Zach Williams And The Reformation - A Southern Offering

Zach Williams And The Reformation - A Southern Offering
2011, Zach Williams And The Reformation

Zach Williams And The Reformation proves that growth is a good thing on their impressive sophomore album, A Southern Offering.  The band's previous effort, Electric Revival, was written solely by Williams.  This time out, Williams brings lyrics and his soulful rock voice and the rest of the band crafts the music.  The result is a stunning ode to the history of southern rock n roll, displaying the influence of bands such as Lynyrd Skynyrd, The Allman Brothers, Molly Hatchet and the Black Crowes.  In the process, Zach Williams And The Reformation has created a vibrant and modern album.  Producer Kevin Beamish (REO Speedwagon, Stevie Wonder, Elton John) helps capture the dynamic sound of ZWR with a live energy and a sense of polish that brings out the rough beauty of the music.

A Southern Offering opens with the vibrant southern friend rock n roll of "Gravy Train", a joyous number full of all the panache of bands like Lynyrd Skynyrd and .38 Special.  "Mason Jar" is a solid piece of songwriting with a mildly soulful vocal from Williams.  "Fool's Moon" plays like it could be a Bob Seger outtake, and has a melody that will stay with you.  "Picture Perfect" is a mellow rock ballad that makes the most of Williams' soulful voice against a blues backdrop that does the title justice.  "The Fix" opens with a guitar riff that sounds like something cooked up by ZZ Top, and blows up into a full rock sound on the chorus that's infectious.

"Motels And Highways" is a world-weary lament of a man who makes his living on the road.  ZWR picks up steam on "Rock N Roll Me", a blues rocker that sounds like a southern fried Zeppelin tune if David Coverdale were sitting in for Robert Plant.  There's real energy in this tune, which is among the best on the album.  "PO Box And A Postcard" is a speculative number building off the ideas in "Motels And Highways".  ZWR sounds a lot like the Black Crowes here, as Williams ruminates on love lost.  "Wishing Well" and “Sky Full Of Treasure” close things out in consistent yet unsurprising style.

Zach Williams And The Reformation impress on A Southern Offering.  With a sound steeped in classic southern rock yet updated with a modern edge, ZWR stands to capture the attention of several generations of classic and southern rock fans.

Rating: 4 Stars (Out of 5)

Learn more about Zach Williams And The Reformation at www.zwrnation.com or www.myspace.com/zwreformation.  A Southern Offering is available digitally from Amazon.com and iTunes.

Review: Debbie Cunningham - The Rest Of Your Life

Debbie Cunningham - The Rest Of Your Life
2006, Debbie Cunningam

When your backing band includes people who have played with Roberta Flack, Buddy Rich, Harry Belafonte and Ben Vereen, you know you're off to a good start. Debbie Cunningham studied music at Temple University two decades ago, and pianist Barry Sames tried to get her to record an album back then. Persistence paid off for Sames. Cunningham returned to Philadelphia from her home in Tennessee to record an album with Sames and some of the best jazz talent on the East Coast. The resulting album, The Rest Of Your Life is a modern take on some of the classics of the American Songbook, as well as a few unusual nuggets.

Debbie Cunningham has a voice that fits comfortably in a more modern jazz feel, and Sames and band have accordingly crafted arrangements that maintain the classic sense but with a modern feel. "My Funny Valentine" is interpreted as a mid-tempo pop/jazz tune. It's an interesting reading that isn't going to sit well with traditionalists, but is solid in its own right. It becomes very clear that Cunningham is more of a pop vocalist tackling jazz tunes by the time "How Much I Love You" rolls around. Cunningham shows off her upper range on "When I Look In Your Eyes", once of the better moments on the album. Cunningham tackles Stevie Wonder's "Overjoyed" with more enthusiasm than pizzazz, missing the heart that Wonder poured into the song or even the cool offered in Jane Monheit's recent cover.

Cunningham hits her nadir on "What's New", offering up a classic performance that would work in any era. "Just In Time" is offered as an up-tempo number; certainly one that will unnerve the traditionalists in the crowd. It's decent, but difficult to get used to compared to more classic readings of the song. Perhaps the toughest moment on the album is Cunningham's take on "(Our) Love Is Here To Stay", which is delivered as a rapid-fire bossa nova. This song has been done well so many times by so many different artists over the years that a new interpretation has to be inspired to be accepted. Cunningham closes with "What Are You Going The Rest Of Your Life" in a solid performance.

