OMD - History Of Modern

OMD - History Of Modern
2010, Bluenoise/ILG

British rockers OMD (Orchestral Manoeuvres In The Dark) returns with the first new album in fourteen years on September 28, 2010. History Of Modern finds OMD getting back to their 1980’s routes, when along with Depeche Mode and Pet Shop Boys they helped define the sound of the decade. The influence of bands such as OMD is pervasive in an era where electronic music has simply become “pop”, but it’s very clear that OMD retains the vim and vigor that made them such a dynamic force in 1980’s pop music. It’s not out of bounds to say that History Modern might be among their best work to date.

History Of Modern opens with "New Babies: New Toys", bringing an influx of classic new wave synth pop sounds. This is highly danceable as is, and with the right remix should haunt the dance clubs of Europe and the US into the spring. The song examines the circular relationship between materialism and emptiness and the spiral it can incur. "If You Want It" bears the message that opportunity exists for all who would take a chance and step outside themselves. Heard on another level it could also be a love song of sorts. Andy McCluskey provides one of his best vocal performances on the album here. "History Of Modern (Part I)" is a catchy mellow pop tune built a singular keyboard riff. While not overly creative this is a solid pop tune that takes a positive view of the past from the perspective of where he stands today.

"History Of Modern (Part II)" plays devil's advocate to the perspective espoused in Part I, striving to forget the past for its lesser qualities. Part II is built around a keyboard riff that's really just a variation of the riff that drives Part I. OMD takes an unfortunate side trip on the muddled "Sometimes", co-opting the chorus of the spiritual Motherless Child as its own. The melody itself is pleasant, but the song comes across as a composite constrained by this calculated mash-up of original and borrowed tunes. "New Holy Ground" is a bit repetitive but pretty, emphasizing courage to remake yourself in the wake of tragedy or loss. The imagery here is a bit more refined than you might here in your typical pop ballad. OMD balances this off with the trite but entertaining "The Future", which is built on a mellow dance groove remarkably similar to the one that drives Golden Earring's "Twilight Zone".

Faith gets a good working over in "Sister Marie Says", a cynical song that questions what the narrator would do if all the things he learned in parochial school came true. The most intriguing part of this song is that beneath the irony and cynicism seems to be a desire, or at least a wish for those things to be true, as McCluskey seems to leave the door open even while putting these ideas in their place. OMD goes for pure sensuality in the sexually charged light dance groove "Pulse". This one's pure ear candy, and well done at that. OMD fills in with two or three middle of the road tunes before closing with the fiery "Save Me", featuring special guest vocalist Aretha Franklin. Franklin's vocal performance is a true highlight, and this danceable tune seems likely to garner OMD some serious attention going forward.

OMD proves they still have it on History Of Modern. Synth pop perhaps doesn't carry cultural weight it did in OMD's heyday, but in an era of over-complicated pop music built on complexities of sound it is refreshing to hear a band getting back to the pop basics of melody and simplicity. OMD was on the cutting edge in their heyday. They're there once again as the pendulum swings back the other way.

Rating: 3.5 Stars (Out of 5)

You can learn more about OMD at http://www.omd.uk.com/ or www.myspace.com/officialomdmyspace.  History Of Modern drops in the US on September 28, 2010.  You can pre-order the CD through Amazon.com.  Digital pre-orders are available from iTunes.  A vinyl edition will be released on October 5, 2010.

Carole King - The Essential Carole King

Carole King - The Essential Carole King
2010, Ode Sounds & Visuals/Sony Music Entertainment

It shouldn't surprise anyone that an essential collection of Carole King's best songs should require more than one CD to hold them all. King has written more hits for other people than most big name artists ever manage for themselves. She's also an outstanding performer whose esteem in the music business continues to grow even today. In May of this year, Ode Sounds & Visuals, in conjunction with Sony Music Entertainment, released The Essential Carole King. Because of King's success both as a songwriter for others and for herself, The Essential Carole King is logically split into two CDs, one for King as a solo performer, and one featuring King's songs that were hits for others.

Unless you've followed her closely over the years, you may be surprised by some of the songs attributed to King. Songs such as "You've Got A Friend", "Will You Still Love Me Tomorrow", "Really Rosie", "Some Kind Of Wonderful", "So Far Away" and "I Feel The Earth Move" are all King classics. The covers are more indicative of the sort of success King has been over the years, however. "Up On The Roof", "The Loco-Motion", "One Fine Day", "Hey Girl" and "(You Make Me Feel Like) A Natural Woman" help to define the breadth of her talent as a songwriter. The use of classic recordings by the artists that made these songs famous for King is a novel and welcome move, offering different perspectives on her style and depth as a songwriter.

Very often these sorts of compilations are gratuitous, concocted by the record companies to squeeze more profit out of an artist's existing catalog rather than investing in new material. But occasionally a collection comes along that's worth its own weight. The Essential Carole King is one such collection. It would be expensive to collect all these songs together on CD or LP (or even on MP3), but The Essential Carole King offers up a greatest hits package that doesn't short on either the adjective or the noun.

Rating: 4 Stars (Out of 5)

Lean more about Carole King at http://www.caroleking.com/. The Essential Carole King is available from Amazon.com as either a CD or download. Digital copies are also available (and much cheaper) from iTunes.

