CD Review: Mel Flannery Trucking Company - White Flag

Mel Flannery Trucking Company - White Flag
2007, Mel Flannery Trucking Company

The age of the Torch singer has come and gone, but every once in a while a singer comes along whom threatens to revive the sordid tales sung in gin joints across America. There is a quality of voice that is required that not too many singer possess, and there is a wanton attitude required that not many feel or can create. Don't look now, but Brooklyn's Mel Flannery is just that sort of singer. Mel Flannery Trucking Company dropped the EP White Flag in 2007. It's seven songs of misty-whiskey magic.

Mel Flannery has a voice to die for. Full of color and texture, you could easily hear Flannery's voice coming from a smoky nightclub circa 1935. The other thing really remarkable about White Flag is the material. Several of the songs sound like they could have come from an Off-Broadway production about the dark side of 1930's New York City life. Anyone And Everyone is the ultimate song of a lost soul, and Flannery sells it with every ounce of her voice. Anniversary is a wonderful love song, although the arrangement does sound a bit muddy in a few places.

So Much Better Half may be the most passive-aggressive bitter post-breakup song ever written. The words and music in this one are utterly amazing, although Flannery's delivery is a little subdued on this one. Whether that is to feed the passive anger that infuses the song may be an artistic decision, but the song's anger is greater and deeper than it comes across on CD. Fairy Tales is full of regret and unrequited love; it literally seethes with sorrow. The disc closes with Too Good To Be True, a wonderfully dark and busy musical arrangement. Flannery sounds like she struggles with the high end of one or two on the final song, but on the whole gives an amazing vocal performance.

White Flag is an album full of surprises, most of them pleasant. One or two blips aside, this album is full and ripe and unique, and Mel Flannery's voice explodes out of every song. Mel Flannery has an amazing voice and is a pleasure to listen to. The ghosts of torch singers past hang just on the edge of her reverie, and White Flag is a composite of these communal moments.

Rating: 3.5 Stars (Out of 5)

You can learn more about Mel Flannery at http://www.melflannery.com/. You can purchase a copy of White Flag at www.cdbaby.com/melflannery2.

CD Review: The Wag - Long Story Short / Ordinary Day

The WAG – Long Story Short / Ordinary Day
2002, DABB Music

The WAG are a four-piece from Middletown, New Jersey with three lead vocalists and penchant for pop purity. We’ve previously reviewed their most recent album, Soundtrack To A Silent Movie, and were so impressed we thought we’d go back and take a listen to some of their older material.

Long Story Short

Busting right of the gate of Long Story Short is I Got The Girl, an energetic romp through the world of a player. The Wag then jumps right into Snap, a delicious 1970's flavored rocker replete with poly-chromatic harmonies, a walking bass line and bar chords galore. Even Paper Cup, a country flavored acoustic rocker displays a distinctive energy and winking sense of humor. The WAG doesn’t take themselves too seriously on Long Story Short, and the fact that they had fun making this record permeates every song. Other highlights include She Hides, the southern rock influenced Ain't Nobody and the bluesy Record Man.


Ordinary Day

Ordinary Day opens with Hold On (The Leaf Blower Song), which sounds like early Rolling Stones material. The song is catchy with a great melody and a killer bridge. Tonight relies on one of the filthiest guitar hooks you've ever heard and a strong 1970's feel. Often may be the most intriguing song on the disc. It starts out at sort of a drunken musical stumble and becomes a song that rues the breakdown of a relationship. There is a low-fi, recorded live feel to this song that might give a clue to what The WAG sounds like on stage. Far and away my favorite song on the disc is I Still Love You, a good old fashioned rock and roll tune with a 1960's flavor. Ordinary Day closes with Ballad #2, an optimistic song that might be fitting for a class reunion. There is an Americana flavor to this "What If" song that feels very comfortable.

