Fear, Comfort and Dirty Smile(s)

It’s a scary world; A world full of people who are willing to castigate you for what you believe, or worse.  It doesn’t really matter what side of the political, religious or philosophical spectrum you’re on.  We in the United States live in a country started on the basis of freedom.  Puritans left Holland/England seeking freedom to believe in and worship God in the fashion they wished rather than in the manner prescribed by King James.  The founders of the United States wrote the Declaration of Independence, the United States Constitution and the U.S. Bill of Rights to specifically codify U.S. objections to rule by kings, tyrants and despots. 

Now we live in a nation where our leaders act counter to the interests of the people.  Special interests and corporations write our laws.  If you speak out against the way things are; against the government, you need to be concerned about who will start going through your email.  If you have religious beliefs, you need to be concerned about who might want to kill you.  It’s a scary world.

So reminiscence and memory become an escape, and music is one of the keenest reminders.  It’s one of the reasons that cover bands are so popular on Friday and Saturday nights.  It’s the comfort of music you know from a band that delivers it in relatively faithful versions.  The next step beyond that is a band that writes original music that is wholly from another era.  That brings us today’s band, Dirty Smile. 

Dirty Smile is a Buffalo, NY band comprised of Megan Brown, Erik Eimiller, Jesse Raderman, Mike Suda and Gus Walters.  The band is as tight as a wire and plays a delicious blend of pop, rock and soul.  Elements of Fleetwood Mac and the early, Led Zeppelin-like sound of Rush abound on the band’s debut EP, Love Songs for the Damned: Volume I.  Megan Brown is an absolute revelation on the mic, belting out vocals reminiscent of Grace Slick and occasionally even Geddy Lee.  Her voice is beautiful and electric with a rough edge and smooth side: the complete package.  The rest of the band matches her step for step with a dynamic sound with deep 1970s and 1980s roots. 

“Don’t Lie To Me” is the lead track, and could fit in on the regular play list of any AOR station in the country.  The song also has a freshness that makes it ear candy for today, and it wouldn’t be surprising to hear this on pop radio or on a movie soundtrack somewhere.  The other big standout track here is “Mona Lisa”, which is really performed in two parts.  The backside of “The Vow” is an acapella take by Brown on the Nat King Cole classic, and becomes a transition into Dirty Smile’s original song of the same name.  Brown shines on both, showing a supple, classic vocal style on the former, while diving into a soulful pop/rock sound on the latter.  Other songs of note include “Siren” and “Insanely Ever After”.

Love Songs for the Damned: Volume I was mixed and mastered by Canadian Indie legend Ron Hawkins (Lowest of the Low, Do Good Assassins), and the finished product is edgy, but ultimately as smooth as a baby’s bottom.  It’s a terrific introduction for a rust belt band with dreams and aspirations, as well as a sound that should carry them far beyond their great lakes home.

Learn more at www.dirtysmileband.com.  

Check out the official video for the band's song "Siren" below!

Blue Eyed Sun - Tidal Sound

Blue Eyed Sun – Tidal Sound
2013, Blue Eyed Sun

Hailing from the deep woods of Northern Michigan, Blue Eyed Sun is not your typical rock band.  The highly musical trio, comprised of Brennan Leeds (guitar), Kenneth Fox (piano) and Casey Batterbee (drums), comes with high recommendations.  Four-time Grammy winner Michael Omartian once dubbed Leeds the next Paul Simon; Fox had written, self-recorded and produced a 14-track album by the time he was sixteen year old.  Casey Batterbee spent years playing with seasoned jazz veterans, but also brings influences such as Led Zeppelin and the Beatles to the table.  Together, Blue Eyed Sun creates a unique and memorable sound.  Blue Eyed Sun recently released their debut album, Tidal Sound, and it’s not like anything else you’ve heard in some time.

Tidal Sun opens with "Rocco's Song", a quirky bit of folk pop that's catchy in an almost socially backward fashion. Blue Eyed Sun sweep the listener up and carry them along on an irrepressible musical tide here.  "Fidelity Melody" is a hopeful love song that's a conditional promise of faith. The variegated musical topography of the song is a thing of beauty, and the almost geeky social affect of the song is charming.   "Given Name" is an intriguing rumination on the depth of relationships and human need.  There is a melancholy feel here that is palpable. 

 

"Make Friends" is social awkwardness set to a wonderfully angular folk/pop arrangement. Blue Eyed Sun show some progressive tendencies here with guitar and strings, and create a bit of musical magic in the process.   "Johnny Boy" is a lament about a friend who has gone beyond the veil. There's an unfinished quality to the song that seems intentional, resulting in a raw feel. The same aesthetic carries over into "Bucket", which sounds like a mix of Ben Folds and soul/pop. Blue Eyed Soul waxes poetic here on a mix of big dreams and ambivalent direction. 

 

"Please" channels a bit of early Jason Mraz in fuzzy, lyric garage arrangement. The mix is a bit uncomfortable, but Blue Eyed Soul keeps things moving so you don't have time to think about it.  The wheels come off a bit on "Panthers", a languorous and vaguely lost ballad that moves too slow and lasts too long. Neither vocalist in the band has perfect tone, a fact that is generally easy to overlook. In this sort of arrangement the imperfections are too apparent to ignore, however. "Mountains" suffers from a similar malaise, although there is more energy this time around. Blue Eyed Sun closes strong with "Tidal Sound", a swarthy ballad with a positive message. The boys of Blue Eyed Soul aren't afraid to change things up and do the unexpected, and here they exchange lyricism, angry rants and moments of true beauty all in the same song. 

 

Blue Eyed Sun blend folk, rock ‘n’ roll and progressive elements with a fine musician’s ear for detail on Tidal Sound.  The songwriting and arrangements are often raw and emotionally driven, with all of the imperfections this implies.  More often than not this works for the band.  The unpolished voices are refreshing, although over-exposed on a couple of songs.  Blue Eyed Sun is here to stay, however, marking their own trail out of the musical wilderness.  It’s one you’ll want to follow.

 

Rating: 3.5 Stars (Out of 5)

Learn more at www.blueeyedsunmusic.com. 

Matthew Heller - Invitation

Matthew Heller – Invitation
2013, Matthew Heller

Portland, Oregon’s Matthew Heller is set to turn perceptions of folk/rock upside down.  Like a man with two distinct personas, Heller jumps from protest song to personal confession/catharsis without warning.  Along the way, he brings a live and loud approach to the stage, and a songwriting style that eschews traditional boundaries and frameworks.  Heller’s debut album, Invitation, is a mighty flare of punk/folk/pop/rock goodness, rough edges and all.  Strap in, because it’s going to be a wild ride.

