Caitlin Canty - Neon Streets

Caitlin Canty - Neon Streets
2010, Caitlin Canty

Vermont native and New York City resident Caitlin Canty spent a number of years singing backup and working the production booth before stepping to center stage. The resounding cry from crowds on New York's Indie scene has been "What took you so long?” Canty charms with a soothing delivery and intimately soulful voice, earning comparisons to Patty Griffin, Jack Johnson and Norah Jones. Canty recently released a collaborative EP, Neon Streets, with instrumental backing from string-rockers Darlingside. The album was co-produced by Darlingside and Canty, and is the first of four collaborative EPs in the works for Canty.

Neon Streets opens with "Halo", a declaration of independence of sorts based in cynicism about faith and a natural distrust of things than cannot be seen. Canty has crafted a gorgeous melody here and an almost anti-McLachlan arrangement steeped firmly in acoustic instruments that somehow reaches for the same ethereal sound. "Neon Streets" is a remarkably pragmatic tune about fears and common sense; failing to acknowledge threats until they threaten. You might call it an anthem for quiet bravado. Canty has a low-key, cool delivery that's as convincing as the lyrics here and a pleasant voice that wants to straddle the gap between an alto's depth and a soprano's grace.

Canty explores the existential angst born of the transition between youth and adulthood in "Shore", where opportunities abound and it’s never clear which doors are already closed. The song is reflective of a generational ambivalence born of broken dreams and fear of the future. "Thin Moon" uses the weak light of a waning moon as a parallel of a relationship guttering in the currents of two lives moving apart. Canty's depiction here is stark and haunting, laden with emotion and yet apart from it all at once. "Two Hands" is an ode to independence; to not needing someone else in your life to be fulfilled. It's a brilliant tune that's self affirming and highly melodic. Neon Streets closes with "Carried Away", hitting the essence of longing and beauty in a stark arrangement that's reminiscent of early Ani DiFranco.

Caitlin Canty impresses with Neon Streets. Her low-key approach belies an intensity that emanates from Canty like heat from a furnace. Canty's focus is piercing at times, a quality that should come through even more clearly in the live environment. Her ability to project that feel even in pre-recorded media is unusual. There's little doubt that Caitlin Canty has a future in music; it's more a question of getting the right opportunity. That being said, Canty isn't going to blow anyone away musically. It's simply not her style, but her quiet musical resolve will certainly turn some heads.

Rating: 3 Stars (Out of 5)

Learn more about Caitlin Canty at http://www.caitlincanty.com/ or www.myspace.com/caitlincantymusic.  Neon Streets is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

SJ - I Like You/Lo Mejor De Mi

SJ - I Like You/Lo Mejor De Mi

2010, Acoustic Soul Records (8/31/10)

Miami Beach, Florida singer/songwriter SJ is relatively unknown, but has already earned comparisons to artists such as Jack Johnson, John Mayer and James Blunt. SJ's first single, "I Like You" displays a deft touch for melody, lyrics and an inherent pop sensibility that's like to have major record labels calling at his door. It's an innocent love song that lacks the narcissistic pretense of many pop ballads currently on the radio. Delivered in an acoustic arrangement, "I Like You" is the sort of song that can catapult an artist from unknown to world renowned overnight. SJ also offers a spanish-language version, "Lo Mejor De Mi", a move likely to broaden his popular appeal. Don't be surprised if "I Like You" is all over the radio soon.

Rating: 5 Stars (Out of 5)

Learn more about SJ at http://www.sjacoustic.com/ or www.myspace.com/sjacousticmusic.  "I Like You" and "Lo Mejor De Mi" drop on August 31, 2010.  I Like You (Radio Version) and Lo Mejor De Mi are available for pre-order from Amazon.

Review: Justin James - Perfect Sometimes

Justin James - Perfect Sometimes
2010, Gold Sky Records

Sometimes it takes a tragedy (or near-tragedy) to open doors. So it was for California surfer/singer/songwriter Justin James. James suffered a shark attack several years ago, losing massive amounts of blood and setting him up for a year-long bout of recovery and rehabilitation. The gift of an acoustic guitar during that time became James’ greatest passion, and a new path was born. James celebrates the remaking of himself with the release of his debut album, Perfect Sometimes in 2010.

