Morgan Bracy - The End Of Cinderella

Morgan Bracy - The End Of Cinderella
2011, Morgan Bracy

Morgan Bracy grew up in a small town in Tennessee, singing in church and writing songs from a young age.  It wasn’t until she left home for Middle Tennessee State University that Bracy truly bloomed as an artist, however.  Working with the group Broken Pottery, Bracy found her own voice as a songwriter.  She released her debut album, Dirty Laundry, in 2007, and was introduced to producer John Merchant (Barbra Streisand, The Bee Gees, Celine Dion).   Merchant liked what he heard, and wanted to help Bracy find the full potential of her sound.  The two began working on the album The End Of Cinderella, a song cycle centering on tales of fairy tales gone awry.  It is in this emotional wellspring where Bracy shines brightest, portraying each story and character as if it were somehow her own.

"The End Of Cinderella" is a coming of age song; a heartbreaking realization that real life is not a fairytale. Bracy's performance here is fully committed, and here powerful, sometimes tinny voice (ala Susanna Hoffs or Jess Klein) is compelling. "She Believes" is a middle of the road pop/country number about domestic violence, and how the belief in fairytales can keep someone in a bad relationship. Bracy concocts a solid melody and a memorable chorus here, in a song with moderate commercial appeal. "Silence" decries someone who is absent even when he is there. It's a self-realization that things aren't going to change, wrapped up in an edgy pop arrangement that gets your toes tapping. Bracy's lyrics flow like water, and her voice punches the melody line with conviction.

"The Looking Glass" examines self worth and insecurity in a powerful, musically dense ballad that walks the line between pop and country in style and sound. Bracy continues to show vocal power, but also shows a subtlety of phrasing that contrasts well with her pure force as a singer. Bracy's interpretation of Randy Newman's "When She Loved Me" (from Toy Story #?) is lovely and lush, full of strings and a wonderful counter-melody in the piano part. Bracy ventures into full soprano range at one point in the song, and it sounds, at first, if things might fall apart, but she holds it together and turns in a nice performance. "When The Spell Is Broken" has a more soulful feel, with Bracy's soulful alto getting more exposure. The verses are solid, but the chorus is very memorable - the type you don't shake right away.

"Real Life Fairytale" is a buoyant little love song with distinct pop sensibilities. When Bracy sings about the quiet ecstasy of falling in love, it's as if she's experiencing it all right in the moment. This is a brilliant tune. "Between The Covers" is about the anticipation of what is to come in life and the transformation from looking ahead to living in the moment. Bracy closes with "Love, Believe In Me" is a song of longing from one who sees love all around here but hasn't found it herself. The simple, guitar-based arrangement is simple and lovely, playing the perfect complement to Bracy’s voice and to that of her vocal counterpart.

The End Of Cinderella is the musical portrait of an artist who deserves much more exposure than she's gained to date. Bracy's songwriting is compact and polished, but full of heart. She performs each song as if the ideas and emotions within are occurring at that very moment.  If Bracy carries this kind of presence to the stage, then concert goers will never want her shows to end. Morgan Bracy is the real deal, and The End Of Cinderella is an essential album

Rating: 4 Stars (Out of 5)

Learn more at www.morganbracy.com or www.myspace.com/morganbracy. 

             CD                 Download                    iTunes

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Katherine Jenkins - Believe

Katherine Jenkins - Believe

2010, 143/Warner Bros. Records

Welsh mezzo-soprano Katherine Jenkins is bigger than Celine Dion and the Spice Girls. At least she's outsold both mega-acts in the UK, becoming one of the few recording artists in UK history to score two #1 albums in the same year. Jenkins' seventh album, Believe, dropped in the UK in the Fall of 2009. Produced by 15-time GRAMMY Award winner David Foster, Believe calls on both Jenkins' mastery of classical music as well as her love of the pop form. Long unknown to US audiences, Jenkins' contract with Warner Bros. Records opened the door to the New World, and Believe was released in North American in May of 2010.