Review: Chip Taylor - Yonkers, NY

Chip Taylor - Yonkers, NY
2009, Train Wreck Records

Chip Taylor is the legendary songwriter responsible for such hits as Wild Thing (The Troggs), Angel Of The Morning (Juice Newton), Try (Just A Little Bit Harder) (Janis Joplin) and I Can't Let Go (The Hollies). His songs have been recorded by the likes of Johnny Cash, Aretha Franklin, Willie Nelson, Frank Sinatra and Jimi Hendrix. The younger brother of vulcanologist Barry Voight and actor John Voight, Taylor has a wealth of childhood stories to tell. He's saved the best of them for his latest album, Yonkers, NY. Yonkers, NY is released as a two-disc set. The first disc is done "Worlds + Music" style, with spoken words stories injected between (and sometimes in the middle of) songs. The second disc is edited to supply just the songs.

Taylor grew up in Yonkers, and tells about his formative years as Jamie (his nickname as a child). The arrangements are lush Americana, and Taylor takes us back in time when trains, horses, girls and family were the most important things in the world. Yonkers, NY opens with Barry Go On (Put Yourself On The Mountain), a missive on being told to become what you want to be as a child. It's a wonderful tune full of both the excitement and angst of being a young child in a big world. Charcoal Sky recounts learning all about trains from his father and a friend who was a conductor on the Hudson River line. Taylor reminisces about laying nickels on the train tracks to get train-pressed souvenirs with his brothers in a sweet and loving tribute to times gone by. Hey Jonny (Did You Feel That Movie) has a shuffling rockabilly feel that is guaranteed to get your feet moving and incorporates Bill Haley's Rock Around The Clock. Without Horses is a love song, of sorts, written perhaps from Taylor's father's perspective, about one man's love for betting on the ponies. Written in a gentle waltz, Without Horses has a real melancholy feel.

Taylor gets a gentle mix of R&B and Honky-Tonk on No Dice, an entertaining vamp that allows his band to show off their chops between verses. On Bastard Brothers, Taylor tells about his brothers complaints leading to Taylor's violin turning into a Ukulele one Christmas morning. The story that goes with it is funny and touching, and the song turns into a sort of back-handed thank you. Piece Of The Sky is a song about finding your dreams, whatever they might be. Here it's a win at the race track, but the universal nature of the song is appealing. Saw Mill River Road is about the local Country Music bar of Taylor's younger days. You can hear the Johnny Cash influence in this one, particularly in the "flashback" portion of the song. Yonkers Girls is a reminiscence of about the wiles and ways of the women of Taylor's youth grouped by their hometowns. Taylor closes out with Yonkers, NY, a musical portrait of his hometown that's both highly descriptive and deeply personal. Taylor describes a working class town with trials and tribulations like most similar sized towns in the US in the 1960's.

Chip Taylor has an easy, likable style as both a songwriter and story-teller. His voice isn't what you'd call pretty, but it's full of character, life and experience and is a very enjoyable voice to listen to. Yonkers, NY works so well because Taylor lived each song and each moment. Part confessional and part musical novella, Yonkers, NY uses intelligence, remembrance and humor to bring the people and places of his childhood alive. This might just be Taylor's masterpiece. Yonkers, NY is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Chip Taylor at www.trainwreckrecords.com/chip.html or www.myspace.com/chiptaylorsolo. You can order a copy of Yonkers, NY from Trainwreck Records on either CD or LP, or you can download the album from Amazon.com.

Review: Michael Bellar/The As-Is Ensemble - Turned On Turned Up

Michael Bellar/The As-Is Ensemble - Turned On Turned Up
2009, Left Three Lanes Music

Michael Bellar and The As-Is Ensemble were, at one time, the house band at New York City's Blue Note jazz club. They have played Lincoln Center (NYC), The Kennedy Center (Washington, D.C.) and the JVC and Bell Atlantic Jazz Festivals. Their latest album, Turned On, Turned Up, displays the band's penchant for high-energy jazz and sense of mischief, as if anything might happen at any time. Featured performers on Turned On, Turned Up include bassist Rob Jost (Imogen Heap, Bjork); drummer Brand Wentworth (Aretha Franklin) and percussionist Robert Di Pietro (Norah Jones, Jessie Harris). Michael Bellar himself has toured/recorded with Art Garfunkel, Amos Lee, Howie Day, Wheatus, Jump Little Children and Giorgia

Turned On Turned Up opens with Squashing Pollyanas; serious Funk with an incredibly infectious bass line and high quality organ work over the top. This highly creative and danceable instrumental gets The As-Is Ensemble off on the right foot. The choice of Ben Folds' Fred Jones Part 2 as a cover is interesting. The instrumental version offered up here reminds us that Folds isn't just bombast and keys but a pretty mean songwriter as well. Bellar plays around the edges a bit but leaves the melody line essentially intact while burying it in reverb on the synth. All Things Rabbit is a high-energy jazz/rock instrumental featuring keyboard work vaguely reminiscent of The Who.

The As-Is Ensemble turns expectations on their heads with Fur Turban, carrying a Middle Eastern Flavor and Latin Rhythms. The song is highly energetic in presentation and is very entertaining. The Damage Done captures a European sound that verges on melancholy before busting out into a bass-driven, accordion-led chorus. Unravel is an introspective rainy-day peace, with a melancholy-yet-hopeful feel that's more intriguing with each listen. The As-Is Ensemble takes on Led Zeppelin with their instrumental version of Misty Mountain Hop, which turns out to be a big treat. Turned On Turned Up closes out with Yoga For Prison Girls, a questionable selection as the arrangement is mellow and frankly, it's likely the weakest track on the disc.