James shows the potential to be an entertaining and engaging performer on Perfect Sometimes. Opening with the title track, a catchy, silly little love song that’s a perfect introduction, James establishes himself in the same vein as John Mayer and Jack Johnson. The only down side to this is that it becomes very apparent at points throughout the album that a fair amount of digital manipulation of James’ voice is occurring, making it difficult to know what is live and what is AutoTune. “Beautiful Crime” is radio-ready pop with elements of soul and a light dance beat. The song is a bit formulaic but is a likely winner at pop radio. “Stay Close To Me” is also highly radio friendly, featuring a killer hook and a sound that will have John Mayer fans doing a double take the first time they hear it. James hits a rough patch in the middle of Perfect Sometimes, with tracks such as “Sometimes”, “Deeper Waters” and “Missed Again” coming off a bit bland.

James makes something of a comeback on “You Don’t Know Me”, a lively mid-tempo rocker with a decent hook and perhaps a small commercial upside. “Moonlight” is a dreamy samba that sounds nice but carries no emotional weight. James’ finest moment comes on "Gypsy Girl", a highly enjoyable song delivered in a solid Americana arrangement. Perfect Sometimes bows with “On My Way”, a sweet pop song that bookends the album well. This is one of those tunes that doesn’t bowl you over, but goes down as easily as a cool drink on a warm summer afternoon. It leaves listeners with a good last impression.

Justin James shows flashes of what he might become on Perfect Sometimes. The songwriting is a bit uneven throughout the album, but James’ better moments are definitely worth checking out. Don’t be surprised if James sees modest commercial success out of Perfect Sometimes, but there is real growth potential here. It will be curious to see where James goes next.

Rating: 3 Stars (Out of 5)

Learn more about Justin James at http://www.justinjames.com/ or www.myspace.com/justinjames. Perfect Sometimes is available as either a CD or Download from Amazon.com.

Review: Barefoot Truth - Threads

Barefoot Truth – Threads
2010, Barefoot Truth, LLC

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

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

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

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

Rating: 3.5 Stars (Out of 5)

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

Review: Howard Jennings - Ready To Listen

Howard Jennings - Ready To Listen
2009, Howard Jennings

New York City based singer/songwriter Howard Jennings carries the mantle of “the next Dave Matthews”, the 437,826th performer to carry that title in the past five years. Comparisons have also been made to Jack Johnson, Bob Dylan, Neil Young and Tom Petty. This all means that either Jennings is a wildly talented songwriter or that he sounds so much like most other young male singer/songwriters these days that it will be next to impossible for Jennings to distinguish himself. After listen to Jennings EP, Ready To Listen it’s safe to say that Jennings will distinguish himself quite nicely, even if the comparisons above are more about marketing than sound.

Ready To Listen opens with “I Belong To You”, a celebration of coming home to the one you love after being the road. There’s also a tacit acknowledgment here that such homecomings don’t happen often enough. The song is offered in a great Americana arrangement that is memorable. “You And Me” is a catchy little rock n roll nugget. The other person is leaving town this time, but Jennings makes a declaration that he is not going anywhere. Jennings has a potential hit here. “Heart’s Point Of View” is a love song from someone who’s maybe already lost but can get her out of his head. The song borders heavily on cliché at times but is solid with a great melody. Jennings brings in the funk and soul on “Appreciate”, sounding more like John Mayer than anyone else. “Appreciate” has hit single written all over it. Jennings closes out with “Love And Luck”, returning to a folkier approach that is nearly anti-climactic on a solid but unremarkable tune.

Howard Jennings certainly carries a bit of charisma with him when he performs. This charisma even comes out in the recording process as displayed on Ready To Listen [EP]. Jennings recently toured with Rusted Root, but I suspect that if Chance smiles, it won’t be long before young acts are touring with Howard Jennings. Ready To Listen [EP] is very much worth making some time for.