Believe opens with "Till There Was You", Meredith Wilson's classic song from The Music Man. Jenkins' RCSM training shows in her diction with consonants so crisp they could be used to chop wood. This may be a distraction for those used to the slurred or often absent diction of your typical pop star, but Jenkins' mellifluous voice will quickly convince you all is as it should be. The bravest and best choice on Believe is Jenkins' startling cover of "Bring Me To Life" (Evanescence). Foster's arrangement cuts out the drums and brings natural percussion out of the strings in a striking contract to Jenkins' vocal line, all while maintaining the edge of the original. It's a true "Wow" moment. The cover of Sarah McLachlan's "Angel" is a bit more formal than the original but maintains the sweet spirit McLachlan's version embodies.

Andrea Bocelli sits in for a duet on "I Believe", remarkable for the chemistry and blend of vocal sounds he and Jenkins achieve together. Jenkins sounds like a true leading lady on Andrew Lloyd Webber's "Love Never Dies", caressing Lloyd-Webbers trademark cadences like she was born to sing them. "Fear Of Falling" plays like a classic Broadway ballad; it's a great love song on its own but Jenkins breathes life into it and makes it walk. Having played well on the pop side of the wall, Jenkins returns to her roots with "Parla Piu Piano (Love Theme From The Godfather)", intertwining the beauty and tragedy of the song in a vocal performance that will send chills down your spine. Perhaps the most amazing discovery for someone previously unfamiliar with Jenkins is her ability to belt with Wagnerian intensity only to suddenly plummet to sweet lyric sounds that are so diametrically opposed as to seem impossible.

Andre Rieu sits in for Aneora Non Sai, matching his violin to Jenkins' voice in a dance you'll want to hear and hear again. Jenkins has a true diva moment covering Edith Piaf's "La Vie En Rose", recreating the Victrola sound for the opening of the song. It's the sort of performance that helps you understand Jenkins' mastery of her instrument, both technically and as an entertainer. Make sure to catch Chris Botti's appearance on "La Califfa", which leads into Jenkins' powerful interpretation of Queen's "Who Wants To Live Forever". Jenkins closes with Adagio, returning to her roots with a simple offering that overcomes aesthetics and reaches for pure beauty.

Katherine Jenkins has serious chops as a classical singer, but her coming of age in Britain's popular culture may cause some serious classical music fans in the US to take her a little less seriously. Don't. Katherine Jenkins masters both classical and pop styles in a fashion that calls to mind artists such as Josh Groban and Kristin Chenoweth. Believe is destined to make a path for Jenkins to concert halls across North America. It's unthinkable that she might be just a British phenomenon. Voices like hers do not come along often.

Rating: 4 Stars (Out of 5)

Learn more about Katherine Jenkins at http://www.katherinejenkins.co.uk/ or www.myspace.com/katherinejenkins.  Believe is available from Amazon or iTunes.

Basia Lyjak - The Complete Collection

Basia Lyjak - The Complete Collection
2010, Basia Lyjak

Canada’s Princess of Rock N Roll, Basia Lyjak, has created quite a stir with a series of singles that combine the rough edge of 1980’s rockers such as Pat Benetar, Blondie and Joan Jett with some of the pop sensibilities of artists such as Celine Dion or Chantal Kreviazuk. Lyjak has the voice and the look of a superstar. A demo of Lyjak’s singles, The Complete Collection, fell into our hands recently.

The Complete Collection opens with "Never Wanted Anything", a powerful, emotional rocker with shades of Pat Benetar and Celine Dion. This is a solid, radio-ready track with real oomph and honest emotion. "What It Feels Like" is an angry tune that allows Lyjak's rough edges some elbow room. "Don't Talk" is a great rock single with serious pop credentials that could be a hit with the right push. "Stuttering" would be entirely at home on 1980's pop radio and has one of those choruses you simply can't get out of your brain. This may be one of Lyjak's best overall tunes to date. "Torn" gets a bit repetitive, but has a big solid radio-ready sound that's likely to gain it some attention. "Lies" is pure anger and vitriol in song; solid rock songwriting with pop pre-texts. Lyjak saves her best for last; "Bye Bye" is a potential chart hit with a big upside. Get this song placed on the right TV show or movie soundtrack and you have the potential for this one to go viral.