Michael Bellar/The As Is Ensemble are a highly original and intriguing bunch. Turned On Turned Up a bit uneven at times, but overall is a very strong release.

Rating: 3.5 Stars (Out of 5)

You can learn more about Michael Bellar/The As-Is Ensemble at http://www.michaelbellar.com/. You can purchase Turned On Turned Up as either a CD or download from Amazon.com. You can also download the album from iTunes.

Review: Kristina Train - Spilt Milk

Kristina Train - Spilt Milk
2009, Blue Note Records

Kristina Train was destined to wind up where she is. Yesterday, Blue Note Records released Train’s debut album, Spilt Milk. Blue Note has pursued Train for several years, but at her mother’s assistance she went to college before pursuing her dream. In the process, Kristina Train learned more about the world, but she also learned more about herself. More confident and self-assured than she was at nineteen years of age, Train approached Spilt Milk with a clear idea of what she wanted to accomplish. Recorded and produced by Jimmy Hogarth (Corinne Bailey Rae, Duffy, James Blunt, Spilt Milk makes Train’s influences abundantly clear without sounding like anyone other than Kristina Train. Shades of Aretha Franklin, Raelette Mable and Karen Dalton can be heard, but the voice that emerges can be no one than the Savannah Georgia native with the wonderfully textured voice.

Train opens with the title track, sounding like a sultrier, worldlier version of Norah Jones. Train mixes the modern silk of Jones with the classic Rhythm N Blues sound of artists like Aretha Franklin and Tina Turner and newcomer Melinda Doolittle. Spilt Milk plays like a classic tune with a theatrical feel to it. No Man's Land keeps that classic R&B/Soul feel in a diva-like performance from Train. The melody is one that will get stuck in your brain, and you'll find yourself swaying along. Don't Remember and Don't Beg For Love have similar styles, leading into the Turner-esque It's Over Now, a song steeped in the history of R&B but which could very well chart today.

Train has a true Diva moment on You're Still Going To Lose, showing the presence and dramatic sense to command attention with the right material. This is the biggest highlight of the album. Moon Rivers And Such is more in the Norah Jones realm, but the gentle rasp and power in Train's voice set her apart. Train is able to capture a classic sound while coming across young and hip here and throughout the disc, an unusual quality that should do well for her. Call In The Maker is one of the more intriguing songs on the disc; mixing elements of Gospel, Soul and The Blues in a dynamic performance that sounds like it might have come right out of Muscle Shoals. Half Light is all about regrets that stem from entering (or re-entering) a relationship you shouldn't be involved in. The writing here is nuanced, but Train is chomping at the bit here to break out and the song never quite allows that opportunity. Train closes out with Far From The Country, a classic love song with a Motown feel to it.

Kristina Train has an amazing voice, and she gets to display it amply on Spilt Milk. The down-tempo nature of the album might restrict here a tad here and there; the moments when she's allowed to truly soar are tempered by slower material that's not conducive to the big impressive belt she's capable of, although they do happen. Along with folks like KT Tunstall, Melinda Doolittle and Joss Stone, Kristina Train looks to bring some old school magic to modern music. Look for Spilt Milk to garner Train a lot of critical praise and expect her to be around for a good long while.

Rating: 3.5 Stars (Out of 5)

You can learn more about Kristina Train at http://www.kristinatrain.com/ or www.myspace.com/kristinatrain. You can purchase Spilt Milk as either a CD or download from Amazon.com. You can also download Spilt Milk through iTunes.

Review: Groove Kings - Blood Red

Groove Kings - Blood Red

2009, Visual Music

Montreal Blues duo Groove Kings is back with an exciting album full of Blues, Rock and R&B entitled Blood Red. Songwriter/guitarist/producer Howard Forman came across vocalist Irene Marc a few years back when she asked to sit in at a gig. The rest, as they say, is history. Marc blew away the room with a rendition of Chain Of Fools, and the gig was set. Groove Kings made a name for themselves in their native Canada with several albums, charting singles and even a CTV television special before taking some unstructured time to focus on other things (for Marc is was family, session work and a tour with Cirque Du Soleil's Allegria, while Forman became a top-selling world musician and as nominated for two Genie Awards (Canadian Oscars) for Best Song In a Motion Picture. Now Groove Kings are back, picking up right where they left off with stellar writing, outstanding musicianship, and a voice, in Irene Marc, that will stop people in their tracks.

Blood Red opens with the soulful and sultry titled track. Have an extra set of speaker wires in case Irene Marc melts yours; the vocal is classic and the arrangement fits around her perfectly. Real Love hits more of a 1970's Disco swing, providing a healthy dance beat, smooth harmonies and a horn section that's to die for. Temporary Man is a dark soulful groove with jazz accoutrements and a killer harmony that will haunt you. I actually didn't quite catch on to this song the first listen through, but it's grown on me and become one of my favorite tracks from the CD. Chore is a throwback song in some ways, the protagonist keeps time with a number of gentlemen because she doesn't have the one she wants, but tells the one she'll leave them all behind for him. It's an interesting tune, reminiscent in style and tenor of the great torch songs but updated for today.

