D.B. Rielly - Cross My Heart + Hope To Die

D.B. Rielly - Cross My Heart + Hope To Die
2013, Shut Up & Play!

D.B. Rielly stormed onto the music scene in 2010 with his debut album Love Potions and Snake Oil, landing on over a dozen “Best Of” lists for the year (including #1 album of the year on the Wildy’s World year-end countdown).  The New York City-based singer/songwriter brings an eclectic mix of country, zydeco, blues and rock and roll to the table, creating vast musical tableaux that serve as the perfect setting for his stories and songs.  Rielly recently dropped his second album, Cross My Heart + Hope To Die.  There is no sophomore jinx here; Rielly’s second album is as compelling as the first and perhaps even moreso.

Rielly gets started with a brilliantly rustic take on Bob Seger's "Turn the Page". There's a desolate beauty in the contrast between the stage and the hours of night where loneliness pervades. Rielly brings this to the fire with a utilitarian vocal style and subtle instrumental layering. "Wrapped Around Your Little Finger" finds Rielly and his band working a vibrant mix of zydeco and country. Sit still if you can.  "Some Day" is a swaying lament, played and sun in the style of Roy Orbison. Rielly handles this with a gentle reserve, channeling Orbison with an eerie precision. 

"Come Hell Or High Water" is one of the most powerfully elemental love songs you will ever hear, and Rielly delivers it in unvarnished fashion. There's a rough beauty here that is stunning. "Moving Mountains" is a song of faith in action built on a gently rolling arrangement. Reilly's band is at their low-key best here; everything is fluid yet full of a vibrant energy. "It's Gonna Be Me" is a bluesy tune with rock attitude.  The guitar work here is alive and kicking, and Rielly brings optimism and humor together in enjoyable fashion. 

"Untie Me" sounds like it could be a John Fogerty tune from the Creedencen Clearwater era. It's a great little number with a wicked backbeat guaranteed to get your hips shaking. "Your Doggin' Fool" is an anachronistic kiss off song that's well hewn and sung with a classic country sound. It's back to zydeco and country for "Roadrunner", with Rielly and his band turning in a bravura performance. Rielly closes with "Fiorchroi (True Heart)", a haunting ballad sung to a departed love one. Without cliché or glitter, Rielly offers a brilliant performance as elemental and lovely as you could imagine. 

After listening to Cross My Heart + Hope To Die, it is difficult to imagine Rielly not ending up on a bunch of year-end lists again.  The album probably dropped a bit late for GRAMMY consideration this year, but Rielly deserves that sort of attention for his work.  Cross My Heart + Hope To Die takes you through emotional depths without the saccharine or overreach common in pop music, but also conveys a level of mastery as a songwriter, performer and vocalist that is rare in any genre.  D.B. Rielly has done it again, and Cross My Heart + Hope To Die is nothing less than a Wildy’s World Certified Desert Island Disc!

Rating: 5 Stars (Out of 5)

Learn more at www.dbrielly.com.  

John Paul Keith - The Man That Time Forgot

John Paul Keith - The Man That Time Forgot
2011, Big Legal Mess Records

John Paul Keith has walked the true Indie path, choosing integrity to his musical vision over the sort of compromises that tend to breed success in the traditional music business.  Walking away from The Viceroys over concerns over the band's musical direction, Keith lived something of a nomadic musical life over a number of years before finding a home in Memphis.  The fiercely independent music scene there embrace Keith at a point when he was ready to give it all up, and has resulted in a resurgence in Keith's songwriting that is stunning.  John Paul Keith shows the fruits of his labors on his latest album, The Man That Time Forgot.

The Man That Time Forgot opens with "Never Could Say No", sounding like an alchemic compound derived from the Traveling Wilburys and Jimmy Buffett.  It's a fun, catchy tune with a definite 1960's aesthetic.  "You Devil You" is a honky-tonk number tied together with impressive piano fills.  This is a catchy, fun and danceable number that will stick with you.  "Anyone Can Do It" heads into the realm of 1960's garage pop.  "Afraid To Look" stays with that aesthetic, using a catchy arrangement to explore living life out of control and the constant fear that something is sneaking up on you. 