Basia Lyjak combines the aura of a pop star with the rough edge of 1980's rock queens such as Joan Jett, Pat Benetar and Blondie. Lyjak perhaps isn’t ready to take the crown of Lee Aaron, but the day may come when she’s knocking on that door. The Complete Collection should be just a start for Lyjak, who has the sound and style to build a solid career at the glamorous crossroads where rock and pop meet.

Rating: 3.5 Stars (Out of 5)

Learn more about Basia Lyjak at http://www.basialyjak.com/ or www.myspace.com/basialyjak. Lyjak sells her singles and downloads directly through her own website, cutting out the middle man and saving listeners big dollars over what the big box e-tailers charge. You can also get digital with Amazon.com or iTunes. Photo credit: Ron Boudreau.

Review: Linda Brooks - The Spaces In Between

Linda Brooks - The Spaces In Between
2009, Linda Brooks Music

Linda Brooks took a non-traditional route to releasing her second CD, The Spaces In Between. The New Brunswick native became a mom and gave up singing for a number of years. Her well received debut album, Under A Painted Moon, sat for a number of years as a lone testament to her talent. But talents cry to be used, and Brooks couldn’t stay away from music forever. She returned in 2009 with her follow-up album, The Spaces In Between, an adult contemporary offering made to match to the mores of Adult Contemporary radio.

Linda Brooks offers up eleven doses of Contemporary Adult Pop on The Spaces In Between, buoyed by a voice that is both beautiful and non-threatening. The themes on The Spaces In Between are fairly typical of AC radio tunes, although Brooks does show a bit of country and even CCM influence from time to time. "Stranded" is all about getting stuck right where you belong. "Not Gonna Take It "takes to task a friend who tries to tell others how to live. The resentment implied in the lyrics just never makes it into Brooks' vocal performance. Jenny is something of a Lifetime Movie Network film in song; a homeless woman who spends her life trying to make others' lives better when she can. Once again, the story is a passionate one, but the delivery is "just there". Brooks obviously thinks a lot of the subject of the song, but it never really comes through in her voice.

Brooks engages in some positive affirmation on "Stay", one of the better tracks on The Spaces In Between. Brooks loses some her stolid approach here, showing some heart in her voice on a tune that could easily transfer to the stage within the right show. "Never Better" shows a bit of reserved heart in a tune that is very radio friendly (particularly country radio). "Hand Of A Stranger" is a bit of musical altruism about helping others; the song is very positive in message but once again a bit flat on delivery. Brooks closes with "Last Train", a plain-spoken breakup song. "Last Train" is the best songwriting on The Spaces In Between, and Brooks sounds more alive here than at any other time on the album.

Linda Brooks has a highly enjoyable voice in her comfortable range, but her ability to emote and live in a song seems to desert her at times on The Spaces In Between. The songwriting on The Spaces In Between is solid, and the arrangements are likeable and simple. It would be good to hear some of Brooks' songs illuminated with a fuller lineup, particularly how more dynamics in given arrangements might bring Brooks out of her vocal shell. The Spaces In Between is a solid effort.

Rating: 3 Stars (Out of 5)

You can learn more about Linda Brooks at www.myspace.com/lindabrooksmusic or http://www.lindabrooksmusic.com/, where you can order a copy of The Spaces In Between directly from the artist using PayPal. You can also download the album from iTunes.

Review: Kimerley Rew/Katrina & The Waves re-releases

Kimberly Rew/Katrina & The Waves - The Bible Of Bop/Shock Horror!/ Katrina And The Waves/KATW II
2010, Tummy Touch Music Group

