Hadiza - Chapter 4

Hadiza - Chapter 4
2013, Hadiza

Hadiza Dockeray represents the American Dream. The New York City native (St. Albans, Queens) is the daughter of Nigerian and Jamaican parents. It was while living and working in Paris as a dancer and backing vocalist that Hadiza discovered her own desire to be out in front on stage. Beginning with interpretations of Jazz standards, Hadiza later found herself covering old blues joints and eventually writing her own original mix of pop, R&B, jazz and blues.  Since returning to the U.S., Hadiza has established herself as one of the pre-eminent working vocalists in New York City.  Her most recent EP, Chapter 4, is a fitting, though at times uneven, introduction to Hadiza.

Hadiza opens with "All Comes Back", a smoky and vibrant piece of pop and R&B.  With a voice that recalls elements of Cassandra Wilson, Hadiza certainly has presence. "Off The Grid" is more of a soulful rocker. There's definite punch here, underscored by the powerful guitar riff. This is a catchy tune that will get inside your head and stick there. "Too Long" goes for a mix of Adult Contemporary and classic Girl Pop. The song itself is perhaps a bit bland, but Hadiza shines.

"Somebody Better" is snappy and soulful with a bit of fire at its heart, and Hadiza sells it with a gritty determination. "The Other Voice" is perhaps an attempt to broaden Hadiza's appeal, incorporating a Latin rhythm into an otherwise average pop song. The result drags a bit and may lose a few listeners. Unfortunately, Hadiza closes out with an unfortunate song choice. "Break Through" is not a comfortable spot for Hadiza's voice to be in, and her performance and presence suffer for it. This is one of those occasions where an artist probably should have just left the last track off. 

You’ll walk away from Chapter 4 bearing the conclusion that Hadiza Dockeray is a brilliant vocalist.  She takes chances with her music, and those chances don’t always work out in her favor on Chapter 4, but the voice and the presence she projects will capture your attention.  Don’t be surprised if Hadiza Dockeray is a name that you become very familiar with over time.

Rating: 3.5 Stars (Out of 5)

Learn more at www.hadizamusic.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.

Tina Turner - Hold On To What You Got

Tina Turner – Hold On To What You Got
2011, Philly West

Tina Turner’s career hasn’t been all about numbers, but the numbers are hard to ignore:  8 GRAMMY Awards and over 180 million albums sold.  Turner is one of the most successful female touring artists in the history of rock and roll; and while the Rock and Roll is more of a private club for denizens Jann Wenner’s personal record collection, Tina Turner’s induction is very much deserved.  Turner, born Anna Mae Bullock, rose to prominence as part of the Ike & Tina Turner Revue.  Tina Turner went solo in the mid-1970’s, splitting from husband Ike Turner and going it alone musically.  It took until 1984’s Private Dancer for Turner to catch on again.  But in the late 1970’s, Tina Turner recorded a song entitled “Hold On To What You Got”.  That recording was recently released, and is an incredible document of how vital a performer Turner remained even in the time between Ike & Tina Turner and her 1980’s revival.

The Queen of Rock N Roll brings the funk on “Hold On To What You Got”; her trademark voice ripping it up in classical style.  There’s a vibrant energy here that speaks of Turner’s earlier works with Ike Turner, but the incredible polish that became Turner’s trademark during the 1980’s is in evidence as well.  Turner is at her sexy best in a classic rockin’ R&B arrangement complete with horns and dazzling backing vocals.  Turner’s backing band is as tight as they come, and by all rights, this song would have begun her ascension back to the top of the pop charts early if it had been released early.

By today’s standards, the production on “Hold On To What You Got” is a bit lacking.  Listening to the MP3 is like listening to music on an AM radio in the late 1970’s.  This would have been a fair recording for the time frame, but it is surprising to find a single released in 2011 by a major recording artist to be handled in such haphazard fashion.  “Hold On To What You Got” is a tremendous archival recording of a once and future superstar in transition, documenting the quiet middle of a great career.  From that perspective it’s worth its weight in gold.  The recording/production quality is a novelty; a memorial to the days before pitch correction and digital remapping, when voice and talent were the ultimate barometers of success.  This is a must-have single.

Rating: 4 Stars (Out of 5)

Learn more about Tina Turner at http://www.tinaturnerlive.com/.  "Hold On To What You Got" is available digitally from Amazon.com and iTunes.

Peaches Staten - Live At Legends

Peaches Staten - Live At Legends
2010, Swississippi Records

Peaches Staten is a powerhouse blues vocalist and zydeco washboard player who's also dabbled in Brazilian music and most anything else she's come in contact with. A versatile singer with a worldly sense about her, Staten takes command of a stage the second she steps on it. On her album Live At Legends, released September 21, 2010, Staten rocks the mic for nine songs recorded at Buddy Guy's Legends (the last live show recorded before its closing). With a backing band of Mike Wheeler (bass); Larry Williams (guitar); Brian James (keys) and Cleo Cole (drums), it isn't so much a question of whether Staten will bring down the roof, but when.