Heller kicks things off with “Father’s Son”, a dark and trouble rocker about filial recidivism.  The vibrant guitar accompaniment moves this song into high gear, while Heller’s unique voice convey and anguished approach to a life spent on the run.  “Space Girl” has more of a pop/rock orientation, and is written from the perspective of an eternally adolescent male.  Heller channels a bit of early Bowie here. Crawling in and out of the pop matrix as the mood strikes him.  Angular song construction and a willingness to expand on traditional pop structure make this an intriguing listen.  “Shake It” is punk roots-rock with a Dylan meets the Dead complex.  Heller writes stories in almost nonsensical allegory at ties, riven with psychedelic images and a teenager’s sex drive.

“Another Dose” could easily be a heavy rock song, but for the mostly acoustic arrangement offered here.  This quickly morphs into a pop/punk number that will have you shaking your hips and trying to sing along.  This is music you could spend a Saturday night dancing your cares away to.  Heller takes a break with “Interlude”, a gentle instrumental for piano and cello that’s surprisingly reserved and lovely.  Heller shows musical depth that speaks of good things to come.

“Howdy From Hades” is a reserved look at the effects of urban decay, drug addiction, poverty, etc.  The repetitive guitar arrangement seems to mimic the emotional desolation of being caught up in something you can’t live with but cannot escape.  The song is stark and memorable, and very marketable.  “Mercy” plays in the same desolate emotional playground, but this time has an autobiographical feel.  There is a hope of freedom here that is only to be found beyond the veil; a hope that becomes clear as the intensity of Heller’s guitar grows.  In “Man’s Prayer”, Heller shows off a rougher brand of songwriting.  Energy and emotion run through the song like electricity through a live wire, but Heller mashes words and music together at times in uncomfortable ways.

Heller gets back to his punk roots with the acerbically written “Drone Strike”.  He seems to find a special energy when gets into angular mode with his guitar, and that energy comes off of this tune in waves.  Just don’t try to stand still; you might hurt yourself.  Things quiet down a bit on “Jaclyn Of Spades”, a low key number full of quiet bluegrass licks and almost Zeppelin-esque deliberateness.  You could easily hear Robert Plant and company ripping up this number in a much louder and larger arrangement, but it works perfectly well as presented.  “Sink Or Swim” is a maudlin ballad that’s mildly pretty but feels a bit out of its element here.  It is a brief sidebar before Heller marches into the piano driven closer, “Dismay King”.  The low-fi presentation works well for Heller and the song is a solid bow with a positive message about keeping your chin up and moving forward.  This particular recording sounds more like a demo than a finished product, but Heller has definitely got something here.  The rough edges do not obscure the song’s distinctive pop pedigree; this one might help Heller find his way to the pop charts one day.

It’s always fun to follow Matthew Heller into a song.  Sometimes Heller goes right where you would expect him to, and others he takes you on unexpected twists and turns.  It’s all very musical and well constructed, but Heller’s musical perspective seems a bit unique.  Invitation has its rough edges, and occasionally revels in sophomoric ideas, but Heller’s originality and musicality are undeniable.  Invitation is very enjoyable for what it is, but perhaps more so for what it suggests for the future.

Rating:  4 Stars (Out of 5)

Learn more at http://matthewheller.bandcamp.com. 

Maria Rose & The Swiss Kicks - New Direction

Maria Rose & The Swiss Kicks - New Direction
2011, Maria Rose

Flint and Ypsilanti, Michigan are the co-homes of electro rock n soul trio Maria Rose & The Swiss Kicks.  Led by the powerful and soulful voice of Maria Rose, The Swiss Kicks power their way through an intriguing though sometimes muddled stylistic ménage on their debut EP, New Direction. 

Maria Rose & The Swiss Kicks get things started with "Velvet Cabaret", a musical biography of a strppr with dreams of owning her own French Café.  There's a morbid sort of pull to this song, as we hear the story of someone struggling to break free of a hard life.  It's never clear if our heroine will succeed, even though she's on the verge of her dream.  Maria Rose gives the whole affair a soulful and gritty read with a voice that will stick in your mind.  "Pineapple Wine" is a quirky folk/pop Boss nova; a sexy and sensual invitation to let down your hair and enjoy the moment.  "Angel Face" is a maudlin ballad that's half-hearted and vaguely depressed in sound.  There's a distinctive disconnect between the lyrics and the tone of the music presented here, enough so that it's distracting to the listener.

"Gypsy Of NYC" is another musical bio, this time of a young lady with quasi-magical qualities.  The arrangement and instrumentation is unique and compelling for pop music, even if the production does muddle the sound a bit.  "Wildcard" is catchy and intriguing; showcasing Maria Rose's voice in compelling fashion.  This is one of those songs that eat at you, growing on you slowly, over time.  The EP closes with "New Directions", an unfortunately apt tune that sounds something like Tori Amos and includes an unfortunate and non-committal rap.  This one just doesn't work all that well.

Maria Rose & The Swiss Kicks make a solid impression with New Direction, although the production on the album sounds incomplete at times.  The band skates the middle ground between acoustic band and full sound.  Unfortunately this half-measure doesn't seem to suite them well.  For whatever flaws New Direction might have, however, Maria Rose's voice can't be counted among them.  Rose will make you forget your troubles when she opens her mouth to sing.  The songwriting here is still developing and uneven, but the future looks bright for Maria Rose & The Swiss Kicks.

Rating: 3 Stars (out of 5)

Learn more about Maria Rose & The Swiss Kicks at www.mariarosekicks.com or www.myspace.com/mariarosemusic.  New Direction is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Review: Morre - Out There

Morre - Out There
2010, Morre

Toronto rock quartet Morre bring back the glam of the 1970’s and 1980’s in a stripped down and compact sound that’s perfect for today. The band has garnered significant attention in the Metro Toronto scene since their inception in 2008, earning comparisons to such wide-ranging bands as Gogol Bordello and Pink Floyd. What’s very clear from the opening notes of Morre’s debut album, Out There, is that the band knows how to perform, and is so confident in their ability to do so that they don’t need to hide behind distortion or effects. While musically superior, Morre does lapse into lyrical obsequies often throughout Out There, making their intent difficult to follow at times.

Out There opens with “The Moment”, a radio-friendly melodic hard-rock tune with wonderfully dark vocal harmonies. This song will get a lot of attention from radio on its uniqueness of sound alone. “Brand New Tide” is a mostly-acoustic rocker with a vibrant sound and distinctive harmonies. It’s a song of questing for what the world has to offer full of the vigor and bright-eyed hope of youth. Morre offers up some tremendously danceable rock ‘n roll on “Playing With Fire”. The lyrics are a bit awkward but the song more than makes up for any such considerations. “In My Vein” is sonically interesting but highly obtuse on the lyrics side, while “Under The Lights” plays like a self-serving pity-party over the trials involved in a life of playing music and being on stage. “Under The Lights” is sonically strong with real progressive rock tendencies in the instrumentation that make it a fun listen. On “Time Is Slipping Away”, Morre shows what can happen to a great chorus when there isn’t anything strong to marry it to. The chorus offers promise, but is repeated excessively and there’s little else here seriously worth investing in. Morre closes out with Times Are Changing, a high energy concept that never fully realizes itself, but the arrangement is exquisite.