Rating: 3 Stars (Out of 5)

You can learn more about Howard Jennings at http://www.howardjenningsmusic.com/ or www.myspace.com/howardjennings. You c an purchase Ready To Listen [EP] as either a CD or
Download from Amazon.com.

Review: Ted Garber - American Rail

Ted Garber - American Rail
2010, Ted Garber

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

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

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

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

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

Rating: 4 Stars (Out of 5)

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

Review: Griffin Anthony - Crazy Ways

Griffin Anthony - Crazy Ways
2010, Griffin Anthony

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

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

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

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

Rating: 4.5 Stars (Out of 5)

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

Review: The Corey Booth Project - I'll Be Honest, I'm A Liar [demo]

The Corey Booth Project - I'll Be Honest, I'm A Liar
2010, The Corey Booth Project

Like most artists, Corey Booth's muse was built on the collective backs of his favorite artists growing up. Unlike many artists, Booth is exceedingly honest about his influences, ranging from Blind Melon and Alice In Chains to Violent Femmes, The Flaming Lips, Sublime and even Jack Johnson. On The Corey Booth Project's debut album/demo, I'll Be Honest, I'm A Liar, these influences interweave with a personal singer/songwriter style to craft refreshingly honest Pop music with a Post-modern twist.

I'll Be Honest, I'm A Liar is a purely DIY affair, offered up in the style of a home recording accomplished without professional equipment. The result is an album of well-meant but mediocre songs with lousy sound quality. Even if the material here were better, many listeners would be miffed at paying for such a low-quality recording job. The energy throughout is not indicative of interest in the material, and the attempts at humor here are boorish rather than funny. Booth shows a couple of flashes of decent songwriting with Most Of The Time and Already Here. The opening and closing tracks (respectively) bookend a series of case studies in positive intentions and mixed follow-through. The flashes of potential might grow into something if they are nurtured.

Rating: 1.5 Stars (Out of 5)

You can learn more about The Corey Booth Project at www.myspace.com/coreyjbooth.

Review: Tommy Dempsey - 11:11

Tommy Dempsey - 11:11
2009, Tommy Dempsey

Tommy Dempsey is a product of the 1980’s power-pop machine that still seems to fuel a lot of what Rock N Roll is today. The Boston-based musician spent a number of years playing in bands (Sunshine Jive, In The Pink), but set out on his own in 2002. Dempsey’s latest album, 11:11 pays musical homage to his roots, but with eyes set firmly on the future.

11:11 opens with Gone Unanswered, a mid-tempo rocker that ponders the presence in our lives of those who have passed on. It's a powerful song with more questions than answers that plays on the edges of 1980's British New Wave with something of a Paul McCartney meets Jeff Buckley feel to it. Dempsey shows a great Pop sense on Everything At All, a tune that might have been a huge Pop hit in the early 1990's. Dempsey wends his way through Useless and Look Ma, No Machines, two pleasant sounding but essentially benign Pop/Rock tunes on his way to Keep Guard, a poignant look at the ways we protect ourselves in interacting with others. The melody here is somewhat tentative and is very memorable. The chorus in particularly is a beauty, the sort that will recur in your mind at odd times for days.

The Other Sock plays like a classic Pop/Rock song that would have been huge two or three decades ago. Dempsey has created a melody and feel that instantly ingratiates itself with the listener. Butterfly Cage has similar melodic qualities, but at nearly six-and-a-half minutes drags on a bit too long. The same can be said across the board for Underground. Dempsey closes with Hello Like Goodbye, an acoustic singer/songwriter tune that might just be the best work on 11:11.

Tommy Dempsey has an extremely pleasing voice to listen to, and seems to have more than a passing relationship with melody, song craft and a sense for writing distinctive Pop songs, but he gets a little lost in his own creativity at times on 11:11. The end result is a pleasant but undirected album that vacillates between shining moments and long, drawn out songs that become difficult to get through. Dempsey writes Jack Johnson style songs with a New Wave feel, giving him a calling card on the competition in the singer/songwriter market, and will achieve the most success where brevity wins out. In the mean time, 11:11 is a great start from a talented artist who is still refining his craft.

