Leslie DiNicola - Some Greener Yard

Leslie DiNicola - Some Greener Yard

2013, Leslie DiNicola

Leslie DiNicola is a New York City-based singer/songwriter who writes soul-baring lyrics with a universal perspective.  Over time, DiNicola has receiving comparisons to such divergent artists as Janis Joplin and Alison Krauss.  She’s worked with the likes of Ron Allaire (Keith Richards, Madonna, David Bowie, Shakira); Julian Coryell (Aimee Mann, Leonard Cohen, Jewel, Alanis Morisette) and others.  DiNicola’s latest EP, Some Greener Yard, is her second with Coryell at the helm, and features some of her most personal songwriting to date.

DiNicola launches with "Shaky Wire", an aptly titled lead considering DiNicola is skating a fine and uncomfortably navigated line between country and rock here. The music is adeptly crafted, but there's a bit too much vibrato and tonal uncertainty in DiNicola's voice for this to be convincing. The vocals are much more stable on "Give Me Away", a middle of the road country/pop number full of melancholy. "Stay" shows more energy and a memorable chorus, but the vocal issues noted in the opening track return as DiNicola moves into her upper register. "Weight" tries to be a heart breaker, exploring the self-exploration following heartbreaking in reciprocal loops. The melody is pleasant enough, but the musical recidivism is tiring. DiNicola closes out with a meandering ballad that pales at its own energy and pacing.

Leslie DiNicola displays an affable voice with manageable weaknesses on Some Greener Yard. Unfortunately she tends to choose slow, languorous ballads that highlight the weaknesses rather than material more appropriate to her sound. The EP is fraught with slow, low energy moments that just don't do DiNicola justice.

Rating: 2 Stars (Out of 5)

Learn more at www.lesliedinicola.com.  

Aradia - Possibilities: Light EP

\Aradia –Possibilities: Light EP
2013, Aradia

Aradia is a Seattle-based singer/songwriter with a penchant for insightful, observational lyrics and electronic sounds.  A veteran of both the New York City and Atlanta music scenes, Aradia has developed her sound in bands such as Some Band (NYC) and Twelfth Planet (Atlanta).  The latter was a mainstay in the Atlanta scene.  Aradia is intellectual and smooth in style, with an electric stage presence and a sultry voice with dark colors swirling beneath.  Aradia’s latest EP, Possibilities: Light EP, is a companion piece to 2012’s Possibilities:  Dark EP.  Whereas previously she explored the underbelly of completely changing your life and moving to a new city, this time around she is finding the silver linings in those dark clouds.

Aradia opens with the bright, airy electro-pop of "The Light", a positively themed message of hope that things will get better. The dance and electro elements are understated but clear, and Aradia's complex and intriguing voice is a perfect contrast.   "Trouble" starts out in slightly darker territory, but lights up with a brilliant pop feel. "Today" is a bit mundane in sound, lacking much in the way of dynamic engagement. It's a solid enough album track, but doesn't engage the listener enough to shine. 

"On Fire" finds Aradia settling into a more aggressive, dance-oriented sound. Aradia's vocal presentation is confident and sultry, with a sense of personal style that is compelling. "Slow Ur Roll" drops the tempo, and while Aradia is very competent vocally, the energy just isn't here. It all comes back for "Keep On", which brings sitar and eastern rhythms into play for one of the most musically interesting compositions in Aradia's catalog. This song will get stuck in your head and stay there, and has serious potential as a breakout track for either the club scene or for commercial radio. 

The common difficulty for artists who dwell in the electronic backwaters of what has become popular music is that it is easy to become indistinguishable from the throng.  Electronic music tends to suffer from a lack of dynamics in sound and style. It is easy to allow looping sounds to fall into repetitive waves that numb the listener rather than enliven them.  Aradia reaches beyond the easy path to create vibrant music, and her sultry, earthy vocal style brings each song to life.  Possibilities: Light is a breakout effort for Aradia; the sort that could garner her much more attention down the line.  Aradia is one artist to keep an eye (and ear) open for.

Rating:  4 Stars (Out of 5)

Learn more at www.aradiamusic.com. 

Imelda May - Mayhem

 

Imelda May - Mayhem
2011, Decca Records

Dublin native Imelda may is just too good to not be noticed.  Her self-released debut album, Love Tattoo, went triple platinum in Ireland, and she has already shared the stage with the likes of Eric Clapton, Chuck Berry, Meatloaf, Van Morrison and David Gilmour.  Imelda May’s blend of surf, indie, rockabilly and pop is distinctive, and dare it be said, original.  Imelda May’s voice makes you want to drop all that you’re doing and simply listen.  Perhaps most important in a performer, however, is personality.  Imelda May is a whirlwind, sweeping listeners along on her journeys with a blend of intrigue, sex appeal and pure, unadulterated chutzpah.  May’s U.S. debut album, Mayhem, is the sort of album you simply cannot put down.

Mayhem opens with the infectiously danceable rock n roll of "Pulling The Plug".  The simple arrangement offered here works perfectly, allowing Imelda May's gritty/sultry voice a proper introduction that will captivate listeners.  May sounds like a zesty blend of Chrissie Hynde, Tina Turner and Nellie McKay.  "Psycho" is driven by biting surf guitar, exploring a relationship with one scary dude.  May's enigmatic vocal lights up the irrepressible quirk pop number that builds into its own sort of madness in the end.  "Mayhem" is the sort of song that simply won't leave you alone.  Don't expect to sit still, and you'll be drawn to hit replay over and over again.  There's some excellent guitar work here, and an urgent energy that's impossible to ignore.