Out There offers an interesting snapshot of Morre, a hold-over from the days when rock n roll was full of glam and irresponsible behavior. Morre has stripped their sound down a bit from bands like Guns N Roses, Poison or Ratt, and has incorporated some of the quirky party energy of Kim Mitchell’s mid-solo career work. There are a couple of blips on Out There, and the lyrical content doesn’t always measure up the quality of the music, but on balance, Out There is a solid introduction to a band with a bright future.

Rating: 3 Stars (Out of 5)

You can learn more about Morre at www.myspace.com/morremusic. Out There can be purchased as either a CD Or Download from CDBaby.com.

Review: Crash Kings - Crash Kings

Crash Kings - Crash Kings
2009, Universal Motown

Brothers Tony and Mike Beliveau were brothers long before they were band mates, but as two-thirds of the Crash Kings, the brothers Beliveau have shown the sort of chemistry filial connections can bring to a rock band. Add in the stellar drum work of Jason Morris, and you have a recipe for success. The Los Angeles trio released their debut album in May of 2009. The self-titled debut disc perhaps hasn’t garnered the attention it deserves to date, but it’s not for lack of talent or musicality.

Crash Kings open with "Mountain Man"; a tune somewhat reminiscent of early Led Zeppelin for its stark rawness. Vocalist Tony Beliveau has all the makings of a big time glam-rock front man and a voice that jumps out of the speakers and grabs your attention. "1985" will have you dancing like its 1985. The arrangement here is somewhat sparse, but there's no question about the intensity or control involved. "It's Only Wednesday" is a piano-driven rocker delivered in an open arrangement that allows Beliveau to reign supreme over the top. The further you get into this album the more hooked you'll be. There's something indescribably catchy about Crash Kings the vibe they create on their self-titled debut.

"Come Away" finds Crash Kings settling into a mellower Brit-sound that will be familiar to fans of bands like The Killers and Oasis. Beliveau shows his lyrical side on songs such as Come Away and Non Believer before launching into the blistering pace of "14 Arms". Crash Kings let their glam hang out on this one even while sticking with the quasi-acoustic sound that holds sway here. Beliveau stomps and prowls like Freddie Mercury and blows the roof off. "Raincoat" embarks on a story driven by nervous energy as expressed in the uneven pace of the bass line and the percussive, Ben Folds-style piano line. "Raincoat" is the most sonically satisfying song on the album. "Saving Grace" is the sort of Glam/Brit-Pop anthem that launches national adulation and worldwide tours. Progressive and Pop elements help this song to enter the ever declining arc of the parabola extending toward Pop perfection. Crash Kings close out with "My Love", a theatrical love song that will remind listeners of a cross between Queen and The Beatles, and perhaps even a bit like Michigan rockers Woodward.

Rock N Roll is dead. Yeah, right. Crash Kings are at the forefront of a new generation of rockers with retro influences who are creating vibrant, challenging music. It's difficult to imagine a band like Crash Kings not making it big, although on a major label even the brightest talent can be snuffed out and relegated to the bar circuit by one inept executive who doesn't get it. Regardless of what sort of push they get, expect Crash Kings to be on a lot of critics "best of" lists. Crash Kings will hook you on the first listen and still be with you far down the road.

Rating: 4.5 Stars (Out of 5)

You can learn more about the Crash Kings at http://www.crashkingsmusic.com/ or www.myspace.com/crashkings. You can purchase Crash Kings as either a CD or Download from Amazon.com.

Review: Fictionist - Lasting Echo

Fictionist - Lasting Echo
2010, Fictionist

Utah post-genre rockers Fictionist deliver more than mere reflection on Lasting Echo, their second-full length album recently released independently. Featuring the cultured baritone of Stuart Maxfield as well as his Wilco-esque guitar work, Lasting Echo is the sort of album that legitimizes a small market band's reputation and helps them gain regional and perhaps even national stature. Fictionist dwells in a delicious mix of vibrant creation and introspection where melody is king.

Lasting Echo opens with always, a dark and eerie Prog Rocker resplendent in synth and guitar-driven light. The emphasis here isn't sound and fury so much as it is nuance and change. Human Wings is reminiscent of some of the softer fare from 1970's Canadian rockers Max Webster; a mellow rock ballad with ample guitar fills. The sound is a bit closer to Pink Floyd on Sunshine Of A Shell; layered guitars balance off the tension of the vocal line in smooth peaks and troughs of sound that begins and ends in the ebb and flow of a church organ. Maxfield's voice is the perfect complement to the instrumental sounds created on Lasting Echo, often aiming for a plain, easy singing style but occasionally breaking out to punctuate a moment or emotion.

Strangers In The Dark is one of those songs that seem to take on its own distinct vibrancy; as if the song were playing Fictionist rather than the other way around. Structural, key and rhythm changes drive this musical conversation between a narrator and Fate; both aware and wary of the other. As always, Fate wins out by inertia, but the narrator still holds on to the hope that a "spark" could change it all. Time To Time digs into the emotions surrounding a relationship that's ended but which one of the parties can't quite let go of. The arrangement is full of delicious tension and more than a few fun lyrical turns "It's been awhile since I've had your mascara on my sleeve.") The guitar work here is exquisite; you could hear Time To Time playing on big AOR stations alongside 1970's stalwarts like Frampton, ELO, Zeppelin and BTO and Fictionist would sound like they were never elsewhere.

Fictionist brings in a distracted, mellow Jazz vibe on Deeper And Deeper, one of the more intriguing compositions on Lasting Echo. Rhythmic variations in the percussion drive against the plaintive wall instrumentation to create interesting moments of tension against unusual vocal harmonies and lead into a distinctive organ solo that ranks among the best instrumental turns on the album. Lasting Echo closes with Have Mercy, a plaintive plea built into a lovely, stripped down arrangement that lulls you out of the album and back into the real world.

Fictionist delivers a highly nuanced and compelling listening experience on Lasting Echo, delivering on the title with an album that will speak to you well after the disc stops spinning. Gentle rock with Progressive tendencies and patient, deliberate songwriting is sure to please listeners across several genres, and should ensure that Fictionist does the album thing at least one more time. Lasting Echo is a tremendous start.

