Muzik Reviews

Arcangels - Living In A Dream (CD/DVD)

The Arcangels seemed to disappear as quickly as the appeared back in 1992. It was Tommy Shannon and Chris Layton’s soul salivation at the time after the tragic death of their brother Stevie Ray Vaughn.

Living In A Dream was more than a musical experience for me, it gave me a better understanding of what the Arcangels are all about and what Double Trouble went through after Stevie was gone. On the DVD portion of this set in the backstage chapter, Shannon describes how painful it was for him and Layton. They were both so depressed they could barely get out the door to go to the store. 5 weeks after the passing of the beloved Vaughn, Doyle Bramhall II and Charlie Sexton met the rhythm section of the SRV band at the Arc and started to jam. The Arcangels were born. There are more parts to the story of course but that is it in a nutshell.

Doyle Bramhall II (vocals & guitars), Charlie Sexton (vocals & guitars), Chris Layton (drums) and Tommy Shannon (bass) (The Double Trouble rhythm section) decided to mend their fences and get back together and this is the result, a comprehensive set that includes two CDs, one with 13 live tracks, and 3 new studio tracks that serve as precursor of what is to come, with a live cut of “Spanish Moon” at Atone’s and lastly, a DVD with the entire performance captured live for your viewing pleasure including the insightful backstage section that treats you to interviews of all the band members.

The common misconception of this band was that it was a super group from Texas, one of those guitar army configurations. The truth is that the band was formed because they considered each other as family, one that has a spiritual connection to the music scene in Austin and forever entwined with the legacy and music of Stevie Ray. Long before the Arcangels were a thought, Doyle (his father was in Stevie’s band) used to sit on Stevie’s lap and play guitar. Then in another instance at a performance at a local club, Stevie handed Charlie his guitar at a performance when he was a teenager, much to the dismay of his bass player, who at the time had no clue who the kid was. Well the years flew by and as fate would have it they got together to play music again as a band that would have a huge, albeit short impact. The problem early on was the wild youngsters Bramhall and Sexton. Although musically they did not lack chemistry it was the other lab substances that made them clash. They eventually grew up, sowed their wild oats as it were and they are back ready to make some great music. Unfortunately Tommy will be replaced due to health reasons, which makes this set that much more historic and prolific. You have not heard the last of this band; in fact consider this set as a reintroduction ready to rock your soul. You can see for yourself right here and watch the awesome title track http://arcangelsmusic.com/video.

The Double Trouble rhythm section of Layton and Shannon needs no introduction but those unfamiliar with Sexton and Bramhall II will consider this a great find. Those of us that already know about these great players will welcome them back with open arms to reestablish the Arcangels as a force in music. The dynamic duo serve as two strong presences on the stage and in the studio and it is documented very well on the DVD. They both have their strengths, Sexton is better singer than a guitar player, although he is good player, and Bramhall is a better guitar player than singer, again, he is a good singer but in this case they both do one thing better than the other and complement each other especially well. Their perfected back and forth exchange on the vocals on most of their songs afford listeners a nice variety, a smoky blues rock blend that has its reckoning at the concert and in the new studio tracks.

Stand out tracks are the “Living In A Dream”, “Too Many Ways To Fall” (check out Charlie’s vocals on this one), and the powerful “Crave and Wonder”. Included is a surprisingly good cover of the Wings classic “Too Many People” as part of the new studio tracks on the bonus disc. The entire set is loaded with killer blues rock played by living legends; yes all of them are now. Bramhall has played with Clapton to name a few so the years they were not part of this band they all stayed busy continually honing their chops.

Living In A Dream should not be missed if you are blues rock fan or have enjoyed music from one of the hotbeds of developing artists and a slew of legendary players, Austin Texas.

Keith “MuzikMan” Hannaleck

February 6, 2010

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Melinda - EP

On her forthcoming EP, Pittsburgh native Melinda Grey sings bluesy rock with a whiff of country and pop. Her previous release titled The Melinda EP, from 2007, leaned more toward pop music. She attempts a rougher, more down-home sound this time around. Her new style is part Etta James, part Aerosmith, and part Britney Spears. It's a solid performance by a talented and well-trained singer (she attended Berklee College of Music in Boston) but she was at her best singing upbeat country and pop. Even if I ignore her teen-idol style PR photos, I just can't buy her as a gritty soul singer.

One of her new songs “The Hard Way” was co-written and produced by Kevin Bowe, a Grammy winner who's worked with blues legend Etta James. It's better than the irritating “Can't Take The Mud Out,” but the track I like the most is the wistful ballad “Don't Be Sweet.” It's a message to her unhappy boyfriend who's trying to hide his true feelings. The story and relaxed delivery ring true compared with the forced grittiness that saturates the other three songs. The band is descent and gives her a standard backdrop to belt over. No big deal since, after all, Melinda is supposed to be the main attraction.

Overall this new EP didn't grab me. Melinda grey is talented and photogenic, but this release is somewhat lacking. I'd like to see Melinda Grey produce more light fare like the 2007 track “Devil's Garden.” I'd rather hear her doing some solid mainstream country-pop than mediocre blues.

Nathaniel Rolnick – MuzikReviews.com Staff

February 2, 2010

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Sunstorm - House of Dreams

When I first listened to House of Dreams, the second album by the hard rock band Sunstorm, I, for the life of me, could not place the vocals. I could recognize them like anything, but where did I hear them? A quick trip to Google, and I was informed that it was Joe Lynn Turner, whom I knew for his work with Yngwie Malmsteen, and is somewhat less known for his work with Deep Purple but gained more notoriety with DP guitarist Ritchie Blackmore in previous years with Blackmore’s Rainbow. Which now seems fairly obvious to me, but I digress.

Sunstorm, I noticed, within the first track of House of Dreams, has a certain 80’s rock meets modern power metal feel to their music. Divided, an excellent opening track to the album, starts out with some dark synths and some very strong riffs. There is no lack of excellent composition, which is something that many people feel is sacrificed in more modern music. I’d like to point out the exceptional lead work from guitarist Uwe Rietenauer. Not only does his work cover the album from start to end, it is continually outstanding.

As expected, this album has no shortage of the obligatory power ballads. “The Spirit Inside” is the first of several, which tend to fall under a slightly modified formula than the previous few tracks. Again, there’s no lack of musicianship, but there tends to be a lack of a certain modern sound, and arguably modern creativity. That being said, the solos and soaring vocal choruses have the ability to take a listener back in time, figuratively speaking.

The fourth track, “I Found Love,” has a distinct sing-along kind of chorus; the kind that’s bound to get stuck in anyone’s head, which is what this band does best. There’s a distinct formula that was also featured in the opener, with the similarities to 80’s rock, the tendency to be incredibly catchy, the sometimes cheesy lyrical work, and the musicianship that has yet to falter. But this formula, as the album continues, tends to feel tedious. There’s a distinct lack of development or change throughout, and in that sense, it’s disappointing.

So by now, well within the first half, a listener can, and probably will have decided whether or not they love or hate House of Dreams, because beyond that there isn’t much overall variation, with the slight possible exception of the title track, which some may find to be more driven in terms of style than others. It’s well done, in terms of mixing and production and there’s no denying that there is band chemistry and that the musicianship is on point. When it comes down to it, this album is simply subject to each listener’s personal taste. Some, mostly AOR fans, will enjoy the throwback sound this album provides, with the delightful cheesiness that the band tends to create, both in sound and lyrically. Others will maintain the fact that “80’s styled music ended for a reason,” saying that this album crosses the line, into indulgent and overdone (see “Tears on the Pages” for a good example).It’s a love or hate release, and beyond that a listener will have to form his or her own opinion.

Sara Cooper – MuzikReviews.com Staff

February 5, 2010

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Suzi Ragsdale - Best Regards/Less of the Same

Suzi Ragsdale has been in the recording studio her entire life, and considering that most of this time has been spent in Nashville, it's no wonder that her newest release (the double album) Best Regards and Less of the Same is an adorable country and folk album that makes the listener feel right at home.

Ragsdale is the brains behind her eloquent lyrics, which do such a good job at telling stories, you feel like you're in full dialogue with her while you listen. "I'm not your friend/not your wife/but hey - best regards to those who are" she sings on "Best Regards", the closer to the eponymous album, letting listeners know that she's talking directly to someone and making the audience feel like that person. On "Troublemaker", she lets loose, singing "Troublemaker, trouble me no more/leave your blues outside my door/well if I was gonna be the devil/I'd have your eyes/who'd ever suspect such a sweet disguise". Even when she tells someone to leave her alone, she sounds pleasant and homey, her country twang making her seem sweet and almost innocent.

Singing isn't the only thing Ragsdale loves - she regularly posts recipes and yoga positions on her MySpace. She obviously just wants to share what she enjoys with the world, from cooking to music. Best Regards and Less of the Same are another way to do that - she's not just singing, she's telling stories, something country music still does these days, but does in a cheesy, almost horrifyingly rhyming way. Ragsdale deserts the common standby of country music and tells stories with passion and soul.

The music on Best Regards and Less of the Same is almost perfect for what it is. It's well-made and folksy, but it has a certain country style to it that can only come from living in Nashville, which many artists try and fail to duplicate. The tracks are produced professionally and stylistically and they hone in on Ragsdale's voice and range, showing off her lyrics but managing to showcase the music behind the words, as well. The music is as honest and upfront as Ragsdale is - you can tell that the musicians involved with her are in the studio with her for the same reasons she is - to share what they love.

Suzi Ragsdale is clearly on her way. "My destination's off the chart/neither here nor there/it's all up in the air", she says on "Best Regards". She's right - with an album full of delicate honesty and homey advice, she's definitely going nowhere but up.

Abbey K. Davis – Muzikreviews.com Staff

February 04, 2010

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George Winston - Love Will Come: The Music of Vince Guaraldi, Volume 2

Grammy Award Winning Pianist George Winston has released a new CD of solo piano music in a tribute to Vince Guaraldi: Love Will Come: The Music of Vince Guaraldi, Volume 2. Vince Guaraldi will always be associated with the “Charlie Brown” television specials and the “Peanuts” characters conceived by Charles M. Schulz. He created the sounds of “Charlie Brown” that remain indelible in our minds. But, Guaraldi was also a successful jazz musician. He was part of the early Cal Tjader Trio and also had a hit of his own with “Cast Your Fate to the Wind.” Winston honors both facets of Vince Guaraldi with this new CD which is the follow-on to his first Guaraldi tribute recording in 1996, Linus & Lucy: The Music of Vince Guaraldi.

Appropriately, more than half of the 16 tracks (9) are from “Charlie Brown” episodes. The remainder is from Guaraldi’s jazz work. It’s appropriate that so many songs are from the TV series due to its immense popularity and because it is inextricable linked with Guaraldi’s music. The commercial success of the series does not detract from the quality and enjoyment of the music. Many artists struggle for years to gain exposure to a wide audience and Guaraldi’s good fortune was well-deserved. It can be a huge challenge to cover such familiar and beloved material and Winston does an admirable job.

Guaraldi’s unique style of composition is readily recognizable: strong bass lines, frequent cyclical modulations, chords featuring major 9ths (often in place of the 7^th typically used in jazz harmonies) and pentatonic scales. The first track is “Time for Love” from the “There’s No Time For Love, Charlie Brown” episode. As with many of Guaraldi’s compositions it sets up a steady-state tempo and rarely strays from it. Winston maintains the flow and adds interest with dynamic variations. Also from the TV series, the second track, “It Was A Short Summer, Charlie Brown,” is immediately familiar and comfortable. The next cut, “Macedonia/Little David,” is from Guaraldi’s non-“Peanuts” work. These other pieces generally contrast with the “Peanuts” selections by their slower tempo, minor key settings and pensive mood. Winston interjects these lesser known jazz compositions as strategic punctuations in the flow of the more well-known music. “Fenwyck’s Farfel/Calling Dr. Funk,” track five, is a standout as a somber blues in almost a New Orleans jazz funeral style. “Pebble Beach/Dolores Park” is another atypical selection. It is modern jazz with harmonic progressions reminiscent of Gary Burton’s early work. The title track, “Love Will Come,” is again from “Charlie Brown” and paints an image of the character’s thoughtful reflective nature. It is reprised in variation for the final track, “Love Will Come 2.”

Winston faces two challenges on this CD. First, the compositions are all by a single composer and are extremely familiar from their original context. Second, the entire recording is of solo piano. Given these tight constraints this is a good piece of work. Many of us have an immediate strong and pleasurable nostalgic response to Vince Guaraldi’s “Charlie Brown” sounds. Combine that with Winston’s fine interpretations of some of Guaraldi’s other interesting jazz compositions and you have two compelling reasons to enjoy Love Will Come.

Mike Reynolds-MuzikReviews.com Staff

February 3, 2010

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SOS - Adult Situations

You may not know of SOS, but they are a band that should seem rather familiar to you. SOS formed in New York City in 1995, when grunge was still quite big, and was clearly heavily influenced by the genre. Five albums and over a decade later, SOS’s latest release, Adult Situations, shows that this style is one that they are very comfortable with.

The quartet, led by Mike SOS (guitar/vocals), rarely slow things down, nor do they get softer. Adult Situations is a loud and heavy album and definitely requires the volume turned way up. The tracks vary somewhat in the sense that many of them remind you of different artists, but not much of it sounds all that original. More often than not I think of Core-era Stone Temple Pilots songs (try “Frames” in this regard) in their darker, heavier, sounds with deeper vocals. Some of the more punk tracks also remind me a bit of the Misfits or Danzig (check out “Fear & Ferocity”), and again the vocal style helps in these comparisons. Still if you look at the bands MySpace page, or just sample some of the tracks, I am sure you will be reminded of many bands in which you are very familiar.

SOS seems like a fun time for fans looking to reminisce over their favorite 90’s rock bands. The songs on Adult Situations aren’t finding uncharted territory by any stretch, but at the same time, they do provide listeners with decent new songs in the likeness of several bands that are no longer releasing new material. So if you’re looking for a band that is blazing trails, SOS likely isn’t for you, but if you miss the hard, dirty rock of the early/mid 90’s, do check them out.