Imelda May changes pace with "Kentish Town Waltz", a song of true love and perseverance.  If you haven't realized it before now, the song drives home the fact that Imelda May is not just another pop wannabe.  Her take on the perfect state of imperfection that is love is insightful and authentic.  It's an amazing piece of songwriting and performed with a touch of class.  May revs things up again with the sexy come-on of "All For You".  Steeped in a blend of jazz and 1950's rock sounds, the song is a star vehicle that allows Imelda May's personality and charisma to blow up bigger than life. 

Mayhem takes a breather with the light rockabilly of "Eternity", a quiet celebration of love that follows the long wait for the right one to come along.  It's a nice, upbeat love song that avoids schmaltz while digging into a quietly effervescent joy.  "Inside Out" is a catchy, nightclub style love song.  Full of gentle humor and a positive vibe, this is an intimate musical moment that shows depth as a performer and interpreter of songs.  "Proud And Humble" is an urgent bit of urban folk and blues with a memorable chorus; one side of a conversation with God trying to reconcile pride in making good choices with the humility required to make them.  The theme here is a classic contradiction of the human condition; one that has been pulled apart and reconstructed by philosophers, poets and songwriters since humans first put paint to rock.  Imelda May comes along and imparts a brief musical soliloquy in everyday terms that makes it all seem like child's play.

Things get wild and crazy on "Sneaky Freak", the ultimate stalker anthem for the digital age.  With the tongue-in-cheek humor of a Nellie McKay, May lampoons both the obsessives in the crowd, and those who make themselves so available to be stalked.  "Bury My Troubles" is a pleasant little surprise hidden in the back half of the album, an intriguing blend of jazz, pop and swing that's quirky, sexy and fun without being over-the-top.  "Too Sad To Cry" is a blue dirge in a stylistic arrangement that includes the martial rhythms of a funeral march.  Imelda May tops it all off with a great, pure vocal effort that will raise your respect for her and cement your intent to run right out and buy anything she releases. 

May turns for home with the country-tinged pop of "I'm Alive", even enticing a vague Caribbean flavor out of the mix.  "Let Me Out" is a catchy, urgent and upbeat bit of fluff that's worth the aural effort, and leads into a brilliant cover of Soft Cell's "Tainted Love".  May's version is a bit grittier than the original, but work so well you'd swear she wrote it herself.  Mayhem closes with "Johnny Got A Boom Boom", an incredibly catchy bit of rockabilly that you won't be able to get out of your head.  Lyrically the song is pure fluff, but it's the sort of fluff that gets trapped in your head and rattles around for weeks.  May wrote this number early in her career, and first released it in Ireland and the UK back in 2009.  It's become a fan favorite, but never managed to make much of a stir on the charts.  The song is included here as an introduction to US audiences.

Imelda May has got it all.  Tremendous pop hooks, a stunning voice, a quirky, bigger-than-life persona and the ability to write songs that stick with you.  Mayhem is aptly named, running the gamut from sweet and sentimental ballads to pop insanity, all steeped in rockabilly, surf and classic singer/songwriter motifs.  Along the way, Imelda May shows the poise and humor of Nellie McKay, the ability to surprise you musically of Kate Miller-Heidke, and the pure star power of Madonna.  Get used to hearing the name Imelda May.

Rating: 4.5 Stars (Out of 5)

Learn more about Imelda May at www.imeldamay.co.uk or www.myspace.com/imeldamay1.  Mayhem is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Alexis Foxe - To Have And Want More

Alexis Foxe - To Have And Want More

2010, Alexis Foxe

Born to a Colombian father and Cuban mother, Alexis Foxe spent much of her childhood between Buenos Aires and Madrid before her family moved to New York City when she was eleven.  Learning English from American cinema and having a mom in the music business meant that the paths to a performing life were never far removed for Foxe.  College called for a year after high school, but the road called more.  After a pit stop in Spain, Foxe found herself living in London and enrolled in the London School of Economics.  Even there, music beckoned more than books; so while Foxe completed a degree she became even more convinced that singing and performing was to be a way of life for her.  Foxe's sophomore album, To Have And Want More, is an exploration of the day-to-day benefits and problems of the modern world in terms of blissed-out ignorance and wide-eyed wonder.  At times it seems an honest sociological diversion in music, whereas other times the shadow of irony hangs over Foxe's songwriting.

To Have And Want More opens with the highly entertaining "Down The Drain".  How this song hasn't already been snagged as the theme of a reality television show or movie I don't know.  Foxe uses a blend of modern dance music and big band jazz to lampoon materialistic culture.  It's all tongue-in-cheek, but Foxe plays it so well you'll start to believe.  "Revel Without A Cause" is a dreamy dance song; solid material for the dance clubs and melodic enough to be an enjoyable listen.  "Yoohoo" is full of camp and sex appeal, as the former gangly weed shows off her newfound talents to an old crush with the help of a Greek chorus that's more Alphabet City than Athens.  Foxe plays the breathy-voiced vixen on "Love Is For P******; vamping as a tease with a mean streak over a mellow dance beat.

"Keep It Simple" might be a how-to manual for getting to know Foxe or someone like her in a dance club; it's not about the dollars but the moves.  Foxe plays on her Cuban-American heritage in Grand Macadamias, a humorous look at the American Dream come true for one hard-working immigrant family as it applies to her.  "Cynic" is a Lesley Gore-style 1950's pop ballad, recalling a past hesitancy toward love in the face of suddenly falling.  "Cynic" will appeal across generations, and the maturity of Foxe's songwriting displays an incredibly broad range of talent and touch.