The name Kimberley Rew probably won't mean a lot to most readers at first; it's not necessarily a name you'd catch in the popular press even at the height of his popularity. Kimberley Rew has written songs for The Bangles and Celine Dion, but a majority of his work was recorded by his own bands, Katrina And The Waves/The Waves. Rew started as part of the burnishing Cambridge, England scene in the 1970's. Rew was a member of The Soft Boys with Robyn Hitchcock, releasing two albums with the band before they split in 1981. The same year, Rew released his first album The Bible Of Bop. The Bible Of Bop was recorded in four different sessions with The dB's, The Soft Boys (with Robyn Hitchcock on guitar) and The Waves (with Katrina Leskanich and Vince De La Cruz). The album was followed by The Waves' Shock Horror! in 1982, and by Katrina And The Waves and Katrina And The Waves II in 1983 and 1984 respectively. The UK band couldn't find a label to release them until Canada's Attic Records (who had released albums from The Soft Boys) picked them up in 1983. It wasn't under a year or so later when The Bangles had a hit with a cover of Going Down To Liverpool that the majors took notice. Walking On Sunshine ended up becoming a big pop hit worldwide in another example of a band toiling for years to become an overnight success. This spring, Tummy Touch Music Group will release all four albums in special limited edtions, each with bonus tracks.

Rew's first album, The Bible Of Bop is an interesting mix of New Wave, Punk, and Beatles-influenced Pop music. Rew shows flashes of the songwriting talent he grew into, including the Knack-like My Baby Does Her Hairdo Long, Animal Song, The Nightmare and the Beatles-inspired Fishing. Rew covers all of the ground in between on an album with real spark but a lack of cohesion. The Bible Of Bop is like listening to a kid with a world of talent and raw skill who hasn't quite honed it yet.

The Waves' Shock Horror opens with the song that ended up putting Kimberly Rew and Katrina & The Waves in the spotlight, Going Down To Liverpool. It wasn't until the Bangles released it two years later that the song got noticed, but it led to the "discovery" of Katrina And The Waves. The version offered up here tighter than the Bangles' version and very much worth hearing. Rew's songwriting begins to eschew his Punk/New Wave roots on Shock Horror, moving more toward 1960's Rock and even R&B. I Caught The Milktrain, Strolling On Air, You Can't Stand Next To Judie and Saturday Week are highlights. Shock Horror includes as a bonus 4 previously unreleased tracks from 1976 recording sessions that show Rew's earliest development as a songwriter.

Katrina & The Waves (I) and Katrina & The Waves II will generally more familiar to fans of 1980's Pop. The former includes the original version of Walking On Sunshine, which varies a little from the version that ruled the airwaves in the mid-1980's, but its close enough. Each disc includes bonus unreleased or alternate versions of tracks, giving fans a chance to see behind the curtain of Rew's creativity.

As someone who grew up glued to the radio in the early-to-mid 1980's, I remember bopping along to several Katrina & The Waves songs. Rew's songwriting is at its most polished for the two most Katrina & The Waves albums (not to mention that Katrina Leskanich was a 1980's dream girl as a front woman). The four re-releases trace the development of Rew as a songwriter, from uneven but talented scribe in the 1970's to polished songwriter by the mid-1980's. It's about time these albums saw the light of day again.

Ratings:

The Bible Of Bop 3 Stars (Out of 5)
Shock Horror! 2.5 Stars (Out of 5)
Katrina & The Waves 4 Stars (Out of 5)
Katrina & The Waves II 3 Stars (Out of 5)

You can learn more about Kimberley Rew at http://www.kimberleyrew.com/ or www.myspace.com/kimberleyrew. The Kimberley Rew re-releases will be available in April of 2010 through Tummy Touch Music Group. Keep checking their website as well as Rew’s for details.

Review: The Lost Fingers - Lost In The 80's

The Lost Fingers - Lost In The 80's
2009, Sony Music

Canadian trio The Lost Fingers know a little about what it takes to make good comedy. Don't get me wrong, there's nothing comical about the music of The Lost Fingers, but George Carlin used to say that the job of comedian was to take things you already knew and show them to you in a different light. That's what The Lost Fingers do on Lost In The 80's, a collection of cover songs presented in jazzy, acoustic renditions that are likely to surprise and amaze you. The Lost Fingers, named in memory of jazz guitar great Django Reinhardt, have already achieved Gold Record status in Canada and been nominated for two Juno Awards with Lost In The 80's. The album is now available in the US for the first time.