Kevin Kozel-MuzikReviews.com Staff

February 3, 2010

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Audra Connolly - Dear Friend

There is a quote from once-indie band Rilo Kiley about folk singers that I continuously thought about while I listened to Audra Connolly's newest album, Dear Friend: “Folk singers sing songs for the working, baby. We're just inspiration for all those doctors and lawyers.” Connolly is pure folk, at its best; she's entertainment in the form of soft sounds and friendly words.

Connolly may find herself compared to Rilo Kiley's Jenny Lewis; they have similar voices and strum guitars (and even look a little alike), but Connolly is far more folk than Lewis ever dared to be. She belongs in the category that Joni Mitchell and, more recently, Aimee Mann belong in. Connolly cites Sheryl Crowe as an influence, but her music has none of the overwhelmingly repetitive pop choruses that Crowe's does; Connolly is a rare find in current music: an artist seemingly interested only in making music she loves.

Connolly says she was born into a family of an art teacher and an outdoorsman, and it shows. “I was taught to love/and try to rise above/all the stuff out there/that just ain't fair” she sings on the album's opener, “Eternal Youth”, and on “Thinking of You”, she says “Oh how Mother Nature unravels her schemes/the moonlight is shining in streams/mind, body and soul on separate teams”, proving her hippie-esque background. Her lyrics range from nature to men to loyalty, and all of them are fantastic and inspiring, in the least annoying way possible.

Though she's classically trained at piano, Connolly sticks to guitar on Dear Friend, with her brother Aaron playing an electric behind her. A wide range of instruments – from djembe to bassoon – wraps the songs together and helps tell the stories Connolly has written. The music isn't phenomenal, but it's what folk music is – soft, melodic sounds that tie together a well written song.

Connolly manages to achieve something on Dear Friend that recent artists like Colbie Caillat have failed at – a folk album written for today's audience. Her sweet songs and melodies are soothing instead of sugary, and she manages to sound like she's reaching out to friends she hasn't met with a smart, outdoors-y approach to life.

Abbey K. Davis - MuzikReviews.com Staff

February 2, 2010

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Herb Alpert & Lani Hall - Anything Goes: Herb Alpert & Lani Hall Live

Sometimes within a few notes of a recording you can identify polished, seasoned, talented professionals. That is the clearly the case with Anything Goes. Alpert—founder of the incredibly successful “Tijuana Brass” and A&M Records, and also a successful Broadway producer—and Lani Hall—former singer with “Sergio Mendes and Brazil ’66,” solo performer and Alpert’s wife—have not cooled off a bit. Alpert has said that despite his early career in pop music he is really a jazz musician at heart and it shows on this CD featuring jazz standards by Berlin, Gershwin, Lerner & Loewe, Mercer and Porter. There are also a couple of Brazilian classics and a couple of originals by band member, Bill Cantos (piano, keyboards, vocals) thrown in, adding up to an admirable 14-track work of traditional and Latin jazz.

The recordings were actually culled from live performances at eight East and West Coast jazz clubs. The CD title, Anything Goes is taken from the Cole Porter standard and track 12 on the CD. The CD begins with George and Ira Gershwin’s “Fascinating Rhythm.” Hall needs a warm up like this to lead into the Portuguese tongue twisting second track, “Para-Raio,” during the course of which she somehow manages to find a breath in which to tease the audience to sing along with her. They laugh in realization of that impossibility. She gets a much needed break for the third track, an instrumental version of “The Trolley Song” (“Clang, clang, clang went the trolley”). In total, Hall sings on nine of the 14 tracks. One of the best is the aforementioned “Para-Raio,” but another contrasting beauty is Irving Berlin’s “Let’s Face the Music & Dance,” a plaintive ballad about the Great Depression (“There may be trouble ahead but…Let’s face the music and dance”). Cantos simple but moody and inventive fills help make it a very interesting interpretation. Cantos also composed two tracks, “Who Are You?,” on which he sings backing vocals, and “Morning Coffee,” a caffeinated number with a very fast walking bass (Hussain Jiffry) and rapid fire vocals. The tile track, “Anything Goes,” is beautifully done with a uniquely pensive approach. The CD closes out with an upbeat instrumental Latin jazz version of David Raskin’s “Laura.” Alpert is unobtrusive but resolutely present throughout. His trumpet (occasionally muted) has a clear, distinct voice and he uses it to great effect in a seemingly effortless style.

The flawless performances, amazing recording sound quality, song selections and track layout give this collection of live recordings the essence of a studio production. Herb Alpert is inventive yet concise, Lani Hall’s voice is still strong and ranging and the rest of the band fits together tightly to form an impressive whole. Traditional jazz and Latin jazz lovers will find Anything Goes to be a good addition to their collections.

Mike Reynolds-MuzikReviews.com Staff

February 2, 2010

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Actual Proof-Pick of The Week - Paradigm Shift

Here is Actual Proof that a band of talented musicians can break the mold of what you expect from any one particular genre.

On Paradigm Shift Eric Mullis (vibraphone), Phillip Berkley III (bass), Scott Brower (drums) and Silas Aldridge (keyboard) throw away the book and write their own for jazz-funk. The title gives a full explanation of what is going on here. A paradigm shift is something monumental like they mention on their CD Baby product page…how Copernicus made everyone realize that the Earth was the center of the universe. In the same instance this band has you believing they are the center of jazz funk universe as this recording plays and provokes your senses in every way possible.

Actual Proof throws a little something different into each track to keep your total focus on the music. I was totally absorbed listening to their funky brand of jazz fusion. Tracks like “Island” show how vibrant that this band can be, using all of their instruments to their fullest potential, providing a kind of world feel to their sound. On “Taboo” I liked the way they featured every instrument without letting you forget all the other excellent musicianship that is going on around it at all times. For instance, when they wanted the keyboards to step out front you heard that but could not miss the fact that the bass sounded so wonderful and predominant as well. It is hard to explain but they have somehow found a way to produce this recording so every instrument sounds leading without washing out another in any way and the finished product is the coolest jazz funk amalgamation.

The vibes always lend a classy touch to jazz and this CD is no exception. Eric Mullis is superb throughout the recording. On “Harvey” his beautiful vibes allures the alto saxophone of guest Adrian Crutchfield in to the mix and the result is heavenly. Right after that exchange it gets more interesting as Silas Aldrige adds some nice keyboards then the entire composition explodes in synchronicity completing a of wave jazz-funk sound that separates itself from anything you have heard before. This is not like a building crescendo in a rock song, its one instrument after another taking the color palette and subtleties of jazz and making it into a mountain of sound, a literal aural gem for your pleasure.

Actual Proof creates a real masterpiece of jazz-funk they can call their own and honestly say that its original and unique, an offering to the masses that enjoy tastefully done music by seasoned pros that know how deliver it all wrapped up and ready to go whenever the mood strikes you.

Keith “MuzikMan” Hannaleck

January 31, 2010

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Tiny Little Blackouts - Idea Of Alice

Tiny Little Blackouts is what indie musicians often strive for and fail at, which has turned the genre into a cliché: delightful music with just the right amount of irony.

Idea of Alice, the first album released by the band, is a fantastic, eight-song journey into the right kind of indie rock. The music is solid, the lyrics are intelligent, and the vocals are atmospheric without sounding overdone or like an impersonation.

Cameron Ember, the vocalist and lyricist, has a way of writing lyrics that manage to sound clever without seeming pretentious. “Ithought I would be free at last/from the tyranny of social scenes past/from the symphony of others' thoughts/from opinions that are sold and bought” she sings on “Happy is Dead for Now”, and on “Wrecking Ball”, easily the album's best song, she says “you're as gentle as a wrecking ball”.

The music is almost adorable. With hazy, well blended guitar parts, soft drums, and a hint of bells (or maybe xylophones), it seems perfectly in sync with Ember's vocals: it's delicate, without being too sad, and happy without being annoying. They have a balance of sadness that must have come from listening to Elliott Smith which sets them apart from bands that try too hard, but they have an upbeat, adventurous air about them, too. Idea of Alice is one of the most exciting releases I've heard from a new band in a while.

Tiny Little Blackouts say they make music they like and they hope you'll like it, too. They've definitely done their job – you'll love it.

Abbey K. Davis– MuzikReviews.com Staff

January 30, 2010

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Steve Hackett - Out of the Tunnel's Mouth

Out of the Tunnel’s Mouth, the most recent solo release from ex-Genesis guitarist Steve Hackett, is a prime example of something being “worth the wait.” An album that had to be put on hold due to some legal troubles, fans eagerly awaited Mr. Hackett’s return to progressive music since 2006’s Wild Orchids. And while Tunnel’s Mouth isn’t usually regarded as his best work to date, it still manages to hold its own.

The album opens, pretty slowly, with “Fire on the Moon.” The interesting thing about this track is the absolutely contrasting changes it makes. While it starts off, much like a lullaby, with bells, very light, clean guitar, and soft vocals, it breaks into a much more intense chorus section, and eventually by the end, the two sounds are blended to create something rather chilling.

The next track “Nomads” takes a much different approach. Right of the bat, a guitar player of any level can appreciate the work in this track, both the acoustic and electric work, which is heard in the second half. There’s a distinct cultural feel to this track in all aspects, from the musicianship to the vocal melody. It’s very cool, although I do feel like it ended rather abruptly.

The nearly nine minute track, “Emerald and Ash”, again takes a different turn. There’s a much more theatrical feel in this track. Well, maybe not so much theatrical, per se, but from the intro, and beyond, I couldn’t help but think of familiar movie scores. Now as nice as this track can sound, it also runs a bit of risk seeming a bit over the top in places, and borderline cheesy in others.

The next longest track, short by only a few seconds, is “Sleepers.” Again, there tends to be a score-like quality about the music, but this time, a listener will take note of the incorporation of the acoustic guitar, which, like “Nomads,” is dominant for a good portion of the track. I much prefer it to “Emerald and Ash” in fact, because of its much darker tone, and very interesting, much harder rock midsection. It’s a multifaceted track, that, while some of the transitions seem slightly abrupt, it’s still powerful.

The album closes with the appropriate “Last Train to Istanbul”. Again, we return to the distinct Middle Eastern feel that was first heard in “Nomads.” The instrumentation of this track is easily one of the most interesting, and the tone is beautifully dark. I personally found this to be my favorite track on the album, and an excellent closer to an exceptionally interesting album.

Out of the Tunnel’s Mouth is an ever-changing, intricate piece of work. It’s dark, cheerful and admittedly over the top in places. It’s progressive, its rock, and it even touches upon world music. It’s blatantly obvious how much work was put into this album, and with so much, there are bound to be some, at least minor, flaws. Mostly, I’d point out that in places, there was simply too much going on, instrumentally. Obviously, progressive music tends to get fairly complex, but at the same time, simplicity isn’t a bad thing. I’m not going to say this is what you would call a “musician’s album,” but there are a lot of those kinds of elements. In any case, lot of people can appreciate this, musician or not.

Sara Cooper – MuzikReviews.com Staff

January 30, 2010

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Soul Doctor - Way Back To The Bone

Soul Doctor was not what I was expecting – at all. With “soul” in the band name and an album called Way Back to the Bone, I was expecting the blues or folk, and when I put the album on, I was instead greeted by heavy rock, but I'm not complaining.

I've never personally been able to seriously enjoy music in the metal genre because it irks me so much that you can't understand what the singer is saying (in today's metal, that is), even though the music is irresistible. However, Soul Doctor fixes this problem with lead singer Tommy Heart's clear, easy to hear vocals and their feisty lyrics.

Each song on Way Back to the Bone is almost completely different, especially lyrically. “I'm in a state of denial/a state of mind/that I can't get by somehow/....I can't stand losing” Heart sings on “Can't Stand Losing”, a particularly strong track about his competitive streak. Then, on “Coming Home”, he sings, “check it out/moving too slow/let the wind blow/....what I need most/to stand the test of time/it feels like coming home”. And then comes the album's tribute to the band's nightlife, “Welcome to the Party”, on which Heart says, “I live for the weekend/....welcome to the party/....I can't live without it”.

The music behind the tracks is, admittedly, not as good as Heart's voice, but it's still good. It's not as original as the lyrics, but it does the job of establishing Soul Doctor as a metal band (whereas the vocals do not). Most of the guitar parts are reminiscent of classic rock, but they're still played well and the songs are put together and blended in an original way. “Love Crashed Down (Boom Boom)” is particularly well-done, musically, with a bit of the bluesy twang I was expecting.

With a genre full of singers who sound the same, Heart's originality and range are refreshing (and, shocker, the band is from Germany – but still manage to sing in English more clearly than bands from the United States) and the music is faithful to the genre, making Way Back to the Bone a solid album that even listeners who dislike metal can enjoy.

Abbey K. Davis – MuzikReviews.com Staff

January 29, 2010

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Age of Evil - Get Dead (EP)

Age of Evil is an interesting metal band. They consist of two sets of teenage brothers, Jeremy (vocals/rhythm guitar) and Jacob Goldberg (bass), and Jordan (lead guitar) and Garrett Ziff (drums). They also seem to be students of the metal that people were playing before they even born.

Get Dead is a follow up EP to their debut album Living a Sick Dream, which was released in 2007. It contains a couple of new originals, a couple of covers, and a couple of live versions of tracks found on their debut.

What I really like about this EP is that it shows a nice classic metal sound (“Eye for an Eye”) without mocking, like bands like Wolfmother or the Darkness (who are great in their own way of course, but you know what I mean) tend to do, as well as a modern metal (“Get Dead”). The original tracks here are reminiscent of bands like Avenged Sevenfold, Megadeth, Metallica, and Iron Maiden.

One of the issues for me on Get Dead is the cover songs though. They are a bit of a double-edged sword. Both “Slave to the Grind” (Skid Row) and “The Hellion/Electric Eye” (Judas Priest) are great metal songs, but it’s easier to point out what you don’t like about AOE because of this. Personally, I am a big Skid Row fan, and before looking at the track list I heard the song starting and identified it pretty quickly. It doesn’t take long to notice that Jeremy Goldberg is not Sebastian Bach, but of course very few vocalists were. This is fine of course, Goldberg’s vocals remind me a bit more of Dave Mustaine or M. Shadows depending on the song. I think they do a better job with the second cover, but still, you’re fighting a losing battle against such a classic.