I'm The Rain is a kittenish tune in the style of classic jazz vocalists. Marc is devilishly good here, and Forman's guitar work is absolutely exquisite. That Lie finds Groove Kings rocking out with a serious soul vibe in a song that Aretha Franklin would deem worthy. Blood Red takes a turn for Country/Rock on Bury Me. A Rhythm & Blues beat and hints of slide guitar work make this the most exciting song on the disc. It becomes clear that Groove Kings can and will play anything they want, and well. This tune could cross over to country radio with no difficulty whatsoever. So Real To Me sounds like a modern power ballad; the harmony is uplifting and catchy. This is the sort of tune that aging hair bands pull out every couple of albums just to prove they can sell records. Blood Red closes out with What's Real, a slow starter that's a Southern Rock tune with blues and a classic R&B (think Tina Turner, Aretha) chorus.

Blood Red is one of those albums that didn't really hit me full force until the second or third album, but now I don't want to put it down. Irene Marc is a singular talent, as good as almost any similar styled vocalist in music. Forman is the perfect complement, writing and arranging to wrap around her voice in a perfect fit every time out on Blood Red. Groove Kings are a real treat. Don't pass this one by!

Rating: 4 Stars (Out of 5)

You can learn more about Groove Kings at http://www.groovekings.ca/. You can purchase Blood Red as a CD through www.cdbaby.com/cd/groovekings3.

Review: Chocolate Thunder - Ear Candy

Chocolate Thunder - Ear Candy
2009, Chocolate Thunder

Linda Rodney has done the acting thing. She's done the modeling thing; but music has always been her first love. Singing in church as a youngster, Rodney quickly stood out from the other kids with a big, powerful voice that you simply could not ignore. She was also exposed to many of the greats of R&B and Blues as a child, from Muddy Waters to Shirley Cesar to the Queen Of Soul, Aretha Franklin herself. After training with internationally known opera singer Sarah Reece, Linda began performing and touring, sharing stages over time with the likes of Elmore James, Jr., Main Street Blues Band, Little Pink Anderson and B.B. King. Performing under the name of Chocolate Thunder, Rodney's popularity began to grow. Due to popular demand from fans, Chocolate Thunder released her debut album in 2007. In 2009, she returns with Ear Candy, a collection that ranges from Blues to Soul to classic R&B.

Ear Candy opens with Love Thang, a classic 1970's Soul/Funk song. It's not the best on the album but a fair stylistic opening. Love Thang gives a clear picture of Chocolate Thunder's voice: It's big; it's powerful and it can move a crowd. There is an occasionally tendency toward to flat out in runs and transitions, most notable on the opening track, but Rodney's personality is so very much a part of the song that you might not even notice. Power Of A Lady gets into a 1970's Motown feel that's comfortable but doesn't really reach Chocolate Thunder's potential. Rodney hits full speed on Other Side Of Memphis, a classic Motown-style tune that would have been the rage of radio forty years ago. The brass section here is a great touch, but Rodney sells this song like she's lived it. It's All Good blends elements of Gospel and Jazz with a Caribbean touch and is my personal favorite on the disc.

Rodney wrote My Georgia Pine for her husband, and her conviction on the song is compelling, even if the lyrics come across as a bit "hokey love song" at times. Bring It On is presented in a fairly standard modern R&B arrangement but has the feel of a classic that's been updated. I like the song as presented but hear great potential in the song perhaps in other stylistic arrangements. Just Gotta Tell Ya hints at 1950's and early 60's girl groups; this is a great song that's right up there with It's All Good. Chocolate Thunder closes out with 555-Help, a classic mix of Rock, Gospel and R&B.

Chocolate Thunder is a compelling performer for a reputation for grabbing listeners by the ears and not letting go until the performance is over. Her voice isn't quite up there with idols like Aretha Franklin or Etta James, but it's quite good. Combine that voice with a dynamic personality and a compelling ability to sell a song and I'd have to say Chocolate Thunder has the potential to go a long way in this business. Ear Candy is a strong album with a couple of stand out tracks and a couple of duds, but is generally a strong mix of Rock, R&B, Soul and Gospel. Ear Candy has broad appeal.

Rating: 3.5 Stars (Out of 5)

You can learn more about Chocolate Thunder at http://www.cthunder.com/ or www.myspace.com/chocolatethunder1. You can purchase Ear Candy as either a CD or download from www.cdbaby.com/cd/cthunder2.

Review: Israel Houghton - The Power Of One

Israel Houghton – The Power Of One
2009, Integrity Music

You’ve probably heard of Israel Houghton before. Houghton is a 2-time Grammy Award winning musician and worship leader for Joel Osteen’s Lakewood Church in Houston, Texas. Houghton is sometimes credited as Israel & The New Breed, and accompanied Alicia Keys at the 2007 MTV Video Music Awards in a performance of George Michael’s Freedom ’90. Houghton has also performed with the likes of Aretha Franklin and BeBe Winans, as well as recording with Michael W. Smith. Houghton has also been a three-time worship leader at Hillsong, as well as leading for both Promise Keepers and Champions For Christ events. Houghton recently released his latest CD, The Power Of One, on Integrity Music. Let’s check it out.