The Lost Fingers open with a cover of Technotronic's Pump Up The Jam, a tune that starts a bit slow but quickly comes up to speed. The jazzed-up version will appeal to fans of Squirrel Nut Zippers, and the instrumental work is absolutely flawless. You Give Love A Bad Name (Bon Jovi) has a frenetic feel, particularly in the guitar part, which is about as blistering as you can get with an acoustic guitar. You Shook Me All Night Long (AC/DC) could easily have been translated as a high energy tune, but The Lost Fingers made the brave decision to present it as a languorous tune complete with scat-singing. The risk pays off here in one of the most intriguing songs on the album.

The rendition of Luc Plamondon's Incognito (made famous by Celine Dion) is surprising in that it sounds like it might have come out of a European holiday film. Incognito goes down as a fine cup of espresso. Samantha Fox' Touch Me (I Want Your Body) again sounds like a Squirrel Nut Zippers rendition and is highly danceable (although perhaps not in the fashion Ms. Fox might have originally envisioned). The guitar work here is especially fantastic. Stevie Wonder's Part-Time Lover is given real life as a swing tune. In spite of some stylistic touches and changes in instrumentation the song remains essentially unchanged from the original, although it is interesting to hear the nuances acoustic instruments bring out in the classic Pop/R&B tune. Likewise for Kool & The Gang's Fresh; this cover works a lot better than I might have expected and is likely to bring big smiles live.

Perhaps one of the most interesting covers given his untimely demise is The Lost Fingers' take on Michael Jackson's Billie Jean. It's the best cover of Billie Jean I've heard; the Jazz setting works particularly well for this tune, bring out some of the natural energy in the chorus. Wham's Careless Whisper gets similar treatment, and once again the cover works better than I would have thought. In this case it actually sounds better than the original. Soft Cell's Tainted Love is interpreted here is a moody and off-kilter tune with some unusual vocal harmonies. It's once again one of the best covers of the song I've heard, although all covers of Tainted Love have forever been overshadowed by Dan Akroyd's nasally percussive version from Coneheads.

The Lost Fingers enter the Space Cadet service with a terrific rendition of Paula Abdul's Straight Up. As usual, the strong vocal lines are simply an appetizer for the splendid instrumental play of The Lost Fingers. Alannah Myles' Black Velvet gets sent up in a version that captures the wanton sensuality of the original. This may be one of the more underrated songs of the 1980's; a classic in sheep's clothing, but The Lost Fingers unmask it for the quintessential song it is. Lost In The 80's closes with a pair of Francophone tunes. The first is Joe Le Taxi, a song written for Vanessa Paradis in 1987 by Franck Langolff and Étienne Roda-Gil. Sung in French, the song has a Mediterranean feel that sneaks into the Gypsy Jazz arrangement. The Lost Fingers follow up with Belleville Rendez-vous from the animated Les Triplettes de Belleville (2003). Written by Benoît Charest and Sylvain Chomet, the song was nominated for an Academy Award for original singer Béatrice Bonifassi. The Lost Fingers run with the song, providing a high energy reading that's highly entertaining and bound to inspire some dancing.

The Lost Fingers bring a breath of Fresh Air to the 1980's and beyond, provide renditions of classic songs so full of energy and life you can't help but be hooked by the experience. It's no wonder The Lost Fingers are major stars in Canada; I have no doubt they'll repeat their success in the United States, Europe and beyond. Lost In The '80's rises above the genre of "cover album" to true artistry; make sure you give it, and The Lost Fingers, the time of day.

Rating: 4 Stars (Out of 5)

You can learn more about The Lost Fingers at http://www.thelostfingers.com/ or www.myspace.com/thelostfingers. You can purchase Lost In The 80’s as either a CD or Download from Amazon.com.