Overall, Get Dead is a good EP. The new songs rock pretty hard. I really enjoyed the guitar playing from Jordan Ziff, it brings me back to the solos I would crank repeatedly on my Walkman back in the 80s. Lyrically the songs are as wicked as you’d expect from a band of this name…on an album of this title, so they aren’t for everybody. At times the drums seem a bit overpowering, but I think their recordings will improve with experience for this young band. All in all, Age of Evil certainly shows that metal still has a future on Get Dead.

Kevin Kozel-MuzikReviews.com Staff

January 28, 2010

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Martigan - Vision

Martigan both is and isn't your typical prog band. Upon first listen, it's hard to distinguish what sets them apart, but after pouring time into each track on their newest album, Vision, you begin to see what they do, and you can see that while they fit within their genre, they are stepping out of it, as well.

The most notable thing about Martigan (beside the fact that they're from Germany but sing in English), is their rhythm and time changes. While all prog bands routinely change rhythms several times in the same song, you can not only hear Martigan changing rhythms, but feel it. It doesn't feel forced or done just for the sake of doing it – as in “Touch in Time”, when the time signature has to change about fifteen times, but seems completely necessary every time.

The instruments being played set them apart, too. Each song has an almost hypnotic keyboard part with clean, bold guitar parts that play against lead singer Kai Marckwordt's grungy voice (and by grungy, I don't mean bad; Marckwordt has a terrific voice that he chooses to use in a raspy style). Add in a saxophone and flute on most tracks, and you've got the recipe for great prog, which Martigan pulls off professionally.

Unfortunately, the vocals are usually hard to understand. “Boatman's Vision” is a great song with interesting, smart lyrics, but I had to look them up because I couldn't hear them. “Guardian angels/drift out of the scene/back home talking to/to the open sea” is what Martigan's website says the lyrics are, and I guess I'll take their word for it, but I'm too embarrassed to print what I thought the lyrics were before I read them. “Boatman's Vision” has some really incredible lyrics, which is a reason prog stands out in the music industry today – rather than singing about heartbreak like 90% of other genres, these bands tackle real subjects. I just wish I could understand them.

Martigan is an original band with a sound that suits their chosen genre while still setting them apart. You might not hear it immediately, but keep listening and you'll hear their Vision.

Abbey K. Davis – MuzikReviews.com Staff

January 28, 2010

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VK Lynne - Whiskey or Water

VK Lynne is a blues rocker with soul. Soul that’s derived from strong Christian beliefs and a stark honesty that’s unfiltered in her music. It’s readily apparent that she’s being doing this for a while - an inherent confidence flows through Whiskey or Water, punctuating each syllable she sings.

Her latest effort is a heart-on-the-sleeve recollection of the last three years the singer has experienced. And what a journey its been, her passage through that period including struggles with anorexia, Hollywood, religious hypocrisy and love has been a long road.

The album provides great evidence into V.K Lynne’s grasp of melody and cadence that puts several modern acts to shame. Tracks like the dark and sprawling “Dust Between The Dirt” and the pure and sincere effusiveness that is imbued from songs like the gliding “He Rolls” is pretty refreshing. Elsewhere, the heartbreaking “Her End of The Phone” and “Black Halo” with its expressive reprises sounds like mainstream country standards.

On Whiskey or Water, VK Lynne comes close to reaching indie perfection and flourishes a vulnerability that should make her a queen of this often turbulent musical landscape. She wears her scars well and brings strength to several of the autobiographical songs on this well executed record.

Rukshan Thenuwara – MuzikReviews.com Staff

January 22, 2010

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Osada Vida - Uninvited Dreams

I had high expectations for Osada Vida’s third full length album Uninvited Dreams. A progressive rock act from Poland, their career is already well established, with their first release, Critical Moment, back in 2000. But how does Uninvited Dreams hold up on its own?

Opening with its title track, a more musically inclined listener might notice some unusual note rhythms in places, most often in the intro. I wouldn’t call this a mistake, but at the same time, it can come across as one, because it sounds like the timing was milliseconds off. Other than that, it’s pretty together. I’ll admit, lyrically, I don’t feel as Osada Vida is living up to their full potential here. I do like the addition of the female vocals in the chorus, although the balance could be better, and the very interesting funk-like after-chorus is very cool.

Next up is the much darker “My Nightmare is Scared of Me.” This is a good example of how Osada Vida manages to create certain feelings within the music. In this track, you do get a sense of the fear the song is built on, due to some interesting chord choices, the whispering in the intro, and the distant droning guitar work. It successfully forms an atmosphere within the song that the listener can literally feel.

The longest track on this album is “Lack of Dreams”, at over thirteen minutes of music. This track literally defines the band’s progressive sound. I found that a lot of the early guitar work in the song struck similarities to some of what Alex Lifeson might do, and although this is lost as the song goes on, it’s still worth pointing out. There’s also some strong use of synth in the track, creating an almost electronica feel, but only in that section.

“Is the Devil From Spain?” and “Is the Devil from Spain Too?” go hand in hand. The former, which is the shorter of the two, is mostly characterized by it’s very ethnic sound, created by the acoustic guitar and choice of drums. A short track, it leads pretty seamlessly into the much longer “Is the Devil from Spain Too?” which loses a little bit of the ethnicity of the last track, in favor of the more modern sounding guitar and drums. The title does seem a bit misleading, but that’s simply minor.

If I’m being entirely honest, Uninvited Dreams was a bit disappointing. The dream concept probably had a bit to do with it, because while the songs successfully capture the most of the feelings that the band intended, lyrically I feel like it was lacking a certain spark needed to pull it off. Occasionally, in terms of length, it felt like some songs were going on just because they could. The vocal melodies had a tendency to become monotonous. But I’d be lying if I said that I had only bad things to say. The musicianship is excellent, as it should be. The use of female vocals in some places was an excellent choice, but I would point out the balance of vocals in these parts were iffy. This also goes for the drum mix; I noticed that the snare seems to stand out a bit among the others. There’s no denying Osada Vida has something. I’m not saying I didn’t enjoy Uninvited Dreams. But I do see some room for improvement.

Sara Cooper – MuzikReviews.com Staff

January 27, 2010

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Corrin Campbell - Game Night

Hailing from Minnesota, Corrin Campbell and her band, The Election embark on their first full length album, Game Night. Corrin, who served in the 1st Calvary Division and currently works with the Army Materiel Command Band has performed for the troops numerous times while drummer Tony Corbett, is a three time combat veteran.

It’s apparent Corrin is strongest when singing hushed, powerful melodies as on “Remember Me” and “A New Page” where her clear, grounded vocals match the pace of the song. There are several spots on the album however, where Corrin’s vocals fail to mirror the charging pace of the surrounding production values. Take for example “Find Your Way” and “Always Be” which is melodically substantial but is drowned out by charging instrumental values.

Corrine has a capable enough voice, yet she tends to stretch it beyond its range such as on the One Republic cover of “Apologize” where her ad-libs are strained, as are the polarizing combination of hard rock guitars and soft rock vocals. “Colors Of You” and “Blink of an Eye” also merge into this category.

Game Night is a varied record, but shows promise of what could be a great band when properly synched and ready to rock. A stand out quality of the record is the honest and personal lyrics that come across like pages from a diary such as on the memorable “Keep Moving.” Production values are also a powerful asset that if fine tuned to match Corrin’s vocal capabilities, would be able to make the mainstream take notice.

Rukshan Thenuwara – MuzikReviews.com Staff

January 8, 2010

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Sun Cut Flat - Running of the Bulls

Music is often a craft of context, and Sun Cut Flat’s Running of the Bulls is no exception. Hailing from Boston, songwriter Nick Lattanzi makes guitar music that feels like it’s freezing, like any minute it’s just going to stop because the cold is locking everything up in a state of suspended animation. Lattanzi sings with little to no variation in a sleepy yawn that seems to only be dragged along by the music around him, which itself lives on the downbeat. Needless to say, Running of the Bulls tends to be a rather soporific listen. But that’s not without its benefits.

Initially, the record is easy to pigeonhole, starting things off on the same page of mellow rock that made fellow New England DIY-ers Dispatch a university staple. But the devil is in the details, and it’s the details that make Running of the Bulls worth a second thought.

Lattanzi does well to develop his music’s frigidity with production. Guitars twinkle and burn like stars on a frozen night, and distorted echoes draped in reverb and delay deepen the layers of atmosphere on songs like “Paper Sky” and “Tom Cruise’s 33^rd Dream.” “Rabbit Moon / Lost at Sea” stands out for its production and its driving rhythm winds up in a modulated outro, somehow giving your ears exactly what they didn’t know they wanted. All this makes Running of the Bulls a great winter record, though Lattanzi also seems to enjoy toying with a certain dichotomy between sound and word. For examples, there are instances when Running of the Bulls sounds like something you’d listen to on a group beach day by the shores of a frozen lake (if you’d ever do that…). On the title track, Lattanzi drawls “And then I find you by the ocean / and all those waves are almost broken / so what we have now is each other,” evoking warm rays, salty spray and skin while the music surrounds those words with glassy fractured guitars and white noise like ice and cold.

There’s a good bit of experimental production over these ten tracks, as Sun Cut Flat hasn’t quite found its sound yet, but for all its somnolence Running of the Bulls makes for a hopeful debut. This is music for context after all, and these textures might require a certain environment. I suggest either your car’s stereo while motoring a bleak landscape or a wintry weekend bedroom replete with plenty of blankets.

Stephen B. Griggs – MuzikReviews.com Contributor

January 25, 2010

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John Wort Hannam - Queen's Hotel

Since quitting his teaching job in 2002 to focus on his music, John Wort Hannam has done pretty well at getting himself noticed within the world of folk music.

While he may not be a huge star yet, the former language arts teacher has consistently been nominated for—and won—awards within the folk music scene. With the release of Queen’s Hotel, his fourth full-length album, Hannam is hoping to keep the trend going.

Unfortunately, I’m not quite sure if Queen’s Hotel will have the effect Hannam desires.

As far as Hannam’s vocals and lyrics are concerned, there is nothing bad to be said about them. The lyrics have a story-like quality to them, and Hannam’s voice is perfectly suited to tell the stories or give the advice contained in his songs.

Overall, though, nothing stands out on the album. It’s very mellow and pleasant to listen to, but there isn’t much variation in the sound. Queen’s Hotel is by no means a bad album, just a little on the boring side.

Queen’s Hotel is a decent album and worth a listen, just don’t expect your socks to be knocked off by it.

Carly Doenges—MuzikReviews.com Staff

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Jeff Jolly Band - Jeff Jolly's Pizza

The Jeff Jolly Band plays an eclectic and inventive mix of styles that includes rock, roots, country, Americana and R&B, all written by Jolly (except “Trip Through Your Wire,” U2). That originality is what makes Jeff Jolly’s Pizza well worth listening to. It communicates Jolly’s enjoyment writing it and the band’s pleasure in playing it; so it follows that we find it gratifying to hear. The compositions cover a range of observations about the human condition, but even when the topics are somber, the joy of the music prevails. It seems as though we are being performed for rather than just being presented with a collection of recorded songs.

Jolly (guitar and vocals) is joined by a changing ensemble of bass, drums, fiddle, piano, steel guitar, harmonica, horns and backup singers. Jolly’s vocals are clean and proficient and, while it might not be powerful enough to single-handedly carry the entire CD, he is well-supported by the backup vocals of Desiree Parker and David Fairchild (who also plays bass). The occasional addition of the Uptown Horns, the contrast of electric and acoustic instruments and the inclusion of other distinctive instrumentation such as steel guitar (Buddy Cage, pedal; Yike McGirkens, lap), fiddle (Joe Craven, Tom Paxton), mandolin (Joe Craven, Donny Barnyard) and harmonica (Tom White) provide continual variety and interest.

On first listen to a recording it’s tempting to try to draw comparisons to older more familiar sounds. So when the first track of Jeff Jolly’s Pizza, “I’ll See Ya,” kicks in, Credence Clearwater comes to mind and then quickly maybe The Blues Brothers horns. But, it becomes clear that it’s neither and that this is something which is not so easily categorized. After becoming accustomed to the string-bending electric guitar and hard driving horn sound of “I’ll See Ya,” track 2, “Shed That Skin,” surprises by starting off with acoustic guitar with rock drums, punctuated with horns. The rock guitar solo of the first track is replaced with a rocking fiddle solo by Joe Craven. “Trip Through Your Wire” (no “s”) begins with a cappella harmonies that might be an intro to a spiritual, but it’s really U2’s “Trip Through Your Wires” (with the “s”) complete with harmonica. “Curse & A Blessing” is a purely Americana track with acoustic guitar, dobro (Yike McGirkens) and upright bass (Martin Ingle). It could be a track from a respectable country/bluegrass collection, as could the next, more country style track, “Piece By Piece.” “Hard Times” could also be grouped in that vein, but with a bit more of an Eagles or Jackson Browne feeling. In “Summertime in Brooklyn,” with a sax solo by Jerry Martini, Jolly clearly was mindful of the Springsteen sound. The CD closes with a live radio studio recording of comments by Steve Vandewark (drums, vocals) and the accompanying humorous song, “She Only Loves Me When She’s Drunk.” Good fun.

The Jeff Jolly Band is a talented group of seasoned performers who know how to convey their love of the music-a very enjoyable and an interesting mix of styles.

Mike Reynolds-MuzikReviews.com Staff

January 23, 2010

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Trizonna McClendon - NewFamiliar

I seriously don't know what to make of Trizonna McClendon. No matter how many times I listen to her latest album, NewFamiliar, I'm still thoroughly confused. Some of the songs are fantastic, well written, lyrically clever, and groove in a completely original and addictive way. And then the song that comes after that will be so annoying and clammy that I have no problem saying it's flat out terrible.

Take “Didn't See It Comin'”, for instance: a sexy, smart track that grooves so much you want to listen to it over and over. And it's followed by “Shatter Proof”, one the most annoying, repetitive songs I've ever heard. Then comes “Excuses” (in which McClendon sounds like she's been waiting for years to tell someone to “shut down the TV/get off that couch/you sit around/stop runnin' your mouth”), and then you get “My Special”, which is supposed to be the best song on the album (as hyped on her website and press release), but makes me want to turn the CD off. (It certainly isn't good enough to require a remix later on the album.)