Live At Legends opens with "Long Distance Call", a dynamic R&B number about missing someone far away. Staten fills the song with an angst and longing that's palpable while maintaining a toughness that's surprising. Larry Williams fills in with some raucous guitar solos while Mike Wheeler completes the percussion with complex rhythms in the bass line. Staten slows things down a bit with "Don't Rush Me", a mellow pop/R&B tune that will remind many of Tina Turner. That's really only fair to say if you acknowledge that Staten's voice is bigger and more complete than Turner's; Staten has that same rough edge to her voice, but there's a lot more depth to her sound. Staten introduces "Must Be Love" as a song Chico Banks wrote for Mavis Staples, and proceeds to launch into the most inspired version of the song since Staples herself gave it voice.

"Gotta Find My Man" is a Zydeco number and features "Swississippi" Chris Harper on harmonica. Staten shows her chops on the washboard while belting out a vocal line that will send chills down your spine. Staten's band is in top form here as well, bending and flexing musically as if one creature rather than four (five with Harper) distinct personalities. Not to sell short the comparisons, Staten tackles Tina Turner's "I Know You Love Me", once again matching, at the very least, the original and perhaps even surpassing Turner with a rendition as hot as an oven rack. Chris Harper throws off harmonica licks like solar flares and Mike Wheeler wreaks havoc with his bass.

Staten launches into "Rather Go Blind", burning through every line of the torch song with a deep intensity and storyteller's touch. "Rather Go Blind" is the bravura performance of the album, with Staten holding court and recounting the depths of heartache in a conversational singing style that's absolutely brilliant. Staten adds an exclamation point onto this performance with the Moon Martin penned "Bad Case Of Loving You". Originally made famous by Robert Palmer, "Bad Case Of Loving You" is remade in Staten's hands into an instant blues classic. A bit of Texas blues rears its head in the slinky "Hole In The Wall", with a call-and-response chorus that highlights Staten's rough-and-tumble vocal style. The energy is sky high here, and carries over into the closing number, a cover of Alberta Adams' "Keep On Keepin' On". Brian James goes to town on the piano, and Harper acts as aural tease in contrast to Staten's voice, but Peaches Staten leaves no doubt about who owns the stage.

Peaches Staten has a solid following outside of the United States. It's hard to imagine how she has thus far failed to catch on here given her dynamic stage presence. If Live At Legends is any indication whatsoever, crowds of people will show up as long as Staten continues to perform. In an era where ProTools can airbrush every vocal blemish out of existence, the presence of vocalists like Staten remind us of where we came from; and why the style of music she purveys perseveres in spite of the social mores of the moment. Live At Legends is essential listening, particularly if you make music yourself. Staten is a performer in every sense of the word.

Rating: 4.5 Stars (Out of 5)

Learn more about Peaches Staten at www.myspace.com/peachesstaten.  Live At Legends drops September 21, 2010.  You can pre-order the CD from Amazon.com.  Expect wide availability after the release date.

Review: Shayna Zaid & The Catch - Shayna Zaid & The Catch EP

Shayna Zaid & The Catch - Shayna Zaid & The Catch EP
2009, Shayna Zaid & The Catch

Shayna Zaid has been a television personality and recording artist since the age of twelve, and has developed a stage presence that can't be taught. Her smoky voice and enigmatic style mix with an extreme talent for writing lyrics and a sense of melody and arrangement that are far above the norm. We reviewed Zaid's debut EP, Au Fait, in 2008, and were wowed by her songwriting and persona, but Zaid continues to develop her craft. Her latest effort, Shayna Zaid & The Catch [EP] features band mates Joel Dean (guitarist/producer); Christopher Heinz (drums), Danny Stone (bass) and Yan Izquierdo (violin) in a wonderfully coherent and Pop-influenced post-genre album you have to hear to believe.

Zaid opens with Morning Sun, a bright, airy Americana tune offered up in acoustic format. Zaid's complicated, sultry alto is full of texture and personality that leaps out of your speakers. You can't help but move to this music; a celebration of each and every new day. Just Because, one of three carry-overs from Zaid's Au Fait EP, is pure infatuation in song. Zaid proves herself a master lyricist, putting thoughts into words that slip into your brain as if they were your own. This is a song that mooning teenagers (and none too few adults) will name their mix tapes after. Closer is a fluid love ballad written to one who is far away. It's buoyed by a gorgeous melody and lyrics that flow like water; written in sweet and sensuous phrases without becoming cloying or cliché.

The highlight of the album, perhaps of the century (thus far), is Fireflies. If Zaid's purpose was to attain Pop perfection, she can quit now and go home. Fireflies is Brilliant (note the capital B). You can't teach a moment like this, but anyone out there who has ever written a song or dreamed of written one needs to listen to Fireflies and take it in. Fireflies is the view of a new love as seen through the eyes of your best girlfriend and practically bubbles over with exuberance. Zaid captures a moment in words with the fluid grace of Johnny Mercer, pairs it with a melody that simply won't leave you alone and wraps it all in arrangement that frames the song in perfect light. Pure poetry in music is what you'll hear "when his name slips through your smile wider than the river Nile, then it's love... bet he'd drive a million miles just to see you for a while, then it's love. Fireflies... light up the night."

