands definitely made the most of their placement while others offered up decent but not highly memorable songs. The biggest find on the CD is Eilidh Petterson, with a sweet, pure voice and a lyrical acumen for capturing people, places and moments in song. Her original tune, Still Learning is particularly touching. Ben Glover has some name recognition outside of Ireland and gives the expected subtle and nuanced performance on Mercury Is Falling. Anthony Toner, like Eilidh Patterson, gives a performance that makes you want to go find his CD. Sailortown is a great story song and highlights his highly enjoyable voice perfectly.

Escape Act adds a highly listenable entry in the form of Cabin Fever. The song has a distinct pop sensibility that gets stuck in your head. Rock instrumental fans will want to check out ...And So I Watch You's Set Guitars To Kill for a little song with big Prog dream and a touch of Zappa spirit. Other highlights include Ken Haddock's Your Sonnet, Bap Kennedy's America, The Beat Poets' Staring Stars Down and General Fiasco's Rebel Get By.

It's very evident that Belfast has a thriving music scene. There are three artists on this CD (Eilidh Patterson, Ben Glover and Anthony Toner) who are clearly ready for the big time. Several other artists here show distinct promise. Of course the City of Belfast would love it if you came and stayed awhile to check out the local music scene, but most of us can't just do that. Instead, make sure to check out some of the folks immortalized on this collection. Sounds Of The City is a worthwhile venture, and sure to do collateral damage to your CD/download buying budget.

Rating: 3.5 Stars (Out of 5)

Be sure to check out the individual artists featured on Sounds Of The City on the World Wide Web. Or if you’re in Belfast, check them out in person.

Eilidh Patterson
Ben Glover
Anthony Toner
Escape Act
And So I Watch You
Ken Haddock
Bap Kennedy
The Beat Poets
General Fiasco

Review: The Texas Red Legs - Rattlesnake Inn

The Texas Red Legs – Rattlesnake Inn
2008, The Texas Red Legs

The Texas Red Legs are the musical extension of singer/songwriter Richard Davis’ muse. The Dallas-based quartet brings a new outlook on an old sound on Rattlesnake Inn, Texas Red Legs’ debut CD. Rattlesnake Inn is as DIY as it gets; self-produced and self-contained musically. Country music fans may well be enchanted, but there’s enough Rock N Roll here to keep everyone happy.

The album opens with She Fell In Love At The Jukebox, my favorite song on the disc. There’s a definite country dancehall feel here that will reaching for your cowboy hat and practicing that old Texas two-step. Crows And Gasoline has a Neil Young aesthetic going on, right down to the stylistic lead vocals. Burnin’ Down 35 has a nice southern rock feel to it and is a decent listen. Other highlights include Sugarface Blues and Neither Wolf Nor Man.

Rattlesnake Inn is a relatively low key album that is a pleasant listen but doesn’t really grab hold of the listener and make you want to keep coming back. Fans of Neil Young or Van Morrison will likely enjoy this album, but the energy just runs a little too low at times for me. The verdict is that The Texas Red Legs have created an album that is musically impressive but without the vibrancy to match.

Rating: 2.5 Stars (Out of 5)

You can learn more about The Texas Red Legs at http://www.texasredlegs.com/ or www.myspace.com/texasredlegs. You can purchase a copy of Rattlesnake Inn at www.cdbaby.com/cd/texasredlegs.

Review: Bailey - Burden The Hand

Bailey - Burden The Hand

2008, Baileymusic

Ohio native Chris Bailey has released six albums since 1999, both individually and with his band Moonlight Graham. Weaned on 1970's singer/songwriter types such as Jim Croce, Cat Stevens, Van Morrison, Paul McCartney and John Lee Hooker, Bailey writes in a bluesy folk style that would have fit in with the folks above while retaining a modern edge. Bailey's latest release, Burden In The Hand is intensely personal and forthright, using a broad range of instruments and sounds to tell a series of 7 stories to highly entertaining and complex musical arrangements.

Bailey opens with Sunny Road, a blues flavored folk rocker that would do Van Morrison proud. The arrangement is bare through most of the song but builds to a delicious crescendo as the chorus concludes. Bailey delves deeper into the Blues on Burden The Hand. Bailey's voice is incredibly soulful here with just the right mix of gruffness. The song builds from barebones to a big jam surrounding the tasty guitar riff that drives the song. This is my personal favorite song on the disc. River sticks with the blues sound and brings out a vocal quality that you hear before now but becomes extremely plain on River. Bailey sounds very, very similar to Dave Matthews. The main difference is that whatever Matthews is vocally, Bailey is more so. Bailey has just a bit more gruffness to his voice, and vocally has a more compelling sound than Matthews (based on tone, power, etc.). DMB fans will find themselves doing double takes when they first hear Bailey.

On Top Of The World is more in the singer-songwriter style Bailey grew up with. The song is a bit of genius writing. Bailey sounds like no one but himself here, and the performance is excellent. Between The Tracks sounds like Bob Dylan meets Billy Joel stylistically. It's pleasant singer-songwriter stuff but perhaps doesn't stand out quite the way some of the other material here does. The EP closes out with In Your Hands and Flowers, two musical short stories that are pleasant closure to a strong introduction.

Chris Bailey offers a memorable performance on Burden The Hand, proving that the singer/songwriter genre is alive and well. Highly introspective and reserved, Bailey offers up 7 vignettes in song that are entertaining and gratifying listens. The market for Burden The Hand probably veers strongly toward older music fans, but Bailey will find adherents across all age groups. There's nothing glitzy here, just good old fashioned music.

