Review: The Andrew Heringer Band – The Paradise Sessions

The Andrew Heringer Band – The Paradise Sessions
2008, Dawson Records

Sacramento California’s Andrew Heringer is a singer-songwriter who has tied his fortunes to a Rock N Soul Jam Band. Heringer has shown a natural pre-disposition for the stage from his early teens, and his Dave Matthews/Jason Mraz style songwriting has helped him build a steady fan base on the West Coast. The Andrew Heringer Band is currently working on a new album, due out in late 2009 or early 2010, but for today we’ll be checking out their debut, 2008’s The Paradise Sessions.

Heringer opens with Sit & Stare, a song all about the cat & mouse games that come with getting to know someone. It's a great tune with some light jazz flavoring. Heringer's voice is pleasant to listen to with a slightly rough texture. Molly opens with a free-form sax solo that slowly segues into the song called Intro #1. Molly is a loving ode that manages to be catchy; sounding a bit like Rob Thomas meets Dave Matthews. Heringer hits all the right notes on A Thousand Years, a sweet love song set in an acoustic/electric arrangement. The highlight of the album is Release The Funk a delicious Rock instrumental laced with funk and some serious piano chops. The piano and sax combo is reminiscent of the days when Richie Canata played with Billy Joel.

Intro #2, a decent instrumental guitar segue opens up Love To See You Smile. This is a slow love song that tries to be a bit more typical in the ballad category but just never captures the energy you might expect. Heringer goes for epic composition on Goodnight. Lengthy at 6:01, Goodnight goes from straight forward songwriting to Progressive breakdowns before settling back into its base theme. The songwriting is very strong, although the tune does get a bit unfocused at times. Summer Roof gets similar marks, falling so heavily into a jam mentality that the melody gets lost.

The Paradise Sessions speak of many things. Andrew Heringer and his band have a great deal of talent. They write and play well, and they like to jam. They just seem to have a difficulty marrying the songwriter aspect with the jam musician aspect of themselves. The great jam bands can take you on nearly endless detours and suddenly settle into the theme and make you feel like the whole thing was planned. The Andrew Heringer band gives the impression, even on their album, that sometimes the fact that they get back to where they started is almost more luck than planning. This is fine for an Improv band, and there's nothing wrong with flying by the seat of your pants once in a while, but The Paradise Sessions dances right off the tracks at times, making those transitions seem more jarring than at-ease. There's a lot of good here, but the process, perhaps, could use a bit of refining.

Rating: 3 Stars (Out of 5)

You can learn more about The Andrew Heringer Band at http://www.andrewheringer.com/ or www.myspace.com/andrewheringer. You can purchase a copy of The Paradise Sessions from Big Cartel.

Review: Alexandra Celano - I'm Overcome

Alexandra Celano - I'm Overcome
2009, Grace 3313 Publishing

The OC's Alexandra Celano is making her own dreams come true, with a long deferred recording and performance career starting to take off. Celano's debut CD, I'm Overcome features a mix of Pop and Country song with spiritual themes revolving around family, love and faith. With an avid internet following and burgeoning radio play at Christian Internet radio stations as well as internet based Country stations, Celano is on the verge of something big. I'm Overcome expresses her wonder at all while keeping a focus on the spiritual side of life.

Celano takes Praise music back to the roots of Country and Gospel with the bluegrass flavored title track on I'm Overcome. Celano's pleasant alto and country twang are nearly up-staged by the outstanding instrumental play that shows a nearly-classical respect for melody and structure. Celano confirms that twang-ridden alto on I Will Go, but surprises by effortlessly reaching for notes in her upper register and singing just as sweetly as down low. In This Place is contemplative old school Southern Gospel done up in gorgeous vocal harmonies and strings.

Celano mixes things up nicely on Let The River Flow using a rhythmic base and a gospel style small vocal ensemble to fill out the sound. The song itself sticks with the highly polished and gentle feel that pervades I'm Overcome, but it works in this context. You is a prayer of thanks and praise that's sweet and well done but could use just a touch more energy from a performance standpoint. Celano does a character sketch in Grandpa that will hit home for anyone who's ever lost a beloved grandparent or parent. Celano drops a sweet love song in You're Good For Me that's destined to be a mix-tape and perhaps even a wedding song. More Than A Man is an ode to Jesus based on the Christian belief in Salvation through the Crucifixion. Celano moves on to the sweet Dancing Angel before launching into the closing number, A Child Is Born.