Ordinary Day is a lo-fi exploration into the joy of making music. The Wag at this point were making music for survival and for fun, and both sets of emotional inertia are readily apparent. The live in-studio recordings are refreshing as a look back at the genesis of a band that in a perfect world would have their music played everywhere. If you want to get back to rock and roll made for the h-e-double-hockey sticks of it, then The WAG is what you need.

Ratings:

Long Story Short - 4 Stars (Out of 5)
Ordinary Day - 3.5 Stars (Out of 5)

You can learn more about The Wag at www.thewagband.com, where you can purchase copies of Long Story Short and Ordinary Day.

CD Review: Wunderbugg - Written In Flesh

Wunderbugg - Written In Flesh
2008, Whidden Lee Flores

From the Emerald City came a band full of power and light, driven by all that was good in electronic music. They would raise up with improvisational tenor the bounds of music and lift the consciousness of all who heard them. And they would be called Wunderbugg. Wunderbugg is the dream child of keyboardist Whidden Flores, who conceptualized the band several years ago at the tender age of fourteen. Joined by pianist/engineer Nick Evans and MIDI/effects processing wunderkind Lorin Atzen, Whidden leads us though ethereal and sometimes concentric musical patterns on the Wunderbugg's debut album, Written In Flesh.

Mixing in the usual rhythmic devices, Wunderbugg goes for something of a live band sound between two players of the keys. The band has been building a significant buzz in Seattle as an Indie, and has garnered significant recognition. More importantly, Wunderbugg has quite a heady list of fans, including Deep Forest, Scum Of The Earth, Mike Garson (David Bowie, NIN) and Mike Koglin (Gatecrashers/Creamfields). They've managed to fill venues in Seattle that are generally beyond the reach of any Indie band.

I am not going to discuss highlight tracks in depth here, as each listener will find their own groove that they identify with, but I will say that Last Lullaby Of A Fallen Conquistador is sheer genius. The song manages to convey heart and emotion, things that are all too often lost in electronic music. This is the must sublime talent that Wunberbugg brings to the table - an ability to feel and live through their music. It is this talent more than any other that allows them to touch the listener.

Written In Flesh rises above the crowded pack of Electronic music releases in 2008 to declare that it’s something special. We recommend you listen. Wunderbugg is in fine form.

Rating: 4 Stars (Out of 5)

You can learn more about Wunderbugg at www.myspace.com/wunderbuggispimp. You can purchase a copy of Written In Flesh at www.cdbaby.cd/cd/wunderbugg.

CD Review: Greg Roth - Caught Looking

Greg Roth - Caught Looking
2007, Rio Rancho Records

Greg Roth has quite the musical history. He's played with a number of local and regional bands in Philadelphia and Washington, D.C. He resumes includes performances in 18 states and opening for acts such as Patti Rothberg, Honky (Butthole Surfers) and Mic Harrison (Superdrag). He's even played rhythm guitar with Glenn Tillbrook. After years of supporting other acts and his band (The Jillians), Roth decided to release a solo album of material he'd accumulated over the years. Caught Looking was released in 2007 on Rio Ranch Records, and has potential to be a delightful rock record with Americana roots.

Roth's first single was Las Vegas Wedding, a jangly brit-pop inspired story song. Musically the song is quite strong but does suffer from an enunciation gap that makes it difficult to discern the lyrics. While this can be a stylistic choice (or non-choice as the case may be), in this particular instance is detracts from the song. Las Vegas Wedding becomes a good song where it might have been a great one. The music and melody are absolutely memorable with significant radio/commercial potential, but the inability to connect with the song's message nullifies much of the musical effect. Your Providence, on the other hand, is pure pop/rock gold. The metronomic bass line and country flavored guitar work make for just the right magic. While the enunciation is still less than perfect here, the music is open enough to allow for the lyrics to come through.