Debbie Cunningham has a very pretty voice, much better suited to pop material than jazz standards. Consequently, The Rest Of Your Life is mostly pleasant throughout, but there's just something missing from the experience. The instrumental work is insanely good as you'd expect from the pedigree of the backing band. As pretty as Cunningham's voice is, she's overmatched by some of these songs. The attempts to radically re-interpret some of these tunes in modern-sounding arrangements only underscores that fact, and may do more of a disservice to Cunningham than anything else. The Rest Of Your Life is solid, but just doesn't stand out.

Rating: 2.5 Stars (Out of 5)

You can learn more about Debbie Cunningham at http://www.debbiecunninghamjazz.com/. You can order The Rest Of Your Life from CDBaby as either a CD or Download.

Review: Glenton Davis - Are You Ready

Glenton Davis - Are You Ready
2010, Arbitrage Records

Glenton Davis may have been born with a silver spoon in his mouth, but the man can play and sing. The veteran of The Taft School and Yale University started out his professional life at J.P. Morgan in New York City, surviving the financial crisis of 2008 while plying his musical wares in Manhattan clubs. As luck would have it, some radio stations in Canada picked up his song Get On The Floor, helping to peak at #475 on the top-500 Canadian AC charts. This helped Davis some to the decision to pursue music full time. Leaving the financial world, Davis worked with French drummer/producer Julien Mannoni to craft his next EP, Are You Ready. Along the way, Davis has worked with songwriter Tomi Martin (Michael Jackson, TLC) and super-agent Jim Halsey. His influences include Stevie Wonder, Michael Jackson, James Brown and The Isley Brothers. Are You Ready is set for an April 22, 2010 release in the US, and will mark the US debut of Get On The Floor.

Are You Ready opens with the radio edit of Get On The Floor. Davis' voice is decent enough, but a bit too soft to project the iconic image that would drive what is essentially a slightly above average dance tune on to bigger and better things. Get On The Floor has a solid dance beat, but isn't overly memorable. An Extended Club Remix follows, clocking in at 8:12. The effort would certainly gain some traction on the club scene, but once again, Davis just doesn't project the sort of persona here that would really drive the song. She Don't Have To Know has a base arrangement of bass and percussion; Davis blends horns and synth around the middle at times to fill out the sound in a song about engaging in an illicit relationship. Davis shows off his pipes here in a performance that reminded me a bit of Stevie Wonder. Davis can't quite carry tunes with the conviction Wonder manages, but he has a similar range and willingness to step outside the Pop box and take the occasional risk. Davis closes with Dangerously In Love 2, a lovely ballad likely to appeal to the hopeless and Hopeless romantics out there. Davis does some vocal gymnastics trying to marry the overpopulated lyrics of the chorus to the more economical melody, which does become a bit distracting, but the song itself is a solid effort that could stand up next to a lot of the contemporary ballads on Urban and Pop radio.

Glenton Davis perhaps might rise to the level of his mentors and heroes. For now, Davis is a solid songwriter with a good ear and a pleasant voice. He doesn't show the vocal personality or extremity of talent on Are You Ready to take on an iconic shadow on CD or stage, but has enough of each to be intriguing. Get On The Floor may have had modest chart success in Canada, but it's Dangerously In Love that likely has the most commercial potential on the EP. I'm sure this isn't the last we've heard of Davis.

Rating: 3 Stars (Out of 5)

You can learn more about Glenton Davis at www.glentonmusic.com or www.myspace.com/glentondavis. Are You Ready drops April 22, 2010. Keep checking Davis’ website for more information!

Review: Michele Thomas - I'll Take Romance

Michele Thomas - I'll Take Romance
2009, Michele Thomas

Chicago's Michele Thomas is a Jazz vocalist with a sweet voice and a predilection for the Jazz/Funk/Soul sound of the 1970's. Her debut album, I'll Take Romance focuses on standards, but you'll hear that 1970's sound slipping in and out from time to time. Thomas has a sweet voice within her comfort zone, but does struggle at times with pitch and tone when she stretches herself. There's not too much stretching on I'll Take Romance, however.

Thomas opens with the title track, and a velvety-smooth Jazz vocal that has some foibles but stands fairly well on its own. Thomas' band is top-notch, building arrangements around her voice that are pitch perfect. Black Nile brings Thomas into her upper register a bit. Thomas' doesn't have the knockout power of a Billie Holliday and isn't quite comfortable at the lower edge of her range, but in her comfort zone she's a fine vocalist. Thomas shines on Where Were You When I Needed You, a cover of Stevie Wonder's Superwoman (using the subtitle rather than the title). Thomas doesn't try to do too much with Wonder's creation, just lets the song be itself. The result is the best vocal performance on the disc.