"The Man That Time Forget" is a melancholy, Roy Orbison-esque number built on a strong melody and a world-weary sense that is palpable.  A bit of Beatles influence shows through on the catchy "I Think I Fell In Love Today", splitting that catchy British-style melodicism with the garage, alt-country sound Keith seems to be comfortable with.  Rock N Roll presides on "Dry County", a catchy little number that could turn into a roof-raiser in concert.  "Somebody Ought To Write A Song About You" is a sweet and sentimental 1970's-style AM radio ballad that may play well to traditional Adult Contemporary formats.  Keith revs things up with the rockin' rhythm and blues of "I Work At Night" before closing with a classic-style drinking tune, "The Last Last Call".  This last is buoyed by a sort of happy communal desolation that can only be found in the collective brotherhood of a neighborhood watering hole, where dreams and regrets are lined up on the bar and knocked down as easily as shots at happy hour.

John Paul Keith sings with a quiet charisma on The Man That Time Forgot, using an easy delivery to explore songs that themselves flow like water.  Keith's integrity to his own musical vision is impressive; a breath of fresh air in the music business.  The Man That Time Forgot is definitely worth remembering.

Rating: 3.5 Stars (Out of 5)

Learn more about John Paul Keith at www.johnpaulkeith.net or www.myspace.com/johnpaulkeith.  The Man That That Time Forgot is available from Amazon.com as a CD, on Vinyl, or as a Download.  The album is also available via iTunes.

The Ray Renzi Project - Oldzkool

The Ray Renzi Project – Oldzkool
2011, Oldzkool Records

In an age of genre hyphens, there are acts out there that blend so many styles they make the word genre practically obsolete.  Rhode Island's The Ray Renzi Project is one such act, blending jazz, rock, blues, country, R&B, Celtic, folk and more than a little Jimmy Buffet into an ever shifting musical patois that is as unpredictable as it is appealing.  All of this is evident on The Ray Renzi Project's album Oldzkool, a solidly appealing conglomeration of anything and everything you ever could have wanted out of the pop music era.

Oldzkool opens with "As Simple As", a catchy, straightforward rocker with Americana and blues in its ancestry.  It's philosophical and mellow song of love with a philosophical bent, supported by some impressive guitar fills.  "How Strong Is My Love" is a straight-ahead rockin' blues tune that is more entertaining musically than lyrically.  Renzi and his band have an ear for catchy blues/roots based rock n roll, with nods to both Mark Knopfler and Eric Clapton for style.  "Love Will Find It's Way" is a 1960's-style pop ballad with a memorable melody and a classic feel.  The song may sound a bit bland up against the material that precedes it, but is refreshing in its melodicism and pure pop sensibility. 

Renzi channels Jimmy Buffett on "A Cold Margarita" while working in references to artists such as Buffett, Alan Jackson and Bertie Higgins, amongst others.  It's a bit of kitschy fun that's part tribute and part parody, but very well played.  "Jazzette" is a brief instrumental diversion that makes the most of saxophone and guitar in a convincing jazz turn.  It's a solid change of pace that highlights the range and depth of the band.  "Come On Over" is 1950's rock/R&B with a walking bass line.  Catchy and enjoyable, the song features some of the best vocal work on the album, both in the lead and in harmonies.  "I Don't Know Why" moves forward into the mid-1960's with a roots-rocker built on a post-Beatles melodicism and a catchy beat.