Rating: 4 Stars (Out of 5)

You can learn more about Fictionist at http://www.fictionist.com/ or www.myspace.com/fictionistband.
You can purchase Lasting Echo on CD from CDBaby.com. Downloads are available via iTunes.

Review: Silk Tongue Gamblers - We're In Business [EP]

Silk Tongue Gamblers - We're In Business [EP]
2010, Silk Tongue Gamblers (UK)

London's Silk Tongue Gamblers are ripping up the Indie scene across the pond, and it won't be long before their fresh sound carries them to America's shores. Silk Tongue Gamblers have developed quickly, experiencing that preternatural "click" that sometimes happens when a group comes together. Formed in 2009, they've already built a significant local following and garnered high praise from the likes of Producer Ron Nevison (The Rolling Stones, Led Zeppelin, The Who) and Rachael Williams (Up All Night Music). Talent aside, what drives Silk Tongue Gamblers is the creative tensions. Vocalist Varun Atrey is heavily influenced by folks such as Nine Inch Nails, Tool and Alice In Chains, whereas Felipe Neves (guitars) is more drawn to Hendrix, Tom Waits and The Rolling Stones. Add in the chops of drummer Ollie Hipkin and bassist Equival Junior and you have an incredibly dynamic creative force. Silk Tongue Gamblers released their debut EP before turning a year old. We're In Business will serves as a more-than-adequate introduction.

We're In Business gets started with Is This The Time?, an upbeat, guitar-driven rocker with some Blues in its lineage. There's an edgy pop sensibility here that might do well in non-traditional Rock radio formats. Everyday Forever is either a daydream set to music or an accounting of the change in perspective brought on by new love. It's a decent song, although the blunt repetition in the chorus can become a bit nerve wracking. Nothing Left To Say trolls slightly heavier waters, with guitar and bass building a big, dark rock sound steeped in the Blues. Felipe Neves chips in with excellent guitar chops, and vocalist Varun Atrey is likeable enough, if a bit reserved. We're In Business wraps up with Run Away, a funky Blues-Rock gem that may be the most commercially viable track on the EP. A great, memorable chorus and a bass line that brings the song to life make this a keeper.

A four track EP such as We're In Business is what you might call a small sample. It's difficult to judge the overall sound of a band in just four songs, but you can start to get a real picture. Silk Tongue Gamblers have an edgy Rock sound with serious Blues roots that is bound to gain them some real attention. If commercial radio were a bit more willing to take risks, Silk Tongue Gamblers would be a perfect ad. Based on the EP, Silk Tongue Gamblers are a break or two from the big stage, as their sound and approach are a music marketer or Music Director's dream. Give the Silk Tongue Gamblers a bit of your time and see what they might talk you into.

Rating: 3.5 Stars (Out of 5)

You can learn more about Silk Tongue Gamblers at www.myspace.com/silktonguegamblers or http://www.silktonguegamblers.com/. You can purchase a copy of We’re In Business through LastFM.com.

Review: Mona Sterling - Lay Down Your Weapons

Mona Sterling - Lay Down Your Weapons
2009, Sterling Creative Enterprises

Seattle's Mona Sterling is known for her arresting voice and percussive guitar style. Comparisons to Melissa Etheridge, Johnette Napolitano (Concrete Blonde) and even Ani DiFranco are unsurprising, and Sterling writes with an emotional honesty that is refreshing. A songwriter from the age of five, Sterling has been influenced by everything from Carmen to Led Zeppelin, and allows everything she's taken in to flow back out in her music. Sterling's debut album, Lay Down Your Weapons, illuminates the talent of a singer-songwriter who shines even amidst the glow of the Emerald City.

Lay Down Your Weapons opens with the contemplative rocker Something Sweet, a love song that's more about how being in love makes you feel. Sterling's voice reminds vaguely of Grace Slick at times; hers is a sharp, powerful voice with a warm tone that's exceedingly pleasant to listen to. The lady can belt when she wants to as well, as you'll quickly hear on Lay Down Your Weapons, an Americana/Rocker full of wondrous sounds that mimic a pedal steel at times. Rhythm Of Heart looks back on a long-standing love, still in wonderment at how easy it's been. It's a love song that fails to fall into the ooey-gooey cliché of Pop radio love songs and is driven by a wonderfully rhythmic riff on acoustic guitar.

Room To Change is an angry kiss off song delivered in measured tones. Sterling again building wonderful movement into the arrangement, which in this case seems to stoke the fire in the vocal line. Room To Change shows Sterling to be an incredibly nuanced songwriter who retains the ability to surprise listeners with the occasional brutal blunt force of honesty. Little Under takes another blind turn, exploring the effects of a relationship between non-equals. Sterling gently frames the anxiety and insecurity that wreaks havoc on a relationship where one partner is always in control and neither can win. Sterling turns vitriolic again with Wreck You, another kiss-off song that's wonderfully dark and full of long-hidden anger. Sterling's voice is perfect for this song, channeling an angry strength that gains force as the song progresses. Lay Down Your Weapons closes with Dan's Song, a communication to an ex to give up waiting for a reprise. It becomes clear quickly that the antagonist here borders on stalker-like behavior. Somewhat dark subject matter is covered in a jaunty, upbeat arrangement that's either ironic or downright farcical.

Lay Down Your Weapons reveals Mona Sterling to be a splendid story-teller in song, sprinkling real life relationship stories with intelligence, wit and the sort of personal perspective that comes from having lived through them (or close enough). Add to this Sterling's unforgettable voice, and Lay Down Your Weapons goes down as a highly memorable listening experience. Sterling plays all parts here, ranging from sweet to sassy; loving to spiteful and vulnerable to resolute in the course of nine splendid songs. The full range of human emotions play themselves out on Lay Down Your Weapons, and Sterling gives the sort of performance that causes first time listeners to seek out other recordings, opportunities to see her live, etc.

Rating: 4 Stars (Out of 5)

You can learn more about Mona Sterling at http://www.monasterling.com/ or www.myspace.com/monasterling. You can purchase Lay Down Your Weapons as either a CD or Download from CDBaby.com.

Review: Jazz Punks - Jazz Punks

Jazz Punks - Jazz Punks
2009, Jazz Punks

Los Angeles-based neo-Jazz outfit Jazz Punks sound a bit like a super group. Drummer Hugh Elliott has played such luminaries as Angela Bofill, Herbie Hancock, Grover Washington, Joan Osborne, Robert Lamm and Laura Branigan. Guitarist Sal Polcino is an alumnus of Tower Of Power Rhythm Section. Bass man Mike Polcino is a longtime symphony and jazz musician who has toured with members of Fishbone and also serves as a director on Fox' The Simpsons. Pianist Danny Kastner is an award-winning composer who owns his own media company and had the pleasure of being fired by Donald Trump on The Apprentice. Saxaphone player Robby Elfman is a session player in LA when not composing music for television and film. Together, this talented bunch travels and play under the name Jazz Punks, and have released a self-titled EP.