The music is what saves the annoyance of the bad tracks. The music behind each track is soulful and jazzy, yet somehow still has a country twang. It's interesting and original enough that it almost makes up for the handful of songs on the album that just make you cringe. McClendon has a wonderful voice, but it's evident that she knows it, which isn't a good thing. There's a difference in confidence and arrogance, and perhaps if she knew the difference, half of her songs wouldn't be overdone and nerve-racking.

NewFamiliar (on a sidenote: why is there not a space in between the two words? Logically, I can't figure it out, and since album titles are supposed to reflect the work itself and tie it all together, it bothers me – what is she trying to say by squashing the two words together?) sounds like a collection of songs McClendon was proud of and some others thrown in for filler. This happens all too often in today's music world – why record an album when you can record a few good singles? Unfortunately, it does matter to the listener, especially when the non-singles are barely listenable.

Abbey K. Davis – MuzikReviews.com Staff

January 24, 2010

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Tim Pepper - Beautiful Frustration

Tim Pepper knows how to write. His intelligence and way with words shows not only on his latest album, Beautiful Frustration, but on his website and his personal blog. He calls himself quiet, saying he does more listening than talking. Maybe he should speak up more often; he clearly has a lot to say, and a smart, quirky way of doing so.

Beautiful Frustration is a poppy, happy album that sounds like Jason Mraz, without being so cutesy it hurts. Pepper is smart, and his lyrics show it. Though he's sometimes cheesy, he has a way of capturing a melody that makes it okay. “Life is a journey/life is a road/every man carries/every man's load” he says on “Life”, a song that could be painfully cute if anyone but Pepper was singing it – instead, it comes across wise. “Yellow Dress Girl” is a warming song about a beautiful girl Pepper ran into, as though he's a much happier James Blunt, looking at the bright side of wanting someone you can't have instead of lamenting it. “I wanna learn to fly on eagles wings/I wanna fly into the sky/above the troubles in my life” he sings on “Eagles Wings”, an upbeat song about looking to God for help. Pepper is a Christian musician, but even those who don't share his religious views can appreciate his wit and charm.

The music on the album isn't phenomenal, but it does it's job. Pepper writes his own songs, but has a backup band that do their part in wrapping up the songs without adding enough to make it a band instead of an artist. Pepper isn't an extraordinary guitar player, but he's not trying to be. He's playing songs with genuine lyrics that you can tell he honestly means, and the music isn't as important. In another genre of music, this could be disastrous, but in the Mraz/Jack Johnson genre (most male singer-songwriters), it's not that big of a problem.

Beautiful Frustration is, seemingly, exactly what Pepper wanted it to be: a friendly introduction to his honest way of speaking and his simple but pleasing guitar parts and melodies. It's an album with a perfect name – the tracks are about frustrating subjects (life, love, living for God, etc), but they're written and sung in a happy, upbeat way as though to prove that while life can be frustrating, you should still be happy about it. Pepper might not be groundbreaking, but his music is sunny and fun, and since that's what he's aiming for, he's done his job.

Abbey K. Davis – MuzikReviews.com Staff

January 23, 2010

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Conil - Strange Part of the Country

Lo-fi rock meets folk on Conil's debut album Strange Part of the Country. Although Conil doesn't escape the outlines of what many other British rockers have done, he brings enough raw talent to the table as a singer/songwriter to distinguish himself.

Conil doesn't really seem to find his groove until the fourth track on the disc, with the album's opener and title track sounding a little bland and repetitive, and the next song “Years Between” coming off as relatively run-of-the-mill brit-rock fare. Track three simply titled “Stoned” works as rock anthem, but is a bit incongruous with rest of the songs on the album, and sports a hendrixesque guitar solo that seems a bit silly given the subject matter. Conil works his chameleon like voice into a hard rock growl on these first three tracks, which lack the intimacy of the remainder of the album.

The album falls into a very different zone with the fourth track “Bonediggers”, a song that recalls the best work of the Frames. Conil's writing and emotive singing begin to come into focus here, and the work of veteran double-bassist Danny Thompson helps to keep things grounded and organic even during the rock bravado and buzz-saw guitar excursions. Conil shows a rare combination of talents in that he can sing the lyrics with as much emotion as he writes them, and bring to the songs the authority and energy of a true rock 'n roll front man. “Dog Meat Stew” and the epic closer “After the Hole” are highlights.

Tim Madison – MuzikReviews.com Staff

January 22, 2009

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Black Bonzo - Guillotine Drama

Upon hearing Black Bonzo, a progressive hard rock act from Sweden, listeners tend to draw similarities between their music and bands we now know to be classic rock. And with Operations Manual: The Guillotine Model Drama, their third release, there is no exception.

Most prominent of these comparisons are bands like Uriah Heep and Deep Purple. But to say their entirely retro in sound isn't entirely true. The immediate hard hitting rock of “Because I Love You” and even more “Guillotine Drama” both also brought to mind a more progressively styled Priestess. They both featured a nice, distinctly dirty guitar tone and recognizable riffs that perfectly blend hard rock and progressive. I'd also point out that the guitar work in Guillotine Drama is very cool, with a nicely harmonized dual guitar solo.

“War Machine” is the only dominantly acoustic track on this album, which is a bit ironic, given the name. But despite the seeming paradox, this is one of the best tracks on the album. The vocal harmonies are absolutely beautiful, backing the classic, perfectly controlled lead vocals. And the guitar work is great; it features one of the best acoustic solos I've ever heard. Especially since the acoustic guitar is considerably more difficult to solo on. It's a great track, even surprisingly so.

“How Do You Feel” takes a distinct turn…letting go of the heaviness for a few minutes. It's a one of two 8 minute tracks that about halfway through turns back into the hard rocker that we already knew and loved. What I love about this track is the fact that it seems to blend verse vocal melodies from The Who (see: Quadrophenia), with Queen sensibilities, and Led Zeppelin-esque riffs in the second half. By contrast, “Supersonic Man”, the other 8 minute track, is considerably bluesier, but by the end takes the album full circle, back where it started. It revisits the kind of riffing that the album started with, with the addition of a new but final classic metal edge, but with a saxophone. The finale is this chaotic mixture of everything the song had up until that point. I do feel like the addition of the sax was a bit random, but other than that, it's a great track.

Overall this is a very well crafted album. It brings together classic rock with a touch of modern sound and it works VERY well. It crosses so many boundaries, from hard rock, to progressive, to acoustic rock, to even blues rock in places. The production has little to no flaws to speak of. Now, I'd like to just make a point that the predominant sound is in fact hard rock, whereas the stereotypical progressive sound takes a back seat, showing itself mostly in mid-song transitions. But that's of little real concern. This is truly great music.

Sara Cooper – MuzikReviews.com Staff

January 22, 2009

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Souljourners - Mind Control

Souljourners is an unsigned progressive metal act from Southern California. The four-piece consists of Michael Couts on guitar and vocals, Scoops (David Brockenborough) on bass, Paul Ellingson on keys, and Paul Zimmer on drums.

Before doing any research, the first band that I thought of when listening to Mind Control was Dream Theater. At times I thought of Metallica or some of Steve Vai’s various projects a little as well, but more consistently Dream Theater. The Galactic Cowboys seem to also be a common comparison for Souljourners.

Needless to say, this album is full of shredding solos and technical ability. I think we all have some friends that love bands that “know how to play their instruments” that won’t listen to anyone that they feel doesn’t fall into that category. There is no doubt that this will be an album that they would enjoy. Mind Control really does rock in that regard. I think what I like best about it on that level is the presence that Ellingson provides on the keys. Not only do you get good synthesizer parts on some of the tracks (check out “Crazy Times”), but songs that focus on piano (“Lost Vision”) also.

For listeners that aren’t as into the technicality of music, I think Mind Control is still a pretty rockin’ metal album. With two-thirds of the songs clocking in at over six minutes, this is a pretty long album. It could use fewer tracks or more short ones. I mean I love some good wailing just as much as the next guy, but this seemed a bit long to listen to from start to finish. Lyrically the songs are fine, but I found them to be too serious.

In the end, I think this is a strong debut for Souljourners. Instrumentally it is very strong and has a fair amount of variation from song to song. As they mature and with additional production their albums will only get better. I would imagine they put on a first-rate, solo filled, live show for metal fans, so do look into them if that’s your thing.

For a couple more songs, I recommend checking out “Half Life” and the instrumental track “Sapphire World”.

Kevin Kozel-MuzikReviews.com Staff

January 21, 2010

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Hollywood Blue Flames - Deep In America

The Hollywood Blue Flames are Kirk Fletcher (guitar), Al Blake (vocals, harmonica), Larry Taylor (bass), Richard Innes (drums), Fred Kaplan (piano), Junior Watson (guitar) and the late great Michael “Hollywood Fats” Mann (vocals, guitar).

Chances are if you love the blues like I do this new two disc set titled Deep In America will satisfy that appreciation tenfold.

Deep In America breaks down into two sections. The first disc opens the vaults and blows the dust off of tracks that have not seen the light of day yet covering the Hollywood Blue Flames era with support from six-string slingers Junior Watson and Kirk Fletcher. The problem I had with first disc is that every track was so good I did not know where to start! There are 14 tracks that would make any blues purist smile from ear to ear.

What makes the sound of this band are a number of factors however what I heard standout more than anything was the flavorful vocals of Al Blake and the steady roll of Fred Kaplan’s honky tonk inflected ivory tickling. “Hushpuppy” is an instrumental incursion into deep blues born in the Mississippi Delta. What a perfect example of what the blues should be. Every other track complete with vocals takes it all one step further. That toe tapping rhythm which is the essential backbone of every blues track is never missing anywhere amongst the 14 tracks. Perhaps the most fitting way to close out the first disc is a rollicking number called “He’s A Blues Man”. The blues personified…what more could one ask for?

The reliable flow and splendid technique of each band member make the first disc one of the best representations of real blues that I have heard in a long time. If that wasn’t a good enough kick in the pants disc two compiles 12 live tracks from various sources with Hollywood Fats displaying his talents on lead guitar. This serves as another example but one that gives you a snapshot in time and the evolution of a band’s sound presented on stage to an appreciative audience. As with any blues concert you will hear some well know genre standards such as “Kansas City” mixed in with the band’s original material. The live recording is good just lacking a bit in the finale production end of things but it still smokes and crackles with some red hot blues and dynamite guitar licks peeled off by Fats.

It seems The Hollywood Blues Flames have given us the best of both worlds on these two discs. Maybe they should have called this Deep In The Blues instead but then again if you are Deep In America then you are bound to hear the blues done right like this if you throw on this set or catch them live.

Keith “MuzikMan” Hannaleck

January 19, 2010

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Glass Delirium - Thanks to a Monster's Many Heads

Glass Delirium is one of the most unique bands I’ve heard in a long time. Debuting with Thanks to a Monster’s Many Heads, they’ve executed their classically tinged progressive hard rock with near perfection.

Immediately noticeable in the intro track “Seeing Double”, among other things, is the dual lead vocals. The thing about this track that from the word go, it’s compelling, even for a short intro track such as this. The chemistry between the vocalists is apparent, creating something absolutely haunting with the electronic backing and chilling piano. It leads right into “Beside Myself”, which starts out as something like a lullaby. Don’t be fooled though, after ten seconds, the listener is hit with a quick heavy riff that might surprise someone who didn’t know what they were in for. I’d like to point out that despite the dark, mostly heavy nature of the song, even the clean guitar work fits perfectly. The female vocals are dominant in this track, but even still, the offset male vocals continue to work well.

It’s hard to say what you might expect on an album like this, seeing as each track brings something new. The track that is the band’s namesake, or possibly vice versa, is incredibly compelling, moving away from that general progressive feel for a few moments, instead opting for something that might be called hard rock cabaret in style. The piano and verse vocal melodies create something very retro, even bluesy in places, in style, all while keeping a very modern rock sound in the chorus and the other instrumentation. I do feel like the addition of the brass seemed extraneous, but it’s surprises like this track in its entirety that will keep someone continually interested.

“The Color Nine” returns back to the band’s previous formula, only this time it’s the male vocals that are dominant. It might just be me, but in my opinion, the lead guitar work in this track bears some small similarities to David Gilmour in terms of sound. If I’m being honest, however, I feel like the vocal chemistry in this track is a little less apparent, because in places, they don’t seem as well suited together. The exception is the interlude, in which they are again offset, but have a distinctly powerful call and response style which works well for them.

The most metal-oriented track on this album is pretty obviously “Transfixation”. It starts with a blatantly heavy riff, into an upfront screaming part, courtesy of the male vocalist. It also features the rare blast beat that perfectly accents the track. It’s a track that takes some of the most interesting turns, from the growling vocals that bear some resemblance to Mikael Akerfeldt’s growls, to a second verse that takes a style similar to Serj Tankian and Daron Malakian’s dual vocal duties of later System of a Down. It’s admittedly chaotic, but perfectly so.

This album is intense. It’s very impressive for a debut album and to think they’re unsigned is bewildering to me. I will say, however that this release is not without some flaws. The female vocals are, in all honesty, miles better than the male counterpart. They’re not bad by any means at all, the singing ranges from excellent (see “The Color Nine”) to only slightly above average (see “Quintessence”), but the screaming seems like it could use some work, at least for this style of music. That being said, the growling is on point. I think one thing this band needs to look out for is the balance between the two. They’re talented, yes, but there is the occasional tendency for the male vocals to be lost in some of the instrumentation. The only instrumental flaw I can find is that tracks with unique instruments, like, again, “The Color Nine” which features a violin solo, is lost, slightly, in the rest of the mix. But on a whole, the album is solid. I love what I’m hearing.

Sara Cooper – MuzikReviews.com Staff

January 18, 2010

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Astral Travellers - The Truth Beyond

If the best music comes from outside the United States, and the classics influence the best musicians, then Astral Travellers are two for two. Their name, which they plucked from a Yes album, isn't the only evidence on their newest album The Truth Beyond of their wide range of influences. A mix tape made by one of the members must be baffling. Their list of bands they like ranges from Muse to Zeppelin and back around to Metallica.