There’s no questioning that Houghton’s music is all about worship, but there is a distinctive pop sensibility in his songs that tends to be missing from much of what is classified as Contemporary Christian Music (CCM). Everywhere That I Go opens the CD, sounding like a Philip Bailey track from the 1980’s. The song is highly listenable and features some great pop hooks. Just Wanna Say is a true Rock/Gospel experience with great harmonies and R&B influences. The Power Of One (Change The World) comes off sounding like Club Nouveau’s recording of Lean On Me. That’s not to say it copies the song in any way, but it has a similar sound and vibe. Saved By Grace does sound a bit like Prince’s 1999, appropriating a keyboard progression from the song that was probably unintentional. Sing (Redemption’s Song) features Martin Smith and could easily be a Pop hit on commercial radio. I enjoyed the funk flavor of Better To Believe with special guest Tommy Sims, but You Found Me may be the most striking song on the disc. Featuring guest tobyMac, the song has some of the most devastating electric violin work you’re likely to come across this year. Other highlights include U R Loved, I Receive and Every Prayer (with Mary Mary).

Israel Houghton is the sort of artist who could make it in any genre at any time, but chooses to put his passion to work in the Gospel realm. His talent for crafting a unique blend of Gospel with styles such as Rock, Pop, Reggae and Blues is uncanny. I hope Houghton has room on his shelf for more hardware, because if this album doesn’t win him his third Grammy I’ll be shocked. If you’re a fan of Christian music don’t hesitate a moment, go get The Power Of One. If you’re not a fan, consider it anyway; you’ll appreciate the stylistic blends and audacity that Israel Houghton has to offer.

Rating: 4 Stars (Out of 5)

You can learn more about Israel Houghton at www.myspace.com/israelhoughton or http://www.israelhoughton.net/, where you can purchase a copy of The Power Of One, or you can download the CD through iTunes.

Review: Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2

Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2
2009, Concord Records

We're only publishing one review because we want you to pay special attention to this one. Regardless of what genre of music piques your interest, there occasionally comes along a recording that crosses so many boundaries, and is so original or unique that it eventually becomes recognized as a master work. These are the sort of albums that can be re-released multiple times across generations (in this case 47 years later), and still have enough commercial oomph to make significant noise on the album charts. In this case, we have an album that not only retains strong commercial punch nearly 50 years later, but was also the beginning of a revolution in music that has helped father (or grandfather) genres such as Americana while foreshadowing the marriage of Country to genres such as Blues, Rock and Pop. Aside from all of that, Ray Charles also spoke of great changes in the midst of the Civil Rights Movement of the 1960's.

On June 2, 2009, Concord Records re-released two of Ray Charles’ classic albums on one CD. Modern Sounds In Country And Western Music Volume 1 & 2. The two albums were recorded in 1962 (February and September, respectively). Volume 1 was released in April of 1962, and is considered by many critics and fans to be Charles’ greatest recorded work. Not only was the album a commercial success (#1 album, 1 #1 single, 2 Gold singles), but it also bent social barriers with the fusion of R&B and Country during the height of the Civil Rights movement. The album also helped Charles to gain wide exposure on R&B, Rock and Country stations, turning the talented performer into a superstar. Volume 2 was rushed to release in October of 1962 based on the success of the first album, featuring 2 top-10 singles and a #1 single (You Are My Sunshine).

Volume 1, in particular, has been lauded by publications after publication as one of the top albums ever created. Blender magazine ranked it #16 on its list of The 100 Greatest American Albums Of All Time. Rolling Stone placed it on the list of its essential Rock Albums in 1997. Stereophile magazine lists Volume 1 on its 40 Essential Albums list, while Time magazine included Volume 1 on its 100 Greatest Albums of All Time. It’s easy to see why. Charles turned his inimitable talents on songs like Bye Bye Love, I Can’t Stop Loving You (#1 single), You Don’t Know Me (Top 10 single) and Hank Williams’ Hey Good Lookin’. With production by Sid Feller (Dean Martin, Peggy Lee, Paul Anka, etc.) and string arrangements by Marty Paich (Sinatra, Streisand, Ella Fitzgerald, Mel Tormé, Aretha Franklin, Michael Jackson, etc.), no stone was left unturned in creating perfect Ray Charles versions of each song.

In response to the tremendous success of Volume 1, Volume 2 was quickly recorded and released in October of 1962, using the same formula that had driven the success of Volume 1. The album included such hits as You Are My Sunshine (#1 single), Take These Chains From My Heart (Top 10 single), and Hank Williams’ Your Cheatin’ Heart (Top 40 single), as well as takes on Don Gibson’s Oh, Lonesome Me and the Chet Artkins/Boudleaux Bryant song Midnight.

Concord Records has done a great job handling these two releases, bringing them together for the first time outside of a box set and in an affordable form. The remaster on both is flawless, and give a great picture of the man, the artist, and the ground-breaking music he was creating at the time. The music is timeless and stands on its own as one of Charles’ greatest legacies, for both its artistic and social impacts. If you want to understand where today’s Americana styles started, with blends of country, rock and blues, look no further than Ray Charles. Without these two albums and the many that followed, the music you’d be hearing today might sound very different. Modern Sounds In Country And Western Music Volume 1 & 2 is a Wildy’s World Certified Desert Island Disc, and practically defines the concept.

Rating: 5 Stars (Out of 5)

You can learn more about Ray Charles at http://www.raycharles.com/. You can purchase Modern Sounds In Country And Western Music Volume 1 & 2 at Amazon.com or download it through iTunes.