These highlights essentially describe Caught Looking. There are a number of musical highlights here that are lessened to one degree or another by the listener's inability to understand and therefore connect with the message. If you don't listen to lyrics then this album is a 5 of 5 must have. As it is the inability to understand Roth turns a great album, perhaps even a Desert Island one into a good but frustrating listen. It's worth it for the nuggets of pop gold it contains.

Rating: 3 Stars (Out of 5)

You can learn more about Greg Roth at www.myspace.com/gregroth. You can purchase a copy of Caught Looking at www.cdbaby.com/cd/gregroth.

CD Review: Mutlu - In The Hear And Now

Mutlu - Livin' It
2008, Manhattan Records

Philadelphia may not hold the trademark on soul music, but if not it's merely an error in accounting. Philly's history with soul music is as rich and hearty as a sandwich from Pat's King Of Steaks. In the here and now that history is represented by the likes of Darryl Hall, G. Love and Amos Lee. But the waters run deep in Philly, and there is a new generation of soul-influenced musicians on the horizon. Perhaps the first and brightest of the next wave is Mutlu. His brand of acoustic soul, dubbed "Rhythm and Folk" creates excitement wherever it's played. Mutlu's voice is as smooth as sweet tea and he has a talent for both melody and lyrics. His 2nd CD, Livin' It, was released by Manhattan Records in July, 2008. You need to check this out.

Mutlu brings a collaborative style to his recordings, similar to that adopted in the hip-hop and rap worlds. Consequently you'll see a number of guests on Livin' It. This allows Mutlu to expand on his muse through the variety of musical interplay. The result is a gorgeous and vibrant album that has the heartbeat of the street and sufficient sonic candy to keep you listening. Livin' It (the title track) is the most commercial and probably weakest song on the album. I suspect that in a stripped down form it would be more enjoyable, but the song has been produced to meet a contrived market sound to entice radio play rather than letting it become what it wants to be.

See What It Brings, on the other hand, is the beginning of the rest of the album. Here we hear Mutlu in his own voice along with the legendary Darryl Hall. The message is uplifting and particularly poignant for these troubled times. See What It Brings is "less commercial" and likely much more commercially viable than the title track.

My favorite track on Livin' It is Hello Morning. This is a classic song that I suspect will be licensed from here to Hollywood and back before it's done. The melody is the sort of magical ditty that you'll still be humming years from now even if you can't quite place where it came from. Upside is a close second, bringing an upbeat Rhythm and Rock sound that is strongly marketable and highly enjoyable. Other highlights include Shaky Ground (featuring G. Love); Make It There (featuring Amos Lee); Mama's Not Comin Home and In Your Heart (featuring Raheem De Vaughan).

Livin' It is the sort of album you launch a career on. Mutlu's musical alchemy is likely to be with us for some time to come. His ability to pack big thoughts into concise and poetic lyrics, match them with memorable melodies and lush arrangements indicate the sort of potential you buy stock in. Livin' It is amazing. I highly recommend you give it a listen. And while I haven't heard it (yet), I recommend you check out his self-titled EP before it's selling for ridiculous sums on eBay.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mutlu at http://www.mutlusounds.com/. You can purchase a copy of Livin' It at Amazon.com or most major music retailers.

CD Review: Spencer Brewer - Cinematic

Spencer Brewer - Cinematic
2008, BMI Spencer Brewer

Spencer Brewer is a student, fan, connoisseur and creator of film music. His influences include Bernard Herrmann, John Barry and Ennio Morricone, to name a few. Brewer has had his material used in a couple of movies in addition to television opportunities such as the Barbara Walters show or Oprah. On 2008’s Cinematic, Brewer offers up compositions written for television or movies, as well as compositions written in the same vein.

