Review: Ten Year Vamp - Don't Act Like You Know Me

Ten Year Vamp - Don't Act Like You Know Me
2009, Ten Year Vamp, LLC.

Albany, New York doesn't get the respect is deserves as a music scene (or for much else, for that matter). Most of the great acts that start there end up moving on to either Boston or New York where they become known, but Ten Year Vamp is poised to Albany back in the limelight in a big way. What can you say about a band that pumps out high-octane Rock N Roll while changing the way the music business is run? When Ten Year Vamp set out to make their latest record they decided to make it a communal process. Seeking funding from their fans, the band accepted 60 contributions from fans ranging from $25 to $2,000, then put 80 songs up on their website to let those same fans select which twelve would end up on the album. Fans even had a say in the album artwork, and all contributors will receive a share of the album sales. The resulting album, Don't Act Like You Know Me, shapes up to be one of the most dynamic rock albums of the year.

Ten Year Vamp opens with Never Know, an intensive and active Rock song that's perfect for Modern Rock Radio as well as Pop/Rock/hybrid formats. Never Know has serious commercial punch, and a hook that sinks into listener's brains and won't let go. Add in the gorgeous and powerful voice of Debbie Gabrione and suddenly you're talking about the sort of song that can't miss with the right push. Stay is an invitation not to be turned down wrapped up in a sexy, playful rock tune that's hungrier than it might sound at first listen. Say You Made Love To Me continues the trend of female-dominant sexuality in song. This isn't the sort of wanton sexuality that's generally marketed to the masses, but a healthy, choice-based female sexuality that's about satisfying needs than subjecting oneself to another's fantasies to fit in. Gabrione calls things as she sees them and isn't afraid to say what she wants. All of this celebration of feminine sexuality culminates in Pleasures (That I Call Mine); one of the most outspoken and healthy musical expressions I've heard in a long time. The fact that these songs rock like nobody's business just adds to the pulse-pounding drama and intrigue that Ten Year Vamp and Debbie Gabrione in particular, are bound to incur.

Faked It is a "When Harry Met Sally" moment set to pounding guitars in a powerful, fast-paced rock arrangement that's unforgettable. I Don't Need goes on to look at the relationship traps that women fall into, with the protagonist trying to find her own voice or power in a relationship. This song is more powerful in message, perhaps, than many of the songs here, but musically lags a bit behind the more dynamic material that came before it. One Night Ticket incorporates some New Wave/Electronic instrumentation into the rock setting while exploring the eternal question, "What if..." about the one that got away. Ten Year Vamp rocks prodigiously through Another Try and Oh So Nice And Slowly on the way to Call It, the closest thing to a pure love song on the album. This is certain mix tape material in a true power ballad that's pragmatic rather than syrupy and cliché. Rockstar reflects the realization that many who find stardom quickly come to; that the simple fact of being a star isn't all it's cracked up to be. It reflects a mature worldview that should fare the band well as they make the transition to rock stars themselves. Ten Year Vamp goes anything but quietly, signing off with Goodbye, perhaps one of the most empowering kiss off songs in the history of Rock N Roll.

It's really no wonder that Albany's Metroland Magazine's reader’s poll has named Ten Year Vamp best local rock band for five years running. With exposure on CNBC, Forbes, Yahoo!, and AOL Finance for their business model, and an incredibly dynamic new album, it's hard to see how Ten Year Vamp fails to explode on the national scene. Debbie Gabrione is the sort of front woman they make movies about, and the rest of the band (Mark Rose - guitar; Tim Keenan - bass; Andrew Foster - lead guitar; Gregory Nash - drums, and Bill Ketzer - keys, percussion) is incredibly tight. With a sound already refined and highly marketable, Ten Year Vamp just needs that one big break to fall in place. It will happen sooner or letter; music this good just doesn't stay hidden. Don't Act Like You Know Me is brilliant; a Wildy's World Certified Desert Island Disc. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Ten Year Vamp at http://www.tenyearvamp.com/ or www.myspace.com/10yearvamp. You can purchase Don’t Act Like You Know Me as either a CD or download through CDBaby.com. You may also download the album from iTunes.