Rating: 3 Stars (Out of 5)

You can learn more about Tommy Dempsey at http://www.tommydempseymusic.com/ or www.myspace.com/tommydempsey. According to Dempsey’s website, 11:11 should be available “this fall”, but no online availability is noted. Keep checking his site for availability. (Photo credit: Kiva Hamerling; Photography By Kiva http://www.photographybykiva.com.)

Review: Every Boy - The Last Lala's

Every Boy - The Last Lala's
2009, Every Boy

New York City-based Every Boy has a lot of musical friends. His debut album, The Last Lala's features Ben Peeler (The Wallflowers), Tom Freund (Ben Harper), Brian LeBarton (Beck) and Adam Topal (Jack Johnson). Produced by Grammy winner John Holbrook (Pink Floyd, The Rolling Stones, Natalie Merchant, The Isley Brothers, Fountains Of Wayne) and Freund, The Last Lala's mixes a Zen approach with an eclectic Pop sensibility in its best moments.

Every Boy opens with Life Is For Living, an interesting tune about the important things in life. Every Boy's vocal delivery is somewhere between Peter Gabriel and James Blunt here. The most enjoyable song on the disc, Im2b, is highly catchy with a Beatles-inspired sound. Im2b has real potential as a single; infectious enough to catch hold on the radio with the right break. Every Boy treads the path of relationship insecurity on Would You Still Love Me?; exploring all of the things he could do or become and asking whether his beloved would still love him. The vocal line gets lazy here, with Every Boy sliding around notes like they were theoretical concepts. Chinese Wine sounds like a Frat house rant, falling prey to its own repetition. Every Boy makes a positive turn on Keep On Keeping On, displaying strong Pop sensibility and a sing-a-long chorus. Lyrically there are some awkward moments, but the song is so catchy you won't care. Every Boy says goodnight with Unturn Every Stone, a ploddingly melodic tune that perhaps takes a bit too long to get where its going but isn't bad for all that.

Every Boy hits a couple of high moments on The Last Lala's, but spends much of the album mired in mediocre energy and an easy going approach that fails to reach out to the listener. It's clear that Every Boy has the talent to write and play great music, but too often on The Last Lala's easy choices beget easy music, resulting in songs that slip away from the mind easily once they're done. Take what you can from The Last Lala's and see what Every Boy comes up with next.

Rating: 2.5 Stars (Out of 5)

You can learn more about Every Boy at http://www.everyboy.net/ or www.myspace.com/everyboyrocks. You can purchase The Last Lala's as either a CD or Download from Amazon.com.

Review: The Peace - PEACE!!

The Peace - The Peace
2009, Hip Folk

The Peace are blazing the trail of a new genre called Hip Folk in some circles and Hippy Hop in others. It's a blend of traditional folk music and Hip-Hop, generally played on acoustic instruments but maintaining the lyrical and rhyming tendencies of Hip-Hop & Rap. Think Jack Johnson and Jay-Z sitting down to lunch at Jason Mraz' house and you'll have the general idea. Bobby Kendes is the founder, writer and voice of The Peace, and blends a lifetime of musical influences into an intriguing musical stew on The Peace's debut album, The Peace.

The general makeup here is spoken/rap verses and choruses that are sung. The rhyming style is almost stream-of-consciousness at times and covers the whole range of human experiences, generally with a positive worldview. The Peace kicks things off with This Is Life, a song that lays out life in a series of one-line vignettes covering everything from birth to death. The experiences shared here are universal enough that most listeners will find something familiar, and the song has its own inherent charm that will draw you in. Seven riffs on references to the number in legend, superstition and popular culture. The song is catchy and novel, but feels more like an exercise in writing than a serious composition. Heaven is a musical daydream about all the people you might meet in the afterlife, offered as a near death experience.