Review: Paris-Keeling - End Of Ride Revisited

Paris-Keeling - End Of Ride Revisited
2009, Surgeland Records

Paris-Keeling has been around the block a time or two, both together and individually. Vocalist Kelly Keeling started out as the lead vocalist of Baton Rouge back in 1990, signing to Atlantic Records and releasing two albums. Later working with Alice Cooper on Hey Stoopid, Keeling co-wrote Snakebit with Cooper. He's also spent time in studio or on the road with Don Dokken, Roger Daltrey, Carime Appice, Yngwie Malmsteen and Michael Schenker, among others. Guitarist Marty Paris is (somewhat obviously) a co-founder of Paris-Keeling, and also helped start the Independent musicians group in New Jersey known as the Skulls Project. Bassist Rick Van Benschoten is an award-winning engineer and sound designer who's worked with the likes of Celine Dion, Amy Grant and Madonna. Cellist Matt Goeke walks in both the pop and classical worlds, playing with everyone from Church Of Betty and Voltaire to Musica Sacra and the Stamford Symphony. Drummer Gintas Janusonis has gigs with Carlos Santana, Erykah Badu, Angelique Kidjo and Tony Bennett on his resume. Suffice it to say the band is talented. Surgeland Records recently released End Of Ride Revisited, the latest offering from Paris-Keeling. Featuring guest appearances by Don Dokken, Carmine Appice, George Lynch, Shane Gaalaas, Erik Norlander and Al Pitrelli, it's an explosive album from a band we never seem to hear quite enough from.

End Of Ride Revisited opens with Tears Of Heaven, wrapped in crunchy guitar, arena rock vocal triads and a pointed vocal about the evils of war. This is a great bit of ear candy for classic rock fans with Don Dokken sitting in, but has enough commercial sense to find a niche even today. Head Straight is a live recording that gives you a good idea of how the band sounds in concert; it's a decent sound that's right at home in an arena. Free is a poignant musical moment, built on piano and some gorgeous instrumentation wrapped around Paris' dynamic vocal line. End Of Ride (Suite) sounds like David Coverdale or some other icon of 80's glam rock singing with the Beatles. The structure and composition is pure Fab Four, but the iconic flair of the 1980's is overpowering. This is a great tune that stretches the stylistic boundaries in unexpected and welcome directions.

Morning Song is a bit befuddling. It could be a love song or a prayer, and it's never made entirely clear throughout. It's a lovely song, with orchestration and a melody that will stick with you. These Days is a tuneful rocker that features some blistering guitar work from Dokken axeman George Lynch. These Days has a swaying quality to it that makes it stand out, but Lynch provides an unbelievable solo here that absolutely makes the song. I've Found is a gorgeously arranged celebration of finding that special someone. The Beatles-style evident earlier on End Of Ride Revisited rears its head again here in a song with harmonies that are to die for. Don't Disturb The Occupants is a rollicking good bit of Rock N Roll; a let-it-all hang out tune perfect for a live show. This is most fun Paris-Keeling has on the entire disc based on the sound and energy and features Carmine Appice on drums. Telephone Line, written by legendary musician, producer and ELO front man Jeff Lynne, is perhaps the biggest highlight of the disc. Keeling works magic on the vocal line, and the arrangement/instrumentation is perfect. Paris-Keeling says goodnight with Alive, celebrating the things that really matter, regardless of the whims of day-to-day life. It's a grateful song for all that has come and for still being here to enjoy it all.

I have to say I was surprised by End Of Ride Revisited. I'd never heard the original End Of Ride, but was expecting a straight classic rock album from Paris Keeling. What they delivered is much more textured and nuanced than your typical 1980's Rock band experience. Paris-Keeling a true song smiths, writing in a sound that is undervalued at times for its quotient of significant, lasting songwriting. End Of Ride Revisited has a couple of holes here and there, but as a listening experience it transcends expectations and delivers a sound and style that crosses generations, boundaries and demographics in the way that most modern rock bands never even imagine much less produce. This is great stuff!

Rating: 4 Stars (Out of 5)

You can learn more about Paris-Keeling at www.myspace.com/pariskeeling or http://www.pariskeeling.com/, where you can order a copy of End Of Ride Revisited.