Renzi goes for the heart on the Orbison-esque "So Alone Tonight", a song of sadness underscored by the mournful steel guitar that fills space between vocal lines.  Beautiful in its dark emotion and shading, the song is a time-machine moment that will bring you back to the days when artists such as Orbison were regulars on the Billboard charts.  "Flanagan's Shannon View" is a dose of pure Irish-Caribbean stew, a Jimmy Buffett-style number played with country instrumentation and deep Celtic influences, it's certainly an aural experience you won't forget.  It's actually not bad, although so many steps off the beaten path it might be something of an acquired taste.  Oldzkool goes out in a blaze of surf guitar, on the Dick Dale-styled "Surfette".  It's a solid, guitar-led instrumental rant that is so out of flow with the album it belongs.

The Ray Renzi Project has but one focus on Oldzkool, crafting original tunes inspired by some of the great artists and styles of the 1950's, 1960's and early 1970's.  The band is very competent, with Renzi solid on vocals and guitar, and the rest of the crew backing him note-for-note through an extremely varied set of songs and styles.    The Ray Renzi is the ultimate cover band playing songs you've never heard before, but which sound suspiciously familiar the first time you listen.  This is done with an amiable presence that shines through even from the recording studio; a care free attitude that could only be born of the golden age of rock n roll.

Rating: 4 Stars (Out of 5)

Learn more about Ray Renzi on his website.  Additional information about the Oldzkool project is available here.  Oldzkool is available from Amazon.com as a CD or Download.  The album is also available on iTunes.

John Connolly - The Wind

John Connolly - The Wind

2010, John Connolly

Prince Edward Island, Canada singer/songwriter John Connolly began travelling to Nashville in 2008 to develop his song craft.  Connolly developed a friendship with producer Brian Ahern (Emmylou Harris, Roy Orbison, Johnny Cash) over the course of time, and in early 2010 called on his friend to produce Connolly's debut album, The Wind.  While the process of recording in a Nashville mansion amongst vintage gear and a sense of the city's history may have been daunting for some, it appears to have provided Connolly with deep inspiration.

The Wind opens with "Unfinished Business", a simplistic secular parable about learning to live life for yourself.  Connolly is folk singer/songwriter with a smooth sheen and an amazing voice; drawing you in with a purity of sound that makes you want to listen.  "Here You Are" captures both the surprise and sweetness of finding love unexpectedly and or reality passing expectation.  The folk/country arrangement offered here is very mellow and features a melody you won't be able to escape.  "The Wind" is a song of comfort that sounds like a blend of traditional country and an almost Eagles-style California country sound.  "Country Stars" is an ode to old-time country and a lamentation that the country stars of yesteryear are nearly forgotten nowadays.  "Does It Show?" is a halting love ballad that is a study in musical aesthetics while providing an equally adept vocal line.  Connolly closes with "Ancient City", recollecting a youthful love affair far from home.  Connolly is masterful as a story place, building a time and place in song and inviting the listener in to be a part of the experience as memory recalls it.

The Wind introduces John Connolly as a riveting story-teller with a mesmerizing voice and an almost magical ability to feed the listener's senses beyond sound.  John Connolly's songwriting has a timeless quality that can't be bought; a gift that will likely keep on giving as Connolly continues to pursue life in music.  The Wind is the sort of album that keeps you coming back, and chomping at the bit for whatever else Connolly might have up his sleeve.  If The Wind isn't on year end critics' best of lists, it's because they haven't heard it.

Rating: 4.5 Stars (Out of 5)

 Learn more about John Connolly at www.johnconnolly.ca or www.myspace.com/johnnyprovince.  The Wind is available digitally from Amazon.com and iTunes

Sahara Smith - Myth Of The Heart

Sahara Smith - Myth Of The Heart
2010, Playing In Traffic

Sahara Smith first came to national attention in 2004, placing second in a contest for young songwriters on A Prairie Home Companion. Six years later, the now 21-year old singer/songwriter from Wimberley, Texas is ready for the big time with her debut album, Myth Of The Heart. Under the guiding hand of T-Bone Burnett and produced by his longtime colleague Emile Kelman, Myth Of The Heart shows Smith as a dynamic young artist who is ready for the world. Myth Of The Heart features instrumental support from Jay Bellerose (drums); Marc Rinot (guitar) and Dennis Crouch (bass), as well as Smith's regular band.