It's You is another bit of Mix Tape Magic; a devotional written with nothing held back. Zaid sounds like a cross between Norah Jones and Tina Turner here; the combination is gripping and the song is as emotionally raw as you could imagine. Bonita could be a song of love or support; sweet and loving either way. It's a light and airy arrangement that's very danceable. Zaid closes with Blow, a powerful, driven acoustic arrangement about the perils of cocaine laced with gypsy violin ala Joe Venuti. It's more of a character sketch in song, a brilliant take that sounds like it might have come from a Tarantino film (or perhaps a song he might choose to write a film about).

When I reviewed Shayna Zaid's Au Fait EP I knew she was a formidable talent, but she's upped the ante seriously in the mean time. I don't think it's any kind of stretch to start including Zaid in discussions of the best songwriters working in Indie Music. If it were just Fireflies you could make the argument that any songwriter can strike brilliance once, but there are no less than three songs here that are exuberant ten out of tens, and there's not a smidgen of mediocrity in the bunch. If Zaid has any shortcomings commercially it will be that she doesn't fit into a neat marketable package, but will fit nicely into a lot of niches, similar to artists such as Lyle Lovett, Randy Newman, Jeff Tweedy and the still rising Marian Call. Shayna Zaid & The Catch have magic in a bottle; magic of their own making. Shayna Zaid & The Catch [EP] is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Shayna Zaid at http://www.shaynazaid.com/ or www.myspace.com/shaynazaid. Shayna Zaid & The Catch [EP] is available digitally through both iTunes and Amazon.com. It should be noted that the digital versions of the EP have only five tracks. Just Because and It’s You do not appear on the digital download versions available on either iTunes of Amazon.com, but are available on the wonderful Au Fait EP. And hey, if you dig Shayna Zaid & The Catch, why not give them a hand? Shayna Zaid & The Catch are up for band of the month from Deli Magazine. Voting closes tomorrow, February 15, 2010. Just go to Deli Magazine and look for the “Band Of The Month” poll that starts three quarters of the way down on the right on the page as it opens and vote for Shayna Zaid & The Catch. (Of course, you can vote for anyone else too, if that’s your preference!)

Review: Dick Wagner - Full Meltdown

Dick Wagner - Full Meltdown
2009, Desert Dreams Records

Dick Wagner is a quiet legend. You've heard him play guitar many times, and you've heard many of his songs over the years even if you have no idea who he is. Wagner was Alice Cooper's musical director and guitarist in Cooper's heyday, co-writing some of Cooper's biggest hits. He's played lead guitar on or written songs for folks such as Aerosmith, KISS, Peter Gabriel, Ringo Starr, Lou Reed, Meat Loaf, Hall & Oates, Tina Turner, Etta James, Air Supply and Burton Cummings; appearing on 150 albums (14 platinum, 16 gold, 5 silver). Wagner is also the recipient of several BMI songwriting awards over the years. Wagner writes for himself on his latest album, Full Meltdown, showing a much softer touch than you might have expected.

Full Meltdown opens with Still Hungry, a surprisingly reserved opener considering the subject matter of the song. The title suggests a drive that just isn't represented in the easy-listening rock arrangement. The song is decent enough, just something of a dichotomy. Blue Collar Babies is a youthful fantasy about fast cars, parties and all that comes with being wild and young. It's a tuneful song, catchy in demure fashion, but has a bit of midlife crisis feel to it. Insatiable Girl feels more like classic Rock N Roll, like something you might hear on AOR radio. Wagner captures a sweet sound on Another Twist Of The Knife, hitting stride like a 1980's glam rock act. You could almost picture Whitesnake or someone of similar ilk ripping into this tune. Wagner breaks into a cover of Stagger Lee, a classic rock take that's most similar to Lloyd Price's 1959 rendition. Wagner's guitar work here is particularly sharp, and the rendition in general sounds a bit like Elton John.

Wagner gets back to that Elton feel on These Days, a piano and voice ballad that carries the prettiest melody on the album. Wagner digresses into dreamy, melancholy rock on I Might As Well Be On Mars before revving things up a little for Steal The Thunder. The energy here is still a bit low-key but works in the guitar-revved sound. The dreamy sound returns for Darkest Hour before getting shoved gently aside by Motor City Showdown and its Elton John style theme. Wagner closes out with the dark ballad Feel It All Over, taking it up to mid-tempo in the chorus and dropping in some great guitar filler along the way.