Review: Human Nature - Reach Out

Human Nature - Reach Out
2009, Sony Music

Forget about the world-wide follow or Las Vegas stage show. You know that any Motown/R&B cover band endorsed by Smokey Robinson has got to be good. Human Nature is that band. Starting out nearly two decades ago in Australia, Human Nature has taken a love of classic Motown music and turned it into a world-wide phenomenon with eight albums generation millions of sales in CDs, singles and downloads around the world. Originally known as the 4Trax Brothers, the band changed their name when they signed with Sony Australia. Human Nature went triple-platinum with their debut album, Telling Everybody (2006), earning support spots for Michael Jackson and Celine Dion for their Australian tours and being asked to stay on for European legs for both artists. Human Nature's stature continued to grow and they were honored to perform the Australian national anthem at the 2000 Summer Olympics in Sydney along with Julie Anthony.

Originally a boy band, Human Nature decided to try a more adult sound for their 2005 Australian release, Reach Out. Reach Out reached #1 in Australia and has been certified platinum five times over. Human Nature made their first adventure to the United States in 2008 with their Motown show, with a two-month stay at Atlantic City's Tropicana Casino. 2009 finds Human Nature with an extended engagement at Las Vegas' Imperial Palace Hotel, and the release of Reach Out in the United States.

Reach Out opens Reach Out I'll Be There, originally performed by The Four Tops. Human Nature could almost be mistaken for The Four Tops at the height of their game, and Reach Out I'll Be There is a spirited and faithful cover. You Keep Me Hanging On (The Supremes) keeps the vibe going; the harmonies here are spot on Human Nature keeps the song moving along nicely. Marvin Gaye's I Heard It Through The Grapevine hits the perfect notes on the arrangement, but the vocal line just can't compare to Gaye's original. Smokey Robinson himself makes a guest appearance on Get Ready; proving he can still sing but not really meshing well with Human Nature who threaten to overpower his sweet falsetto. One of the highlights of Reach Out is the cover of The Temptations' The Way You Do The Things You Do. This is a classic song that would be hard to ruin, but Human Nature is inspired and inject the song with a new energy that is virally infectious.

Human Nature packs in another highlight with My Girl (The Temptations); staying very close to the original but altering the vocal harmony work a bit and actually enhancing the sound. The Jackson 5 are represented here, a perhaps unwitting tribute in light of the tragic death of Michael; ABC is done with the vivacity of the original, but the original is so iconic that all covers fall short. Ain't No Mountain High Enough (Marvin Gaye & Tammi Terrell, Diana Ross) is decent; I didn't get the same sense of energy on this tune as on much of the rest of the album, but it still comes across okay. Dancing In The Street (Martha & The Vandellas) refreshes the classic tune with a chart-worthy performance, although it doesn't have the pure hubris of the Mick Jagger/David Bowie version recorded in 1985. Human Nature closes out on River Deep, Mountain High with guest vocalist Mary Wilson (The Supremes). This turns out to be the best track on the disc. Wilson can still bring it with the best of them, and Human Nature wraps their voices around hers in a bit of Motown heaven.

Reach Out is essentially a re-release, although it's new to audiences in North America. It's a first class cover album with an outstanding guest appearance by Mary Wilson and a strong one by Smokey Robinson. The way for this show coming to the US was likely paved by Broadway's Jersey Boys, and handles the classic hits of Motown in similarly reverential fashion. What a way to celebrate the 50th Anniversary of Motown; an album full of the spirit that Motown always exuded from folks who love the songs and treat them with the respect they deserve. Human Nature is a first-class vocal group, and the performances here are generally top-notch. Make sure you check out Human Nature's Reach Out; and if you're in Vegas, see the stage show!

Rating: 4.5 Stars (Out of 5)

You can learn more about Human Nature at their webpage or on MySpace. Reach Out is available on CD in North America exclusively through Barnes And Noble. Downloads can be purchased from iTunes. Reach Out will go into wider release on CD on February 9, 2010. Human Nature is appearing at the Imperial Palace Hotel in Las Vegas through May of 2010. Information about the show, including ticket info is available through http://www.humannaturelasvegas.com/.

Review: Christopher Boscole - Presents Of Angels

Christopher Boscole - Presents Of Angels
2007, Christopher Boscole

Hawaii's Christopher Boscole is a composer, arranger and pianist who has six albums under his belt encompassing a twenty year career spanning New Age, Classical and Jazz. Boscole was recently nominated for Solo Piano Album of the Year at Whisperings Radio for his latest effort, Presents Of Angels. We had an opportunity to check out Presents Of Angels recently. Let's take a look!