In "Manhattan May Be Grand" Foxe pays tribute to her current home but looks to the horizon to a time when her dreams and aspirations take her beyond the Big Apple.  Once again Foxe's maturity and depth as a songwriter may take you a bit by surprise.  Foxe uses classic roles and paradigms for female behavior, blowing them up from the inside with over-the-top caricatures that serve to lampoon themselves, but in "Manhattan May Be Grand" we hear the dreams of a person-as-artist laid bare for the world to hear.  "Gloomy" is mellow, big band blues, a great mood piece in an intriguing arrangement.  You'll find yourself drawn back to "Gloomy" time and time again.  "For Your Eyes Only" is a bit repetitive but is ensconced in a sensual love.  The dark and mysterious arrangement is compact but with real energy flowing in the seams in spite of the subdued delivery.  Foxe takes one more stab at the sexual revolution with "Mr. Third Floor", a bluesy ballad of seduction full of innuendo and scarcely veiled intention.  It's an entertaining close set deep in the burlesque tradition.

Alexis Foxe is an enigma, and don't be surprised if you don't quite get her on the first listen.  Foxe hits hard and early with over-the-top presentations that may initially appeal to base emotions, but Foxe laughs at you as she laughs with you, sharing the joke with you as she makes you part of it.  This is not dumb pop music.  Alexis Foxe's songwriting is informed by a deep and subtle musical sensitivity, and she's capable of using the sheer force of personality and sex appeal of a Madonna or Lady Gaga in conjunction with the wit of a Will Rogers or Mark Twain.  Yes, she's that good.  To Have And Want More is daringly original, smart, witty, well-written and engaging.  Alexis Foxe will have you at hello.

Rating: 4.5 Stars (Out of 5)

Learn more about Alexis Foxe at www.alexisfoxe.com or www.myspace.com/thealexisfox.  To Have And Want More does not appear to be commercially available yet, but something this good can't stay unavailable for long.  For now you can stream the songs at Foxe's website or MySpace page.

Review: Marc O'Connor - Jam Session

Marc O'Connor - Jam Session
2010, OMAC

If you take six world-class musicians and place them in an improv-based ensemble using jazz forms and influences as wide-ranging as bluegrass, jazz, blues and folk, one of two things will happen. Either that group will blend themselves into a complete organism; a living breathing extension of their six individual talents that somehow becomes more than the sum of the parts, or egos will intervene and what could have been magic turns quickly to dust. On Jam Session, due out April 13, 2010, Marc O'Connor (violin); Chris Thile (mandolin); Frank Vignola (guitar); Bryan Sutton (guitar); John Burr (bass) and Byron House (bass) spin straw into gold with one of the finest instrumental efforts of the new millennium.

Jam Session opens with "Granny White Special", featuring the blistering mandolin work of Chris Thile and complementary violin of Marc O'Connor. On fire is the first word that comes to mind; O'Connor et al. are so locked in its ridiculous. Even when the guitar solo that kicks in later picks up the incredible energy. O'Connor gets to show off a bit on "Gypsy Fantastic". You'd swear it was Stephane Grappelli himself sawing away on the violin. The musical conversation is lively on "Madeonia", with instrumental interplay taking on new heights in an absolute gem of a performance. "Swingin' On The 'Ville" blends the gypsy-jazz style of Grappelli with a more traditional swing form for one of the more intriguing songs on Jam Session. "Pickles On The Elbow" creates sparks that the reaction from the crowd in the live recording more than attests to. This barn burner leads into the country flavored "Don't Let The Deal Go Down". O'Connor's violin takes the lead, incessantly imploring you to listen while you dance along. The pace slows significantly for "In The Cluster Blues", as the ensemble languishes over a dreamy and introspective number. Thile steals the show on mandolin with the sort of fevered inspiration that can only be born of a dreamy summer day. Jam Session closes with "Minor Swing", a vibrant tune colored by the obvious Grappelli influence.

O'Connor, Thile, Vignola, Sutton, Burr and House create magic on stage; that's a fact that's readily apparent on Jam Session. Not a drop of talent goes wasted. The musicianship is tight and the camaraderie is nearly legendary.

Rating: 4.5 Stars (Out of 5)

You can learn more about Marc O'Connor at http://www.marcoconnor.com/. Jam Session drops April 13, 2010. You can pre-order both CD and Download versions from Amazon.com.

Review: Lee Harvey Osmond - A Quiet Evil

Lee Harvey Osmond - A Quiet Evil
2009, Latent Recordings

Toronto singer/songwriter Tom Wilson has been associated with some exciting projects over the years, starting out with his tenure as lead singer for the band Junkhouse in the mid-1990's. Since that time he's recorded as a soloist, in conjunction with Bob Lanois and as a member of Blackie And The Rodeo Kings. Now, at the tender young age of fifty, Wilson is embarking on a new life as lead singer of Lee Harvey Osmond. Joined by members of Canadian groups Cowboy Junkies and Skydiggers, Wilson brings to life 10 brooding Americana/Rock tunes on A Quiet Evil. Produced by Cowboy Junkies' Michael Timmins and released on the band's Latent Recordings, A Quiet Evil is one of the more intriguing debuts of the year.

Lee Harvey Osmond opens with The Love Of One, a quiet-yet-energetic country flavored rumination on loneliness chock full of mournful pedal steel guitar and incredibly tight musicianship. This song is the perfect example of how music can be quiet and lively at the same time. Cuckoo's Nest drops the names of Elvis Presley, Sonny Liston, Madonna and Robert Mitchum, but has the up-close-and-personal feel of a Lou Reed track. Cuckoo's Nest is a nuanced and intelligent story song about hard times and how people survive. Wilson talk/sings his way through this one in what ends up sounding like a highly allegorical autobiography in song. Queen Bee has great energy and instrumental work; the vocal line gets a little bogged down in repetition but quickly gives way to the fine instrumental work of Lee Harvey Osmond.