But it serves them well. The Truth Beyond is an intimidating album of five songs that don't seem as long as they are. I wondered before I began listening to it why there were only five songs, and then realized that all of them are almost ten minutes long. With most bands, this could be a terrible thing, but with Astral Travellers, it's a wonderful one. The songs are long, and some of them get a little repetitive, but they feel composed rather than written, as though an entire orchestra could play them (the way Pink Floyd and Yes are done in tribute these days); each song crescendos and fades before it's finished.

Astral Travellers isn't a new band, just a new name. Though you can't hear an accent on the tracks, each of the five members is from the Netherlands. They've been around since 2007, trying to decide on a style before going full out on The Truth Beyond. It's almost ridiculous (in the same way that Pink Floyd was and still is – a very good way), when random instruments chime in and the lyrics become clear enough that you can understand them, or fragments of them, and you hear mumblings about serenity and innocence. But the tracks are so good that you can't be bothered by their strange nobility – the reasons the songs are silly are the same reasons they're great, just like Yes, Zeppelin, and even the Beatles (towards the end of their career) were.

Gerben van Oosterhout has an amazingly wide range; even if you can't understand everything he says, he sings almost unreasonably well. The rest of the band supplies strange rhythms and almost dissonant guitar and bass parts that blend together in a charming, orchestral way. Each song is strangely different while still managing to sound like it came from the same band with the same style.

Having more than ten years of experience has obviously paid off. The Astral Travellers's website says they refused to compromise on The Truth Beyond, and made the record they had been dreaming about. Obviously, they made the right choice – the resulting album is one that may not be a classic yet, but has the definite makings of one.

Abbey K. Davis – MuzikReviews.com Staff

January 17, 2010

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Twaang - Dark Angel

Twaang is Roland Billberg, a D.I.Y. musician and producer from Staffanstorp Sweden. Twaang’s music can range from metal to electronic. On Dark Angel it’s straight up metal.

I have to be honest, when I saw an email come through and it was signed Twaang I did not know what to think. I have to remember this is rock and roll baby and anything goes so you have to stop and look at everything that comes your way because you could miss out on something special. I am glad I decided to listen to this artist, he is very talented and Dark Angel is a very good metal album.

There is a long list of things to talk about with Twaang but let’s get to the core first. His vocal style is suitable for this kind of music; in fact his range allows him to go from a melodic rocker style to metal screamer. The instrumentation is exceptional, considering he did all the guitar work you have to really look at that and how difficult it is to put together a project like this when you are responsible for literally every aspect.

I have to say beyond being impressed with his overall versatility and natural talent I felt this album was able to hold my attention for many reasons. There is not one song that I felt the need to skip over, every one offered different nuances and an incredible energy, although variable in tone and feel ,Twaang gets his point over very well. Right from the beginning when you look at the album art you just know there is something dark and emotional awaiting you inside. If that is what you anticipate then you will not be disappointed.

Songs like “Blood on the Outside” are very strong and totally metal while “Mix It Up” sounds like it belongs on a mainstream power rock album. Twaang has a sound similar at times to Black Label Society. On “Mortal” it is more than just similar, the vocals and guitar sounds are spot on Zakk Wylde then he seemingly leaves the building and comes back reincarnated as mainstream rocker o “Mix It Up”, incredible. This is part of the versatility I was eluding too earlier.

Dark Angel is extremely enjoyable if you like to rock and can appreciate and indie artist that shows you the sky is the limit if you have enough moxie to harness all of your talents in one recording session.

Keith “MuzikMan” Hannaleck

January 17, 2010

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Loam - Nervous Grooming Gestures

Loam is the indie-rock creation of multi-instrumentalist songwriter, Chris Rousseau. Loam's sound is comparable to Spoon, Tom Petty, and R.E.M. Founded in Massachusetts, the project has released a string of indie rock albums that have resonated with fans and critics alike.

Tracks like “Seasia” bring alternative rock sensibilities in the form of strong guitar and drum influences combined with a searing synth element, that guides Rousseau’s 90s inflected vocals. Nervous Grooming Gestures is full of these amalgamations, take for example “White Tulips” that introduces synth effects again, rather oddly, to a perfectly normal alternative rock song.

“Conversational Defense” however, sounds like a full blown band performing, with its loud drums and charging guitar chords. “Outrunning It,” a fully instrumental track, also fares well with a great mix of sounds that surge to completion. However, Rousseau’s muffled voice sounds out of place against the crisp sound of organ and piano elements.

One of the album’s crowning tracks, the sweeping “Walk Down The Street” with it’s resounding introduction flows on to become a melodic mid tempo track with a neat chorus. “Second To Last” is another track that fuels itself with a strong melody.

While the tracks on Nervous Grooming Gestures are versed in innovation, at times the album lacks a melodic congruency that binds the album together, to really make it stand out in the sea of indie rock releases. However, when Rousseau gets it right, the results are worth listening to.

Rukshan Thenuwara – MuzikReviews.com Staff

January 8, 2010

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Chops - Livin 2 the Fullest

I like hip-hop, but it generally takes a lot for a hip-hop artist to really “wow” me. Consequently, I was pleasantly surprised by Livin’ 2 the Fullest, the self-released debut album by California hip-hop artist Chops.

Despite being a first release, Livin 2 the Fullest is full of tracks that would fit right in with any of the established hip-hop artists being played in the clubs. The backbeats are strong, but not overwhelming, and Chops plays with the stylings to keep each track unique.

One of the most striking things about Chops is the clarity with which he presents his vocals. It’s sometimes difficult to understand what’s being said in hip-hop tracks, but with Chops you can understand every word coming out of his mouth. Chops breaks into some very fast raps on the album, but even when throwing out some tongue twisters it’s still easy to make out what he’s saying.

Chops’s clearness of vocals is a definite asset to the album, as it makes his lyrics that much more powerful. While two or three of Livin’ 2 the Fullest’s songs may lean towards more trite or clichéd hip-hop topics, the majority of the songs deal with political and spiritual subject matter, as well as emphasize the importance of family in Chops’s life.

Chops is without a doubt a talented hip-hop artist both in his ability to rap, and through having a stylistic presentation and addressing subjects that will make him stand out from the rest of the hip-hop world. Livin’ 2 the Fullest is an impressive first effort, and should definitely be checked out.

Carly Doenges—MuzikReviews.com Staff

January 15, 2010

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Patrick Yandall - Going for One

It’s hard to believe that this is Patrick Yandall’s 11^th release and with it came a nice surprise; it’s a collection of instrumental rock tracks! I have been hinting around this for years in my reviews and it seems friends and family have been doing the same, so Yandall put away the smooth jazz guitar and broke out the Strats and Telecasters and wailed away. So now we have Going for One to usher in 2010 and does it ever have a loud voice!

The jazz folks will be disappointed because now they are going to have to wait for another new set of tasteful tunes from the masterful Yandall. I love Yandall’s work but it is worth the wait to finally hear him cut loose.

The opener is the killer title track and it sets the stage for nine more slices of instrumental rock treasures. Yandall does not peel off scorching licks like a Vai; he rocks and does it with more of a flair for the tasteful side of this type of music. For instance on “12 Steps” you may find yourself reminiscing about a favorite Wishbone Ash album or one of Satriani’s slow cookers with interludes of acoustic Latin flavored licks that could be found on any accomplished guitar player’s instrumental album. That is what this is essentially, a technically proficient and well known smooth jazz guitar player having some fun and proving that he can rock with the best of them. He does so convincingly throughout this recording.

“Fast and Furious” is a dynamite example of how good this man can play and the title says it all. This is difficult to do, step out of your comfort zone, take a chance and hope everyone responds kindly. I do not think anyone is going to dislike this album; it’s a solid set of tunes with a fine display of six-string virtuoso that you will want to hear more than once. Perhaps the best thing about this besides the risk the artist is taking jeopardizing his well built reputation in another genre, is his ability to go up and down the scale from rockin’ to tastefully done to a mixture of all of the above. At times it seemed a bit understated and the guitar needed some volume for crispness but overall this rocks and I felt it was worthy of several good listens before passing any judgment on the production aspects.

Just listen to the playing and you will agree that this guitar player knows exactly what he is doing. “A Minor Offense” is reminder of where Yandall’s roots are, in the blues, and it starts to lean more towards the guitar player we know sometimes but he still cranks out some stinging licks that you would not find on any previous releases.

Well he has done it all now, jazz, blues and now rock, what’s next reggae? You never know with Patrick Yandall. When you’re this good you can afford to live dangerously and have some fun. Going for One is highly recommended for all rock guitar enthusiasts and those that want to study someone who has their chops down.

Keith “MuzikMan” Hannaleck

January 13, 2010

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Distant Lights - Simulacrum

I've always found progressive music to maintain certain exclusivity. Often, I find people who believe it's pretentious in nature, which at times may be understandable, given its tendency to push limits. But when I heard Simulacrum, the debut release from Distant Lights, I found no reason for anyone to continue with these misconceptions.

Simulacrum is the kind of album that a listener really needs to allow to sink in. Multiple listens are actually best, given that this is incredibly multidimensional, and would be near impossible to for one to take in on first listen. Even from the opener, “Dystopia”, the very alternative-sounding riff may seem simple at first. But as time goes on, the band intertwines something so simplistic with more and more layers, creating something totally different. This characteristic is prevalent throughout the album, like in “Unity” and “Grass” although both are considerably simpler in nature.

The instrumentation on this album is particularly interesting. Of course, there’s the typical rock band set up that most would come to expect. But one excellent addition to this is the cello that’s sprinkled throughout. I would be more concerned with it seeming extraneous, but as seen, literally immediately in “Artifice”, it’s perfectly suiting for their brand of intensity. But that’s not all that this track boasts, the hook is, well, surprisingly ear-catching, and the guitar solo is for lack of a word more formal, awesome. I would say that the interlude after the solo slows it down a bit, but the good definitely outweighs the not-so-good in this track.

One of the coolest tracks on the album, at least in my opinion, is “Metamorphosis”. The fluid bass line and the later use of guitar feedback are oddly reminiscent of Tool, and what’s interesting is the literality of its title, which I assume was intentional. It starts out in this incredibly dark place, tone-wise, and the band seems to seamlessly take it into a whole new, higher energy dimension, yet maintains a good amount of the darkness it started out with.

I’m having the hardest time, as I listen to this album, to find any real flaws. And the only things I can really find are minor. While making the progressive style more accessible, Distant Lights has in turn lost some of the dynamic nature that most come to associate with the genre, and this may put off some die hard progressive fans. But looking at this release, completely on its own, it’s excellent. They’ve perfected the art of intensity, and the musicianship is absolutely on point, from the distinct riffing and drum work that never falters. And don’t get me started on the vocals: they’re distinct, controlled, and put simply, superb. Distant Lights has pretty much everything in this album they could possibly need to solidify what they’re about, and I personally can’t wait to see what they’ll do next.

Sara Cooper – MuzikReviews.com Staff

January 14, 2010

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Concrete Cowboys - Next

On their follow up to 2008’s Hard Country, Portland’s Concrete Cowboys return with more upbeat country tunes for the masses on Next. This six-piece is composed of Chad Kessner (vocals), Travis Dow (guitar/vocals), Ed Mesa (drums), Darin Wirth (bass/vocals), Al Carness (guitar), and Katie Keller (fiddle). The songs are mostly written and produced by Dow, who certainly seems to have the formula down.

Next has a very familiar and poppy country sound. The Concrete Cowboys certainly seem more than capable of being country radio regulars. A common comparison seems to be Brooks & Dunn. Over the 13 tracks there is a nice bit of variation. You get some more rockin’ upbeat tunes (“The Show), some ballads (“The Lens”), some nice fun bar jams (“Cold Girls & Warm Beer”), and some other stuff in between.

I actually have been getting into country more and more of late, but I have to say, this generally isn’t what I have been listening to. I think it’s because much of Next reminds me a lot of what country sounded like when I was younger and found it on the radio, when I didn’t much care for it. I think for Concrete Cowboys this is probably a good thing since there are lots of people that certainly love those stations and the songs on Next should be a big draw for fans of country radio. The songs are well written both instrumentally and lyrically, the vocals are classic for the genre, and the playing is all solid. Personally, I like the fiddle parts and wish there were more, but all in all, Concrete Cowboys do a quality job of giving you what you want in a country band. From what I understand, they put on quite a live show as well, so do check them out.

To check out a couple other tracks from this album, take a listen to “Yer Buggin’ Me” and “As Long As She Knows”, the latter being my favorite on the album.

Kevin Kozel-MuzikReviews.com Staff

January 14, 2010

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Dynamo Bliss - 21st Century Junk

As a newly minted band, it’s a powerful thing that Dynamo Bliss knows exactly who their influences are. The trio pays respect to the stylings of The Beatles, Pink Floyd, and the Electric Light Orchestra while they claim their lyrical influences to that of John Lennon, Neil Young and Roy Harper. Now combine that with the idea of “Art Rock,” the sub-genre of rock music that introduces progressive or experimental sounds to the mix, and you’ve got 21st Century Junk.

“Closer to the Heart” is pure 60s pop akin to The Beatles as is the melodic gem that is “No Sense In It” with its superb vocals and instrumentation. This is one of the more cohesive of the additions to the album, withthe band holding one style and theme to completion.

“Fear of Clouds” reaches further into progressive elements by combining synths, psychedelic guitars and an operatic voice into the fray. Similarly, “Thin Air” is a slow, and introspective piece which features the voice of a child reflecting upon the complexities of life.

“Bird Of Passage” is another relaxed track, where Roy Harper influences work nicely as is “White Cherry Hill,” another fulfilled art rock exploration where several influences converge. Throughout 21st Century Junk, the tracks that really shimmer are the ones that keep themselves grounded to a particular set of elements or sounds. When Dynamo Bliss consistently shifts melodies and sounds, the resulting songs are uneven. However, these occurrences are far and in between to be a major detractor from a polished first effort.

Rukshan Thenuwara – MuzikReviews.com Staff

January 8, 2010

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Laurie Morvan Band - Fire It Up!

Laurie Morvan has been through a lot of heartache in her life – I guess that's why she loves the blues so much. Her biography reads like a tragedy, but her accomplishments (from a college volleyball scholarship to earning her degree in electrical engineering to becoming a teacher), prove what her songs do: you can't keep this woman down.