Thomas gets to show off her scat skills on Charlie Parker's Marmaduke. Scat is a deceptive art; it sounds easy until you try to do it. The key is let go and let it happen - if you think it over too much it doesn't work. Thomas is brilliant here; mixing her voice with runs and solos on guitar, sax, trumpet and drums. Thomas takes on the Guy Wood/Robert Mellin penned My One And Only Love to great effect. This song perhaps doesn't get the respect it deserves these days, but in its time its been covered by the likes of Louis Armstrong, Doris Day & Andre Previn, John Coltrane & Johnny Hartman, Frank Sinatra, Ella Fitzgerald and Sting. Thomas is on the money once again in a reserved performance that's thoroughly in character with the song. Astrud Gilberto's Gentle Rain is up next, and Thomas gives it her all but starts to run up against her own limits on a challenging vocal line. Thomas' sound is still excellent, but this particular tune takes tremendous breath control and Thomas struggles a bit in a couple of the longer, slower passages. Thomas closes out wit Duke Ellington's Come Sunday in a heartfelt but vocally mixed performance. The synth-driven arrangement doesn't really suit the song all that well, and to strip it down this much you really need to be able to take control of the song, which Thomas never really does.

I'll Take Romance is a good start. Michele Thomas can certainly sing; it's her ambition that gets her into trouble. One some of the more challenging tracks on I'll Take Romance Thomas exposes her flaws, but in a day and age full of pitch-correcting software and endless over-dubbing it's refreshing to hear someone willing to stretch themselves and know what you do hear is real. Michele Thomas doesn't have the power to belt out songs, and sticks to surfing the more lyric side of jazz, generally to highly enjoyable effect.

Rating: 3 Stars (Out of 5)

You can learn more about Michele Thomas at http://www.michelethomas.net/. You can purchase Messenger as either a CD or Download from CDBaby.com.

Review: Michele Thomas - Messenger

Michele Thomas - Messenger
2010, Michele Thomas

Thomas returns with Messenger, her follow-up to last year's I'll Take Romance. Thomas spends six of the eight songs on Messenger exploring the spiritual side of Stevie Wonder's music, adding in two songs Thomas penned with other composers. Messenger was digital released in October 2009 as a digital album and CD.

Thomas opens with Wonder's Have A Talk With God, an outstanding, lushly dressed tune with just a hint of Funk and Jazz in the seams. Thomas has her way with this song, hitting it out of the park. Jesus Children Of America is done more in a Funk/Soul interpretation and was not as enjoyable. Dee Song was a tough listen. Wonder's Higher Ground is a brilliant tune, and Thomas gives it a go. This particular vocal line takes a bit more steel than Thomas has to give, but she makes the most of it in an earnest interpretation that's full of heart, and she really shines in the jazzier passages.

Wonder's They Won't Go When I Go received decent treatment here. The band is in particularly good form here. Thomas struggles a bit with the more challenging phrases of the vocal line, losing control of pitch and breath control in a couple of tight spots. Thomas turns it around on If It's Magic, nailing the song with easy feel. Triple Play finds Michele Thomas struggling to keep up with a song she wrote with Hal Galper. It's primarily an instrumental piece, but the vocal line, where it exists, is complex. Thomas gets it, but the pitch suffers a bit at times. Thomas closes out with Wonder's Big Brother. This is one of Stevie Wonder's best "lesser known" songs and Thomas saves her best performance for last.

Tribute albums are always the hardest sort to judge. Divining whether giving a traditional reading of a song is preferable to making it ones own is highly subjective, and really comes down to whatever works for the individual listener (reviewers included). Some of the material selected for Messenger was perhaps ill-thought, as Thomas just doesn't seem to have the breath control for some of Wonder's more complex vocal lines. But when Michele Thomas is in her comfort zone vocally she can be amazing. The bright spots on Messenger far outweigh any blemishes.

Rating: 3.5 Stars (Out of 5)

You can learn more about Michele Thomas at http://www.michelethomas.net/. You can purchase Messenger in multiple formats from Michele Thomas’ web store.

Review: The Lost Fingers - Lost In The 80's

The Lost Fingers - Lost In The 80's
2009, Sony Music

Canadian trio The Lost Fingers know a little about what it takes to make good comedy. Don't get me wrong, there's nothing comical about the music of The Lost Fingers, but George Carlin used to say that the job of comedian was to take things you already knew and show them to you in a different light. That's what The Lost Fingers do on Lost In The 80's, a collection of cover songs presented in jazzy, acoustic renditions that are likely to surprise and amaze you. The Lost Fingers, named in memory of jazz guitar great Django Reinhardt, have already achieved Gold Record status in Canada and been nominated for two Juno Awards with Lost In The 80's. The album is now available in the US for the first time.