I'm Going To Stay That Way is a classic country love song/tragedy. Suzie Vinnick's vocal on the duet is exquisite, and mixes well with Wilson's mumbling style. I'm Going To Stay That Way is a song that could go directly to Country Radio, although it would have been a more likely hit a generation ago. Lucifer's Blues is a great listen, although I half expected it to blow up into a heavier sound before it was done (it did not). The understated arrangement and delivery works very well, however. Parkland has a catchy melody and rhythm in spite of the reserved sound, and then something magical happens on Summer Girl. The same quiet feel surrounds this song, but there's a feel of authenticity about the story Wilson tells here that's too rich to be cure creation. The arrangement is highly simplified; giving the sort of life to the story and melody line that can't be planned but just happens in the creation process sometimes. Angels In The Wilderness has a similar feel in spite of the more melancholy bearing of the song. It's a beautiful melody with stirring imagery; a hidden gem. Lee Harvey Osmond closes out with the upbeat acoustic rocker I Can't Stand It, a paean to the ability of love to make day-to-day life more bearable, and how it can all come crashing on you when they leave. It's a fun song that's likely to get worked up even more on stage.

Lee Harvey Osmond isn't going to blow too many people away, unless it's on pure talent. This isn't that sort of band. Instead, expect Lee Harvey Osmond to take a lot of people by surprise. A Quiet Evil is the sort of album where you hear a song in the background and don't pay attention at first; but the music slowly draws you out and draws you in. It's not surprising given the musical stock the band rose from, and Wilson, in spite of his quiet approach, definitely has an ability to connect with listeners. A Quiet Evil is highly enjoyable; it might take you a few listens to really get it, but once you get it you'll be hooked.

Rating: 4 Stars (Out of 5)

You can learn more about Lee Harvey Osmond at www.myspace.com/lhosmond or www.latentrecordings.com/leeharveyosmond. You can purchase A Quiet Evil on CD from Amazon.com.

Review: Paris-Keeling - End Of Ride Revisited

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

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

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

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

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

Rating: 4 Stars (Out of 5)

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

Review: Jive64 - GoTo 10

Jive64 - GoTo 10
2009, Jive64

Very quietly, or perhaps not so, Tel Aviv, Israel has become a center for Dance/House music. Offer Nissim (Madonna, Donna Summer, Christina Aguilera) is at the vanguard of Israeli DJs and Producers starting to make their presence felt on the international music scene. Hot on his heels is Hashoeve DJ Roy Cohen, who recently released his debut CD, GoTo 10 under the name Jive64. Cohen has an impressive feel for rhythms and beats and a love of 1980's dance music and video games that inform his recording. Joined by vocalist Ella (Ellita) Tadmore and Dharma (host of MTV Select on MTV's Israeli broadcast), Cohen creates a fun and exciting listen that you can get into a serious groove with.

The album opens with GoTo 10, a title drawn from the Basic computer language that the first generation of home computer programmers learned in Grammar school in the 1980's. The song is highly rhythmic and repetitive, perhaps a bit of social commentary on the segmentation and rigidity of modern life. The song is very danceable. Truth Theme (It's A La La Lie Version) started out as a love song to Cohen's lover but turned into a coming out tune that sounds like it came right out of a Commodore 64. One Live Up celebrates Cohen's love of classic video games, using sounds from games of the 1980's interspersed in dance rhythms and even adding lyrics about the games themselves. Yes, it's a bit geeky, but anyone who spent hours of their youth in the 1980's pumping their allowance away at the arcade will likely get a kick out of this song. Love Like Melody is perhaps the most entertaining and danceable track on the disc. There's a light, airy feeling to this tune that just makes you want to take part of whatever party it inspires.
Summer Start (Extended version) is a song that Cohen created a few years back independently; the version presented here is a bit different, with a heavier Trance feel to the song that it originally possessed. Cohen is so on his game here that you'll find yourself dancing or tapping along even in spite of yourself. Jive64's cover of Kylie Minogue's Turn It Into Love is nothing short of inspired, nailing the pizzazz of the original with Cohen's own deft electronic touches. Jive64's Gotmelooking Remix of Beyonce & Jay-Z's Crazy In Love is a sure thing for the dance clubs. Cohen shows he has a real touch for this type of dance music. Jive64 closes out with a remix of Rufus & Chaka Khan's Any Love that didn't work for me as well as Crazy In Love but will still likely be a big thing in the clubs (if it isn't already).

Jive64, for me, is more entertaining doing the quirky electronic mixing inspired by the aural encyclopedia of the 1980's. The more modern stuff is well done but perhaps a bit too much like Pop music we hear every single day. Jive64 really shines on the retro material, where Cohen seems particularly inspired. GoTo 10 is a great effort. GoTo get 10. You'll be happy you did.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jive64 at http://www.jive64.com/ or www.myspace.com/jive64band. You can purchase GoTo 10 as a download through Amazon.com or iTunes.

Review: Cara Tower - Ambience Of Love

Cara Tower - Ambience Of Love
2009, Raw Dog Records

Cara Tower is a singer, multi-instrumentalist and composer for whom the process of creation never stops. A Southern California girl by birth, Tower has travelled all over the world chasing her muse. Along the way she has been a major label recording artist (Hollywood Records), an entrepreneur (Raw Dog Records) and a film composer among many other things. 2009 sees the release of Tower’s third album on her own imprint, Raw Dog Records. Ambience Of Love is full of positive, affirming songs and gentle arrangements.