She may be singing the blues, but Morvan has such passion that you hardly notice. Her voice is surprisingly soulful and deep. She sounds like what Janis Joplin probably would have if she'd laid off the alcohol a little – Morvan sings the blues with a happy note in her voice.

Her newest release Fire It Up! Is a collection of fast-paced guitar-driven songs that show off not only talent for singing and playing the guitar, but her endless ability to create clever lyrics. In “Good Girls Bad Girls”, a catchy, fiery song with an infectious chorus, she sings “I think all the good girls are just the bad girls/that ain't been caught” and on “Skinny Chicks” she says “well it's a super cleavage world/where bigger is better/your size will be measured”. Many of the songs on Fire It Up! make precise points about where women stand today and the expectations piled on them. Morvan's got the blues, and she wants you to know why.

Fire It Up! was produced by Morvan and Steve Savage, but Morvan wrote all the songs and music. The guitar parts are far more intricate than you would expect (proving Morvan's many points about women in the music business) but they never feel overdone or too heavy. Morvan's life experiences and many years spent practicing guitar have obviously taught her how to write a great song. With clever lyrics, an original voice, and ripping guitar parts, Morvan could easily have made Janis Joplin jealous.

On “Livin' in a Man's World”, Morvan laments “So don't you try to kid yourself/and think our opportunities are the same/'cause I've been treated in ways, baby/that would drive a man insane”. She may have been held back because she's a woman, but Laurie Morvan is out to prove herself, and she's doing an excellent job.

Abbey K. Davis – MuzikReviews.com Staff

January 13, 2010

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Hamilton Loomis - Live In England

Hamilton Loomis’ association with Bo Diddley has certainly been a promotional boon to his career, and while he often honors Diddley in performances and recordings, he is not an imitator. In addition to the overt homage, “Who Do You Love Medley,” during which he plays a signed Bo Diddley box guitar, Loomis incorporates Diddley’s signature beat into several songs (“Best Worst Day,” “Get My Blues On,” “Turnin’ Heads”). But, don’t expect a Diddley clone when you listen to Loomis’ modernized blues/rock/funk mix. Unlike the static harmony and rhythm often used by Diddley, Loomis employs richer, modulating harmonies, catchy, chromatic bluesy riffs and a complex rhythmic structure.

Not that it isn’t repetitive…it is, but there’s a lot to hold your interest. Loomis has powerful blues pipes, he’s a decent harp player and Stratton Doyle (sax, keyboards, backing vocals), Kent Beatty (bass) and Jamie Little (drums, backing vocals) are far more than bit players. Loomis is the star, but nobody’s laying back. Doyle’s presence is evident from the start with his dirty sax driving the second track, “Pull String” (the first track is simply the emcee’s introduction). “Come Back To Me” is a solo bass showcase demonstrating Beatty’s multi-voiced technique using harmonics, and he has a finger blistering solo on “Get My Blues On” which also features Jamie Little’s funky drum work. The occasional backing harmonizations by Little and Doyle add another layer to what, as with some blues headliner performances, can be one-dimensional vocals. It also lends some tracks (“Legendary”) more of an R&B quality which, along with funk selections (“Get My Blues On,” “Turnin’ Heads”) provides good contrast to the pure blues.

Perhaps the most exemplary and characteristic track, capturing the essence of the live performance, is “What It Is,” a very funky audience participation number. A blazing Doyle saxophone solo begins with a long section of “Mercy, Mercy, Mercy” (Joe Zawinul). Loomis shows off his harmonica skills by leading into his solo with a rendering of Stevie Wonder’s “Boogie On Reggae Woman.” In fact, contemporary musical references are scattered liberally around the CD. “Bow Wow” has a little “Johnny B. Goode” and Deep Purple’s “Smoke on the Water.” The Meters’ “Cissy Strut” shows up on “Turnin’ Heads” as does a slice of the classic “Rock Around The Clock”.

“Live In England” is high energy and the live recording is top notch. There are no overdubs. The audible audience appreciation adds to the experience but doesn’t interfere at all with the quality of the CD. The numerous musical references are attention-grabbers, but hopefully Loomis will continue to add original material of a sufficient stature so as to make these references unnecessary in the future.

Mike Reynolds-MuzikReviews.com Staff

January 12, 2010

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Thai Paul - P S Love

Thai Paul seems like a traveling powerhouse, a seasoned DJ who has spun in London, Hawaii, and Thailand, this disk maestro has taken inspiration from mixing other people’s music, to finally creating his own.

Gearing up with guitarist Tommy Spurlock and vocalists Candi Sanders and Amelia Ozyck, Thai Paul introduces himself with an intriguing pallete of electronic tracks on his independant debut.

Tracks like “Bad Boy Angel” are club ready with its 90’s beat and drum effects while “Bunny Angel” rides a slow beat across a smooth synth rhythm, but becomes cyclic (even for trance music) after a while. “Air Trance” stays true to its name with an eery piano playing over searing synths. Austin Chill on the other hand, is a song that is mainly dominated by Amelia Ozyck’s vocals gliding along a percussion studded beat.

Loud thunderclaps start off “Sad In U.K.” but this rising energy fades throughout the entirety of the track, Candi Sanders’ vocals fumbling against interruputive synths that overpower the vocalists otherwise strong voice. Elsewhere, “Naked Shake” is a true gem on the album with its infectiously danceable assualt of synths, coupled with a thumping beat.

Likewise, “Austin Night Life” takes elegant Asian instrumentals and pairs them with modern R ’n’ B influences for a relaxed, yet implicative walk through a regular night in Austin. “”P S Love” however, is a powerful track that is reminiscent of a pop ballad with its slow rise and fall. As a whole, P S Love is a strong mix of house and electronica, definitely dancefloor worthy, and a fun album to spin while getting ready for a night out.

Rukshan Thenuwara – MuzikReviews.com Staff

January 8, 2010

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Lubriphonic - Soul Solution

Lubriphonic decided to place two versions of “Mixin' In the Kitchen” and “Rain Keep Falling“ on Soul Solution, one studio and one live cut. Why? Because they are a jam band. Considering the majority of the tracks on the album take off like a fired up groove session, it may seem somewhat redundant to some listeners. The Chicago based Rock/Soul creation brings the funk and an energy laced punch to their latest record.

From the get go, “Mixing In The Kitchen” begins with its steady rhythm, infectious bass-line and trumpets that soon turns out to be the bands signature flavor. “Say Something Good” follows suit with a slower edge that drives front man Giles Corey’s soul filled vocals.

The chanting chorus on “Suffering Fools” is as meaningful as it is rock infused, and should instantly take hold in the cranium of any listener. “Mexico City Blues” introduces a saloon piano to a bittersweet ballad with acoustic guitar influences. “Love Bomb” on the other hand is a rockier addition with its electric guitar solo, while title track “Soul Solution” veers closer to traditional Blues and Funk with it’s pulsing bassline, and horn elements, front and center.

Elsewhere, “Chalk Train” finds a happy medium between Blues and Rock as guitar and horn elements share the spotlight. Similarly “Rain Keep Falling” is dominated by superb instrumental solos and “Waiting For A Change” bring soul in by the bucketful.

Soul Solution is funky, and it’s a whole lot of fun, with a song for every mood and occasion. The group brings an energy and urgency to their music that denotes an even greater live performance. The up and coming band should make great headway in the Blues scene in the near future, and it should be a fun ride to watch.

Rukshan Thenuwara – MuzikReviews.com Staff

January 8, 2010

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Why Make Clocks - These Things Are Ours

Why Make Clocks is the plugged – in folk-rock brainchild of singer/songwriter Dan Hutchinson. The 2009 release These Things Are Ours is the third full – length album from this Des Moines – based artist. The first release was in 1998 and, for better or for worse; the band’s sound is rooted in the rock music of the 90s. The influence of 1990s mainstays REM, Gin Blossoms, and Sonic Youth is easy to hear.

All ten tracks share a disaffected tone, but they range from despairing to up-tempo dissatisfaction. My favorite song “Circles” moves at a pretty good clip and is arranged with the most variety of all the tunes. The opener “Self Impressions” is a slow, melancholy song with a wavy rhythmic pulse. It reminds me of folk-rock icon Nick Drake a bit, especially his 1970 album Five Leaves Left. The band has a good, albeit conventional sound. Hutchinson and (on two tracks) Eric Kennedy contribute a lot of well – conceived guitar work. The album is dotted with crisp, melodic solos. Electric keyboards on some tracks add a layer of color and variety. Hutchinson wrote all ten tunes, including weighty, poetic lyrics. His words range from opaque poetry to ruminating self-analysis. The writing is all just fine but it’s pretty much standard. There aren’t any real surprises on the musical side, although lyric – mavens may appreciate the songs more than me. On “Distant Sea” Hutchinson takes a stab at a rock song with a Caribbean tinge. It reminds me of The Kinks and it adds a little variety. The song also lightens the mood for a bit.

These Things Are Ours is a pretty good album but it’s nothing special. When I listen to it I feel like I’ve heard it before. Another problem is the banal melodies. Even derivative music has to have an original melody (otherwise is called plagiarized music) and these melodies aren’t very memorable. Overall the album was decent but not really noteworthy. There’s nothing that bad about it so I still recommend checking it out, especially to those listeners who are heavy into lyrics.

Nathaniel Rolnick – MuzikReviews.com Staff

January 10, 2010

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Tokyo Tramps - With These Hands

It’s not every day that you stumble across a Japanese blues rock trio, and Tokyo Tramps are just that.

Oddly enough, Satoru Nakagawa (guitar/vocals), Yukiko Fujii (bass/vocals), and Kosei Fukuyama (drums) didn’t meet in the Land of the Rising Sun, but actually Boston after each of them moved to the United States to become musicians. Now five albums in Tokyo Tramps are proving that making their moves was a wise decision.

So what do the Tokyo Tramps sound like? To be honest, if you heard them on the radio, I doubt you would have any idea they’re Japanese. It is rare that you notice any accent whatsoever. They’re sound is on the poppy side of blues rock. Creedence Clearwater Revival and The Band are a somewhat common comparison. I also read Bruce Springsteen a few times, but I didn’t find that to be very accurate, though he was an early idol for Nakagawa (hence Tramps in the band name).

What I really like about With These Hands is that the songs really are well written and the music is solid. You only get a couple of covers on this blues album, and ten originals that are primarily written by Nakagawa. They certainly have the songwriting part down, but I found the songs to be a bit slow and too poppy at times. The vocals were fine, but nothing altogether distinct. Basically with Tokyo Tramps you get a very clean and friendly blues rock sound, but I feel the story of the band outweighs their sound a bit. I think a bit more variance in the tempo and less polish on the sound would go a long way. Like I said, the songs are certainly there, but the sound needs to match the uniqueness.

Take a listen to “Light on the Inside” and “Warm My Heart” for a good sample of the bands originals, as well as their cover of “Rollin’ and Tumblin’” for a sample of Tokyo Tramps With These Hands.

Kevin Kozel-MuzikReviews.com Staff

January 7, 2010

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St. Madness - Saintanic

Upon first glance at the members in St. Madness, to assume they're a Norwegian black metal act wouldn't be that far off. Adorning what looks like the typical corpse paint of said genre, this band has branded themselves “carnimetal.” Kind of gimmicky, it would seem, but after listening to Saintanic, the band's most recent release, I've come to the conclusion, they know what they're doing.

To be honest, I was expecting a campy kind of “fun but only the first time” release. Opening with the audio of, what sounds like an old war movie in “The Art of Terror,” leading straight into a distinct chugging riff, my assumptions were immediately swept aside. It's exceptionally powerful, both instrumentally and lyrically. We're not talking subtlety here, by any means, however. This is loud, in your face, modern metal, with thrash influences.

For a band to include a cover in an album usually done in tribute, can often negatively affect a band's credibility. “Crazy Train” was St. Madness's cover of choice, and impressively enough, they manage to do it justice. It doesn't surpass the original, by any means, but being distinctly heavier, it gains a new intensity that St Madness brings to the table. A side note, it's also an excellent first real display of guitar excellence, as they have managed to pull of the original solo, comparably note for note.

This album is not without it's share of over the top ridiculousness. But generally, this keeps exclusive to only a few songs, and because of that, remains fun instead of overdone. The one I'd like to point out is the satirical pseudo-country “BBQ-U.” It's quick, it's fun, and although it's satirical, it's actually very well done. That, and there's a good chance it'll be stuck in my head for the next day or so.

Something that I've found that's actually quite unique to this band, is their ability to keep it heavy, but make it catchy. Something about their melodies make the music extremely accessible, which is, by no means a bad thing. Then again, they pride themselves on being all about entertainment, and that's exactly what music should do. They're a band that manages to craft music that's meant to be in your face. There's no deep, underlying meaning, and while sometimes subtlety is good thing, the exact opposite can be true. They don't shy away from musicality, which I found impressive. Production is excellent, by all means. The only real flaws of this album, I find are the shorter, “non-song” tracks, break the flow of the album and tend to feel like filler. Also, in some tracks, the listener really has to get used to the vocals. They tend to be an acquired taste, although others they work quite seamlessly. So, overall, this album is enjoyable. Excessive, at occasional points, sure, flawed? - In places, entertaining? By all means.

Sara Cooper – MuzikReviews.com Staff

January 7, 2009

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Nathaniel Sutton - Starlite

Nathaniel Sutton takes DIY to a new level on his latest release, Starlite. He plays all of the instruments (guitar, piano, drums, harmonica, and synth), as well as writing the lyrics, and mixing and producing the album. And it sounds good, for something recorded at home, except for the biggest problem: the vocals.

Maybe the problem with the vocals is that Sutton is just confused. He lists numerous artists as influences that have basically nothing to do with each other (She Wants Revenge to Neil Young to Cursive), which ends up making his vocal range just as confusing for the listener. He sounds like he's trying to impersonate Paul Banks and Justin Warfield from She Wants Revenge (who are impersonating Ian Curtis from Joy Division) or like he's singing into some kind of voice changing megaphone.

The music itself is confusing at times. While it's usually pleasing, a lot of it sounds like Modest Mouse (during their Moon & Antarctica days), and the synths sound similar in almost every song. It's interesting to listen to, but it wears on as the album does, and it gets old fast. Sutton has essentially recorded an album of singles, or a bunch of songs that would sound good on a mix tape, but don't sound like an album just because he put them together.