Presents Of Angels opens with Once In Time, a searching piano peace with a gorgeous primary theme and wonderful texture in the left hand. As a solo piano piece it goes beyond the usual easy listening piano material we hear, showing real structure and at least a hint of narrative nature. Country Hymn has hints of a cinematic nature to it, sounding like the opening them music to a movie filmed in a pastoral setting, or transitional music that follows over-time actions that help to move plot. There is a real sense of movement here and a pleasant melody to ride along. Hoedown Jig doesn't really end up sounding much like its title, but has a lively feel to it that will have you moving in your seat. There's a distinctly popular feel to this song, like there might be lyrics and instrumentation out there somewhere that would turn this into a Pop/Rock song.

Angel Of Bliss once again finds Boscole treading into cinematic grandeur. If you listen closely you can almost hear the orchestral arrangement take shape around the piano. Boscole displays a real sense of presence at the piano, and an ability to move the listener along with him. Presents Of Angels has an uplifting nature while maintaining a highly composed "voice", speaking of joy from a place of peace. The Heart Is The Home has an airy feel, like a pop ballad without words. You could hear someone like Celine Dion making serious hay with this melody. Boscole wraps up with Once Another Time, a meandering and pensive tune that revisits the same textured and rhythmic form of Once In Time on the left hand while expanding on an almost ethereal theme with the right.

Presents Of Angels is a bit more than your usual instrumental piano recording, particularly when Christopher Boscole finds an inspired theme. There are a few creatively mellow songs on Presents Of Angels, but most of the time Boscole is right on top of his game, pushing and pulling and striving to find the smallest moments within each composition and make them shine. More often than not he succeeds brilliantly.

Rating: 4 Stars (Out of 5)

You can learn more about Christopher Boscole at his web page or on Facebook. You can purchase Presents Of Angels as either a CD or download through CDBaby.com.

Review: Aaron Barnhart - Missing Pieces

Aaron Barnhart - Missing Pieces

2009, Bonded Records/Fontana Records/Universal Music Group

Aaron Barnhart is on a track for big things. His debut album, Missing Pieces, came out in May on “Indie” label Bonded Records. Indie is in quotes because Bonded is owned by UMG, but that’s an article for another day. Barnhart is being put out there as the next teen dream, and he may well be. With production by Stuart Brawley (Michael Jackson, Don Henley, Celine Dion, Josh Groban), it’s clear that the folks at Universal Music are betting heavily on Barnhart’s success.

Missing Pieces opens with Day In Day Out, featuring a hook-filled, alt-pop melody that will stay with you. Barnhart has a voice you want to listen to and has a very radio-friendly writing style based in piano-fueled Rock and ballads. Missing Pieces is a song of angst; a passive generational missive on all that isn't happening. Barnhart sounds a bit like John Ondrasik of Five For Fighting here. Painkiller is a non-traditional love song written in a Southern Rock style that you won't soon forget. One More Second Chance is fairly typical as a ballad except that it sounds like it might have been originally written as a country tune.

The Water's Edge is my favorite song on Missing Pieces, an impassioned tune that longs for redemption in the revival of a failed relationship. The Water's Edge is a beautiful piano-based ballad that misses the syrup boat and may gain a lot of attention for Barnhart. Another Day is a close second for favorite song; a 1970's style rock tune with orchestral aspirations where Queen meets Chicago. The vocals here show Barnhart as his most dynamic.

Aaron Barnhart has an ability to connect with the listener even though a medium as cold and distant as a CD. His voice, at his best, is highly memorable, particularly as he moves into his upper range. Missing Pieces is aptly titled. When songs work they're amazing, but there are a few songs here that just don't. Barnhart's sound has distinct commercial potential, and his continued development as an artist will give him great opportunities to realize that potential. Missing Pieces is a strong start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Aaron Barnhart at www.myspace.com/aaronbarnhart or http://www.aaronbarnhart.com/. You can purchase Missing Pieces at Amazon.com, or download the album through iTunes.