Alexandra Celano fills up her songs with faith and a quiet grace that's missing from most modern praise music. This is definitely "Easy Listening" Contemporary Christian Music, lacking any real edge or modern touch but sounding a lot like the classic Country/Gospel albums of the 1970's from folks like Christy Lane and Anne Murray. I suspect I'm Overcome will be most popular with folks who still remember such artists fondly, but the album is well done.

Rating: 3 Stars (Out of 5)

You can learn more about Alexandra Celano at http://www.alexandracelano.com/ or www.myspace.com/alexandracelano. You can purchase I'm Overcome as either a CD or download from CDBaby.com.

Review: Kristina Morland - Pidgin Music

Kristina Morland - Pidgin Music
2008 Kristina Morland/Kun

Kristina Morland lives the live of the expectant future rock star. She writes incessantly, plays even more, waits tables, and drives from gig to gig in a car two hubcaps short of a full set. Bitten by the music bug early on, writing and recording on a 2-track recorder as early as Elementary School. Formal singing began in Jr. High. Shortly thereafter Morland picked up a guitar and taught herself to play with the help of chord books and pure grit. This Weatherford, Texas native found her way to Fort Worth and got her start playing venues such as The Wreck Room, The Red Star Lounge and The Black Dog. Her debut album, Pidgin Music, was recorded on a shoestring in a friend's closet using 18-bit digital recording.

Pidgin Music opens with acoustic guitar, a child's xylophone and the distinctive voice of Kristina Morland on Razor Wire, a song about emotional baggage and the precarious footing relationships can bring. Morland's voice is distinctive, and there's a sort of distant charm exuded here. That's not to say Morland's voice isn't warm; as you'll see on Birds, her voice is effusively warm and full of rough and soft patches that are both mildly abrasive and comforting, but it becomes clear that Morland is the emotional outside in her songwriting, and that warmth comes with an inner distance; Morland is telling you about herself but at arm's length. Morland does an about face on Taboo, a song of hopeful and playful desire told as a story. Day Dream is a song of indescribable, nearly indecipherable for pragmatic meaning and yet speaking in shadows of great truths.

Morland has a sort of Tori Amos-meets-Edie Brickell aesthetic about her songwriting. Part of it is her distinctive voice and vocal style, but there is deep meaning here wrapped up in poetic muse, usually wrapped in enigma of deep imagery. Such is the case with Calculated Reckoning, a searching song about the meaning of life in terms of Heaven and the afterlife. The song is highly speculative, as need be, in both philosophical and pragmatic terms. The dirge-like quality ads to the supernatural epistemology of the song. The song plays like a scene from a movie; the premise might be the death of a family patriarch who was stern and stubborn but ultimately loving. Mixed emotions fly in what is more a musical vignette than anything else. The presence and power of Morland's songwriting here is unbelievable, and the presentation is spot on.

Circles continues the search for deeper meaning, putting life choices in perspective against the backdrop of the cycle of life. This pragmatic tune on acoustic guitar and strings plays like olde-time wisdom condensed into a song. The result is beautiful and powerful without sounding preachy or condescending. Morland is the master story-teller here, spinning her yarn as easily as a spider spins silk. Morland closes out with Silence, more of a song segment than a full composition itself. The song sounds promising.

Kristina Morland is a great find. Her approach and style will draw listeners in and convert them almost instantly, and her ability to tell believable stories in song is hard to match. With so much at her heels so young, it's to imagine a future where Kristina Morland is not successful with her music. Pidgin Music has depth and maturity in the songwriting, a keen sense for melody and a delivery that's measured yet full of energy. There's no doubt about this one.

Rating: 4.5 Stars (Out of 5)

You can learn more about Kristina Morland at www.myspace.com/kristinamorland. You can purchase a copy of Pidgin Music through CDBaby.com, or you can download the album from iTunes.

Review: Iolite - Iolite EP

Iolite - Iolite EP
2009, Iolite

Cincinnati, Ohio's Iolite creates music that runs across the boundaries of Jazz, Blues, Soul, Reggae and R&B. Arianne Benick and Julia Johanan are the prime movers behind Iolite, and strive to write conscientious songs full of wisdom and light. Benick spends here non-music time sewing children's pressure garment for burn victims as Shriner's Hospitals for Children, adding a deeper perspective to her writing and singing. Julia Johannon is a Conservatory trained pianist and composter who plays keys for Iolite and shares in the songwriting duties. The band is rounded out by Shimon Israel on bass; Dan Barger on sax, flute and percussion and revolving committee of drummers made up of friends and associates of the band. Iolite recently released their debut CD, the Iolite EP. It becomes clear quickly that Iolite is headed somewhere.