The lyrics are the saving grace of the album. I guess listening to a lot of Saddle Creek artists (Tim Kasher, Eric Bachmann, etc, many of whom Sutton lists as influences) is good for something. On “Serious Crime”, he says “your heart is blue and you say you've got a headache/well I've got a headache, too, so don't you feel like you're the only one”, and confesses on “Hypnotized Eyes” “I told her I love her more than life/you know where you stand in my life, it's obvious/yeah, I've got a hold on you”. Some of the lyrics are cheesy, and he talks about mascara a little too often, but for the most part, they make mediocre songs into good songs.

Sutton is a good songwriter, but he might need to admit that he needs a little help. Not everyone can produce an entire album themselves and have it be a classic. Sutton's album is good, but not great enough to make him one of those people.

Abbey K. Davis – MuzikReviews.com Staff

January 7, 2009

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Joshua Bell - Joshua Bell At Home With Friends

Renowned violinist, Joshua Bell has released Joshua Bell At Home With Friends, an eclectic mix of selections from disparate genres (bluegrass, jazz, classical, rock) and featuring a very diverse group of guest artists. At Home With Friends is meant to convey the experience of an intimate evening of chamber music like those Bell sometimes hosts in his New York home. The generous number of tracks (16) includes compositions by Gershwin, Regina Spektor, Lennon/McCartney, Edvard Grieg and Ravi Shankar. Guest artists include Sting, Chris Botti, Josh Groban, Kristin Chenoweth, Sam Bush and Marvin Hamlisch. And, through the software engineering magic of Zenph Studios, Sergei Rachmaninoff “performs” the second movement of Grieg’s “Sonata No. 3 in C Minor for Violin and Piano” along with Bell. As enjoyable as all of the other tracks may be, if you have the least bit of geek DNA you’ll find this technology and the results amazing. It is not a digitally enhanced recording but rather a “re-performance” on a Steinway D concert grand programmed using actual Rachmaninoff keyboard and pedal performance data extracted from two 1928 recordings with Fritz Kreisler. All of the original temporal and dynamic nuances are there and we hear it as a beautiful, modern, state-of-the-art recording.

Bell joins the ranks of other accomplished classical musicians with this venture into popular music. Yo-Yo Ma has a large body of popular, folk, cultural and soundtrack work as does Itzhak Perlman. The “home with friends” concept is not new one either. Although the tradition has died out over the past 75 years or so, the soirée musicale (musical evening) was a longtime institution in both Europe and the United States. Wealthy patrons of the arts hosted events in their large comfortable homes and often “introduced” the talents of their progeny along with the more well-known musicians. Fortunately for us Bell has some very talented friends. He gathers the album’s largest group of them (14) for Gershwin’s (George and Ira and DuBose Heyward) “I Loves You Porgy” and features, in addition to Bell, Chris Botti on trumpet and Billy Childs on piano. Bell’s lush violin is complemented by Botti’s uncanny ability to coax warm low register flugelhorn-like sounds from his trumpet. Track two, “Come Again,” features Sting on a selection from his lute album, Songs from the Labyrinth. “Oblivion” showcases Astor Piazzolla’s jazz tango concertina (bandoneón) style. Vocalist Josh Groban contributes “Cinema Paradiso.” Continuing in the Latin jazz mode is “Para Ti” with the Tiemp Libre septet. The more upbeat, at times, “Para Tí” is a welcome change in tempo and mood. The two most unusual and uncharacteristic tracks for Bell may be “Maybe So,” an Americana piece with Sam Bush on mandolin, Mike Marshall on guitar and Edgar Meyer on bass; and “Vibrant Moods” a Ravi Shankar composition with Anoushka Shankar on sitar.

The exceptional quality of the music and musicianship on At Home With Friends makes us wish we were live guests at this soirée musicale. Where the collection falls short is in missed opportunities. Despite the incredible assortment of styles and performers the tempo rarely breaks above an adagio. While “Eleanor Rigby” is one of The Beatles’ best, a more exciting selection could have been had from their huge library of songs. With the Bush, Marshall and Meyer trio (or Meyer and Chris Thile from “Look Away”) in the studio a rip roaring bluegrass breakdown might have been tempting. Or Sting on, well, anything else. At Home With Friends is certainly well worth having but left me wondering how much better it could have been.

Mike Reynolds-MuzikReviews.com Staff

January 5, 2009

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Paul Grenier - Human

We live in a world where it has become possible and economical for just about anyone to obtain the tools to produce and record an album in his or her home. While this has given a great many people the opportunity to pursue the dream of becoming a recording artist, it has also devalued the concept of the album in general.

Just a few years ago the technology it took to create Paul Grenier's debut album Human would have been available only in a well equipped studio. In order to record his album then, Grenier would have had to develop a local fan base and attract the attention of a record producer, all the while developing his approach, and discovering, by a process of elimination, what worked in his art and what didn't.

For Grenier (who self-produced and recorded Human, and who doesn't play live) it's a tragedy that he skipped the most important parts of an artist's development. Judging by his bio he has a great passion for music. As it stands, Human is painful to listen to.

There are many problems with Human, the chief one being Grenier's voice, which is a study in nasality. The album is centered around Grenier's vocals, and he sounds throughout like an American Idol contestant with a microphone shoved up one nostril or the other. Grenier's voice is so grating that it's difficult not feel animosity toward the characters he draws in his autobiographical songs about loss and addiction recovery. As a listener it’s easy to find yourself mocking the sad details of this man's life which under different circumstances would be pitiable. I doesn't help either, that most of Grenier's songs are constructed from bad rhymes: “...I'm a mess/to see me you would never guess,” “I sometimes wish that I could see/through all my reverie” etc. The music is barely worth commenting on; computer sequenced and simplistic, it's the type of thing just about anybody could come up with a cheap piece of sampling software.

With Human, Paul Grenier will have his fifteen minutes of fame. The problem is he didn't earn it. If he had gone through the traditional school of hard knocks to achieve this pinnacle he might have discovered the weaknesses in his style and been able to correct them before they went on permanent record.

Tim Madison – MuzikReviews.com Staff

January 5, 2010

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Jeremy Mitchell Band - Delusions of Grandeur

There were a lot of exciting things happening in music last year and certainly many of the acts that performed beyond expectations once again fell under the radar and the select few made their millions as usual. One of those unsigned artist that impressed me the most was guitar maestro Jeremy Mitchell.

Delusions of Grandeur is an instrumental tour de force with 10 rockin’ tracks featuring Mitchell and his band. The trio consists of Mitchell (guitars), Troy Groeneweegen (bass) and Greg Stone (drums & percussion). This is not your typical power trio per say, the offer up a diverse range of sounds, all powered by Mitchell’s slick guitar licks.

It does not take long to realize that this artist is a disciple of Joe Satriani and other players of that ilk. “Closing In” and the killer opener “Weight of The World” was plenty of evidence for me. This does not take a thing away from this talented Australian product. He is at a slight disadvantage being so remote from any burgeoning music scene like Austin Texas for instance but the internet and his Myspace page helps, although he is just making a dent there. As with many artists, relying on Myspace as your homepage does not position you very well. You need your own website, Twitter, Facebook and Blogs to promote your music and network. Hopefully for his sake that will be a well oiled machine in place to promote this great music in 2010.

For the most part this is fast paced ride through instrumental nirvana however the title track takes a few steps back to show the listeners that Mitchell and his band can play tastefully with precision. Diversity is the name of the game with everything you do these days and this soon to be guitar god uses his instrument as a true tool of the trade. The varying degrees of overall atmosphere and a professional approach are the keys to success on Delusions of Grandeur. In a polar opposite turn from the title, the band keeps things real, remains grounded on firm footing throughout this release and even throw in some nice Latin flavored acoustic guitar on”Twist of Fate” as if to say “Yeah we can do this too!”.

Jeremy Mitchell is one to watch and if he uses the tools of technology and networking right you may see his name a lot more in the future.

Keith “MuzikMan” Hannaleck

January 3, 2010

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Dana Edelman - Blue Roses

Maybe I’m a sucker for a slow jam, but Dana Edelman’s soothing collection of songs for his latest album, Blue Roses, really hits the spot. Edelman co-produced the record with Joshua Paul Thompson, the Grammy winning producer who’s worked with the likes of Alica Keys, Joe, and George Benson. There’s a bit of blues, a bit of folk, and a whole lot of soul (pun intended) infused in each track, and it’s pretty delightful.

The majority of tracks found on Blue Roses have a universal message, like each song is filtered through a weathered truth. This is especially evident when edelman lets his folk rock roots show on the guitar eclipsed “Listen to Me Mama,” which is sprinkled heavily with classic American guitar and drum arrangements.

“Grand Central Station” is a slow jazz influenced addition that flows softly, a treatment that benefits several tracks on the record. Unfortunately, Edelman fades out when he really tries to put in a rock edge, as on “Hot Tamale” with it’s generic blues influences. He gets mixed results when he tries another approach on “One Boy One Girl” which has its moments, but is outshadowed by the song’s production values.

Elsewhere, “Right Now” is akin to Bobby McFerrin’s “Don’t Worry Be Happy” with its touching albiet sugary chorus. Title track “Blue Roses” attaches itself to a nostalgic melody while “Mindgames” is a gem that opens the album on a warm and comforting note. Interestingly enough, the track deals with a slippery counterpart in a compassionate manner.

Blue Roses if anything, allows Edelman’s voice to shine with his ability to elicit soulful melodies. There are several bright spots on the album, which should have listeners taking a long walk on a starry night, Edelman guiding each one with his enchanting voice.

Rukshan Thenuwara – MuzikReviews.com Staff

January 3, 2010

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Dark Hollow Band - Real Monsters Look Like Men

I'm not sure if it's pure coincidence that the Dark Hollow Band claims their name originated from the street they lived on and that it's also the name of a Grateful Dead song. In “Silent Prayer”, the chorus talks about listening to the Dead. Coincidence or not, the Dark Hollow Band manages to be influenced by bands like the Dead, Bob Dylan, and Woodie Guthrie while still sounding original.

Real Monsters Look Like Men, the Dark Hollow Band's most recent release, is a CD that makes you feel like you're talking to a friend in person. Randall Wilkerson, the vocalist and lyricist, left a note inside the album letting the listener know that “this is a CD of stories”, adding that “thanks to love and hope, pain and suffering, greed, war and politicians there seems to be plenty to write about”. And that's what Wilkerson does – he makes candid, intelligent points about everything from pizza to politics without sounding condescending or silly.

The lyrics are important on Real Monsters, but the music is, too. Neither overpowers the other. Wilkerson employees a huge number of people to play with him, bringing in a wide array of instruments, including banjo, mandolin, flute, and fiddle. But the music isn't overdone; you never feel like there are too many instruments playing at once, or an instrument being played at the wrong time. The music blends in a way that lets you know all of the instruments are being played, from the subtle banjo and guitar strumming to the sometimes echoing mandolin or fiddle. Wilkerson obviously knows how to write music and produce a song, and it shows.

The lyrics tell the stories, though. “I read about a man who fought in the war in Iraq/well, he made it to the war alright/but got killed on the way back/the millionaire had it made till he lost his son/poor rich man shot himself with a twenty dollar gun”, Wilkerson sings in “Billy Went Fishin'”, a song with a haunting melody that brings Woodie Guthrie and older Bob Dylan material to mind. The band then jumps into “Saturday Night”, a light-hearted dance number, and then heads straight into “Silent Prayer”, an almost achingly sad slow song. Their refusal to stick with a certain type of song makes them excitingly interesting to listen to.

The Dark Hollow Band will inevitably find themselves compared to the Grateful Dead, even if a listener doesn't recognize the song title they use as a name. They have a similar style, but the Dark Hollow Band heads in a different direction than Dead cover bands. They're sure to find themselves compared to the Dead, but they shouldn't worry. They're too original to get overlooked.

Abbey K. Davis – MuzikReviews.com Staff

December 31, 2009

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Engineers - Three Fact Fader

Engineers managed to build an impressive fan-base, given the success of their self-titled debut album. Do they continue to live up to it in the followup Three Fact Fader, or was it just beginners luck?

The music can be classified as part of the newly revived shoegaze movement. With their spacey characteristics and odd, droning riffs, they seem to be making less of an album, and instead creating a whole new atmosphere for the listener. “Clean Colored Wire” is a prime example: the dreamy vocals paired with futuristic instrumental work create an alien-like quality, which is sure to catch the attention of a listener.

“Sometimes I Realise,” by contrast, sounds like something straight out of a Silversun Pickups album, from the fuzzy wall of guitar sound and simplistic vocal melody. All without the effeminate vocal quality of Silversun, as in this case they're more comparable to the likes of E from Eels.

The opening clean guitar work in “International Dirge” had me thinking, and actually hoping, that the song would take a turn away from the space-like quality for at least a bit and go for something much more dark. I was disappointed, to be honest, to realize that it was only short-lived.

The issue I've found with the album is that, while it’s solid, musically, there isn't anything particularly ear-catching after the first track, until the very end. Again, “Be What You Are”, much like “International Dirge”, had me thinking it was something much different, and again, I was disappointed, expecting it to be something much more stripped down, without all of the effects to make it what it is. “What Pushed Us Together” is one of the more notable tracks on the album, much in the same way “Clean Colored Wire” was. What I've found here is that while the Engineers are good at what they do, they seem to, unintentionally, express a lot of potential in other areas that they simply don't touch on. I'd love to see some of this potential played out in the future, which may put off some loyal fans but at the same time may allow others to discover Engineers.

Sara Cooper – MuzikReviews.com Staff

January 2, 2010

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Guilt Machine - On This Perfect Day

Arjen Lucassen's latest release for his new band Guilt Machine is On This Perfect Day. This release is a departure from the complex Ayreon projects that included a multitude of musicians and vocalists. Instead he favors one small consistent lineup made up of his partner, manager and lyricist Lori Linstruth (lead guitar) who was also with him in Stream of Passion, Jasper Steverlinck (lead vocalist) from Belgian alternative rock band Arid and ex-Porcupine Tree member Chris Matiland (drums) while Ben Mathot (violin) and David Faber (cello) contribute their fair share of well placed and appropriate parts and of course Arjen showing the way playing guitars, mandolin, bass, keyboards and providing some vocals. The album was recorded at Arjen’s Electric Castle in the Netherlands.