Review: Cheryl Catherine Smith - Cheryl Catherine Smith

Cheryl Catherine Smith - Cheryl Catherine Smith
2008, Cheryl Catherine Smith

Cheryl Catherine has the sort of back story that speaks of urban legend, mythology and hearsay, yet I am assured it's all true. A father who may have been part of the Mafia in New Jersey drove to Vancouver to see his two children when Smith was eight. The next day he was found dead. Smith's life spun slowly out of control from there. Smith frantically searched for meaning and purpose, trying everything from modeling to religion to drugs. Personal tragedy (rape) and success mixed in a whirlwind leading up Smith's own suicide attempt. Somewhere in there Smith came to terms with her own path; since that time the creative possibilities in her music have opened up a whole new world for Smith, who has been compared to Pat Benetar, Pink, Leonard Cohen and even Bette Midler. Smith's self-titled debut CD, released in 2008, is starting to gain serious traction in Canada and the United States, even garnering airplay in the UK.

Opener All Dark Places is set to a dance beat and speak of the void in anyone who has been hurt that waits for love to fill it. The vocal is lush and entrancing with a rocker edge to it. This will be the second single in the US and has serious commercial potential. Smash Up My Telephone opens with a talk/sing introduction before heading into a lyric bridge and a guitar-heavy chorus. This is another tune with real potential commercial impact. It's just off the beaten path enough to stand out and finely crafted enough as a Pop/Rock song to swim with the big musical fishes. Why Does She Hate You has already earned status as a moderate radio hit in the US. It's a driven rock song that calls to a cross between Pat Benetar and Patti Smyth. With the right push from a label this would easily be a top-10 single. It's that good.

Smith heads for deeper waters on My Body Bends, a song about the sort of insecurity, fear and plain that leads some to the point of ultimate decisions such as suicide. The song is shocking in its presentation, sounding otherwise like a 1980's Pop/Rock song. Pardon Me is a protest song of sorts against the power brokers of the world. It's spoken word over ethereal keyboard and a heavy, slow rhythm. It may be Mother Nature speaking or some other goddess figure but could just as easily be any deity you choose. I Am Strong is done as a country tune about getting out before things fall apart. The song appears to be written from the perspective of someone afraid of things working out rather than of them falling apart. It's great writing, fully in character and in situ. Time Is On My Side is a radio-ready Country/Rock anthem about believing in yourself. This could easily become the theme song of a television show and could become an anthem for all those striving to make their dreams come true.

September Morning addresses growing up and beginning to see that all the things that looked black and white at 18 are really all different shades of grey. This is a theme that has been done many times over in popular music, but Smith avoids cliché and creates a cogent and poetic pop song. Superhero walks the line between love song and best friend song; it could be read either way. Regardless of your reading this is a classic pop tune with serious potential for licensing and an outside chance of breaking at radio. It's a catchy melody, a solid and well-delivered subject laid out in poetic language and a steady pop beat that leaves it open to dancing. This is real mix-tape material and an instantly likeable tune. Smith heads back to the Country sound on Let Sleeping Dogs Lie; singing in the warm alto part of her range and letting herself go completely in the singer/songwriter pastiche she's so good at. Smith closes out with the Rockabilly/Rhythm N Blues On My Way; an acknowledgement that in spite of whatever has come before Smith is heading toward her dreams. It's a song that most working musicians can identify with. It reflects confidence and belief in self and is done with an almost magical touch on lyrics.

Cheryl Catherine Smith is the real deal. Her sound varies from Rock to Pop to Country without any variation in the quality of her songwriting. Cheryl Catherine Smith is the sort of album that breaks out and big, turning a relative unknown into a known commodity and occasionally even into a big star. There's enough material here with real commercial impact to sell a lot of albums/downloads, but Smith never seems to aim for a commercial sound. It's more like she writes what she writes and some of it is just so good that commercial radio can't ignore her. Once you've heard Cheryl Catherine Smith you won't be able to ignore her either.

Rating: 4 Stars (Out of 5)

You can learn more about Cheryl Catherine Smith at http://www.cherylcatherinesmith.com/ or www.myspace.com/cherylcatherinesmithfans. You can purchase a copy of Cheryl Catherine Smith at www.cdbaby.com/ccsmith.