Full Meltdown is a pleasant listen but never reaches critical mass. Dick Wagner is very capable with a guitar in his hands, and possesses a voice that deserves to be heard, but Full Meltdown feels like a project that was never fully committed to. The intensity in the vocal line often doesn't match the lyrics or the musical drive of a given tune. This is late-stage Boomer rock; keen enough on the tricks of the trade to sound relevant, but once you get beneath the surface the water isn't terribly deep. A pleasant musical snack, but not enough for a meal.

Rating: 2.5 Stars (Out of 5)

You can learn more about Dick Wagner at http://www.wagnermusic.com/ or http://www.desertdreamsllc.com/. You can purchase Full Meltdown as either a CD or Download from CDBaby.com.

Review: Myra Flynn - Crooked Measures

Myra Flynn - Crooked Measures
2009, Myra Flynn

Vermont's Myra Flynn was writing songs before she ever thought to take the stage herself. Leaving home at the age of 16, Flynn found her way to New York City where she worked with Wyclef Jean's Refugee All Stars both in the studio and as a student for three years. She has opened for Ivan Neville, Alexa Ray Joel, Slick Rick and Lee "Scratch" Perry, and has been compared to Erykah Badu, Adele and Norah Jones. Flynn released her debut album, Crooked Measures in mid-2009, blending R&B, Soul, Folk and Rock into an intriguing mix of songs.

Flynn opens with Feels Like The Sunshine, mixing soulful vocals and a classic singer/songwriter pastiche into a melody that feels familiar right from the first listen. Long Fall Down is representative of the sort of relationship insecurities that can evolve from a simple look or tone of voice. Flynn is incredibly vulnerable here, and some of the deeper textures in her voice come shining through. Imagine if Tina Turner, Fiona Apple and Dionne Warwick were somehow combined into one DNA set; the voice might sound a bit like Myra Flynn. Flynn offers up something of a non-traditional love song on So It Goes; an introspective and self-aware examination of her own state of mind. Flynn's vocal here is outstanding as she emotes every crest and trough of the emotional roller coaster she's on. Bones, on the other hand, highlights some of the harder edge qualities of Flynn's voice and just doesn't work in this light.

Flynn dives into some torchy Blues/Folk on Small Talk, the best and most vibrant songwriting on Crooked Measures. This song will get your feet tapping and draw you in. What Am I is wonderfully minimalist, highlighting Flynn's vocals and harmonies in a compact arrangement that uses a very familiar chord progression. Where Do You Go is a lonely, melancholy tune in a dark Americana arrangement. The melody here is absolutely gorgeous, and Flynn gives a performance that's award-worthy. Flynn goes the a Capella route on Miss Independence, creating a very balanced intriguing arrangement that's a pleasure to listen to. Flynn closes out with the electronica/dance influenced Fragile. Fragile doesn't have the depth or sense of gravity that accompanies may of Flynn's songs, but is decent enough for what it is. On a positive note, the chorus is gorgeous.

Myra Flynn has a compelling voice, able to go from nearly-whispered vulnerability to full-out belting at the drop of the hate. Her band is solid and the production is deft. Crooked Measures ultimately lives and dies on the songwriting itself, which is mixed. Myra Flynn is the product of a very small music market, and her sound suggests a bending/blending of R&B styles with the local flavor. Flynn seems very comfortable with her sound, but it seems at times as if she might be holding back some other musical impulse. It would be quite interesting at some point to hear what that is. In the mean time, Crooked Measures is a strong introduction to a very talented singer/songwriter whom out to be on your "to check out" list.

Rating: 3 Stars (Out of 5)

You can learn more about Myra Flynn at http://www.myraflynn.com/. You can purchase a copy of Crooked Measures on CD from CDBaby.com. You may download the album through iTunes or Amazon.com.

Review: Skii Harvey - Foolish Girl

Skii Harvey - Foolish Girl
2008, Skii Harvey

Australian singer/songwriter Skii Harvey is going to knock your socks off. The lifelong singer/songwriter with the platinum looks like she could be a Mrs. Robinson type, but when she opens her mouth it's not the silky sounds of suburbia that emerge but the gritty soul of Tina Turner. Harvey's sophomore album, Foolish Girl is steeped in Soul, Rhythm & Blues and top-notch musicianship.

Foolish Girl opens with the title track, heralded by horns and backup singers emulating a scaled down gospel choir. Harvey sounds a lot like Tina Turner here, from tone to rasp to phrasing. Foolish Girl is a legitimate Pop/R&B song, capable of making a run at Adult Pop charts on this side of the Pacific. Love Remembers has a Motown meets Chicago (the band) feel. Harvey uses her dynamic voice to light up the moment for one of the best songs on the disc. On One Cross, Harvey digs into a meaty ballad about regrets. It's a decent song, but Harvey's voice is just a little too heavy this time around, wearing on the melody and the listener.