Jazz Punks opens with Led Gillespie, an occasionally muddy but generally workable mash up of Dizzy Gillespie and Led Zeppelin. The marriage is a rocky one but entertaining. Another Hue is highly inventive and melodic jazz, featuring some sweet guitar work from Sal Polcino. Polcino carries over his sweet sound into Heavy Footprints, with some wild piano work from Danny Kastner, but it’s the rhythm section that makes this one tick. Hugh Elliott (drums) is a rock, and Mike Polcino's plaintive, nearly haunting bass line is the soul of the song. The combination of The Beatles and Miles Davis is quite unique and works very well. Four finds Jazz Punks in full swing on the sort of classic fare that's filled supper clubs for generations. Jazz Punks close with I Can See Miles, a hybrid of Miles Davis and The Who that's intriguing. Running out over eight-and-a-half minutes, Jazz Punks dissect and bisect Davis and The Who in ways both coldly logical and serene.

Jazz Punks take listener expectations and turn them on their collective ears. Not out to kowtow to tradition, but rather intent on marrying sometimes disparate arts and artists, Jazz Punks take risks on a big scale. When they don't work out it's almost expected; when they do the songs seems like brilliant surprises. The creation here isn't so much about making something new, but helping you hear songs you might already know intimately in new and exciting ways. This is one mark of a seasoned musician/entertainer. Jazz Punks come highly recommended, particularly if you can see them live on stage. The Jazz Punks EP is a great introduction!

Rating: 4 Stars (Out of 5)

You can learn more about Jazz Punks at http://www.jazzpunks.com/. You can purchase Jazz Punks on CD from Amazon.com, or as a download through iTunes or Rhapsody.com.

Review: Bryan Gorsira - So Far

Bryan Gorsira - So Far
2009, Bryan Gorsira

Biologist and songwriter Bryan Gorsira is back. Last year we reviewed his album The Best Years, finding his songwriting quite memorable and some of the talent he’d attracted to work with him formidable. Now Gorsira is back with another collection of songs entitled So Far. The album sits right in the middle of the singer/songwriter aesthetic.

So Far opens with Searching, a contemplative, vaguely melancholy song about fruitless searches with a sweet, gentle melody and a deep poetic sense. Searching is a powerful opening song that clamors for attention with subtle grace. Gorsira scores big points with Give Me A Day, a song that might have been right at home in the late-60's/early 70's singer/songwriter era. The harmonies here recall Crosby Stills & Nash, and the songwriting in general is superb. Gorsira's Caught, sung here exquisitely by Dana Cooper is the tale of someone who knows their love is likely to have no good end but has surrendered to it nonetheless. There is a passing resemblance to Stairway To Heaven here that kept presenting itself, but it’s an incidental resemblance that might almost be ironic.

The Best Years is the strongest entry on So Far, a Country-flavored love song written husband-to-wife about the times go by and the happiness they've brought. This is a major Mix Tape candidate for a slightly more mature set of listeners and is very well written. Something Right is a gentle, happy moment from a man surveying his life and finding that all is as he'd have it. Gorsira and band meander through Again and StepChild before finishing up with Ramble, which owes a bit of its musical lineage to Kansas' Dust In The Wind.

Gorsira is a more than competent songwriter. The pacing of So Far drags a bit over the last third or so of the album, but it is a strong effort with a few songs that might garner him real attention as a songwriter. There are some striking similarities between a couple of Gorsira's songs and classic rock tunes here, but the differences are enough to at most claim "inspiration". So Far is another decent effort from Bryan Gorsira.

Rating: 3 Stars (Out of 5)

You can learn more about Bryan Gorsira at http://www.bgorsira.com/ or www.myspace.com/bryangorsira. You can purchase a copy of So Far as either a CD or Download from CDBaby.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: Kori Linae Carothers - Trillium

Kori Linae Carothers - Trillium
2009, iRonkNod Records

When William Ackerman signs on to produce for an artist it creates an expectation of quality and musicianship that can be hard to match. Apparently that wasn't a problem for Kori Linae Carothers. Her third album, Trillium is a breath of fresh air, taking modern instrumental music out of the office and off the phone queue and establishing a high watermark for other artists to follow. A fan of music from the first time she heard The Beatles, Kori was entered into piano lessons by her parents as a young age. Carothers showed love of a compelling mix of musical styles, everything from Beethoven and Mozart to Shadowfax, Will Ackerman and John Williams; even Led Zeppelin, Jethro Tull and Herb Alpert. The result is an incredibly balanced and nuanced ear; a touch for melody and song construction that goes well beyond her classical training. Playing piano, synth and Native American flute, Carothers weaves magic on her musical loom.

Trillium opens with Crystal Fields, a haunting theme on cinematic scope. There are pianists who are mechanics and then there are artists who can put more emotion into a single stave than the mechanics could put into an entire symphony. Carothers is an artist, bending melody to her will with the subtle touch of finger to key, and when violin or flute come to dance around the piano the sound is magical. From the classical strains of Crystal Fields are born the modern sounds of Blue Ice. Carothers here sounds more like a purveyor of 1980's soundtrack electronica (think Tangerine Dream), creating a pleasing if simplistic sonic landscape for the listener. A Rose's Tale is a gorgeous piece that makes me think of the sort of music Tori Amos might have written if she'd stayed at conservatory. Carothers' subtlety is balanced with bursts of energetic expression at the piano that is shadowed by the dream-like tincture of harpsichord in my personal favorite composition on Trillium.

Midnight follows an interesting path, mixing a pop sounding theme with nearly classical construction. The result sounds like something from a movie score; able to wind in and out of the scenery as an essential component of the picture without drawing too much exposure to itself. The same quality can be found in Nez Perce, with Carothers stepping forward with the Native American Flute. The theme here is haunting and dreamlike, sounding like Carlos Nakai playing with Edgar Froese, as the acoustic and electric blend in mystical ways. Carothers goes a decidedly more modern route on Tangled Up and Dancing In The Clouds. Tangled Up ends up sounding more stereotypical of the new age piano crowd, which Dancing In The Clouds takes an interesting Latin detour, complete with Herb Alpert style trumpet. Carothers offers up a settee piece in The Long View. This is a track that could be a background track but is too busy and full of life to stay there. Rather than blending into the scenery and informing the flow of conversation, The Long View will threaten to become part of the conversation. It's not an overly complicated piece, but exudes its own energy and liveliness that simply can't be put aside easily. Carpe Diem travels in similar circles as Delirium; a Celtic feel pervades over a trippy beat and a Sarah McLachlan-esque vocal part. Carothers says goodnight with 3 Degrees, returning the Classical/Pop hybrid that seems to be her forte (and again sparking thoughts of a young Tori Amos at the keys). It is a fitting end, as often Carothers seems to shine brightest when it's just her and the piano, although the acoustic guitar is a nice touch here.