The Lost Fingers open with a cover of Technotronic's Pump Up The Jam, a tune that starts a bit slow but quickly comes up to speed. The jazzed-up version will appeal to fans of Squirrel Nut Zippers, and the instrumental work is absolutely flawless. You Give Love A Bad Name (Bon Jovi) has a frenetic feel, particularly in the guitar part, which is about as blistering as you can get with an acoustic guitar. You Shook Me All Night Long (AC/DC) could easily have been translated as a high energy tune, but The Lost Fingers made the brave decision to present it as a languorous tune complete with scat-singing. The risk pays off here in one of the most intriguing songs on the album.

The rendition of Luc Plamondon's Incognito (made famous by Celine Dion) is surprising in that it sounds like it might have come out of a European holiday film. Incognito goes down as a fine cup of espresso. Samantha Fox' Touch Me (I Want Your Body) again sounds like a Squirrel Nut Zippers rendition and is highly danceable (although perhaps not in the fashion Ms. Fox might have originally envisioned). The guitar work here is especially fantastic. Stevie Wonder's Part-Time Lover is given real life as a swing tune. In spite of some stylistic touches and changes in instrumentation the song remains essentially unchanged from the original, although it is interesting to hear the nuances acoustic instruments bring out in the classic Pop/R&B tune. Likewise for Kool & The Gang's Fresh; this cover works a lot better than I might have expected and is likely to bring big smiles live.

Perhaps one of the most interesting covers given his untimely demise is The Lost Fingers' take on Michael Jackson's Billie Jean. It's the best cover of Billie Jean I've heard; the Jazz setting works particularly well for this tune, bring out some of the natural energy in the chorus. Wham's Careless Whisper gets similar treatment, and once again the cover works better than I would have thought. In this case it actually sounds better than the original. Soft Cell's Tainted Love is interpreted here is a moody and off-kilter tune with some unusual vocal harmonies. It's once again one of the best covers of the song I've heard, although all covers of Tainted Love have forever been overshadowed by Dan Akroyd's nasally percussive version from Coneheads.

The Lost Fingers enter the Space Cadet service with a terrific rendition of Paula Abdul's Straight Up. As usual, the strong vocal lines are simply an appetizer for the splendid instrumental play of The Lost Fingers. Alannah Myles' Black Velvet gets sent up in a version that captures the wanton sensuality of the original. This may be one of the more underrated songs of the 1980's; a classic in sheep's clothing, but The Lost Fingers unmask it for the quintessential song it is. Lost In The 80's closes with a pair of Francophone tunes. The first is Joe Le Taxi, a song written for Vanessa Paradis in 1987 by Franck Langolff and Étienne Roda-Gil. Sung in French, the song has a Mediterranean feel that sneaks into the Gypsy Jazz arrangement. The Lost Fingers follow up with Belleville Rendez-vous from the animated Les Triplettes de Belleville (2003). Written by Benoît Charest and Sylvain Chomet, the song was nominated for an Academy Award for original singer Béatrice Bonifassi. The Lost Fingers run with the song, providing a high energy reading that's highly entertaining and bound to inspire some dancing.

The Lost Fingers bring a breath of Fresh Air to the 1980's and beyond, provide renditions of classic songs so full of energy and life you can't help but be hooked by the experience. It's no wonder The Lost Fingers are major stars in Canada; I have no doubt they'll repeat their success in the United States, Europe and beyond. Lost In The '80's rises above the genre of "cover album" to true artistry; make sure you give it, and The Lost Fingers, the time of day.

Rating: 4 Stars (Out of 5)

You can learn more about The Lost Fingers at http://www.thelostfingers.com/ or www.myspace.com/thelostfingers. You can purchase Lost In The 80’s as either a CD or Download from Amazon.com.

Review: Ted Hefko And The Thousandaires - Egyptland

Ted Hefko And The Thousandaires - Egyptland

2009, A. Ted Hefko

Ted Hefko grew up in Wisconsin, learning his love of music from the diverse artists in his father's collection: Bob Marley, Stevie Wonder, Bob Dylan, Miles Davis, Fela Kuti and Albert King (among others). With school on both guitar and tenor sax, Hefko began playing out in high school. After school Hefko headed down to New Orleans and a degree in Jazz Saxophone from the University of New Orleans, going on to study with Hannah Jon Taylor. Hefko has played for or with such artists as Warren Batiste, Blake Amos, Tondrae, Los Sagitarios and Los Bebes del Merengue. Hefko relocated to New York City in 2004 and has immersed himself in the city's Jazz, Rock and World scenes since then. His latest recorded effort, Egyptland blends Jazz, Southern Funk, Blues, Folk, Rock and Latin styles in almost effortless fashion.