The Peace takes time to introduce themselves Hip-Hop style in Rookie And The Vets, a Reggae flavored musical bio that gives credit to the makers of all the different styles and sounds that informs Kendes' writing. The song is very well done; a great listen. The 11th Letter is interesting because it sounds more like an old Doors tune than anything else; the lyrics are a bit repetitive but the song is musically interesting and just a tad unique. Thank You comes across as space filler on the album, essentially taking the thank you's section from the liner notes and turning it into a musical montage. Free is similar to the song Seven in that it's more of a riff or writing exercise than anything else, but it's a fun listen. The Peace closes out with a change of pace on Your Heart, something of an ecumenical love song. It's the sort of change-up that really focuses your attention on what you've just heard while hinting at new horizons to come on future recordings.

I was a bit skeptical of The Peace when I first encountered them, but I have to say that I really enjoyed The Peace Hybridization is the new medium for creating "new" sounds and styles, and there's a lot of bad musical marriages out there, but The Peace are on to something here. The Peace is a highly listenable and enjoyable experience. Give it a chance.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Peace at http://www.thepeacemusic.com/ or www.myspace.com/thepeacemusic. You can purchase The Peace as either a CD or download through the HipFolk Store.

Review: Mitch Barrington - Life In Colour EP

Mitch Barrington - Life In Colour
2008, Mitch Barrington

Mitch Barrington is an 18 year old singer/songwriter from Queensland, Australia who has been working much of his life to become a musician. Stepping into a studio for the first time at the age of 17 he cut tracks for what would ultimately become his debut EP, Life In Colour. In March of 2009, Barrington won the Battle Of The Bands on Sea FM, one of the highest rated radio stations in Australia, and continues to gain fans both through shows, sporadic airplay and word of mouth down under. If Life In Colour is any indication, Barrington is going to be making music for a long time, and on more continents than just his own.

Life In Colour opens with No Matter What, a mellow, mid-tempo Pop/Rock tune with more sway than Rock to it. There is a sneakily addictive air to this song, with it's melody that's bound to get caught up between your ears. The declaration of the song is bound to score some points with the romantically inclined; don't be surprised if Barrington finds this song licensed for prime-time television. Trying To Fly reminds me a bit of Jason Mraz, although Barrington has a deeper vocal sound. This is a very catchy tune in spite of the slower tempo; a potential hit. Paradise has a fuller sound, aided by percussion and bass in addition to Barrington's acoustic guitar. The resemblance to Jason Mraz is more notable, but this is a song that doesn't need artist comparisons to sell itself. Paradise is a great bit of Pop/Rock songwriting. Barrington closes out with Tomorrow in a ready-for-radio Pop/Alt-Rock arrangement.

Mitch Barrington is a plus singer with songs made up of strong lyrics and intricate instrumentation (even when it's just acoustic guitar). Life In Colour is an exciting introduction to Mitch Barrington; one that leaves us looking forward to what comes next.

Rating: 3 Stars (Out of 5)

You can learn more about Mitch Barrington at www.myspace.com/mitchbarrington, where you can purchase a copy of Life In Colour directly from the artist.

Review: Taylor Carson - Standing Alone

Taylor Carson - Standing Alone
2008, TAC Records

Arlington, Virginia’s Taylor Carson is another singer/songwriter in the Dave Matthews/John Mayer/Jack Johnson vein, a purveyor of bed sheet soul and folk. 2008 saw a breaking away of sorts for Carson, who after two albums with a full band decided to truly take the stage for himself on Standing Alone. The album is essentially just Carson and his guitar, and he makes the most of the opportunity by delivering highly emotive and personal songs in folk/rock arrangements for one.

Standing Alone opens with Fade Away, a wonderfully well-written song about the uselessness of dwelling in the past. Fade Away is intelligently conveyed in a gorgeous acoustic guitar arrangement. Fly bears out the fact that Carson has a bit more texture to his voice than the folks mentioned above, but the vocal style doesn't change much. Fly is a heartfelt ballad that doesn't fit to the typical Pop radio ballad form. Hips & Minds is a highly entertaining juxtaposition of the thinking and carnal aspects of human interaction and attraction. Carson is all out with his emotions on every song thus far on Standing Alone, proving the title to be more than just words.