Trillium is full of magic, ranging from Classical composition to Pop/Easy Listening and even skating onto the ice of Trip-Hop. Kori Linae Carothers writes and plays what she feels, and it's strongly evident from opening notes of Trillium to its last majestic fade. Will Ackerman once again gets stellar marks on production, although he should be lauded also for his ability to select artists who are really a cut or two above the average. Trillium is full of magic and wonder and haunting reverie; sample the fragile yet beautiful magic within.

Rating: 4.5 Stars (Out of 5)

You can learn more about Kori Linae Carothers at http://www.koritunes.com/ or www.myspace.com/korilinaec. You can purchase a copy of Trillium through CDBaby.com. Trillium is available as a download through iTunes.

Review: Aaron Allen - A Place Called Hell

Aaron Allen - A Place Called Hell
2009, Aaron Allen

Chatham, Ontario, Canada's Aaron Allen wears big shoes quietly. His second album, Aaron Allen & The Small City Saints was on CHRW's Top 100 albums list for 2008, with chart appearances in cities such as Guelph, London, Quebec, Windsor and Calgary. He writes for late night talk show J.R. Diggs' Man With A Van, and has developed a reputation for powerful and introspective songwriting. Allen's third album, A Place Called Hell is a family affair, with brother Myles on drums and wife Aimee on harmonies, piano, organ and bass. Influences such as Bob Dylan, Ryan Adams and Neil Young color Allen's songwriting, which is rich in tapestry and deep in content.

A Place Called Hell opens with No One Knows, a plodding bit of Emo/Shoegaze/Americana that is a difficult listen. A Placed Called Hell is a straight-forward bit of Americana about hitting bottom and being totally aware to the extent of attempting to come to terms with it. It's a stark and resigned song that's almost too calm. Anyone is something of a quasi-peppy pity party set to music. Backbone hits on a down and dirty blues riff for a song about carnal pleasure as an escape from the dregs. You won't be able to sit/stand still while this one is playing. Allen goes for the acoustic side on New Blues, a song that contends that things never work out and the whole thing (life) is rigged.

Moving On is a classic bit of acoustic/electric blues. The lyrics don't matter on this one, you'll just be glad you listened. Oh My Lord takes the blues on a more Rock angle, halfway between Led Zeppelin and Cream. This is by far the best tune on the disc up to this point. Run is a gorgeous piece of self-loathing. The guitar accompaniment is soothing and calm while the lyrics are the pulpy aftermath of a beaten psyche. Dark and light intermingle here for a work of beauty that's as uplifting as it is depressing. A Song For Her is a musical eulogy of sorts; A Place Called Hell was written in the wake up Allen's mother's death. Taken from that perspective the entire album is about healing; or not as the case may be. A Song For Her is full of love; written from an emotionally constricted place that anyone who's ever lost someone dear will recognize. You'll also want to check out I Woke Up Today and You And Me.

A Place Called Hell is an album that leaves me conflicted as a listener and critic. I want to like it in part because of what it represents, and in many instances I do, but there are times when the feel of album, in spite of the back story, is more about holding on to pain than healing. This may have simply reflect where Allen was emotionally in the crafting of this disc, yet without the back story (and maybe even with it), I could see some listeners drawing the conclusion that A Place Called Hell is largely self-indulgent in perpetuating suffering rather than healing. Allen is a decent songwriter, who rises above on occasion, and there are some great turns here, but the overall feel of the record is not one that is likely to draw a lot of fans outside of the Robert Smith worshippers (and yea, there are many). It's a decent, dark effort; I'll look forward to seeing where Allen goes next.

Rating: 3 Stars (Out of 5)

You can learn more about Aaron Allen at www.myspace.com/aaronallenmusic. You can stream the tracks from A Place Called Hell on Allen’s MySpace page. No word yet on a release date, but Allen’s first CD can be purchase directly through his MySpace page.

Review: Original Motion Picture Soundtrack - Funny People

Original Motion Picture Soundtrack - Funny People
2009, Concord Records

On July 28, 2009, Concord Records releases the soundtrack to the newest Judd Apatow flick, Funny People. The film, starring Adam Sandler, Seth Rogan And Leslie Mann, is Apatow’s third (The 40-Year-Old Virgin and Knocked Up), and is all about his days rooming with Adam Sandler when they were struggling comedians. The soundtrack features a selection of deep cuts and first takes from big name artists primarily from the 1970’s, with exclusive live cuts from James Taylor and Wilco.

Funny People opens with Paul McCartney on Great Day, a bluesy acoustic piece built from guitar, hand rhythms and voice. McCartney digs into the gorgeous melody line with everything he has for a highly enjoyable experience. Robert Plant's turn on All The King's Horses is thrilling; you almost wouldn't know this was the former Led Zeppelin front man. Two songs from Warren Zevon make the cut; Keep Me In Your Heart and Numb As A Statue, showing some of the range of his songwriting talent. Neil Diamond's We is presented here in an early form and may just be better than the recorded work most are familiar with. The star of the disc is John Lennon on an acoustic version of Watching The Wheels. The coffee-house feel to this cut just adds to the charm of a vastly under-appreciated song. James Taylor runs a close second with a live version of Carolina In My Mind.

Adam Sandler gets in two performances of his own, but these probably would have been left to the movie and omitted from the soundtrack. His cover of John Lennon's Real Love finds Sandler overmatched vocally and in the production booth. Already week vocals are overpowered at the end of the verse. George Simmons Soon Will Be Gone is a performance piece from the movie that disappoints on several levels. This is closer to the Sandler you might have heard during his SNL days, but humor is pushed aside in favor of jocularity and shock value. For a movie entitled Funny Men, it seemed to miss the point.

As soundtracks go this one is fairly typical. There are some brilliant performances (McCartney, Lennon, Neil Diamond), some so-so ones (Wilco and Andrew Bird, Ringo Starr) and some truly puzzling ones (Adam Sandler, Coconut Records). The inclusion of McCartney and Lennon will ensure some decent sales of this disc (or at least downloads of those songs), but one is left with the impression that some of the song selections were settled by a randy game of Rock, Scissors, Paper, Lizard, Spock.

Rating: 3 Stars (Out of 5)

You can learn more about Funny People at http://www.funnypeoplemovie.com/. You can purchase the Funny People soundtrack at Amazon.com or as a download through Amazon MP3.