Egyptland opens with The Roofer, a tribute to one of the many displaced from New Orleans by hurricanes (in this case, Betsy). Hefko sounds a bit like Van Morrison here on vocals and inhabits the song's character as if he lived the story himself. Wet Wool In The Rain plays with Latin sounds and Southern R&B in a delicious tune serious commercial potential. Hefko seems most at home on Twenty Three Dollars And Twenty Three Cents, a classic bit of quasi-acoustic blues, singing for all he's worth while his top notch band makes hay in the background. Hefko gets righteously instrumental on The Short Man's Complex, an entertaining tune that will have you be-bopping in your seat or even jumping up to dance. Bad Kids is something of an ode to juvenile delinquency. Not so much a tribute to it, but a retelling of one particular story that may or may not be true. The arrangement is slow and repetitive and wants to lull the listener to sleep. Egyptland closes out with Big Shoes, a pasting of phone queue jazz with some progressive tendencies.

Ted Hefko And The Thousandaires have created an album in Egyptland that runs the gamut from magic to mundane. When Hefko is on his game as a writer the music is inspired, but there are also moments here that are so tired and without energy they put the listener to sleep. Hefko is a passable vocalist with a real love for the music he plays, but the unevenness of the performance across Egyptland is a little disheartening. Closing out on an easy-listening jazz piece was also a bit disappointing, as Hefko's gig seems to be his mix of styles and originality. Nevertheless, Egyptland is a solid release with some issues, but worth checking out.

Rating: 2.5 Stars (Out of 5)

You can learn more about Ted Hefko And The Thousandaires at http://www.ted.heko.net/ or www.myspace.com/tedhefkoquartet. You can purchase downloads of Egyptland at Digstation. CD copies are available through CDBaby.com.

Review: Chris Kirby - Vampire Hotel

Chris Kirby - Vampire Hotel
2009, Chris Kirby

Newfoundland has long been a center for Celtic and Folk music; particularly string bands, but Motown and Rhythm And Blues aren't lost there either. St. Johns' Chris Kirby proved that with Chris Kirby on Rum & Religion in 2006, garnishing a #1 single on Canada's East Coast Countdown and being ranked as #7 on the top 20 Blues albums in 2006 by Terry Parsons' Blind Lemon Blues. A sophomore album is always a tricky proposition, but particularly so when your debut album was so well received. Kirby enlisted the help of former Big Sugar front man Gordie Johnson (Gov't Mule, Taj Mahal) to produce his latest effort, entitled Vampire Hotel. Vampire Hotel continues the hot streak for Kirby, producing a second #1 single on the East Coast Countdown within two weeks of its release (Don't Forget About Me). Let's see what all the buzz is about.

Vampire Hotel opens with Day Job, an amusing yet respectful take on the plight of all the weekend warriors out there trying to get their music career going while working a 9-5 job during the week. Anyone who's ever tried to be a working musician or anyone who's ever cared for one will find that this song hits home. It's delivered in a soulful, Rhythm N Blues package with a melody that will creep into the recesses of your brain and stay there for days. Come Clean brings faith and human nature together in messy fashion, contrasting what the protagonist knows he should do and what he does. This is a great rock tune with Funk and Soul sewn in the lining. Don't Forget About Me is the first single from Vampire Hotel and has already charted #1 on the East Coast Countdown. I can see why. Folks, this is what a #1 single sounds like. Great hooks, a melody that gets your attention and holds it, lyrics that saying something with more than a little bit of style and an arrangement that makes you want to dance until you fall down.

Heavy Rain takes on an earthy, blues-rock timbre, describing the aftermath of some tragic event; the narrator looks for deliverance in the form of rain washing away his sin. Heavy Rain details the internal conversation that leads to a confession, while the telltale heart of a dog chorus reminds him of his wrongdoing. This is an amazing bit of songwriting, entering Randy Newman territory for character development and placement in a song. See You Again is a good old-fashioned Rock N Roll courtship song, done is a style that would fit in anywhere from the 1960's to today. Don't be surprised if See You Again is the second #1 single from Vampire Hotel. Fool No More heads straight for the opposite end of the relationship cycle, kissing off someone for cheating and telling explicitly why in a tune that sounds like classic Motown/Funk. Entertainer Of The Year revisits the trials of being a bar musician; being limited in what you can play based on the clientele and how much wine/beer/whatever has passed under the bridge. It's the antithesis to Billy Joel's piano man and is extremely well done.