Afraid stays with a highly emotive style with Carson going all-in on the emotionally wrenching vocal line in a song about loss. The arrangement works well, with Carson providing a rhythmically varied guitar background. Chances carries a positive message about reaching for your dreams and is probably the song on Standing Alone with the greatest licensing/commercial potential. Heavy (The Whiskey Song) is all about taking solace at the bottom of a bottle at the loss of a love. The idea is a bit cliché, but the song is well written, and Carson's raspy voice is the perfect tonic here. Taylor Carson hits a high on The Way You Walk Away, a sweet come-on song that has real commercial potential. The folk arrangement here is great, but with a full-band sound and the Pop/Rock side of this song fleshed out a bit more I could see this song taking radio by storm. The album closes out with Understand Why, an introspective song about love and the fear of crossing the bridges that come with it. Understand Why is a bit of mix-tape magic that will gain Carson a lot of fans.

Taylor Carson doesn't have a pretty voice, but it's an interesting voice that keeps you listening. The raspy textures of his vocal lines work with his emotive style to create a dramatic sense in even the slower songs presented on Standing Alone. The songwriting here is excellent, although I would like to hear what a full band would do with these songs. Taylor Carson has a real future here. Standing Alone is a great start.

Rating: 3.5 Stars (Out of 5)

You can learn more about Taylor Carson at http://www.taylorcarson.com/. You can purchase a copy of Standing Alone at www.cdbaby.com/carsontaylor.

Review: Brydan Smith - Blue Skies EP

Brydan Smith - Blue Skies EP
2009, Brydan Smith

Brydan Smith is a Burlington, Ontario, Canada-based singer-songwriter with a penchant for serious, reserved songwriting and a pleasant voice. His debut CD, Blue Skies EP, will spark comparison to Ray LaMontagne, Jack Johnson, Dave Matthews, John Mayer, The Decemberists and perhaps even Nick Drake. Brydan Smith was inspired to pursue a career in music after seeing LaMontagne live a few years back, hoping someday to touch listeners the way LaMontagne’s music touched him.

Blue Skies opens with the title track, a pleasant listen that just didn't leave much of an impression other than the fact that Smith sounds a lot like Jack Johnson. Whiskey Dreams is a low-key folk tune about the urge to drown worries while working to climb out of the bottle and trying to live again. The song is very real to life and doesn't really convey a lot of hope that things will work out. Come Down features a soulful but repressed vocal from Smith. It's a great listen, although I'd like to hear Smith come out of his shell a bit more on the vocal line. Marianne is very similar in presentation; it's almost as if Smith the singer is holding back. The song itself is a beautiful tune, but the presentation here just doesn't quite do it justice; almost like a spoken word tune with accidental fluctuations in pitch. Bring Us Down doesn't change the direction of the album at all as the closer, sticking with a similarly monochromatic scheme.

Brydan Smith has a decent voice and a lot to say, but song construction and melody lines are too similar from song to song, and too compressed in range and dynamics to be very listenable over the course of an album or even an EP. There's almost a sense of monotone (ala Steven Wright) that pervades Blue Skies, a title that one might suggest is meant to portray hope for the future or better days ahead. Smith is a talented lyricist, but the presentation of the songs can be tough to tackle.

Rating: 2.5 Stars (Out of 5)

You can learn more about Brydan Smith at www.myspace.com/brydansmith, where you can purchase tracks from the Blue Skies EP. No word yet on CD distribution.

Review: Metheus Bound - Stirring The Insides

Metheus Bound – Stirring The Insides
2008, Metheus Bound

Toronto Indie Rock quartet Metheus Bound bring social conscience and an intellectual approach to songwriting to both stage and studio, as evidence by their debut album, 2008’s Stirring The Insides. With a title inspired by Zeus’ punishment of Prometheus for showing man how to use fire, Metheus Bound has more than a little to say about the power that the political and economic elite use against everyday people, and the power of art to hold back the night, as it were. Combine these high ideals with a melodic style drawing on influences from Jazz to Funk to Rock to lyric balladry, Metheus Bound will make you stop and listen.