Review: Shaky Foot - Down On The Rain

Shaky Foot - Down On The Rain
2009, Shaky Foot

Everyone's been in a relationship that seemed like it should be right but the timing was all wrong. That's the story of Shaky Foot in a nutshell. Formed by Jason Scolnick (Lead vox, guitar) and Bob Gobron (bass, vocals) in the early 1990's, Shaky Foot fell apart after showing real promise. Reforming in 2006, Shaky Foot found a new drummer in Charlie Silva, and has gone on to become one of the most sought-after bands in the Boston Music Scene. Shaky Foot's newest disc, Down On The Rain features thirteen (13) tracks of blues-based rock that will be appreciated by fans of bands such as Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan, to say the least.

Down On The Rain opens with Goodbye Mrs. Rose, featuring some excellent vocal harmonies and a dirty, driven blues feel you simply can't ignore. Bust It Out High is a bit more mundane than the title might lead you to believe but is still a good track. Down On The Rain is a deep and powerful song about seeing rays of hope even in your darkest moments. In this case the protagonist is a drug addict who has a moment of clarity and sees that things will be alright. The guitar work here is fabulous. Shaky Foot trod down a path frequented by The Beatles on In The Middle, blending in the occasional Jazz garish. This might have been the most enjoyable song on the disc if it weren't for the mixing which turns it into a messy but still listenable tune.

She's My Lady is a great listen perfect for last calls. The Blues/Rock arrangement here has perfect pop sensibilities, leading into the Led Zeppelin influenced Beat You To The Punch. Preacher Man is probably the best-written track on the CD, done in a slow build to an over-the-top climax that's probably even better live. Wake Up features the most interesting guitar work on the disc, particularly the opening riffs. You'll also want to make some time for Worried Mind, Young Jack and Zoom Baba Loom.

Listening to Shaky Foot makes me want to find a gig of theirs in a dark bar on a Saturday night with a few friends. The music here is pretty dynamic and enjoyable; Down On The Rain should really be experienced live. What sounds fun on CD would be a joyous cacophony of musical noise in a live environment. Shaky Foot is worth spending a little time with.

Rating: 3 Stars (Out of 5)

You can learn more about Shaky Foot at http://www.shakyfoot.com/ or www.myspace.com/shakyfoot. You can purchase a copy of Down On The Rain on CD or as a download at www.cdbaby.com/cd/shakyfoot2.

Review: Zydecosis - Zydeco All Night

Zydecosis - Zydeco All Night
2009, Vinyl Records

Zydecosis is the musical brainchild of Houma, Louisiana's Steve Junot (guitar, vocals). He's joined by prodigious accordion player Chubby Carrier, and Lupe Valdeviez, Jr. (drums) with special guests Waylon Thibodeaux on fiddle and Tony Hall (Harry Connick Jr., the Neville Brothers, Dave Matthews, Emmylou Harris) on bass. Zydecosis plays classic rock standards in Zydeco style, and reminds listeners that Rock N Roll was meant to be fun. Zydeco All Night, the band's debut CD, is good old-fashioned party music. Covers they may be, but at their best Zydecosis restores the spark that these well-worn classics once had.

Zydeco All Night opens with Led Zeppelin's Whole Lotta Love. To be honest this was my least favorite track on the disc, mostly due to the verses (the chorus is very well done). Particularly in the first verse there's a feeling of separation between the vocalist and the instruments that's a bit jarring. Each segment is well done but they just don't seem to mix well on this track. Talk Dirty To Me (Poison) is a whole other matter; this one is a cross of early Elvis Presley (Don't Be Cruel) and Zydeco and works wonderfully well. Aerosmith fans may well bristle at the idea of Walk This Way being interpreted as a Zydeco tune, but once again the song sounds like it was never meant to be anything else. Satisfaction (Rolling Stones) is fairly close to the original in spite of the different instrumentation. Perhaps the biggest treat of the disc is Zydecosis' take on Queen's Fat Bottomed Girls. It helps that Queen themselves never forgot that Rock N Roll was fun and entertaining. This is a song that translates well into most any genre, but Zydecosis seems to have a special affection for this song that shines through in their performance.

Baba O'Reilly (The Who) sounds more like a country arrangement. Junot provides a great vocal but the arrangement lacks the life and energy elsewhere apparent on Zydeco All Night. I Want You To Want Me (Cheap Trick) is presented in a live track with a small but appreciate crowd listening in. The arrangement here just doesn't carry the urgency of the original, or that the song seems to demand. Musically it’s aesthetically pleasing but just lacks the oomph you might expect. Some Kind Of Wonderful (The Drifters) is presented in a sparse arrangement (bass, drums, harmony vocals), adding guitar on the second verse. It's not Zydeco, but is full of the joy that the song's lyrics imply. Your feet will be tapping and don't be surprised if you feel the urge to dance. Zydecosis closes out with Bad Company's Feel Like Making Love in a memorable rendition that might just be better than the original.

Zydeco All Night is an uneven but memorable effort. At the top of their game Zydecosis sounds like one of the best party rock bands there is. Steve Junot is a plus vocalist who's very composed and sings with a lot of heart. Chubby Carrier is inspired on the squeeze box and really drives the album. Most of the songs here are memorable. A few tracks are well done musically but lack the pizzazz or zest heard elsewhere. On the whole, Zydeco All Night is a very welcome project that I recommend.

Rating: 3.5 Stars (Out of 5)

You can learn more about Zydecosis at www.myspace.com/zydecosis or http://www.zydecosis.com/, where you can purchase a copy of Zydeco All Night. If it’s digital you want, you can download the album from iTunes.

Review: Marcy Playground - Leaving Wonderland... In A Fit Of Rage

Marcy Playground - Leaving Wonderland... In A Fit Of Rage
2009, Woz Records

Rockers Marcy Playground return with their fourth album, Leaving Wonderland... In A Fit Of Rage, an artistic and sonic advance over 2004's Marcy Playground 3 (MP3). Marcy Playground broke into the US music scene in 1997 with megahit Sex and Candy, which drove their self-titled debut to sales of 1.7 million copies. Two ensuing albums, Shapeshifter (1999) and MP3 have proved to be creatively dynamic but haven't drawn a great deal of commercial attention. Leaving Wonderland is something of an anti-pop rock album; with Marcy Playground treading wherever they want, from the edgy pop of Gin and Money to the gentle singer/songwriter style of Irene.