Review: Sarah Brooks And Graceful Soul - Under The Bones Of The Great Blue Whale

Sarah Brooks And Graceful Soul - Under The Bones Of The Great Blue Whale
2008, Whaling City Sound

You take classic material, an all-star band, a unique setting, a dash of luck and a vocalist with the command, power and soul of Sarah Brooks, thrown them all together and you get magic. Under The Bones Of The Great Whale is the ultimate document of this experiment in musical alchemy, and what a gem it is. Brooks has the sort of voice that transcends genre and time. Hers is a powerful instrument built for Jazz and The Blues, but also adept at R&B, Soul and Rock.

Under The Bones Of The Great Blue Whale opens with Brooks breathing new life into Sam Cooke's Bring It On Home To Me. This may be the most vibrant version I've heard since the original, and aficionados may fall on their knees proclaiming the second coming of Etta James. Burt Bacharach's Look Of Love gets similarly iconic treatment, with Brooks making the song in her own without stepping on the coattails on Bacharach's opus. Chain Of Fools might not quite threaten Aretha's classic version, but Brooks is at least in the same room with a faithful rendition built on a little more funk than the original. Even the Beatles get drawn into the belly of the whale as Brooks puts up a lively and fun rendition of You Can't Do That; which is most memorable for the breakdown in the middle where you get to hear what the band is made of.

At Last (Etta James) is one of the highlights of the disc. This is one of those songs you just shouldn't do unless you're good enough to pull it off. Listen to American Idol auditions from any season and you'll know what I'm talking about. Brooks is all diva here, bringing down the house with a virtuosic vocal performance that does James proud. For all of that, Amazing Grace takes things one step further. Brooks transcends the moment and takes the audience and those listening at home to a magical place for nearly eight-and-a-half minutes. Graceful Soul provides some of the magic, to be sure, but Brooks commands all attention for this song, and rightfully so. The cover of Sting's Fragile is also highly recommended; Brooks is able to provide vocal texture to the song that Sting could never quite capture, although this version lacks the urgency of the original. Other highlights include The Chicken and a moving instrumental version of Amazing Grace.

Every once in a while an album will come along and surprise you for how good it is and how it hasn't gotten more attention. Under The Bones Of The Great Blue Whale is just such an album. Sarah Brooks should be a national talent, and the musicians that make up Graceful Soul should be right there with her. If the great ladies of song of the 1940's, 50's and 60's are your thing, then Sarah Brooks is someone you absolutely have to hear. Even if you don't know or care about that era, I still recommend Sarah Brooks and Graceful Soul highly. All musicians make music, but this is what magic sounds like.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sarah Brooks and Graceful Soul at http://www.sarahbrooks.com/. You can purchase a copy of Under The Bones Of The Great Blue Whale at CD Universe.

Review: The Loudhorns - One For Maynard

The Loudhorns – One For Maynard
2009, Loud Conversation Pieces

The Loudhorns are a collective of some of the best studio brass players Nashville has to offer. Various members have worked with folks such as Garth Brooks, Elton John, Paul Simon, Maynard Ferguson, Aretha Franklin, Tony Bennett, Randy Brecker and Larry Carlton. The Loudhorns offer electrifying live performances and a mix of jazz classic, pop covers and original songs. The forthcoming release from The Loudhorns, One For Maynard, is a tribute to the great Maynard Ferguson. Featuring six Ferguson covers and three pop covers (in the spirit of Ferguson); One For Maynard is a dynamic collection that is certain to please.

The Loudhorns mean business. Right from the opening notes of Give It One, The Loudhorns literally blow the listener away with an aggressive and musical style that is compelling. The Loudhorns don't just play jazz, they hunger for it. That drive and devotion to the art is in every note and every phrase. Even on the more laid back tracks (La Fiesta, Left Bank Express, Fly Away Home) The Loudhorns play with an energy and vivacity that escapes many modern jazz musicians. It hearkens back t a time when musicians played music because it was all they had. It's so refreshing to hear that energy and desire in a form that's been so thoroughly explored as jazz.

Highlights abound. Birdland is a musical master piece, and Superbone Meets The Badman has a spunk to it that's absolutely infectious. The cover of Queen's Bohemian Rhapsody is well meant, but doesn't play as well on brass as I might have expected (particularly the quieter passages). A personal favorite is the funky and flavorful Foreign Correspondent; guaranteed to get your feet moving.

The Loudhorns are very much in demand both individually and collectively as session musicians and it's easy to see why. One For Maynard is classic jazz with a modern touch. Don't pass this one by.

Rating: 4 Stars (Out of 5)

You can learn more about The Loudhorns at www.myspace.com/loudhorns. You can purchase a copy of One For Maynard at www.cdbaby.com/cd/loudhorns.

Review: Cara Luft - The Light Fantastic

Cara Luft - The Light Fantastic
2007, Black Hen Music

Winnipeg’s Cara Luft is a musical tour-de-force that you might never have heard of if you live outside of Canada. An integral part of folk trio The Wailin’ Jennys, Luft chose to follow her own path in 2005 after three years, two albums and one Juno Award for Best Roots album. Nicknamed “Jenny Van Halen” for her raucous guitar style, Luft is as accomplished with an axe as she is behind the microphone. Her album, The Light Fantastic, is a wonderful mix of the spiritual and the mundane, the certain and the in-between. Produced by Neil Osborne (54-40), The Light Fantastic features multi-instrumentalist Hugh McMillan (Spirit Of The West, James Keelaghan), Richard Moody (The Bills) and Christian Dugas. It a rare gem in popular music; a spending musical experience with outstanding storytelling.