Rating: 3.5 Stars (Out of 5)

You can learn more about Bailey at www.myspace.com/baileyandthe. You can purchase a copy of Burden The Hand at www.cdbaby.com/cd/chrisbailey.

Review: The Belfast Cowboys - The Belfast Cowboys

The Belfast Cowboys - The Belfast Cowboys

2009, Frozen Rope Records

You don't often find cover bands cover in a forum such as this for a two distinct reasons:

1.) Cover bands often don't release albums;
2.) Albums by cover bands don't tend to sell well outside of the band's geographic base as most fans of the covered artist would prefer the originals.

There are exceptions of course. Luther Wright & The Wrongs in particular pulled off a coup covering Pink Floyd's The Wall (Rebuilding The Wall) a few years back, and Diana Ross' Lady Sings The Blues soundtrack is a classic cover album, but it's difficult (and often a mistake) to try and reinterpret an iconic artist's catalog for commercial gain. You tend to offend the hard core fans who are your primary market. Minneapolis' The Belfast Cowboys are a Van Morrison cover band who released their self-titled debut in December of 2008. Not only do The Belfast Cowboys do Van Morrison's material justice, they capture the vibrancy and energy of Morrison from his Them days.

The Belfast Cowboys opens with Cleaning Windows (Minneapolis version); its true to the original version while adding some local flavor. The Funk/R&B underpinnings of this song are as fine as Morrison ever imagined and it gets the album off on the right foot. The album's second song, Wild Night is a treat. Lead singer Terry Walsh performs a bit of musical transubstantiation here, nearly projecting the essence of Morrison for the first of several performances on The Belfast Cowboys. Walsh leads the band through reverent and coherent readings of Into The Mystic, Real Real Gone, Bright Side Of The Road and several other Morrison classics but hits a musical climax on Jackie Wilson Says. The whole band is inspired on this song and you forget for three minutes that you're listening to a cover band. Other highlights include Bright Side Of The Road, Caravan and Precious Time.

The Belfast Cowboys are a first class cover band. Walsh and crew provide a window on Van Morrison the performer 35 years ago. The energy and joy of that young man have been replaced by the wisdom and serenity of the consummate performer who is still musically active today, but longtime Morrison fans will appreciate this honest and reverent look back on the young man he was. It’s a great recording.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Belfast Cowboys at http://www.belfastcowboys.com/. You can pick up a copy of The Belfast Cowboys at www.cdbaby.com/cd/belfastcowboys.

Review: Jackdawg - Jackdawg

Jackdawg - Jackdawg
2009, Sonic Past Music

The long awaited and much discussed CD Jackdawg is due for release on March 17, 2009. This near-legendary album was recorded in 1990 and features John McFee and Keith Knudsen of the Doobie Brothers along with Creedence Clearwater Revival's Stu Cook. The band was an outgrowth of Southern Pacific and was recorded at McFee's Lizard Rock Studio in Solvage, Ca. The Jackdawg recordings stayed hidden in a vault until after Knudsen's death in 2005. The eponymous album includes thirteen original tracks plus covers of Roky Erickson's Cold Night For Alligators and Van Morrison's Wild Night.

Jackdawg opens with Bayou Rebel, an ode of sorts to Creedence Clearwater Revival. Bayou Rebel sounds like something that might have come out of CCR in their heyday but updated for the early 1990's when it was originally recorded. When The Sun Don't Shine is a tasty bit of modern rock with southern rock ancestors. The guitar work here is excellent, and the melody is quite memorable. The Men Who Would Be King was inspired by The Beatles, hinted at the by the harmonies at the end of each refrain and the occasional musical reference.

Hunger is a big stadium rocker that sounds like top-40 gold circa 1985. Ghost Dance has no pretensions about it, sounding more like something you'd expect to hear out of Lou Gramm than a conjunction of ex-Doobie and CCR guys. It's quite good, just a bit of a sonic surprise you might not have expected. Jackdawg returns to familiar territory with the old school R&B rocker Take It Off. Kisses In The Rain is another one of those songs that would have been a huge hit in a different era. This one sounds like a cross between Don Henley, The Beach Boys and Huey Lewis' backup band, The News.

Other highlights here include I Couldn't Help Myself, the big guitar rocker Quicksand, the Hagar-era Van Halen sounding Lookin' For Trouble, Young Ones, and The Girl From Oz. The Girl From Oz was inspired by the lead singer from The Divinyls, and sounds like someone took a variance on the bass line from Styx' Too Much Time On My Hands; added some Alex Liefson (Rush) style guitar work and a big 1980's rock chorus to create the perfect pop/rock song. The covers of Cold Night For Alligators and Wild Night are quite well done. They fit with the character of the rest of the album, but don't quite blend in the way the rest of the tracks do.
Jackdawg is a brilliant album. It's too bad this has been hidden away for almost two decades. If released back in 1990 it might have been a major hit for Cook, McFee and Knudsen. Today it will be appreciated by those in the know, but probably doesn't have the commercial reach it might once have had. Expect to hear a handful of tracks from this one show up on soundtracks, commercials or wherever else the marketing folks can find a spot. The music is excellent, and worthy of the resumes Jackdawg brought into the project.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jackdawg at http://www.jackdawg.net/. You can order a copy of Jackdawg at Amazon.com.