Identity Crisis finds Kirby digging into a plate of New Orleans-style Rhythm N Blues; the Zydeco seasoning is palpable and the songwriting is divine. Golden Year, on the other hand, takes on a vague Southern Gospel flavor in an ode to Christopher and Bridget on their fiftieth anniversary. I don't know whether this is a fictional couple of a real one, but the song is incredibly moving and has that inspired touch that suggests it's based on real life (which makes it even more ingenious if it's not). Kirby closes out with the title track, an amusing track about a place you might not want to be after dark.

Vampire Hotel is amazing. Kirby matches deft storytelling with dynamic and highly original arrangements that course with the essential spirit of Rhythm N Blues, Funk and Soul music for one of the finest all-around albums of 2009. Give Chris Kirby a little time and one big break and he's going to be a superstar. Kirby puts the listener in the middle of each tale, wrapping you in the velvet folds of story and song. Vampire Hotel is the sort of CD that the "repeat all" function was created for; a Wildy's World Certified Desert Island disc. Don't miss it. In fact, go get it right now. Go!

Rating: 5 Stars (Out of 5)

You can learn more about Chris Kirby at http://www.chriskirbyonline.com/ or www.myspace.com/chriskirbyandthemarquee. You can order a copy of Vampire Hotel, as well as his first CD, Chris Kirby on Rum And Relgion through IndiePool. I could not find an outlet for downloads. If you spy one on the net drop us a line!

Review: Lori Diamond - Mystery

Lori Diamond - Mystery
2008, Lorisongs

Lori Diamond and collaborator Fred Abatelli discovered each other through MySpace. Diamond was part of Neuphoria, a three-part harmony group performing both covers and original material, while Abatelli was lending his musical weight to a band called Too Many Drivers. With influences as disparate as Liz Story, Carole King, Billy Joel, Allison Krauss, Miles Davis, Stevie Wonder, Quincy Jones and Chaka Khan, there would be no in-between for these star-crossed musicians; it would be either a glorious mix or a disaster. Luckily the disaster teams were never engaged, as Diamond and Abatelli clicked from the get-go. Diamond's debut CD with Abatelli, Mystery, is bound to draw a slew of listeners to Lori Diamond. High profile gigs such as New York City's Mamapalooza should do a great deal to expand Diamond's fan base. Either way, it's time to catch on to a talent too large to be confined to the Berkshires.

Diamond's voice is silky and soulful on Mystery; part Norah Jones and part Sarah McLachlan. Opening with the title track, Mystery, Diamond treats listeners to gorgeous vocal harmonies over a piano-driven arrangement encompassing Soul, Pop and Folk. Sorry is classic singer/songwriter fare; a love song of regret. The pacing here is a bit slow but the melody and harmonies are so pretty you probably won't notice. Diamond opens up the tear jar on The Way You Look At Me. This song is a true Wow moment, following the look of love throughout life as it is seen father to daughter, mother to child and husband to wife. Alone serves as something of a musical interlude after the powerful emotions of The Way You Look At Me, offering a pleasant, melancholy jazz arrangement to get you back on your feet.

Don't Cry has a strong theatrical feel to it, like it could have walked right off a Broadway stage. The song follows the comfort as given from mother to child and how it echoes through our lives, all done in a great Jazz/Pop/Broadway arrangement. Better is another wow moment; a soliloquy from someone who wants to be loved yet doesn't feel deserving and flees in the face of all they've dreamed of. Anyone who's ever felt undeserving of another's affection or love will see something of themselves in this song. A Friend Like This continues the big emotional hits from Diamond in a song about friendship that transcends love. Diamond closes out with Patient, a song of utter devotion based on the "If you love something set it free" philosophy.

Lori Diamond has a voice you could listen to all day; She could sing the Waste Removal listings from the yellow pages and people would still line up to listen. The material on Mystery is loaded with emotion and honesty, but wrapped in melodies and harmonies so lovely even the most emotionally stunted listener won't feel overwhelmed. The lyrics are intelligent and artfully written, the arrangements are first class and the musicianship through Mystery is top notch. Mystery is an experience, and Diamond is aptly named.

Rating: 4.5 Stars (Out of 5)

You can learn more about Lori Diamond at http://www.loridiamond.net/ or www.myspace.com/loridiamond. You can learn more about Fred Abatelli at www.myspace.com/fredabatelli. You can purchase a copy of Mystery at www.cdbaby.com/cd/loridiamond or download the album through iTunes.