Matador takes on a slinky Latin feel with Harvey's worldly voice taking control from the opening line. It's a very catchy arrangement that is sure to get you moving. Harvey's turn at a jazz standard-style tune goes a little awry on Wounded Knee. Loosely using the title from the Dee Brown novel without any real connection to the story. It's a slightly befuddling choice that only seems to get more surreal as it goes on. Harvey's vocal line is decent, but the tune is something of a metaphysical mess that sounds decent musically but falls apart married to the lyrics. Harvey recovers nicely on Cold Wind, a soul/gospel/jazz hybrid that's a pleasing listen and allows Harvey to be at her best vocally. The Way It Was sounds like an R&B ballad you might have heard on the radio in the 1980's from someone like Philip Bailey. It's a lush arrangement with vocal harmonies and horns and turns out to be quite a strong track. Harvey closes out with How Long? (New version), a plodding song that might have been something of an afterthought.

Skii Harvey has a tremendous voice, although there are some things she sounds better on than others. In her lower register and at soft volumes, Harvey's voice is just too heavy to enjoy at times, but her overall sound is undeniable. Foolish Girl is a decent effort; it has its high points and low points but on balance is a highly listenable and enjoyable album. Take some time to check out Skii Harvey

Rating: 3 Stars (Out of 5)

You can learn more about Skii Harvey at http://www.skiiharvey.com/. You can download Foolish Girl from Amazon.com, or you can purchase physical copies directly from the band on their website.

Review: Kristina Train - Spilt Milk

Kristina Train - Spilt Milk
2009, Blue Note Records

Kristina Train was destined to wind up where she is. Yesterday, Blue Note Records released Train’s debut album, Spilt Milk. Blue Note has pursued Train for several years, but at her mother’s assistance she went to college before pursuing her dream. In the process, Kristina Train learned more about the world, but she also learned more about herself. More confident and self-assured than she was at nineteen years of age, Train approached Spilt Milk with a clear idea of what she wanted to accomplish. Recorded and produced by Jimmy Hogarth (Corinne Bailey Rae, Duffy, James Blunt, Spilt Milk makes Train’s influences abundantly clear without sounding like anyone other than Kristina Train. Shades of Aretha Franklin, Raelette Mable and Karen Dalton can be heard, but the voice that emerges can be no one than the Savannah Georgia native with the wonderfully textured voice.

Train opens with the title track, sounding like a sultrier, worldlier version of Norah Jones. Train mixes the modern silk of Jones with the classic Rhythm N Blues sound of artists like Aretha Franklin and Tina Turner and newcomer Melinda Doolittle. Spilt Milk plays like a classic tune with a theatrical feel to it. No Man's Land keeps that classic R&B/Soul feel in a diva-like performance from Train. The melody is one that will get stuck in your brain, and you'll find yourself swaying along. Don't Remember and Don't Beg For Love have similar styles, leading into the Turner-esque It's Over Now, a song steeped in the history of R&B but which could very well chart today.

Train has a true Diva moment on You're Still Going To Lose, showing the presence and dramatic sense to command attention with the right material. This is the biggest highlight of the album. Moon Rivers And Such is more in the Norah Jones realm, but the gentle rasp and power in Train's voice set her apart. Train is able to capture a classic sound while coming across young and hip here and throughout the disc, an unusual quality that should do well for her. Call In The Maker is one of the more intriguing songs on the disc; mixing elements of Gospel, Soul and The Blues in a dynamic performance that sounds like it might have come right out of Muscle Shoals. Half Light is all about regrets that stem from entering (or re-entering) a relationship you shouldn't be involved in. The writing here is nuanced, but Train is chomping at the bit here to break out and the song never quite allows that opportunity. Train closes out with Far From The Country, a classic love song with a Motown feel to it.

Kristina Train has an amazing voice, and she gets to display it amply on Spilt Milk. The down-tempo nature of the album might restrict here a tad here and there; the moments when she's allowed to truly soar are tempered by slower material that's not conducive to the big impressive belt she's capable of, although they do happen. Along with folks like KT Tunstall, Melinda Doolittle and Joss Stone, Kristina Train looks to bring some old school magic to modern music. Look for Spilt Milk to garner Train a lot of critical praise and expect her to be around for a good long while.

Rating: 3.5 Stars (Out of 5)

You can learn more about Kristina Train at http://www.kristinatrain.com/ or www.myspace.com/kristinatrain. You can purchase Spilt Milk as either a CD or download from Amazon.com. You can also download Spilt Milk through iTunes.

Review: Groove Kings - Blood Red

Groove Kings - Blood Red

2009, Visual Music

Montreal Blues duo Groove Kings is back with an exciting album full of Blues, Rock and R&B entitled Blood Red. Songwriter/guitarist/producer Howard Forman came across vocalist Irene Marc a few years back when she asked to sit in at a gig. The rest, as they say, is history. Marc blew away the room with a rendition of Chain Of Fools, and the gig was set. Groove Kings made a name for themselves in their native Canada with several albums, charting singles and even a CTV television special before taking some unstructured time to focus on other things (for Marc is was family, session work and a tour with Cirque Du Soleil's Allegria, while Forman became a top-selling world musician and as nominated for two Genie Awards (Canadian Oscars) for Best Song In a Motion Picture. Now Groove Kings are back, picking up right where they left off with stellar writing, outstanding musicianship, and a voice, in Irene Marc, that will stop people in their tracks.