Cara Luft shows an ability to capture moments and people in song that is uncanny. Whether her subjects are real or imagined, or even herself, Luft opens a window in each song on a person, place or time that is so believable you can almost touch them. Her voice is perfectly suited to this style of country/Americana; a warm alto with a bit of small-town country sass. The Light Fantastic opens with There's A Train, a song about escaping a relationship that's an emotional tempest, even if it means leaving home. Luft has a subtle power in his voice and is deft at using it to accentuate the emotions the protagonist feels here. This leads into No Friend Of Mine; with a lyrical economy that packs a punch, Luft tells someone who's no good for her to get lost. Turning the tables, Talk For A While is inspired by a bit of non-committal vulnerability; it's an incredibly human emotion in song, caught perfectly like a photograph set to music.

From a pure musical standpoint, Black Water Side is one of the more memorable moments on the album, with a wonderful arrangement that captures motion and movement within the notes and rhythms of the song. Luft's version of Lord Roslyn's Daughter may have officially transplanted the Great Big Sea rendition as my favorite version of this traditional tune. Luft delivers a stirring vocal performance, blending with unforgettable harmony vocals that are full of urgency you can almost reach out and grab. For all of this, however, Give It Up is by far my favorite song on the disc. It's a statement of self-worth from a woman who knows who she is and what she wants. It's probably one of the best takes on this subject since R-E-S-P-E-C-T.

No Strength takes a deep angst, partners it with a wonderful hook and some amazing rhythmic guitar playing and turns into a highly memorable song. Wilcox explores the utter surprise and wonderment of a person taken out of their normal element and caught on the Canadian Prairies for a time, while Jerusalem addresses the need for an inner spiritual or philosophical life. It's an interesting tune that uses Jerusalem as an allegory for this spiritual destination, and comes off sounding like a classic Indigo Girls tune. Settle For Grey is a subject most artists touch on at some point in their career, the loss of clear black and white in choices that seems to occur over a lifetime. It's a moralist message that's decidedly amoral, and an intriguing epilogue for Luft.

Luft is an extremely talented songwriter, encapsulating person, time and place with the skill and temerity of Randy Newman. Vocally she's up there with the best, and the musical arrangements here are anything but typical. Luft sounds like she's still challenging herself on each song, and enjoying it in the process. The Light Fantastic is a terrific listen. Luft is a master songwriter and performer. You don't want to be without this disc.

Rating: 4.5 Stars (Out of 5)

You can learn more about Cara Luft at http://www.caraluft.com/ or www.myspace.com/caraluftmusic. You can purchase a copy of The Light Fantastic at www.cdbaby.com/cd/caraluft.

Review: Jana Mashonee - New Moon Born

Jana Mashonee – New Moon Born
2009, Miss Molly Records

Jana Mashonee is a voice to be reckoned with. Her soulful, stannic alto is full of vibrato and swirling hues that capture the listener’s attention. She’s a performer for whom you’d gladly buy a concert ticket even if she was singing the phonebook. An award winning (7 Nammy Awards, 1 Grammy nomination) Native American (Lumbee Indian) singer, Mashonee aims for greater popular exposure with her latest CD, New Moon Born. With a mix of Soul, R&B, Latin, Native American and pop styles, Mashonee appears to have found a winning musical combination.

New Moon Born opens with Osiris’ Star and an incredible vocal line from Mashonee. The lyrical depth is more than you might expect from your typical, pop-oriented album; but nothing else here indicates that Mashonee is typical. There are some samples of fairly typical pop fare such as Solid Ground, Used To Be In Love and Water’s Edge. At the same time there are some real stunners on New Moon Born. For Just One Night is a gorgeous, affecting performance featuring some delicious minor key vocal harmonies. The Spanish version, Una Noche is even more powerful. Miracles spices things up with a funk-filled bass line and a dance beat guaranteed to get your feet moving. Sunday Morning shows Mashonee working in her upper register and sounding remarkably like Paula Cole.

So far, so good, but Carousel is the song you came to hear. Jana Mashonee shows signs of a big, powerful voice all throughout New Moon Born, and on Carousel she lets it run with vigor. Carousel is classic Soul/R&B ala Aretha Franklin (or more recently, Melinda Doolittle). Mashonee can belt with the best of them and delivers an absolutely stunning performance here. If she can do on stage what she does on CD then she has the potential to be a legend.

Jana Mashonee is already an icon. She is a sterling musical representative of The First Nations of the Americas, melding Native American and Latin sounds with traditional pop music in a fashion that has few forebears. Her powerful, hue-filled voice is instantly memorable and recognizable; resounding in the listener’s mind like a lucid dream. Mashonee delivers the songs on New Moon Born with a passion that burns right out of your speakers, and she’s impossible to overlook. New Moon Born has the potential to be a breakout recording.

Rating: 4 Stars (Out of 5)

You can learn more about Jana Mashonee at http://www.janamashonee.com/ or www.myspace.com/janamashonee. New Moon Born will be released on January 20, 2009. You can order copies or digital downloads through Amazon.com.