Review: Frank Sinatra - My Way 40th Anniversary Edition

Frank Sinatra – My Way – 40th Anniversary Edition
2009, Concord Records

Also on May 5, Concord Records releases the 40th Anniversary Edition of Frank Sinatra’s classic album, My Way. With liner notes written by U2’s Bono, My Way holds a special place in American Popular Music. The song itself became Sinatra’s theme song, and the perfect epitaph for his career. The album reflected Sinatra’s attempt to stay hip amidst a torrent of changes in taste in popular music. My Way includes covers of Hallelujah I Love Her So, Mrs. Robinson and Yesterday. Included with the album are two previously unreleased tracks, a cover of Jean DuShon’s For Once In My Life (made popular a year earlier by Stevie Wonder) and a live version of My Way recorded in October, 1987 in Dallas. Even 40 years after the fact, this album is a stunner. My Way came at a point in Sinatra’s career when popular mores had left him behind. Record sales were declining and a wave of new artists were filling the airwaves. Sinatra would temporarily retire two years later for these reasons, but for whatever else was going on; Sinatra could take on any material and make it his own.

My Way wasn’t Sinatra’s best material over the course of a 5 decade career, but it’s a clear picture of an aging legend, still at the top of his game even though the game was changing. My Way should be a part of every music collection.

Rating: 4 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. The 40th Anniversary Edition of My Way will be released May 5, 2009, and is available through Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5th.

Review: No - Paris-Chicago

No - Paris-Chicago
2009, Olivier Nataf

French singer-songwriter Olivier Nataf recently moved from France to Chicago, Illinois, celebrating with the release of Paris-Chicago. A mix of singer-songwriter pastiche, good old Chicago-style blues, soul, funk and Rock N Roll, Paris-Chicago is very familiar and very new all at once.

Grooving on a hot electric blues vibe, No creates a highly listenable and occasionally danceable album in Paris-Chicago. Opening with Laisser-Moi Passez, No kicks in a funky backbeat and a catchy melody to draw the listener's attention from the opening notes of the album. Nataf has a very pleasant voice and sounds more like a folk singer than a blues vocalist, but he makes the songs work very well. Paris-Chicago has a hot-n-cool feel to it, channeling a bit of B.B. King in the process. Plus En Enfant opens with a complex acoustic part and sticks with the acoustic gig throughout. Je Mais Que Tu Alors... Just Me sounds very familiar from the outset, borrowing the same chord progression and nearly the same style of Stray Cat Strut. My favorite song on the album is Les Vendeuses De Charme, with its classical guitar opening and reggae rhythms. Respect is a sweet sounding ballad and a great balance to the more upbeat material on Paris-Chicago for the first minute, before breaking into an upbeat rock tune. No closes out with two covers, a blues cover of Stevie Wonder's Higher Ground, which I liked, and a highly intriguing blues rendition of The Eurythmics' Sweet Dreams. This was the highlight of the album; a wholly unexpected and eye-opening interpretation that practically redefines the song.

No took a few listens. Paris-Chicago was one of those albums I didn't like much upon first listen, but it grew on me. My French isn't anywhere near as good as it once was as I just haven't used it in many years, so I can't really comment on the lyrical comment, but Paris-Chicago is a highly enjoyable listen. Be sure to say yes to No.

Rating: 4 Stars (Out of 5)

You can learn more about No at www.myspace.com/nothefrenchsinger or http://www.website-no.com/. Currently, Paris-Chicago is available as a download only through No’s store, but will soon be available through other outlets and as a physical CD.

Review: On Ensemble - Ume In The Middle

On Ensemble - Ume In The Middle
2009, On Ensemble

On Ensemble is a rarity in the realms of popular music; they are wholly original. Ostensibly a Taiko ensemble (ancient Japanese drumming), On Ensemble mixes that venerable art with Hip-Hop, Rock and electronica to create sounds very few people have heard before. Lauded by Modern Drummer magazine for their groundbreaking work, On Ensemble members individually have heady resumes, having music featured on the TV show Heroes, in the David Mamet movie Redbelt, and even performing with Stevie Wonder at the 2008 Democratic National Convention. On Ensemble's latest effort, Ume In The Middle will be available May 5, 2009. It's sure to be a big seller in the World and New Age genres, and is a great opportunity to check out both an ancient musical style not often heard in the west and new construct sprouting from it that's worth noting.

Ume In The Middle opens with the dark and ominous Yamasong, with its shadowy ambient sound based in crawling progressions and traditional chants. Hisashi is a rhythmic exploration lead by traditional Japanese flute. This song sounds like the sort of music that gets written for background to introductory scenes in feature films set in Japan. Waiting takes a big jump into the twenty-first century, mixing Taiko with electronica to create a rather funky mix. The vocals here are more in the Pop/R&B realm with some pretty neat harmonies going on. Hiroya vs. Miniboss gets into the techno realm, bordering on light industrial at times. Techies will get a kick out of of Butoh-bot Malfunction, a sonic exploration of the breakdown of modern machinery. This is probably one of the more imaginative compositions in the album while being resolutely one of the least musical. It isn't until the eighth track, Bounce Back that On Ensemble breaks somewhat free of the electronic universe in which they've ensconced themselves. Bounce Back is still strongly electronic but at stays with the traditional style of their musical roots. The album closes out with a Campagna remix of Yamasong.