Ambience Of Love opens with Even When, a song about overcoming obstacles and maintaining a positive outlook. It's a breezy pop tune that's 100% self-affirmation that acknowledges that life has a circular quality and that any rough times one goes through have happened before and will happen again. The implication, of course, is that the good times come around again as well. Love Is No Stranger opens with a voiceover that sounds like it's from a sermon and delves into a nice folk/pop arrangement with a moving bass line. The song itself is about giving yourself over to love and could just as easily be a love song as a song of praise (I left the song not being 100% sure which is intended). Why and Before There Was A Name both sound like meditations or perhaps even devotionals. The latter in particular is quite lovely. Courage To Change stays in the highly positive vein, challenging listeners to be the change they wish to see in the world. Flowers takes to a dance beat to explain the seeds of seeking universal standing in a bit symbolism that borders on cliché. Tower closes out with Appalachian Wind, perhaps the best tune on the disc. On the first eight tracks Tower has been focused inward; on Appalachian Wind she focuses on the world around her and the result is a haunting and beautiful tune.

Ambience Of Love is all about religion, philosophy and feeling good about oneself. With the exception of Appalachian Wind, the album feels more like a self-help book than a collection of songs. That being said, Cara Tower crafts pleasing arrangements around tried lyrics such that the album is a pleasant listening experience. Appalachian Wind shows that there's more to Tower as a lyricist than Stuart Smalley style proclamations, and hopefully we'll see more of that side of her on future releases.

Rating: 2.5 Stars (Out of 5)

You can learn more about Cara Tower at http://www.caratower.com/ or www.myspace.com/caratower. You can purchase a copy of Ambience Of Love at CDBaby.com.

Review: Ashley Tisdale - Guilty Pleasure

Ashley Tisdale - Guilty Pleasure
2009, Warner Bros. Records

Ashley Tisdale came online as a teen pop princess with 2007’s Headstrong, parlaying that success into a vital and popular role in the High School Musical franchise. In 2009 she returns with a more “mature” solo album, Guilty Pleasure, in which Tisdale tries to show she’s all grown up by playing the bad girl. Working with top flight producers and songwriters such as Billy Steinberg (Madonna); American Idol’s Kara DioGuardi (Kelly Clarkson, Carrie Underwood); Toby Gad (Fergie, Beyonce) and Emanual Kiriakou (David Archuleta, Nick Lachey), with an edgier, guitar rock sound on Guilty Pleasure.

Guilty Pleasure opens with Acting Out, a song with great pop bite and the announcement that Tisdale is shedding her "good girl" skin. This is a great sound for radio, kind of like High School Musical meets No Doubt. It's Alright, It's Ok is also upbeat and peppy but a little too common sounding for the alt-Pop realm. Masquerade is catchy and lyrically dense with a stream of consciousness bent that will appeal to pop radio fans. This is probably a decent chart tune as it sticks in your head. Overrated is. Hot Mess is mindless and catchy; probably a big hit on the radio even though the songwriting is less than spectacular. The lyrics to this song are very young and driven with the message that Tisdale is a bad girl. How Do You Love Someone seems to try to give credibility to Tisdale's claims to being bad but instead comes across as the awkward poetry of a disaffected junior high writer. Tell Me Lies, Me Without You and Hair are all decent Pop tunes, while Crank It Up is a likely club hit. Much of the latter half of the CD is more like (occasionally decent) filler, but filler nonetheless.

Tisdale has an okay voice, yet the amount of voice correction work done here is oppressive. The production values on Guilty Pleasure are so high that as a work it begins to sound monochromatic. This is pre-packages pop aimed at the teen market but trying to transition into an adult persona that seems more contrived than real.

Rating: 3 Stars (Out of 5)

You can learn more about Ashley Tisdale at http://www.ashleytisdale.com/ or www.myspace.com/ashleytisdale. You can purchase a copy of Guilty Pleasure at Amazon.com, or download the album or individual tracks from iTunes.

Review: Cupéro - Cupéro

Cupéro - Cupéro
2009, Cupéro

Wow.

Warwick, NY native Clarissa Cupéro just bowled me over. Cupéro's self-titled 6-song EP is the sort of introduction that knocks a listener off their feet. Whether it's the distinctly mature tone of 19-year-old Cupéro's songwriting, the no-holds-barred emotional strength of her songs or the absolutely amazing instrument that is her voice, Cupéro is a purely unexpected and welcome surprise on the musical scene. The Siena College student has influences all over the music map, from KT Tunstall to various classic rock artists to Columbian rocker Juanes (17 Latin Grammys). Juanes has inspired Cupéro to be a bilingual artist, writing and singing in both English and Spanish. The EP, Cupéro, was produced by Patrick Ermlich and E-Shy Gazit, who brought Cupéro's songs to life in ways even she didn't suspect when she contacted them as a high school senior. Now, Cupéro is a college student trying to build her fan base in the Albany, NY and New York City markets who has her eyes on bigger stages down the road.

Those bigger stages shouldn't be a problem at all. Not since Marian Call came along with Vanilla have I been so utterly stilled by a debut album. Cupéro makes you want to just drop everything and listen, and she handles active rock tunes and ballads with equal aplomb. With a voice that falls somewhere on a line between Sarah McLachlan and Bonnie Tyler, Cupéro makes fans every time she opens her mouth to sing. Cupéro opens with I've Got Your Number, a song she wrote for a high school talent show that has become her signature song. I've Got Your Number could have been a hit anytime in the last 25 years, and with the right breaks would vie for radio spins even in today's fractured market. La Sombra is a Spanish language song, and while I can't comment on the lyrics (no habla), the song has a powerful, sensuous feel that borders on overwhelming. Cupéro rips the roof on this vibrant rocker.