Review: Melinda Doolittle - Coming Back To You

Melinda Doolittle - Coming Back To You

2009, Genius Products (TVN)

We last saw Melinda Doolittle in Season six of American Idol, bounced from the show by fans who value youth and gimmicks to talent and an ability to perform. Rather than run right to market to capitalize on her exposure with a collection of pre-packaged hits that wouldn't do her justice as an artist, Doolittle has chosen to take her time and put together a recording that befits her talent. The result, coming on February 3, 2009, is Coming Back To You. Most American Idol alumni have managed to disappoint, leaving behind the sounds they developed on the show for slick, pop-oriented sounds that are more production value than talent. Doolittle has stayed true to herself, delivering 13 songs steeped in classic R&B and Soul.

Opening with Fundamental Things, Melinda Doolittle sends the message that she is invested in old school sounds. Doolittle shines in a market of vocalists who have traded singing for coloratura runs and performance for posing. It's Your Love sounds like something that might have come out back when Ike and Tina were still together. Moving out in front has done wonderful things for Doolittle, and her voice on Coming Back To You appears to have grown in stature and soul since her Idol days. Coming Back To You is a classic R&B ballad, and likely a single, but may not be the strongest song on the CD.

Declaration Of Love, on the other hand, is the highlight of the disc. Doolittle opens up like a flower on this one and belts her way to musical glory. Melinda Doolittle has that rare double of being able to sing a song to life as well as being able to sell it on personality alone. When the two aspects of her personality and talent come together Doolittle lights up a stage like a bonfire, and this song is likely to be a concert favorite for years to come. Wonderful has a great soul groove to it. Doolittle finds the pop heart of this song without selling it out; giving a nuanced and personal performance that will touch listeners.

Dust My Broom has that touch of theatrical wonder that only a seasoned performer can master. Melinda Doolittle has the ability to reach out through the speakers and connect with listeners in a way that some artists struggle to do even in a live environment. Her voice here is at its absolutely best. The music industry just hasn't heard this kind of explosive voice in a while. Aretha and Tina are still around of course, but Melinda Doolittle might be ready to take up their respective crowns. Other highlights include I'll Never Stop Loving You, If I'm Not In Love, Walkin' Blues and We Will Find A Way.

It's been clear from her very first appearance on American Idol that Melinda Doolittle was a special talent. Idol alumni have been a mixed bag in the sales department, and even more suspect in the quality department. Chris Daughtry, Kellie Pickler and Carrie Underwood have all had great success towing the pop line while giving up some of the character and personality that made them stars on the show. Kelly Clarkson has broken out somewhat from that mold only to see her sales plummet. Taylor Hicks built up the biggest persona on the show, but gave up his personality to the production team on his eponymous major label debut. The same goes for Ruben Studdard and Fantasia Barrino, both of whom were disappointing in spite of winning their respective years. Melinda Doolittle has stayed true to what made her a star on Idol, and has created, by far, the best album to come out of an Idol alumni to date (I've yet to hear David Cook's debut, but its hard to imagine him topping Coming Back To You). Melinda Doolittle's sound isn't as commercial as many of those who have come before her, but I'll bet this album outsells all of her predecessors. Coming Back To You is pure gold, a Wildy's World Certified Desert Island Disc. Its a must for Doolittle fans; fans of classic R&B and soul, and anyone looking for good, quality music sung with a lion's heart.

Rating: 5 Stars (Out of 5)

You can learn more about Melinda Doolittle at www.myspace.com/melindadoolittle. You can pre-order Coming Back To You at Amazon.com.

Review: Brian Kelly - Afterplay

Brian Kelly - Afterplay
2008, Skylight Music

Brian Kelly is a pianist and composer who trips lightly through the worlds of jazz, neo-classical and new age music. His early influences ranged from the likes of Beethoven to the Beatles, and these early influences continue to effect his compositional decisions even today. Kelly’s second CD, Afterplay, resides firmly in the contemporary jazz category. Supported by musicians such as Eric Crystal (Boz Scaggs, Omar Sosa); David Rokeach (Aretha Franklin, Ray Charles); Viviana Guzman and James Robinson, among others, Kelly has crafted a fine collection of contemporary popular jazz compositions.

Afterplay opens with River Rush, a modern piece that's almost more pop than jazz. The urgent melody line eats this song up somewhat in a downpour of themes. Smiling South is a Caribbean flavored piano tune full of big, catchy, ear-candy themes. New Vision is a light pop tune that incorporates Spanish Guitar, Latin rhythms and a funky bass line over a mellow piano bed. Snowflakes rising may be the highlight of the album, using what sounds like a dulcimer and piano mix in the opening to create an almost visual rhythm that's reminiscent of raindrops more than snow. Other highlights include the funky Flavor Seven; the title track Afterplay; Celtic Fire and Sunchaser.

Brian Kelly is a talented instrumentalist and composer. His brand of new age pop is catchy and comfortable without being cliché. This isn't elevator music but more the sort of upbeat mellow music that makes an environment or event more enjoyable and memorable. Brian Kelly has something to say, whispered just below hearing around the staves and measures he writes. Check out Afterplay, and listen.

Rating: 3.5 Stars (Out of 5)

You can learn more about Brian Kelly at http://www.briankelly.com/, where you can purchase Afterplay as either a hard copy CD or a download.