Blood Red opens with the soulful and sultry titled track. Have an extra set of speaker wires in case Irene Marc melts yours; the vocal is classic and the arrangement fits around her perfectly. Real Love hits more of a 1970's Disco swing, providing a healthy dance beat, smooth harmonies and a horn section that's to die for. Temporary Man is a dark soulful groove with jazz accoutrements and a killer harmony that will haunt you. I actually didn't quite catch on to this song the first listen through, but it's grown on me and become one of my favorite tracks from the CD. Chore is a throwback song in some ways, the protagonist keeps time with a number of gentlemen because she doesn't have the one she wants, but tells the one she'll leave them all behind for him. It's an interesting tune, reminiscent in style and tenor of the great torch songs but updated for today.

I'm The Rain is a kittenish tune in the style of classic jazz vocalists. Marc is devilishly good here, and Forman's guitar work is absolutely exquisite. That Lie finds Groove Kings rocking out with a serious soul vibe in a song that Aretha Franklin would deem worthy. Blood Red takes a turn for Country/Rock on Bury Me. A Rhythm & Blues beat and hints of slide guitar work make this the most exciting song on the disc. It becomes clear that Groove Kings can and will play anything they want, and well. This tune could cross over to country radio with no difficulty whatsoever. So Real To Me sounds like a modern power ballad; the harmony is uplifting and catchy. This is the sort of tune that aging hair bands pull out every couple of albums just to prove they can sell records. Blood Red closes out with What's Real, a slow starter that's a Southern Rock tune with blues and a classic R&B (think Tina Turner, Aretha) chorus.

Blood Red is one of those albums that didn't really hit me full force until the second or third album, but now I don't want to put it down. Irene Marc is a singular talent, as good as almost any similar styled vocalist in music. Forman is the perfect complement, writing and arranging to wrap around her voice in a perfect fit every time out on Blood Red. Groove Kings are a real treat. Don't pass this one by!

Rating: 4 Stars (Out of 5)

You can learn more about Groove Kings at http://www.groovekings.ca/. You can purchase Blood Red as a CD through www.cdbaby.com/cd/groovekings3.

Review: Chocolate Thunder - Ear Candy

Chocolate Thunder - Ear Candy
2009, Chocolate Thunder

Linda Rodney has done the acting thing. She's done the modeling thing; but music has always been her first love. Singing in church as a youngster, Rodney quickly stood out from the other kids with a big, powerful voice that you simply could not ignore. She was also exposed to many of the greats of R&B and Blues as a child, from Muddy Waters to Shirley Cesar to the Queen Of Soul, Aretha Franklin herself. After training with internationally known opera singer Sarah Reece, Linda began performing and touring, sharing stages over time with the likes of Elmore James, Jr., Main Street Blues Band, Little Pink Anderson and B.B. King. Performing under the name of Chocolate Thunder, Rodney's popularity began to grow. Due to popular demand from fans, Chocolate Thunder released her debut album in 2007. In 2009, she returns with Ear Candy, a collection that ranges from Blues to Soul to classic R&B.

Ear Candy opens with Love Thang, a classic 1970's Soul/Funk song. It's not the best on the album but a fair stylistic opening. Love Thang gives a clear picture of Chocolate Thunder's voice: It's big; it's powerful and it can move a crowd. There is an occasionally tendency toward to flat out in runs and transitions, most notable on the opening track, but Rodney's personality is so very much a part of the song that you might not even notice. Power Of A Lady gets into a 1970's Motown feel that's comfortable but doesn't really reach Chocolate Thunder's potential. Rodney hits full speed on Other Side Of Memphis, a classic Motown-style tune that would have been the rage of radio forty years ago. The brass section here is a great touch, but Rodney sells this song like she's lived it. It's All Good blends elements of Gospel and Jazz with a Caribbean touch and is my personal favorite on the disc.

Rodney wrote My Georgia Pine for her husband, and her conviction on the song is compelling, even if the lyrics come across as a bit "hokey love song" at times. Bring It On is presented in a fairly standard modern R&B arrangement but has the feel of a classic that's been updated. I like the song as presented but hear great potential in the song perhaps in other stylistic arrangements. Just Gotta Tell Ya hints at 1950's and early 60's girl groups; this is a great song that's right up there with It's All Good. Chocolate Thunder closes out with 555-Help, a classic mix of Rock, Gospel and R&B.

Chocolate Thunder is a compelling performer for a reputation for grabbing listeners by the ears and not letting go until the performance is over. Her voice isn't quite up there with idols like Aretha Franklin or Etta James, but it's quite good. Combine that voice with a dynamic personality and a compelling ability to sell a song and I'd have to say Chocolate Thunder has the potential to go a long way in this business. Ear Candy is a strong album with a couple of stand out tracks and a couple of duds, but is generally a strong mix of Rock, R&B, Soul and Gospel. Ear Candy has broad appeal.