I Thought I Knew Love is a commanding love song that's chart ready as you read this. It's a bit off the beaten love song track but ideal mix-tape material and the sort of song that lights up request/dedication lines. Life Is A Moment is a song about striving for dreams and never giving up. It's a powerful message delivered in a powerful vocal performance. The arrangement opens with Cupéro and piano, adding in cello and other instrumentation as the song progresses. There's a Paula Cole "I Don't Want To Wait" feel to this song that's unmistakable. Don't be surprised if Life Is A Moment ends up licensed, movies or even gets covered by big name artists down the road (by then Cupéro may be one herself). Quiero Tu Amor is the other Spanish language song on the EP, a gorgeous ballad that would sell a million copies in an English version. I have to say though that the Spanish language brings out a certain sensuality in Cupéro's voice that's more reserved in English, increasing her marketability in an increasingly multi-ethnic culture a hundred fold. Cupéro closes out with You'll Never Be There, an urgent acoustic rocker with Americana leanings that just about proves that she can do, play or sing almost anything.

Clarissa Cupéro has everything but the breaks. Talent and composure well beyond her nineteen years and a killer voice make it very possible that down the road the name Cupéro will be as familiar as names like Prince, Madonna and Beyonce. Yes, it's a grand statement, and practically everything in Cupéro's life and career would have to go just right for that to happen. But based on what I've heard on Cupéro, it's not out of the realm of imagination. Yes, she's that good. Find out for yourself. Cupéro is a Wildy's World Certified Desert Island Disc. Don't wait, get it now.

Rating: 5 Stars (Out of 5)

You can learn more about Cupéro at http://www.myspace.com/cupero or http://www.cuperomusic.com/. You can download a copy of Cupéro through iTunes or through Amazon MP3. I don’t have any word on CD distribution at the time of publication, but will update with links when/if they become available.

Review: Janid - Twisted

Janid - Twisted
2009, Zonisphere Records

Puerto-Rico born songstress Janid is a musical chameleon with whose voice you may have heard before. She's lent her voice to a project with Frankie Cutlas; to movie soundtracks, radio and television commercials and even serves as the Spanish language voice on 1-800-JETBLUE. Janid's music has been previously featured in the Puerto-Rican mini-series El Ultimo Caso del Detective Prado, leading to her first record deal with Dead Ninja Records in 2006 and a move to New York City. Her debut album, Goddess, led to 4 star ratings on VH-1 and Amazon.com as well as selection as New York's Sexiest Latina by Farandulife Magazine. Her early music was in the R&B genre which prevailed on her second CD, One. Janid also scored a part in the motion picture Bare Knucklez, but felt highly constrained by the path she was on. A six-week sabbatical in 2008 led to a groundbreaking decision to attempt a foray into the realm of electronic music. With her third album, Twisted, Janid brings her high-powered vocal style to dark and roaming electronic tales punctuated by heavy beats and a slightly deranged demeanor. This "good girl gone bad" has wowed fans around the world, and Twisted is the album that just might take her to the next level of name recognition.

Janid jumps right to the head of the club class with Take Me Out, a pulsing, pounding dance tune with a solid melody and amazing vocal performance from Janid. Twisted brings a little raw sexuality to the dance floor as Janid seems to fully hit stride on her blend of R&B, House and Electronica. Think Mary J. Blige meets Kylie Minogue. Do Me is the song most likely to make Janid a household name; a near perfect blend of pop, dance and R&B. With a beat so relentless you can’t help but dance, Do Me also has the sort of melody line and hooks that mean you’ll be humming/singing it for days or even weeks. Janid shows a little of her softer side (vocally) on Red Velvet Curtains to great effect, proving that she’s not just a belter but a singer, and quite accomplished at that. Sacrilegious is a song that could garner Janid a lot of attention, but it’s not what you might think. Sacrilegious in this case refers to living your own life without the “keeping up with the Joneses” constraints that many fall prey to. The song itself is moody and bordering on dark, with a rhythm that would make Madonna blush. Other highlights include Puppet, Not That Far and Freedom.

Janid is a dynamic and talented performer with a voice that grabs you and holds on for dear life. Add in a smoldering stare that could meld steel and a Goth style of dress and demeanor and Janid is perfectly positioned for a run at the top of the dance/electronic charts. Janid is superstar in the making, and Twisted is destined to gain her a much wider audience. Twisted is a stunning, unsettling, and ultimately successful album.

Rating: 4.5 Stars (Out of 5)

You can learn more about Janid at http://www.janidworld.com/ or www.myspace.com/janidmusic; or you can tweet along with Janid at www.twitter.com/Janid. Twisted can be purchased at Amazon.com or as a download via iTunes.

Review: Max Morgan - Interrupting The Silence

Max Morgan - Interrupting The Silence
2009, Chime Entertainment

Max Morgan has already been heard all over American media outlets and his debut CD hasn't even been released yet. Placement on televisions shows such as Gray's Anatomy and Private Practice; on networks such as The NFL Network and ESPN; and on websites such as Seventeenmagazine.com, AOL Music and NYPost.com have made Morgan omnipresent of late. No one doubts Morgan has a good publicist, but a publicist just pries the door open. Morgan has garnered so much attention and press because he is an uncommonly talented and charismatic singer/songwriter/musician. The Liverpool, England native and Southern California resident brings a highly melodic and lyric vocal sound to a broad cross section of musical styles on his debut CD, Interrupting The Silence. Produced by Marc Tanner (Aerosmith, Madonna, The Calling), Interrupting The Silence is a bright comet currently circling the pop/rock scene; when it lands on March 31, 2009, the impact will be amazing.