On Ensemble is intriguing, although I felt they spent a little too much time in the electronic universe and not enough exploring the many shoots and branches that run from their roots. Nevertheless, Ume In The Middle is an intriguing and interesting listen. Electronic music fans are likely to go nuts over Ume In The Middle while traditional Taiko followers will likely view it with suspicion on their way to acceptance and enjoyment. The composition and presentation are inspired.

Rating: 3.5 Stars (Out of 5)

You can learn more about On Ensemble at http://www.onensemble.org/ or www.myspace.com/onensemble. You can purchase a copy of Ume In The Middle at www.cdbaby.com/cd/onensemble5. You'll be able to find the CD in stores as of May 5, 2009.

Review: P Bailey - Find Me Somebody

P Bailey - Find Me Somebody
2009, P Bailey

Montreal's Paul Bailey is a purveyor of highly produced, electronic pop that ranges from mellow ballads to mid-tempo dance music. Originally from the UK, Bailey found his love of music early on. His latest release, Find Me Somebody, is a hybrid of R&B and electronic music forms.

Opening track Mystery is firmly ensconced in synthesizer and electronic effects. P Bailey even gives his voice the full electronic effect. It's a marriage of organic and electronic where electronic is the dominant partner. The song itself is fairly basic Pop/R&B, but the arrangement is too divorced from the human component to have a lot of life. The remix of Find Me Somebody has more energy and drive but still feels somewhat automatic. Beautiful (Marlon G'z Buzz Mix) is designed for the dance club, and may find some limited play there. Part Of Me (Smooth Vocal Mix) is the first track on the album that sounds real or alive at all. Up until this point anything you've heard could have been completed entirely by computer. P Bailey's vocals here at least sound like he's feeling some of what he's singing.

Melody is built around an interesting piano line, but once again the technology takes over and the artist becomes lost in it. Bailey hits a little closer to home on I Want U and It's All That, but there is still this pervasive lack of persona that runs through most of the album. Find Me Somebody shows some talent for production, but the compositions come across as flat to lifeless. The occasional expression of personality is swallowed in the technology he uses, not just blurring the line of humanity but in most cases stamping it out completely.

Rating: 2 Stars (Out of 5)

You can learn more about P Bailey at www.myspace.com/wwwmyspacepbailey. You can download Find Me Somebody at www.mynoisyplanet.com/PBailey.

Review: Jon Scott - Some R Beautiful

Jon Scott – Some R Beautiful
2007, Brown Babes Music

Jon Scott has been creating and performing music all his life, whether with a band, on his own, or in stage productions such as Andrew Lloyd Webber’s Jesus Christ Superstar or South African musical Ipi Tombi. Scott has performed throughout England, Africa and the US. Some R Beautiful was put together with the assistance of producer Gordon Hulbert, whose previous credits include projects by Chaka Khan, Russell Watson, Hugh Masekala, Suzie Quatro, Angie Brown and Heatwave.

Some R Beautiful opens with Suzi Walker, a light pop ballad about unrequited love with a light dance beat. Scott has a breathy voice that floats though the song, sandwiched between the instrumentation and percussion. Scott’s voice isn’t quite strong enough to overcome the arrangement here but holds his own. Summer is an electro/dance hybrid that may have some club potential, particularly as a remix. Everything’s Beautiful is another dance tune that will definitely get your feet moving and may be the most commercial song on the disc. Eyes Like The Sun is a straight up pop tune that is catchy enough to get your attention but middle of the road enough to not hold on to it long term. A Beautiful Country is a neat Bossa Nova tune that almost gets derailed by overly heavy keyboard parts in the introduction. The gem of the album is the tenth track, Guy. Scott saves his most personal songwriting and performance for the end of the album before leaving us with two dance remixes.

Jon Scott has a pleasant voice. It’s not iconic or overpowering but is very listenable and perfect for the light material offered here. One would guess Scott is a Stevie Wonder fan judging by his writing style, as the influence appears obvious. The overall performance on Some R Beautiful is good although a bit low energy at times. Jon Scott will find definite followers in the pop marketplace but is definitely a niche musician marketing wise. The dance material is club worthy and should gain Scott some attention. When Scott really bares his heart (Guy) the performances can be amazing.

Rating: 3 Stars (Out of 5)

You can learn more about Jon Scott at http://www.jonscottmusic.com/. You can purchase a copy of Some R Beautiful at www.cdbaby.com/jonscott.