Rating: 3.5 Stars (Out of 5)

You can learn more about Chocolate Thunder at http://www.cthunder.com/ or www.myspace.com/chocolatethunder1. You can purchase Ear Candy as either a CD or download from www.cdbaby.com/cd/cthunder2.

Review: Kerri Powers - Faith In The Shadows

Kerri Powers – Faith In The Shadows
2009, Gritty Dirty

Kerri Powers’ career is a study in promise and shadow. One of the more distinctive voices in Americana/Alt-Country (think Bonnie Raitt crossed with Tina Turner). Powers’ rise was nearly derailed a few years back by a dishonorable record distributor. Taking some time off to focus on her family, Powers made her way back to writing and performing in 2005. Teaming up with producer and friend Crit Harmon (Martin Sexton, Mary Gauthier, Lori McKenna), Powers found her voice again amid a set of musical short stories she co-wrote with Harmon. The seeds of Powers latest CD, Faith In The Shadows were planted.

Faith In The Shadows opens with Do You Hear My Footsteps?, a wonderfully dark yet catchy tune. Powers’ voice is a substantial quality in her music, hitting you with a physical force and demanding to be heard. Powers has a smoky, rough edge to her sound that is distinctive and yet has a lyric, melodic quality that is darkly beautiful. On Trying To Make My Way To You, Powers edges into a 1960’s film noir style of story-song, complete with wailing guitars Nobody Minds My Drinking is a modern country classic in the making. Powers and Harmon have managed to capture in five minutes a perfect portrait of one person in their pain and need that is more powerful than any photo you could produce. Powers digs into a real bluesy sound on Low Down Low. On this song in particular she reminds me significantly of Joan Osborne in her pre-Relish days. My favorite track on the CD is Tallulah Send A Car For Me, a delicious acoustic blues vignette that had me hitting repeat time and time again. Other highlights include Magdalene and Fireworks And Cheap Repairs.

Kerri Powers has emerged from darker days and lights up her corner of the music world with Faith In The Shadows. She may have come into the light of day, but Powers hasn’t forgotten the shadows that inform and enhance the performances here so perfectly. Kerri Powers is a first-class talent, and Faith In The Shadows is an essential listen.

Rating: 4 Stars (Out of 5)

You can learn more about Kerri Powers at http://www.faithintheshadows.com/. Songs from Faith In Shadows will be featured on FX’s Rescue Me. You can purchase Faith In The Shadows at www.cdbaby.com/cd/kerrip.

Review: Melinda Doolittle - Coming Back To You

Melinda Doolittle - Coming Back To You

2009, Genius Products (TVN)

We last saw Melinda Doolittle in Season six of American Idol, bounced from the show by fans who value youth and gimmicks to talent and an ability to perform. Rather than run right to market to capitalize on her exposure with a collection of pre-packaged hits that wouldn't do her justice as an artist, Doolittle has chosen to take her time and put together a recording that befits her talent. The result, coming on February 3, 2009, is Coming Back To You. Most American Idol alumni have managed to disappoint, leaving behind the sounds they developed on the show for slick, pop-oriented sounds that are more production value than talent. Doolittle has stayed true to herself, delivering 13 songs steeped in classic R&B and Soul.

Opening with Fundamental Things, Melinda Doolittle sends the message that she is invested in old school sounds. Doolittle shines in a market of vocalists who have traded singing for coloratura runs and performance for posing. It's Your Love sounds like something that might have come out back when Ike and Tina were still together. Moving out in front has done wonderful things for Doolittle, and her voice on Coming Back To You appears to have grown in stature and soul since her Idol days. Coming Back To You is a classic R&B ballad, and likely a single, but may not be the strongest song on the CD.

Declaration Of Love, on the other hand, is the highlight of the disc. Doolittle opens up like a flower on this one and belts her way to musical glory. Melinda Doolittle has that rare double of being able to sing a song to life as well as being able to sell it on personality alone. When the two aspects of her personality and talent come together Doolittle lights up a stage like a bonfire, and this song is likely to be a concert favorite for years to come. Wonderful has a great soul groove to it. Doolittle finds the pop heart of this song without selling it out; giving a nuanced and personal performance that will touch listeners.

Dust My Broom has that touch of theatrical wonder that only a seasoned performer can master. Melinda Doolittle has the ability to reach out through the speakers and connect with listeners in a way that some artists struggle to do even in a live environment. Her voice here is at its absolutely best. The music industry just hasn't heard this kind of explosive voice in a while. Aretha and Tina are still around of course, but Melinda Doolittle might be ready to take up their respective crowns. Other highlights include I'll Never Stop Loving You, If I'm Not In Love, Walkin' Blues and We Will Find A Way.