Interrupting The Silence opens with the plaintive and melodic Loneliest Man In The World. As songs go this is up there in the Paul McCartney stratosphere of epic melodies. In another era this song would have been a multi-platinum single. Morgan has the sweet vocal essence of Chris Martin and the poise to deliver this song like an epitaph in waiting. Sold Out To The Scene brings a little 1980's pop/glam to the album in a crossover dance/rock package that is unforgettable before pulling on your heart strings with the gorgeously sad Wait For Me. Morgan follows up with the big time guitar rock anthem Suffer, which is a great deal more upbeat than the title may imply.

Morgan stomps and howls through hair rocker Ya Better Believe with all of the machismo and flamboyance that defined the more over-the-top front men of the 1980's. Having shown so many sides, Morgan settles next into the dramatic Nobody's Coming To My Rescue. Not since Freddie Mercury has any vocalist in Rock N Roll shown the breadth and stylistic vigor to tackle so many divergent styles and sounds and do them all successfully. Max Morgan has that kind of talent and appeal, and don't be surprised if this guy reaches the pinnacle of the rock world at some point in his career. Other highlights include Trouble, Don't Stop, the urgent rocker Fell and Prayer For No One.

Max Morgan is a rare, rare talent. It's impossible to say how things will pan out in the long run, but Morgan could be one of those once-in-a-generation talents who will transcend stardom to the point of attaining icon status. The musical and vocal talent is here, as is the charisma to reach out across the various voids that exist between artist and listener. Interrupting The Silence is a Wildy's World Certified Desert Island Disc, and is the sort of debut that can be very difficult to top. But something tells me Morgan can and will.

You can learn more about Max Morgan at http://www.maxmorgan.com/ or www.myspace.com/maxmorganband. Interrupting The Silence will be released on March 31, 2009. You can pre-order copies of the CD through Amazon.com.

Review: Kirsten Price - Guts & Garbage

Kirsten Price - Guts & Garbage
2008, KPI

Female vocalists who can sing soul music are all the rage again. Names like Christina Aguilera, Amy Winehouse, Macy Gray and Joss Stone sell CDs, MP3s and concert tickets by the boatload, but all have surrendered something of themselves to the music industry and its producers. London born and New York City based Kirsten Price brings the same kind of presence and big voice to the table, but Price eschewed the major label path to maintain total creative control over her material. Her debut album, Guts & Garbage is the true test of whether it's worked. Early returns suggest Price did the right thing.

Price worked with producers Frederick Sargolini, Raphael Saadiq (Tony! Toni! Tone!) and Danny Saber (David Bowie, Madonna, Seal) in the process of creating Guts & Garbage, but all on her terms and in her own way. The end result is one of the most daring and hottest records to be released in 2008. Price mixes Soul, R&B and Rock with ambition and raw sexuality that will melt speaker wires, warp amplifiers and probably require a cold shower when you're done listening. Opening with Magic Tree, Price sets to tone quickly with a sultry vocal against minimal instrumentation just to show she's got the vocal goods. Pop and R&B music hasn't seen an opening so sultry in a generation, and Price is just getting warmed up.

All Right dances on a reggae beat and Price's meaty alto sound. Price will remind folks of Fiona Apple right off the bat, but Price can sing rings around Apple. She's got that low, husky alto that turns heads but she can also break out into an upper register with complete clarity and a glorious sound. Fall mixes spoken word French and sung English in a dark and mysterious love song that resonates in transformation through the major chord chorus. Crazy Beautiful is set to be a major pop and dance hit for Kirsten Price. It has the same infectious energy as Lou Bega's Mambo #5 but with real attitude. Don't be surprised if Crazy Beautiful is a major international hit. Ten years ago it would have been guaranteed. With today's fractious music business and one-note radio wasteland it might take a bit longer, but this song is huge.

Let Me Go opens with a gorgeous orchestral prologue that morphs into an electronic play land in which Kirsten Price can let her voice play. Price makes the most of it here in a piece that is vaguely reminiscent of Milla Jovovich's esoteric The Divine Comedy. Let Me Go mixes elements of R&B, rock and electronic ambience into a rough and beautiful soliloquy that is absolutely unforgettable. Possibilities allows Price one more opportunity to turn your speakers to mush with a vibrant and sensuous performance that will leave listeners more than a little unsettled. Other highlights include 5 Days Old, Freedom and Red Hot.

Kirsten Price isn't the next in a line of Soul/Pop vixens; she's the new face of Soul influenced rock music. Guts & Garbage is more than its name, offering one of the most moving most exciting musical performances I've heard in some time. Kirsten Price is the sort of iconic voice and character the music industry's been waiting for. It's easy to imagine her, twenty years from now as the new Queen of Soul Music. For right now, she's creating on the most vibrant and exciting mixes of Soul, R&B and Rock we've heard in many years. If you don't believe us, consider that some of her tracks have been featured on The L-Word, CSI and Cashmere Mafia even before the album came out! Guts & Garbage is a Wildy's World Certified Desert Island Disc; an instant classic.

Rating: 5 Stars (Out of 5)

You can learn more about Kirsten Price at http://www.kirstenprice.com/ or www.myspace.com/kirstenpricemusic. You can buy a copy of Guts & Garbage at StretchTheSkies.com or at Amazon.com.

The Wildy's World Top-40 of 2008: #6-12

We're working our way to #1, and today we get into rarefied territory - the Top 12. The competition at this point is pretty hot and heavy, and we've rearranged this list several times in the process of putting it together. Each of the top 3 could easily have been #1, and you can be confident that anyone who's made it this far down the list put out a top notch recording. Remember that there were 537 albums eligible for consideration for the Top-40, so we're in the top 2% of all submissions for the year here.

Each album gets a little more face time here, and as always, if you click on the Artist Name/Title you'll be taken to the original Wildy's World Review. The original reviews have a full synopsis of the album as well as links to artist web pages and outlets that sell the album. So what are we waiting for?!?!?!?