Iolite is an album fraught with problems but also has some very strong moments. Vocalist Benick has a wonderful sound, warm and rich in vocal tone that lights up her deep, resonant alto. Instrumentally the band is top-notch, seemingly able to tackle almost anything. The difficulties arise not on the technical aspect of the vocal line but the execution. While Benick has a gorgeous voice, there doesn't seem to be much conviction on Iolite. Night opens in a torch style that should be sultry but sounds uninspired. The passion and energy the vocal line calls for just aren't here. Be Wise runs into similar difficulties; Benick has a wonderful voice but the full commitment just isn't here. The question becomes whether Benick is holding back or simply doesn't have the emotional oomph to truly convey what she's thinking. Good + Bad is very similar although the instrumentation continues to be out of this world. Rooms finds Iolite spreading out into 1970's Jazz/R&B. The attempt is a bit bland but shows hope for future growth and development. Iolite closes out with Taking It Slow. Once again the instrumental aspect is wonderful and the vocalist is decent but just doesn't commit.

Iolite [EP] shows a band trying to work out their issues. The instrumental side is fairly well set and the vocalist has great sound but just doesn't convey the heart this music calls for. Iolite is a decent effort with room for a fair amount of achievable improvement.

Rating: 2.5 Stars (Out of 5)

You can learn more about Iolite at www.myspace.com/iolitemusic. The Iolite EP will be available soon. Keep checking their MySpace page for more information.

Review: Caroline Herring - Golden Apples Of The Sun

Caroline Herring - Golden Apples Of The Sun
2009, Signature Sounds

Caroline Herring has built a strong reputation as a songwriter and storyteller. Her most recent album, Lantana was named one of the "Top Ten Best Folk Albums" of 2008 by National Public Radio, and she has been lauded by publications and critics both large and small. Herring returns on October 27, 2009 with her fourth album, Golden Apples Of The Sun. A mix of originals and covers, Herring performs primarily with just her guitar and voice, recorded live in studio by David "Goody" Goodrich. With comparisons to artists such as Kate Wolf and Joan Baez, Herring has managed to find a touchstone aspect to her sound and style while remaining wholly herself.

Herring opens with a song that's as much an aural painting than anything else. Tales Of The Islander paints a picture of time and place that's palpable. Herring reminds us that occasionally a time and place we've been will burn its way into our consciousness; the world drops away and nothing else matters for a short time. Herring takes on Cyndi Lauper's True Colors and ends up sounding like she's trying to rush through the song. The tempo is rushed and the rendering is very grave for a song that's full of hope and love. Herring's cover of Long Black Veil is more on-target Herring's voice has a Rosanne Cash meets RJ Cowdery and Joni Mitchell quality that works well with her gentle arrangements.

See See Rider finds Herring sticking with the spirit of the original while morphing it into a gentle folk song with Country accents. This is the best vocal performance on the disc. Perhaps the best song on the disc is the cover of Joni Mitchell’s Cactus Tree, the story of a woman so intent on being free that she winds up empty and alone. The song is compelling and well-told. Herring has an Indigo Girls feel on A Little Bit Of Mercy, exploring the necessities of forgiveness and forgetfulness in love. Herring adapts a poem from William B. Yeats on Song Of The Wandering Aengus. My favorite song on the disc is up next: The Great Unknown. A song of soul searching, The Great Unknown doesn't challenge beliefs, but seems to ask what happens if we invest all of our energy into a belief and it turns out to be wrong. Herring's last number, The Wild Rose could be either a love song or a prayer. I'm leaning toward the latter but it's never explicitly clear. The melody is among the loveliest on the disc, and the song is played with pure heart.

Caroline Herring has a warm and earthy presence that just oozes off of Golden Apples Of The Sun. Her songwriting is top notch and her vocal performances are warm and right and draw the listener out of his/her shell. Golden Apples Of The Sun is definitely worth spending some time on; Caroline Herring has another solid effort on her hands!

Rating: 3.5 Stars (Out of 5)

You can learn more about Caroline Herring at http://www.carolineherring.com/ or www.myspace.com/carolineherring. You can buy a copy of Golden Apples Of The Sun as either a CD or download from Amazon.com.