Myth Of The Heart opens with "Thousand Secrets", and what an introduction. Smith tells a story from the perspective of the ocean; seeing all things that happen in its presence with many of those stories slipping away from human knowledge like the undertow pulls away from the shore. It's a deeply philosophical look at life from the perspective of all we don't know. The melody is highly memorable, and Smith's voice has a lush beauty that's tempered with a hard edge underneath; a beautiful instrument with the icy sheen of a historian of human events beneath. "Are You Lonely" starts out promisingly but devolves into a repetitive and somewhat closing chorus. The song explores the human need to be needed even if for one night and is well written minus the chorus. "Train Man" sounds like it should be a Roy Orbison cover, with a melody line that sounds a bit like an excerpt from Chris Isaak's "Wicked Games" at times. It's a well-written tune, and Smith certainly gives it her all, but the result is just a bit too derivative.

"Tin Man Town" takes more of a traditional country turn, and Smith's voice absolutely shines in this lonely ballad about living in a two-dimensional world. Smith turns up the heat a bit in "The Real Thing", adding some naughty girl oomph to a quiet anthem about breaking out of the norm and starting new someplace else. On the surface this is a plea to escape, but there's a darker, more carnal message underneath that Smith conveys very well. If Sahara Smith makes a big impression on commercial radio from Myth Of The Heart it's likely to be in the form of "Angel", a quiet, contemplative ballad about the tragedy of watching the one you love slip away. "Angel" is takes on the voice of the middle of the night when all is still and love and knowledge mix in an uneasy embrace where want and need diverge. "All I Need" takes a more positive tone, an affirming love song about being all you can for the one you love. This one has mix-tape written all over it.

"Myth Of The Heart" shows a highly cynical view of love, fearful of the myth of love and viewing it as a justification for procreation, in essence. It's an interesting song, a caricature in bleak that's very modern and yet very old in origin. It's not Smith's best performance on the album, but is an intriguing bit of songwriting. "Midnight Plane" is a mournful ballad of coming home that's more about the journey than the destination. There's a solitary beauty in this song, a dignity that's above human grace and yet of its most base nature. "Mermaid" is an interesting vignette, the memories of a soul who sees little hope in life, but is touched by memories of places she's never been and a voice calling out to her in the dark of night. Smith's voice is never more beautiful here, frail in the darkness and yet full of an ethereal glow. Myth Of The Heart closes with "Twilight Red", a mournful song of love lost. Smith pines on the loss and the effect the passing of time will have. It's a brave performance; dynamic in its depths and rich in vocal texture, recalling some of the slower, darker material of Sarah McLachlan.

Sahara Smith has seemed to have the world on her plate for a number of years now. The exposure she received from A Prairie Home Companion certainly seemed appropriate at the time, but it takes a lot to transform such a start into staying power as an artist. It might be a bit early for prognostication, but if Myth Of The Heart is any indication Sahara Smith will be around for many years to come. Smith walks a darker path vocally than many young artists, using her unorthodox vocal sound to plumb the depths of human sorrow extensively on the album. This works for Smith because even in the depths of misery she conveys a hope for better things. This dark incandescence is a vocal quality few artists can attain, much less maintain over the course of a song cycle. Even with songwriting that is up and down, Sahara Smith shines in the darkness.

Rating: 3 Stars (Out of 5)

Learn more about Sahara Smith at www.myspace.com/saharasmithmusic.  Myth Of The Heart is available via Amazon.com as a Myth of the Heart or Myth Of The Heart.  Digital copies are also available via iTunes.

The Literary Greats - Ocean, Meet The Valley

The Literary Greats - Ocean, Meet The Valley
2009, The Literary Greats

Houston, Texas quintet The Literary Greats recently returned with their sophomore album, Ocean, Meet The Valley. With a rootsy approach to rock n roll, The Literary Greats take a deeper, darker turn with Ocean, Meet The Valley. Working with producer Chris Grainger (Wilco, Sixpence None The Richer), The Literary Greats used 1970’s era equipment and recording techniques to capture a classic sound.