Cinematic is a collection of compositions for piano and orchestra by Spencer Brewer. Cinematic is split into two discs: The first (Black and White) is a series of compositions played by Brewer on solo piano. Disc two (Technicolor) features many of the same songs (plus a few new ones) arranged for orchestra or small ensemble. Spencer Brewer shows a distinctive style that runs the gamut from James Horner to Randy Newman in compositional tendencies and ingenuity. The optimistic Morning Glory is a sensational piece of writing and benefits distinctly from the small ensemble arrangement on disc two. Blueberry Street is a cabaret jazz/piano bar song with an unforgettable melody. Lupin Swing is an old school piano jazz piece that harkens back to the 1930's and early 1940's.

What becomes abundantly clear is that Spencer Brewer has an ear for the sort of music that helps to drive theater and movies. The epic Cinematic is as close as Brewer comes to a grand theme, but his brand of nuts and bolts composition is much more difficult to master. Grand themes require the ability to find a signature hook or riff and play upon it through repetition, variation and changing of background scenery. Spencer Brewer has an ability to fill in the hue and cry that emboldens a landscape from black and white to Technicolor. Cinematic is a work of art.

Rating: 4.5 Stars (Out of 5)

You can learn more about Spencer Brewer at http://www.spencerbrewer.com/, where you can purchase a copy of Cinematic. You can also pick up a copy at www.cdbaby.com/cd/spencerbrewer.

CD Review: Chris Daniels & The Kings - Stealin The Covers

Chris Daniels & The Kings - Stealin The Covers
2008, Moon Voyage Records

Chris Daniels & The Kings have released 10 critically acclaimed albums over a career that spans twenty-five years. Having performed for the Queen of Holland former President Clinton, they've also appeared on VH-1, MuchMusic and Germany's Onhe Filter. They've had two top-5 hits and had their music featured on the television show Men In Trees. Strangely enough you probably don't know who they are. In the words of William Wallace's uncle, we shall have to rectify that.

Chris Daniels & The Kings culled twenty-five years of recording sessions to put together their newest album, Stealin The Covers. This is a collection of cover tunes they've recorded over the years with various guests and the occasional superstar producer. Notable guests include Sonny Landreth (Hiatt, Clapton); Sam Bush (Lyle Lovett); Bill Payne (Little Feat); Steve Conn (Bonnie Raitt, Kenny Loggins); Sam Broussard (Mamou Playboys, Jimmy Buffet); Benmont Treach (Tom Petty) and Steve Riley (Mamou Playboys). Production credits include Al Kooper and Bill Payne, among others. Let's just say you're in for a treat.

Chris Daniels &The Kings play old school rock and roll, American style. Roll Over Beethoven takes the Chuck Berry classic and gives it a Tower Of Power treatment that's unforgettable. Chris Daniels has a soulful rock voice that is perfect for most of the material explored here. The neo-swing of Choo-Choo-Ch' Boogie is worthy of Brian Setzer. Just Kissed My Baby is full of funk and Stax style horn work. Be sure to check out the cajun flavored In The Night, which may just be the best song on the album.

The cover of The Beatles In My Life is sweet and reverent without getting syrupy. Riding With The King is another signature moment on Stealin The Covers; Chris Daniels and The Kings rip this one up with unbridled glee. Other highlights include Crosstown Traffic; the Louis Prima class Sing, Sing, Sing and a classy Cool Yule.

Chris Daniels & The Kings show us master showmen sounds like on Stealin' The Covers. It is one thing to find your sound on your own material, but as an artist the ability to interpret and own material written by others is in some ways a more difficult talent to master. It is the mark of great musicians and a great showman to make the transition from songwriter to interpreter of the American Songbook. Chris Daniels & The Kings make the transition capably and leave us with an unforgettable collection of pop musical memorabilia. Stealin' The Covers is a gem.

Rating: 4.5 Stars (Out of 5)

You can learn more about Chris Daniels & The Kings at http://www.chrisdaniels.com/. You can purchase a digital copy of Stealin’ The Covers at Digstation.com. Hard copies are currently only available at shows. Keep checking the band’s website for more information as the CD will be available through more vendors shortly.