It's been clear from her very first appearance on American Idol that Melinda Doolittle was a special talent. Idol alumni have been a mixed bag in the sales department, and even more suspect in the quality department. Chris Daughtry, Kellie Pickler and Carrie Underwood have all had great success towing the pop line while giving up some of the character and personality that made them stars on the show. Kelly Clarkson has broken out somewhat from that mold only to see her sales plummet. Taylor Hicks built up the biggest persona on the show, but gave up his personality to the production team on his eponymous major label debut. The same goes for Ruben Studdard and Fantasia Barrino, both of whom were disappointing in spite of winning their respective years. Melinda Doolittle has stayed true to what made her a star on Idol, and has created, by far, the best album to come out of an Idol alumni to date (I've yet to hear David Cook's debut, but its hard to imagine him topping Coming Back To You). Melinda Doolittle's sound isn't as commercial as many of those who have come before her, but I'll bet this album outsells all of her predecessors. Coming Back To You is pure gold, a Wildy's World Certified Desert Island Disc. Its a must for Doolittle fans; fans of classic R&B and soul, and anyone looking for good, quality music sung with a lion's heart.

Rating: 5 Stars (Out of 5)

You can learn more about Melinda Doolittle at www.myspace.com/melindadoolittle. You can pre-order Coming Back To You at Amazon.com.

Review: Sonic Bliss - Loved To Death

Sonic Bliss - Loved To Death
2008, Sonic Bliss

Sonic Bliss was born of five New York City music scene vets and one newcomer. The band seeks to bring old school classic rock into the twenty first century with smart lyrics, powerful songwriting and an explosive stage show. Vocalist Rene Berrios sounds like the ideal rock and roll front man, with a big powerful voice that can soar as easily as growl; Two lead guitarists, Roger Petersen and Kerry Christian Agnew give the band a Styx-like guitar sound, and Glenn Roberts and Charlie Martinez make up one of the tightest rhythm sections in Rock N Roll. Band members have individually played with or opened for Joan Jett, Mountain, Dee Snider/Twisted Sister, Ike and Tina Turner, Anthrax, Rick Derringer and Smokey Robinson, among others. Sonic Bliss itself has shared a stage with Winger, Black 47, Richie Havens, Cactus, Blue Oyster Cult and Savoy Brown. Sonic Bliss has built a reputation as one of the finest classic-rock style bands New York has seen. With Loved To Death, Sonic Bliss looks to propel themselves into a higher orbit. It just might work.

Loved To Death opens with Sahara, a big, strutting guitar rock tune that is at times reminiscent of Metallica. Aside from the big guitar work this song has a strong melody and a certain melancholy chutzpah that can not be denied. Far Cry takes off on a tear built of great guitar hooks and an outstanding vocal performance. This song sounds like post-Dennis DeYoung Styx material and is one of the better songs on the album. Better Days is a big acoustic anthem that allows the listener a bit of respite before the explosive hook that opens Home Again bends your mind. Home Again explores the human capacity for greed; the constant need for more and more. The song is full of great harmonies and a vibrant guitar part that very much moves the song along. Babe I'm Dying brings some 1970's funk into the mix, complete with horn section. Not to lay on the Styx references too much, but if you know ever heard Lonely People you'll know exactly what sound I'm talking about here.

It's not so much that Sonic Bliss sounds like anyone in particular, although the Styx and Metallica references have some real weight. It's more that Sonic Bliss engages on a musical playground that so many great bands have visited before. At the end of the day Sonic Bliss has a sound all their own, and that comes across nicely on Dead Sea Of Love, which is probably the best song on Loved To Death. Berrios is absolutely at the top of his game here, and Lea steps forward to the mic as a foil on the chorus to deliver a devastating aural counterpunch. The woman has pipes. In My Dreams opens with an organ interlude that segues into a roiling, angst filled guitar bank. The dark tone and themes roll away into sunlight for just Berrios and church-style organ. In My Dreams comes across as almost prayerfully introspective.

Nail In My Heart with a gypsy-sounding violin dancing along to a plaintive acoustic guitar part with Berrios singing over the top. This is perhaps the most emotionally powerful song on the album, and Lea again joins in to counterpoint Berrios. Save My Soul is an angry, anxious and ultimately desperate plea buried in driven guitars and seismic rhythms. Seven Days is a wonderfully dark rocker with religious overtones and some really unusual guitar work. From a pure Prog perspective this might be the most memorable song on Loved To Death, as it spirals almost out-of-control to its end. As an added bonus there's a live version of Stevie Wonder's Superstitious that will absolutely knock your socks off.

Sonic Bliss uses the concept album format album to drive home eleven powerful songs centered on themes of religion, redemption, belief and the infallibility of human imperfection. Prog/Arena rock fans you've been waiting for this one. Loved To Death brings retro-1970's hard rock into the twenty-first century with a glorious, resounding bang. Check out Loved To Death and see why Sonic Bliss have become almost legendary on the New York scene. You won't be disappointed.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sonic Bliss at http://www.sonicbliss.net/, where you can purchase a copy of Loved To Death.