Ocean, Meet The Valley opens with "That Mountain Yonder", a song of big melodic sensibilities and Americana colorings. The Literary Greats come off sounding like a cross between The Rolling Stones and Wings here. "Show Me The Coast" is a Blue Rodeo-style country rocker with a big guitar sound. It's a great tune, one that will have you hitting replay over and over. The Literary Greats get a bit scattered on "Happens Every Time" before falling into the droning and "The Black Bee". "Oh Abilene is a raucous country rocker that's well worth the listen, particularly in a honky-tonk or club where there are many willing dancers.

Dreadnought is highly repetitive, working around a play on words "fear God and dreadnought" in a song powered by big, heavy guitar sound. "Ruby Sapphire" is a love song of sorts, wrapped up in a dark, mildly funky rock tune with serious backbeat and a solid chorus. "Ocean Waves" has a low-key, early-1960's sound that's vaguely reminiscent of Roy Orbison, although the lyrics sound straight from the heart. The Literary Greats close with "Hill Country Queen", an affable love song with some real potential.

Ocean, Meet The Valley is an enjoyable side-trip, full of solid melodies, plus songwriting and energetic performances from The Literary Greats. Americana fans should fawn all over The Literary Greats. These guys can flat out play, sing, write and perform.

Rating: 3.5 Stars (Out of 5)

Learn more about The Literary Greats at http://www.theliterarygreats.com/ or www.myspace.com/theliterarygreats. Ocean, Meet The Valley is available in multiple formats from Amazon.

Review: Ryan T. Jacobs - The Places You Might Have Gone

Ryan T. Jacobs – The Places You Might Have Gone
2008, Ryan T. Jacobs

Born in Oregon but constantly on the move, Ryan T. Jacobs lives the style of an old-school minstrel, landing where the wind takes him until the next big gust comes along. Jacobs has played all over Europe, lived in France for a time and now calls Berlin home. His debut EP, The Places You Might Have Gone, covers universal concepts such as love, loss, loneliness, family and friends. With a style that walks the Dylan line somewhere between Neil Young and Damien Rice, Jacobs will seem instantly familiar to many listeners.

Jacobs has a voice that is at times strongly reminiscent of Roy Orbison, most audible on Elements, a highly philosophic song that even sounds like classic Orbison in the guitar work. Not to be pigeonholed, Jacobs seems to be a bit of a musical chameleon, sounding like a cross between Adam Duritz and Neil Young on Pieces. When Jacobs is on, his songwriting is crisp and his vocal performance is warm and pleasant. But occasionally things fall off the table on The Places You Might Have Gone, such as The Politics Of Live And Love, Amnesia or the falsetto vocal parts in Pieces. The highlights of the EP are Burn The Letters, a thoughtful and touching song about legacies, and Dear You, Oh Dear Me. The latter is a finely written folk/pop song that should gain Jacobs a lot of attention; the sort of song that other artists rush to cover.

Ryan T. Jacobs has strong qualities as a songwriter, although occasionally gets bogged down in the creation process (like most writers). At his best, Jacobs is as thought provoking as Rice, Young or Dylan. Vocally, all is well in the lower parts of his range, but when Jacobs goes into his falsetto range it can get a bit dodgy. All in all, The Places You Might Have Gone is pretty decent. Be sure to check it out.

Rating: 3 Stars (Out of 5)

You can learn more about Ryan T. Jacobs at www.myspace.com/ryantjacobs. The Places You Might Have Gone is available as a download through iTunes. (Photo by Janet Norris).