Review: The Greening - (She's So) Electric EP

The Greening - (She's So) Electric EP
2009, Zairecords

San Francisco's The Greening strives to create a new form of pop music with each successive album. With their feet grounded in the Art Rock of the 1970's, The Greening use a distinctive Pop sensibility to build songs with big hooks and a formalist attention to detail. The Greening's latest release, (She's So) Electric [EP] follows that parabolic pursuit for post-modernist Pop perfection ever close to its logical conclusion.

(She's So) Electric captures a 1960's/1970's sound and feel; it's a fun listen and a highly marketable tune. Sunny Afternoon is in a similar vein; a highly catchy mid-tempo rock tune with strong harmonies. Belong With Me finds The Greening digging into an early 1960's Pop sound with flashes of Beach Boys style harmonies. The closing track, Today, Tomorrow is decent enough but not up to the quality of the first three songs.

The Greening compares well to bands like Woodward and Tally Hall; the focus here is a bit more solidly in the 1960's than with the other two, and I imagine The Greening will play particularly well with Baby Boomers. (She's So) Electric is catchy enough to have commercial legs, particularly in the licensing area. (She's So) Electric [EP] is an enticing appetizer. It'll be interesting to see what comes next.

Rating: 3 Stars (Out of 5)

You can learn more about The Greening at www.myspace.com/thegreening. You can get a free copy of the (She’s So) Electric EP through The Greening’s MySpace via a “try an offer from one of our sponsor” campaigns.

Review: Sarah Bettens - Never Say Goodbye

Sarah Bettens - Never Say Goodbye
2008, Cocoon Music, LLC

Former K’s Choice vocalist Sarah Bettens returns with her fourth solo album, Never Say Goodbye. For Bettens, it’s the first release on her own imprint, Cocoon Music. A 2006 winner of the European Border Breakers Award for Best New Artist, Bettens has enjoyed chart success in Europe as well as placing/writing music for American television. As a member of K’s Choice, Bettens is responsible for several gold and platinum records in Europe. Never Say Goodbye is being marketed exclusively to fans on her current concert tour and through her website.

Bettens has a gorgeous, deep alto voice tempered by a dog-eared rasp that comes from years singing Rock N Roll, both individually and with the band K's Choice. This gruff but warm sound makes for particularly sultry listening on the more jazz-oriented material on Never Say Goodbye. Bettens gets things started with the Torch style of I Can Do Better Than You. It's a very enjoyable listen and just unexpected enough to hook you for the ride. Slow You Down shows a wonderful maturity in songwriting about a relationship where one partner does everything except leave for good. It's an amazing tune. Arthur Hamilton's Cry Me A River is up next. Originally written for Ella Fitzgerald to sing in the movie Pete Kelly's Blues, Fitzgerald never recorded the song until six years later because it was dropped from the movie. The popularized version was recorded by Julie London, and Bettens does her proud. It's just Bettens and piano, and Sarah Bettens is in her best voice.

Bettens hits mix-tape gold with Win Me Over. It's too bad the Pop Radio market is what it is these days. Win Me Over is chart gold, and I guarantee you that some artist down the road will release a version of this song and have a major hit with it. Whoever it is, I doubt they'll end up sounding as good as Bettens does here. Bettens tackles a Mike Reid/Allen Shamblin tune popularized by Bonnie Raitt next. I Can't Make You Love Me is a modern classic; Bettens treats it with reverence, injecting it with her own warmth and vulnerability in an unforgettable performance. One of my personal favorite songs on the disc is Scream; it's a piano-based tune about making with most of what you have. The song is poignant and a real treat. Bettens highlights the dangers of keeping a gun at home where small children live. Her viewpoint is obvious without sounding preachy and the melody is wonderful. Follow Me is an invitation to love and adventure; a musical fairy tell if you will. Romance is the highest goal here. Bettens closes out with a K's Choice tune, Not An Addict. It's an enjoyable version of the song, although not a favorite personally.

Sarah Bettens is probably more of a draw in Europe than the US these days, but audiences on the West side of the Atlantic really ought to be paying her more attention. Bettens has a wonderfully listenable voice and a knack for crafting intelligent and tuneful Pop/Rock songs that stick with you better than a bowl of oatmeal on a cold morning. Never Say Goodbye doesn't break significant new ground, but for pure listening enjoyment it's very much worth your time.

Rating: 4 Stars (Out of 5)

You can learn more about Sarah Bettens at http://www.sarahbettens.com/ or www.myspace.com/sarahbettens. You can purchase Never Say Goodbye through Bettens’ web store.