Vocalist James Everett has a bit of crooner in his soul, and Metheus Bound has a highly refined, smooth jazz sound. Stirring The Insides opens with What’s Been Done, a vaguely funky jazz fusion piece at home in the late-1970s. Capture is melodic and smooth with a great vocal/harmony mix. Think For Yourself is very well written musically, but shows the ultimate paradox of political correctness, berating those who have chosen a philosophical, religious or political system based on consideration of positions for not thinking for themselves. Metheus Bound pulls in some great Chicago-style horns on songs like Stir and Life.

Jilt is one of my two favorite songs on the disc; sounding a bit like early Paul Simon stylistically. There’s a real minimalist bent here, and it marks a very human turn on the CD. Jilt is the ninth track on Stirring The Insides. Up until that point there is this highly smooth, jazz feel throughout the disc that is so slick and highly produced that it loses its human element. Jilt is a major turning point. Compassion For Pride is another benchmark song. This wonderfully dark and textured ballad with minimalist arrangement is the best song on the disc. Other highlights include Prince Afka, Ronda’s Turkish Prison and Stef’s Song.

Metheus Bound is very slick and professional on the jazz fusion material, but when James Everett breaks things down and lets his inner singer/songwriter come out the results are fabulous. The two sides battle for prominence on Stirring The Insides, with the fusion side having a highly marketable sound but lacking a real human element, whereas the singer/songwriter material is much more compelling. Stirring The Insides is an interesting listen.

Rating: 3 Stars (Out of 5)

You can learn more about Metheus Bound at http://www.metheusbound.ca/ or www.myspace.com/metheusbound. You can purchase a copy of Stirring The Insides at www.cdbaby.com/cd/metheusbound.

Review: Hiram Ring - Breathe Deep

Hiram Ring – Breathe Deep
2009, Ring Records

Hiram Ring is a Lancaster, Pennsylvania based singer/songwriter with a strong Contemporary Christian bent and a sound that’s been likened to Ray LaMontagne and Jack Johnson. Growing up in far-flung places such as Ghana and Afghanistan, Ring has viewed various cultures from both inside and out, giving him an unusually universal sense of the world. This comes across on Breathe Deep, his solo debut on his own imprint, Ring Records. Breathe Deep is built upon Ring’s Acoustic Folk sound and his love of African Rhythms; melding two distinct sounds into one you won’t forget.

Breathe Deep opens with Go From Here, a great Folk/Americana arrangement. Ring’s bright and airy vocals are a pleasure, making each song go down like sugar water. Go From Here uses great visual imagery to tell a story about navigating the waters of life. What runs deep through Ring’s music is a Christian faith that Ring fails to beat listeners over the head with. It’s not so much like Ring is proselytizing through his music; he’s telling you stories about his life, and that faith happens to be a part of who he is. This may open up Ring’s music to folks who won’t usually go within several yards of a Contemporary Christian CD. And well it should, because even if you don’t agree with Ring’s beliefs you’re going to appreciate his ability as a songwriter and word smith. Plays Switch is rhythmic with cogent lyrics delivered in that easy vocal style that Ring possesses. Chasing Shadows is highly enjoyable; setting a seedy tone from the opening notes that is perfect for the song, which is vaguely bluesy. This is wonderful writing.

Living Water is an overt statement of faith that is stated intelligently without forcing Ring’s ideas on the listener. Consider it like a diary entry set to music. Ring shines here by appealing to thought rather than the shallow emotion that much popular Praise music hooks into. Voices is an amazing song about conscience that is one of the stars of Breathe Deep. Another is One Girl For Me, a sweet love song set to a jazz arrangement. Ring is in perfect voice here. Breathe Deep stays with the jazz flavor in a true crooner moment. Ring saves his best for Eternity, a call to walk together into forever. This could be a song from a creator to the created of from one person to another (as a love song), depending on how you hear it. Either way you hear it the song is inspirational and powerful. Those hearing it as a love song with have it on mix tapes, and those hearing it as a call will be substantially moved. I Am Not A Thief is another powerful entry that extends far beyond its religious connotations. The song is artfully delivered in a folk/rock arrangement you won’t soon forget. Ring closes out Breathe Deep as he started, in a Folk/Americana style on I’m On A Journey. It’s a classic folk song with religious or philosophical implications that is worth contemplating regardless of your perspective.