#12 Margot Blanche - Pages In My Diary

Pages In My Diary offers up a blending of Jazz with Hip-Hop the likes of which you've likely never heard. Part Madonna, part Billie Holliday and part Suicide Girl, Blanche grabs your attention with a striking voice and commanding presence. Her tendency toward a burlesque style stage show may be a mere distraction to music fans, but you'll forget all about it when she starts to sing. One of the most original attempts at musical fusion we've heard in some time.

#11 The Hollyfelds - Saratoga

Eryn Hoerig and Kate Grigsby could stand on a Denver street corner in a blizzard and sing the menu from a hot dog stand and people would line up to listen. Their intertwining voices create harmonies that are otherworldly. Add to this one of the tightest and most talented classic country/Appalachian Folk bands between two oceans and some amazing songwriting and you have one amazing album. The Hollyfelds toil in the very busy genre of traditional American music, but quickly rise to the upper echelon of that crowd with this gorgeous debut album.

#10 The Simple Things - The Simple Things

In putting together this list we considered a couple of different factors. First and foremost was (subjectively) how much we liked the CD, but we also considered to some degree issues such as commercial viability. The Simple Things makes this list on pure heart. This little artsy, minimalist jazz/pop other trio has made one of the most eclectic and starkly beautiful albums of 2008. Vocalist Kaitlin McGaw could sell CDs/downloads singing a Capella, and Raymond Ruiz and Michael Gallant are top-notch musicians in their own right. If you get out San Francisco this way put The Simple Things on your itinerary if you can find a show.

#9 Julie McKee - What A Woman Shouldn't Do

Julie McKee's debut album is one of the finest collections of Jazz-imbued pop music of the year. She's part Annie Lennon, part Fiona Apple and part Jane Siberry. 2008 saw McKee gain significant attention for What A Woman Shouldn't Do, and even broke down international barriers by performing her first shows in New York City and Chicago (both well reviewed, by the way). Intelligent and witty lyrics make this one of the smartest albums of the year. An absolute must have for music fans.

#8 Crooked Still - Still Crooked

Crooked Still is as about as old-school country as one can get. Still Crooked is steeped in the Celtic and Folk traditions from which country music originally grew. Aoife O'Donovan sings this music like its her life's blood, and the rest of Crooked Still don't so much back her up as organically weave themselves around her voice. Out and out the top Country/Americana album of the year.

#7 Mike Ford - Canada Needs You Volume Two

Some of you may remember Mike Ford as 1/4 of the Toronto quartet Moxy Fruvous. Rather than fading into obscurity, Ford has become of Canada's best songwriters, concentrating his efforts on songs with educational value. Canada Needs You Volume Two focuses on persons, places and events in 20th Century Canadian history. No subject or musical style is off-limits as Ford uses intelligent and nuanced story-telling, humor and divergent musical styles to paint a series of musical profiles. This disc isn't likely getting a lot of mention on end of year lists, in large part because Ford doesn't do the whole self-promotion thing on a level with many of the other artists here, but it should be. The CD is absolutely unforgettable. And hey, just for kicks, check out this interview we did with Ford. It's a worthwhile read.

#6 Woodward - ...But Your Kids Are Gonna Love It

Woodward's debut is the quintessential Rock N Roll album, mixing elements of modern rock and classic rock into a blend that is familiar yet new. As music fans, this was probably the most exciting Rock Album to cross our desk in 2008. Because of the mix of sounds the target audience for this CD is any rock fan from 10 to 60. Woodward may or may not make the long haul stardom, but don't be surprised if this album someday stands out as one of the finest and most enduring albums of the Indie Rock era.

Review: The Best Of Bond... James Bond

Various Artists – The Best Of Bond… James Bond
2008, Capitol/EMI Records
In the world of movies, they are a vast list of sequels and series. Series like Star Wars, Indiana Jones and Harry Potter all have explosive box office sales and rabid fan bases, but none of them has the longevity of the SIS (MI6) Commander. Bond has graced the silver screen 22 times (including 2008’s Quantum Of Solace). Bond is the creation of British journalist Ian Fleming, and has been the subject of several authors over time (Fleming passed away in 1964). Over the course of 22 movies (and 22 soundtracks), the James Bond line has developed a significant number of songs identified with various movies. The Best Of Bond… James Bond is an attempt to cull the best, or at least most recognizable of those songs into one collection.

The Best Of Bond… James Bond is not just a retrospective, but also something of a sociological study of the changes in popular music over the last 40+ years. The CD features artists as diverse as Shirley Bassey, Louis Armstrong, Chris Cornell, Paul McCartney, Duran Duran and Sheryl Crow (just to name a few). Many of these songs have been popular hits over the years, and most music fans will recognize much of the material presented here. Highlights include Duran Duran’s A View To A Kill, McCartney’s Live And Let Die, Bassey’s Goldfinger and two selections from John Barry Orchestra: the James Bond Theme and On Her Majesty’s Secret Service. You could pick most any song from the CD and substitute it in for one of the ones above. This is the cream of the crop from the 21 previous films, so there is much material to choose from.

James Bond is an enduring as the art of making movies. It’s hard to imagine the franchise ever going away. Each new generation rediscovers Bond and aside from one or two movies along the way, Bond never seems to lose steam. The Best Of Bond… James Bond is a worthy testament to the staying power of Agent 007. Music fans of all ages and ilks will find something to love here. Bond fans will eat this up.

Rating: 4.5 Stars (Out of 5)

You can learn more about James Bond at http://www.007.com/. You can purchase a copy of The Best Of Bond… James Bond at Amazon.com.