Singer/guitarist/songwriter John Wozniak stretches boundaries on Leaving Wonderland, not that there was ever much in the way of boundaries to creating music for Marcy Playground. One of the reasons they might be considered "one hit wonders" in the US is that Marcy Playground has always refused to play the corporate rock game. Wozniak goes where the muse takes him, irrespective of what popular mores or record sales might say. The result is an artistically pure and interesting album. Leaving Wonderland opens with Blackbird, an edgy song steeped in spirituality and love. Devil Woman could be a modern re-working of Billy Joel's She's Always A Woman as it covers much of the same territory, although Devil Woman switches back and forth between speaking to the listener and speaking to the song's subject. Devil Woman is built around a slinky guitar lick that will hook listeners right from the get-go.

Gin And Money is perfect for radio distribution, a pop-based rocker with hints of Led Zeppelin in its musical lineage. I could hear Plant firing up this tune and taking it around the block a few times with no difficulty whatsoever. Star Baby is the potential breakout hit on Leaving Wonderland; an incredibly catchy tune that just won't quit once it wiggles its way into your ears. Irene has a folk-tune quality to it with hints of blues built in; the song deals with the inevitability of death in a fashion that's almost straightforward and very well-written. It's a goodbye to a loved one that has a great deal more depth than you might catch on the first listen. My favorite track on the disc is I Must Have Been Dreaming, which shows a wit that often gets obscured in Marcy Playground's songs. It's an ironic song about having the world (or aspects of it) as you know it turned on its head. It's another incredibly infectious song that could have some real potential commercial legs. Memphis shows off some serious finger-picking on guitar and plays up Wozniak's singer/songwriter tendencies on one of the best folk tunes I've heard this year. Be sure also to check out Thank You and Down The Drain, both excellent tracks.

Marcy Playground may just surprise some folks with Leaving Wonderland... In A Fit Of Rage. It's an incredibly smart record with a soul-searching quality to it. The music is as incredibly diverse and wide-ranging as we've come to expect from Marcy Playground, with Wozniak wandering all over the musical map in search of the perfect expression of his ideas. The record isn't quite the perfection he strives for, but it isn't far off the mark either. Leaving Wonderland... In A Fit Of Rage is a Wildy's World Certified Desert Island Disc. Don't miss this one, folks.

Rating: 5 Stars (Out of 5)

You can learn more about Marcy Playground at www.marcyplayground.com. Leaving Wonderland… In A Fit Of Rage is due for release July 7, 2009. You can pre-order copies through Amazon.com.

Review: The Crazy Ivans - Go Back To Russia, Sucka

The Crazy Ivans – Go Back To Russia, Sucka
2009, The Crazy Ivans

Dallas, Texas is ground zero for The Crazy Ivans, a sextet with big dreams and even bigger questions about just who they are. Biographical information about the band is next to impossible to find, but we do know that the band grew out of the streets and clubs of Dallas in June, 2008. Named for a submarine maneuver used during the 20th century to help a submarine crew to see behind the submarine using sonar, The Crazy Ivans look back in mixing sounds ranging from classic, arena rock to punk, and look forward with an edge that is truly post-modern. Their debut EP, Go Back To Russia, Sucka, was released this year. Let’s check it out.

Go Back To Russia, Sucka opens with Frequency, a bit of hyperactive Grunge/Punk. Lead vocalist Kristen Lueken sounds a bit like Rush’s Geddy Lee here. The song is really a fun listen and is a great way to kick off the EP. Still Waters surprises with some arena rock style harmonies blended into what is just a great rock tune. Can’t Go Home takes things down a bit as a mid-tempo bad girl song. The energy just didn’t make it to the CD on this one, leaving it with a ho-hum feel that doesn’t match the “I’m going to be a bad girl” message. Wail Of The Banshee is everything you might expect for the title, and Lueken gets to belt for all she’s worth here. This is a bit rougher than the first few songs, and that sound carries over into the last track, Six Feet Above The Sheets. It’s here that you realize what a treat The Crazy Ivans must be to see live.

The Crazy Ivans get in some good shots on their first recording project together. Go Back To Russia, Sucka introduces us to a band that has an idea of where their sound is going but hasn’t really refined that sound yet. The result is an intriguing and somewhat varied EP that’s highly listenable and entertaining. Get your moshing shoes, your punker tee and your best snarl ready, The Crazy Ivans will make you dance.

Rating: 3 Stars (Out of 5)

You can learn more about The Crazy Ivans at http://www.thecrazyivans.com/ or www.myspace.com/yecrazyivans. You can purchase a copy of Go Back To Russia, Sucka at www.cdbaby.com/cd/crazyivans.

Review: D'Haene - Vinyl

D'Haene - Vinyl
2009, D’Haene Band

D’Haene is a New York City based quintet that combines 1970’s classic rock with the Alternative Rock style that arose once Grunge died down in the 1990’s. Singer/guitarist/songwriter Bob D’Haene is supported by Riley McMahon on guitar, Rick Guetschow on bass, Slammin’ Sammy K on drums and percussion and Tim McCracken in keys and backing vox. Vinyl, D'Haene's second album, is due to be released in the early part of the summer of 2009.

Vinyl is a blue collar Rock N Roll album mixing elements of Southern Rock, Blues and Soul into a delectable sonic package. Bob D'Haene has crafts songs that inspire the listener to sing along, full of big majestic guitar sound and a muted grittiness that gets under your skin. Vinyl opens with Another Like You, accented by dark harmonies around a strong, clear melody line. This is a great opening salvo. Wouldn't You Like To Know is danceable Rock N Roll with blues in its genes; party music with some great guitar work. Took Me So Long brings out the more soulful side of D'Haene. It's not my personal favorite song on the disc but is perhaps the most commercial offering here.

D'Haene brings back the danceable Rock with Brand New Threads!, starting with a Latin rhythm that morphs into a Rock N Soul number with a vibrant chorus. This is a definite potential concert favorite. This Dog Won't Hunt goes back to the Southern Rock well with backing vocals inspired by Gospel music. Blues and Soul mix in for a sonically pleasing experience. Be sure also to check out the highly melodic I'll Be Your Man, and My Woman, which is far and away the best song on the disc. D'Haene walks a line between The Black Crowes and Led Zeppelin here, with a bit of Rolling Stones oomph thrown in.

D'Haene has a sound that would be equally fun in a small concert hall or a big stage. The blue collar bar band feel to the record is a temporary experience, because Bob D'Haene has a knack for crafting big rock songs with pop hooks that won't quite let the listener go. I don't know how successful D'Haene will be in getting radio play, as their sound isn't the flavor of the month, but if you just want a good stretch of Rock N Roll you can get up and move to or stay comfy and groove to, then D'Haene's Vinyl is what you're jonesing for.

Rating: 3.5 Stars (Out of 5)

You can learn more about D’Haene at http://www.bobdhaene.com/, http://www.dhaeneband.com/ or www.myspace.com/dhaene. No official release date has been set for Vinyl yet, but early summer is the target. Keep checking D’Haene’s website(s) for more information.