Readers of this blog have probably picked up on the fact that I can be a little cynical of Contemporary Christian artists, and also that I am not afraid to offer kind words when one overcomes that cynicism. Hiram Ring overcomes it by leaps and bounds. Ring writes and sings music about what he knows, believes, feels and sees. The music is allowed to become what it’s meant to be, artistically mature and intelligent songs that happen to have Christian themes, rather than music slapped together around a forced message. Hiram Ring could easily excel in either CCM or secular markets because the music is honest. Breathe Deep is an incredible listen. It’s a Wildy’s World Certified Desert Island Disc, and it’s worth checking out.

Rating: 5 Stars (Out of 5)

You can learn more about Hiram Ring at www.myspace.com/hiramring or http://www.hiramring.com/, where you can purchase a copy of Breathe Deep. You can also download Breathe Deep through Amazon.com and iTunes.

Review: Lisa Jaeggi - Demo(nstration)

Lisa Jaeggi – Demo(nstration)
2008, Lisa Jaeggi

Brooklyn-based singer/songwriter Lisa Jaeggi describes her style of music as skateboard acoustic soul. The daughter of Swiss and Japanese parents grew up in the suburbs of Washington, D.C. and attended Guilford College in North Carolina on her way to New York City. In spite of referring to Justin Timberlake as a genius in her media bio we still think she’s pretty cool and talented. Jaeggi’s CD Demo(nstration) is self produced and very compelling. Let’s check it out.

Jaeggi draws from disparate influences including Lauryn Hill, Citizen Cope, Jack Johnson, Sam Cook and Bob Marley; it’s fair to say that you should leave your expectations at the door. Jaeggi marches to her own drummer and you’re better off just trying to keep up with her rather than getting bogged down in pre-conceived notions. Jaeggi opens with Oh Lady You Shot Me!; a gritty folk-pop song reminiscent of Fiona Apple. Up next is You Can’t Spell Believe Without Lie, a lyrical wonder supported by just Jaeggi on guitar. Empirical Science is performed in a talk-sing style similar to that practiced by Nellie McKay but with a darker depth. Men-Like Gods is a compact and catchy song that would greatly benefit from additional instrumentation. The recording offered here is great for a demo, but this song begs for a fuller sound.

Vendetta is a bit of acoustic hip hop that wants desperately to be a big time Rock N Roll anthem. This may the breakout song that Jaeggi needs. With a good band behind her this could become a monster. The CD also includes Tell His Mother, Somebody Else and The Bard, all of which are fine compositions but perhaps not as dynamic as the rest.

Lisa Jaeggi is lyrically brilliant, mining every day topics like a true story teller. Jaeggi finds that nugget in a topic that either you didn’t think it, or finds a different light to shed on it than you might have considered. Vocally she exudes a strong, warm voice that stands up to anything you’ll hear on the radio. The musical arrangements on Demo(nstration) are spare, with Jaeggi providing guitar or keys are need. The base arrangements are excellent, but some of the material here would definitely benefit from the fuller arrangements a band could provide. Pay attention to Lisa Jaeggi, you’ll be hearing from her again. Talent like this doesn’t stay hidden for long.

Rating: 4 Stars (Out of 5)

You can learn more about Lisa Jaeggi at www.myspace.com/lisajaeggi. Perhaps you can talk her into selling you a copy of her CD, Demo(nstration). It’s worth having.

Review: Bailey - Burden The Hand

Bailey - Burden The Hand

2008, Baileymusic

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

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

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

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

Rating: 3.5 Stars (Out of 5)

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