Review: Zac Mac Band - Under The Radar

Zac Mac Band – Under The Radar [EP]
2009, Night Train Records

The Zac Mac Band has taken Boston, and now they’re ready to take on the world. Lead singer, songwriter, pianist and sometime guitar player Zac McIntyre was a finalist in 2008’s Great American Song Contest, and towers above the competition (he’s 6’10”). Inspired by bands such as Led Zeppelin, Coldplay, Chris Cornell, Collective Soul, The Killers and Snow Patrol. McIntyre writes intelligent and catchy mellow rock songs that get stuck in your head. The Hope, Maine native is a veteran of bands such as North Of Nowhere, The High End and Johnny Rainfield, but appears to have found a sound and style with the Zac Mac Band that is his own. ZMB’s latest release, Under The Radar, hit stores in March of 2009.

McIntyre has a very enjoyable voice. The songs on Under The Radar have a much laid back, nearly repressed mellow sound (think Barenaked Ladies’ Maybe You Should Drive album for comparison). McIntyre writes serious songs, but is not afraid to weave humor into the fabric of a song where appropriate. MySpace Heartbreak hits both serious and ironic notes in a New Wave/Pop tune about Post-relationship neurosis in a digital age. Highest Level is a treat for the ears; a modern mellow rock tune with a chorus worthy of Alan Parsons. Loaded Gun I didn’t connect with as well. Considering the subject matter the song is remarkably passive; the narrative and affect just don’t match at all. There is some Roy Orison inspired guitar work here and the song comes off sounding a bit like a John Mayer tune. 15 Songs On The Radio, on the other hand, is an inspired bit of writing. McIntyre takes us inside his head and the struggle to keep striving for your dreams when the possibilities are so limited (“So many other bands / they’ve got the same plans / and there’s only 15 songs on the radio.”) Anyone who has ever tried to make it in the music industry, or even stood in front of a mirror, air guitar in hand and wished will appreciate the sentiments here. Roll Me Over closes out the set in a somewhat generic Alt/Pop tune ala Dog’s Eye View or Matchbox 20.

The Zac Mac Band has a future. Under The Radar is a bit uneven but shows flashes of brilliance (MySpace Heartbreak, 15 Songs On The Radio). Don’t be surprised if these guys are household names down the line. For now, Under The Radar is a great way to get to know Zac Mac Band. Check it out!

Rating: 3 Stars (Out of 5)

You can learn more about the Zac Mac Band at http://www.zacmacband.com/ or www.myspace.com/zacmacband. You can purchase a copy of Under The Radar at www.cdbaby.com/cd/zacmacband.

Review: Raul Malo - Lucky One

Raul Malo - Lucky One
2009, Fantasy

One might guess Raul Malo was raised on the classic music of Elvis Presley, Tom Jones, Roy Orbison, Jim Reeves and other greats of the golden eras of Rock and Country. On his latest CD, Lucky One, Malo pays vocal and stylistic tribute to that bygone era, moving through the sounds of that time like a musical chameleon. On the first three tracks alone Malo channels Tom Jones (Lucky One), Elvis Presley (Moonlight Kiss) and Roy Orbison (Something Tells Me). Crying For You is perhaps the biggest moment here, sounding like something Sun Studios and the country side of Nashville might have gone to war over at one time. Malo has a classic sound that would have fit in easily anywhere from the late 1940's to the 1960's heydays of Las Vegas. While looking decidedly modern, Malo has captured a sound and style here that becomes stale in the hands of many artists of this generation. Few have the charisma and showmanship to bring this type of music the way Elvis or Tom Jones did, much less in the fashion of Sinatra, Dean Martin, Sammy Davis Jr. or other contemporaries of The Rat Pack.

It's a little too early to tell, but Raul Malo might just find his name mentioned in those circles one day. He has the voice and the presence to be there. If you're a fan of great vocal music in general, or of 1950's and 1960's pop vocal music in particular then you need to check out Lucky One. You won't regret it.

Rating: 4 Stars (Out of 5)

You can learn more about Raul Malo at http://www.raulmalo.com/ or www.myspace.com/raulmalo. You can purchase a copy of Lucky One at Amazon.com.

Review: Desmond Drive - I Called I

Desmond Drive – I Called I
2008, Desmond Drive
Desmond Drive is an Atlanta band with a big sound. Practicing the fine art of melody-driven rock in the vein of The Beatles or XTC, Desmond Drive literally turns heads when they start to play. Vocalist/keyboardist Bill Shaouy was raised on great melodic pop and managed to internalize that sensibility. It comes through in droves on Desmond Drive’s debut album, I Called I. With the help of Chuck Kelly (drums, percussion); Steve Platnick (Bass), and Rob Gal (guitarist and Producer), Shaouy offers up some of the sweetest pop confections you’re likely to hear.

Desmond Drive travels the highways and byways of big melodies and strong pop themes. The fact that these are applied to a distinct Americana style makes for a highly listenable and universal album that eludes distinct classification while constantly breaking new ground. I Called I opens with Two-Headed Beast, classic Americana in the image of Canadian trailblazers Blue Rodeo. Vocalist Bill Shaouy has a heavenly voice that's as smooth as anything and twice as pleasant. Desmond Drive nearly reinvents themselves on Poker Face, with a strong Roy Orbison thing going on. This is pure 1960's pop music; a love song with a slight country twang and big harmonies. Desmond Drive changes gears again on Isn't It A Wonder, a Beatles-esque pop ditty that's bizarrely beautiful in the most esoteric sense.

If you've ever spent much time on the folk scene in Upstate New York you may have come across a band called The Foothills Trio. I mention them because Desmond Drive's next song, Goodbye, sounds like The Foothills Trio sat down to jam with the Traveling Wilburies. The song carries tremendous harmonies and outstanding guitar work. Your Name is a sweet pop song that will popular for mix-tapes but is somewhat complacent, missing some of the energy encountered thus far on I Called I.

Simple Things, however, is probably the highlight of the album. Shaouy sounds inspired on this gem, which is as varied and complex as pop music gets. Simple Things has an almost Shakespearean quality about it; it's snappy with great hooks and a tremendous sense of movement. Leader finds Desmond Drive in the midst of 180-degree turn. It's an introspective and almost brutally honest self-assessment. It's a beautiful song with something of a John Lennon feel to it. My Will is the most straight forward pop/rock song on the album. It stands out the more so for seeming slightly out of place here. The song runs like a nervous child through the verse but finds purpose in the well-crafted and melodic chorus.

Happy Tollbooth Guy sounds like something that might show up in an Off-Broadway show. It's a bit campy and upbeat and showcases a vaguely theatrical style that runs just below the surface of much of Desmond Drive's music. Stylistically it sounds like Billy Joel and William Finn sat down at the same piano together. My Tribe is a great upbeat pop tune that could cross over as a dance hit, ala Fatboy Slim. My Tribe is the track with the greatest commercial potential, and honestly could be a dance hit with a remix by the right DJ. I Called I closes on a theatrical note, with the spiritually heavy One Night. Desmond Drive really gets down to their roots on these dramatic piano-driven tunes.

Desmond Drive is all over the musical map on I Called I. While this is not a key to commercial success in this day and age, it has always been a formula for classic, memorable, sometimes even iconic albums. I don't know if I'm willing to quite call I Called I iconic, but it's in the ballpark. The melodic sense here is stunning, and the composition style is unique and varied enough to make a distinct statement. Desmond Drive is lyrically competent and unafraid to take musical chances. Fans of folks like The Beatles, The Moody Blues and Dennis DeYoung-era Styx will love this. Fans of melodic pop rock and musicians in general will also find I Called I very gratifying. I Called I is a Wildy's World Certified Desert Island Disc, and definitely something you want on your to-do list.

Rating: 5 Stars (Out of 5)

You can learn more about Desmond Drive at http://www.desmonddrive.com/. You can purchase a copy of I Called I at www.cdbaby.com/cd/desmonddrive.