This release is more interesting and unique because of the contributions of several people from all over the world speaking in their own language on life, regret, death, guilt, and human nature. Although you will not be able to understand what they are saying (well most of us won’t) it lends a different atmosphere and kind of “get the chills” feel to the tracks. Lucassen has always had an ability to give each of his projects their own stamp of uniqueness and this one is no exception. I had no idea what to expect because I have always had some sort of insight prior to each release because of the ongoing story with Ayreon and the well known configuration of supergroups he would assemble for every project. I knew I would not be disappointed with On This Perfect Day, in fact it was a nice surprise and it turned out to be an excellent album.

There are six tracks on this CD; there is also a two disc special edition available with bonus tracks and videos. Not one of the tracks is less than six minutes with the longest being the lead off track “Twisted Coil” clocking in at 11:43. The lead singer Jasper Steverlinck sounds like he would have been a great for Arjen’s previous projects but he does make his own distinct mark here. Also Lori is no slouch on lead guitar. I already respected her for the previous work I have heard but this output is exceptional. Arjen contributes immeasurable amounts of across the board talent as usual on guitars both acoustic and electric amongst other things. Chris is excellent with all the drum parts, driving the Guilt Machine along a steady course that seems to falter. If Jaspar sounds familiar it’s because he was a guest vocalist on the third CD of Timeline on an unreleased song, called "Epilogue: The Memory Remains".

This is a fine collection of progressive rock tracks complete with the usual thought provoking album art and the bonus of the lyrics included with the CD booklet, which guarantees a reflective listen by anyone’s estimation.

I think prog rock fans and avid Arjen fans will find complete satisfaction with this recording. I found no weaknesses to mention. At times you are reminded of the old Ayreon with some of the musical displays however that is quickly dispelled with the Guilt Machine stamp that sounds fresh and full of energy.

Arjen mentioned in an interview in Classic Rock magazine that he feels like there is a black hole in his life if there is no project to be working on, which explains his continuous flow of music every year. Listeners benefit from the workhorse methods of this great artist. I cannot help but wonder what could be next! This is a great way to usher in the new decade of prog rock.

Keith “MuzikMan” Hannaleck

December 31, 2009

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Chris Kasper - Chasing Another Sundown

On Chris Kasper’s third release¸ Chasing Another Sundown, the singer/songwriter expands on his previous work with his first fully produced studio recording. Along with a bunch of his friends from Philadelphia, Kasper gives us nine new songs that are poppy, folky, with a country vibe, and at all times with a genuine pleasantness that is rarely found.

Chasing Another Sundown is a very light and relaxing listen. At times the songs sound like lullabies or a children’s album, and I don’t mean that in a bad way. Kasper has a very innocent and soft sound that soothes the listener. It would be perfect for a breezy Spring day. Just listen to “The Treehouse” to understand exactly what I mean. It’s hard to listen to these songs and not feel young and free again.

For some artists similar to Chris Kasper you generally have to look at the earlier, more stripped-down recordings of artists like Ben Harper and Coldplay. Also the lighter and more earnest music of Jack Johnson and Ray LaMontagne offer some likenesses.

What I enjoy most about the songs on Chasing Another Sundown is their variety. It’s very easy for similar artists to write songs in this style that sound way too similar from track to track while still maintaining a barebones approach, but Kasper avoids this exceptionally.

Chasing Another Sundown is certainly not for everyone. There is no doubt that there are some that will find this music way too emotional and mellow, and would be driven crazy by such songs. In the several times that I listened to it there were times when I was far from in the right mood, but if you’re looking for some beautifully, heartfelt music, you really can’t go wrong with this album. Take a listen to “Ain’t No Saint” and “Hey August” for a couple more tastes of what Chris Kasper has to offer.

Kevin Kozel-MuzikReviews.com Staff

December 29, 2009

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Mike Longo Trio - Sting Like A Bee

On 2009's Sting Like a Bee, the sequel to the 2007 release Float like a Butterfly, the listener will again find pianist Mike Longo ensconced comfortably in a trio setting. Holding down the rhythm this time are a couple of jazz heavyweights: go-to session drummer Lewis Nash and the legendary bassist Bob Cranshaw.

Its great to hear Cranshaw, who almost always plays electric bass in his regular gig with Sonny Rollins, on an acoustic again. His presence adds a fluidity to Sting Like a Bee; together he and Nash create a dynamic backdrop for Longo's adept attack on the ivories. Longo, a student of Oscar Peterson and a member of Dizzy Gillespie's band, is certainly a be-bop traditionalist, and he has assimilated the genre. A great rhythm section and smoking piano work aren't enough to rescue this CD from mediocrity however, and despite the best efforts of the participants this session comes off sounding like a somewhat above average set of the type that could be heard at a number of jazz clubs across America on any given night.

What's lacking on this disc is certainly not talent, this trio has that in abundance; what's lacking here is imagination. The program on this disc, mostly made up of jazz standards with a few Longo originals thrown into the mix, begs to be reinvented. Longo sticks to the original template on most of the tracks however, giving us expert yet uninspired versions of some threadbare jazz classics. This is most notable on the track “Westside Story Medley” which sounds, like Oscar Peterson's overrated original, almost on point enough to be a piece of the musical from which it was drawn. The listener will have to skip to track twelve to hear Longo start to shake things up on a stride version of Dizzy Gillespie's “Kush,” a cappella on piano. It's a rousing rendition, but Longo cuts it short just when it's starting to get interesting.

Tim Madison – MuzikReviews.com Staff

December 28, 2009

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Bernie - The Legend of the Mythical Man-month...

Bernie Durfee records under just his first name, Bernie. After listening to his brand new, first – ever release The Legend of the Mythical Man-month and More Tales from the Confines of the Corporate Cubicle, with its quirky humor and clumsy charm, the name seems to fit just perfectly.

Bernie is a one–man band who writes and performs all the music on this fifty – minute, unhip mishmash of classic rock, quirky jam band clutter, dub bass lines, and punk rock rambling. I kind of liked it. There’s lots of guitar soloing, some of it pretty nice and some mediocre. Bernie’s lead guitar is glossy, gritty, sometimes dissonant like Robert Fripp, but always bluesy. The main guitar riff in “Ode to Voltage” is a spacey gem. Bernie also plays some folky harmonica on two down-home, easygoing tracks.

Most of the tracks are instrumental, but Bernie is a closet poet (he posts poems on his website) and a few of the tunes have lyrics. “Rut” is a medium tempo rock lament in the style of Eric Clapton’s “Cocaine,” “Rabies” stands out for its punk flavor and absurdness (“My baby started foamin’ one Saturday night…”), and “White Fluorescent Tubes” is a bong – water – soaked snapshot of Bernie in his office cubicle. Bernie doesn’t have a great voice but he sings with a lot of attitude and it’s flavored with enough distortion and reverb to make it palatable.

I like how Bernie uses samples of real sounds. “White Fluorescent Tubes” begins and ends with the sound of fingers tapping on a computer keyboard and “Ode to Voltage” features pulsing industrial machinery of some kind. The first track “Federal Funk” launches the record with a portion of Richard Nixon’s ‘I am not a crook’ speech and it somehow works. These sounds add depth to the Bernie listening experience.

The album had to grow on me a bit but I enjoyed it. I might not say I’m into Bernie now as an artist, but I think I’m a fan of the personality that comes through his music. There’s a good deal of forgettable stuff here for sure, but also some highlights and I’d definitely check out any future release by Bernie.

Nathaniel Rolnick – MuzikReviews.com Staff

December 28, 2009

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Marshall Ruffin - Morning Glory

One might pick up Marshall Ruffin’s second release Morning Glory and assume it is an EP. You would be surely mistaken after 40 solid minutes of quality fuzzy, dirty, bluesy rock heard over these five tracks.

While Ruffin’s name is on the front of the album, this is not another solo blues album. This twenty-five year old plays the guitar, sings the vocals, and does the songwriting, but he is joined by Dennis Baraw on bass, Alan Marcha on drums, and Steve Dancz on keys for this album.

Morning Glory reminds me of The Black Keys a lot, which is a good thing since I enjoy them immensely. Some of the other artists that Marshall Ruffin has been compared to include Traffic, Cream, Stevie Ray Vaughn, as well as The Black Crowes.

Vocally Ruffin has a strong voice. At times he sounds like Dan Auerbach (of The Black Keys), other times like Stevie Ray Vaughn, and when his voice soars, he reminds me of Ben Harper. Instrumentally everything here is quite good, but with three tracks coming in above eight minutes, they get a little repetitive at times. I certainly expect extensive solos when the songs are performed live, but maybe a bit tighter on the studio release. Personally, I’d like to hear more from the keys on some of the tracks and for the guitars to stand out more on the solos.

Morning Glory is a solid release from Marshall Ruffin. Check out opening track “The Day” for a good idea of what to expect from the other four songs. There isn’t much I don’t like about it, but I feel what I like about it most are the aspects that remind me of other acts that I enjoy. This is by no means a bad thing, but I think that he is capable of putting more of a unique stamp on his songs. There is no doubt that there are bigger better things in store for Ruffin, and Morning Glory is a quality progression towards them.

Kevin Kozel-MuzikReviews.com Staff

December 23, 2009

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The Fringes - The Fringes

By now it's obvious that certain styles of music are making a pretty strong comeback. In rock, classic influences, like Led Zeppelin and Hendrix, are currently running rampant, however subtle or obvious they may be. L.A. native band The Fringes, with their recent self-titled debut, successfully manage to relay their own take on both retro and modern styles without coming off as a rip off.

The album kicks off with “The Spot”, a track seemingly straight out of the 70's funk scene. It's got a nicely catchy hook, but never skimps on the instrumental talent. The wah guitar and saxophone create an unmistakable attitude for this incredible danceable track. My only real criticism is the addition of the female vocals, which isn't as prevalent in the rest of the album. In harmonies, they're great, but when used as an echo, they tend to feel extraneous.

The next track, “Thanksgiving” takes a complete u-turn. It’s much slower, with a darker sound, paying obvious homage to the band's biggest influence, Morphine. It's a great track, but I'd like to point out that the vocalist's higher register is nowhere near as good as his mid-range, and this track makes it blatantly obvious.

“Jacuzzi Love Party” is one of two favorites I have for this album. It's a high energy song, obviously drawing from modern punk. Admittedly, the vocals aren't to their highest potential on this track, but in punk rock, are they ever? I was immediately reminded of “Fell In Love With A Girl” by The White Stripes in the overall feel of the track, although “Jacuzzi Love Party” boasts the nice addition of a short little wah guitar solo. My other favorite, by contrast, is “Harsh Weather.” A decently longer track, it returns to the darker style of “Thanksgiving.” The blues influence in this song is heavy, but near perfection. It also features a much controlled higher register in the vocals than “Thanksgiving.” It's an excellent, beautiful track, although as a closer, seems a bit of an abrupt end. I will say this, many bands do have a tendency to revisit a greater number of aspects previously seen on the album on a closing track, however this isn't a criticism it’s simply an observation.

The Fringes is a pretty solid album. One of those albums where you think it sounds familiar, yet new. For a band that brands themselves garage rock, it seems a bit too polished. This album is lacking a certain dirty sound quality that is sometimes used to define the genre. Musically it's commendable. Not without flaws, but an enjoyable listen, nonetheless.

Sara Cooper – MuzikReviews.com Staff

December 23, 2009

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David Pinsky and his Rhythm Kings - Live at the Bella

David Pinsky has spent over 30 years playing the blues, and on his latest release, Live at the Bella, he shows off what he's learned: how to have fun while talking about misery.

Pinsky obviously has fun with what he's doing. He laughs in between songs and jokes with his Rhythm Kings. Before “Mo' Money”, a largely political song, he talks about asking President Obama for money. Pinsky has the kind of balance between joking too little and too much with an audience that only experience can bring.

And he should – Pinsky has toured with a slew of blues musicians, including B.B. King and Bo Diddley. He's changed backup bands (and the names of them) several times, but the Rhythm Kings play smoothly enough with him that they sound like they've been there for his entire career.

Pinsky has a voice made for the blues. While you can't always understand him, and the lyrics are sometimes repetitive, his singing makes up for it. He sounds at times miserable and at others jovial, all while staying in touch with the audience and making them feel included. Pinsky plays guitar and harmonica as well, and I was shocked when I found out he's the only guitar player in the band. The piano player, Gary Halliburton, is particularly noticeable, even through Pinsky's vocals and the other members. It shows Pinsky's experience again that he isn't afraid to let members of his band into the spotlight.

“We're working/well I guess we're playing/music, it's this thing, you play it” he sings on “Mo' Money”, and he's got the right idea. Musicians in all genres should take Pinsky's advice and have as much fun as he is with what they're doing.

Abbey K. Davis – MuzikReviews.com Staff

December 21, 2009

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Koldasee - Messiah (remastered)

Contemporary Christian singers Koldasee aptly title their latest album, Messiah: Cradle That Rocked The World, a release that focuses soley on the Messiah, thus celebrating the significance of the holy event known as Christmas.

The album’s opener, “Mother Of My God” is a bright spot on the album with the lead singers vocals shining during the chorus. “Miracle Of Christmas Eve” has strong vocals, but the song’s lyrics are rather rudimentary, though sincere. The majority of the album has an acoustic feel, with various gospel influences and a lot of heart, however, tracks such as “Colors” is an odd addition that combines an elderly irish gentleman yarning a tale about an injured butterfly.

“The Gift” has a decent rythmn and pretty lyrics but is drowned out by pitchy vocals. “The Child Has Arrived” and “Let There Be Christmas” have an 80’s pop sound that works well for the choir backed vocals while “Ave Maria” is a nice addition as an instrumental track that may not have fared as well with attached vocals.

At 14 tracks, the album is rather lengthy, with similar pacing and instrumental backing, leaving it rather unvaried as a whole. While some tracks really shine, several lack distinguishable melodies that could put the group in comparable range to contemprary Christmas fare created by Hillsong and other Christian worship groups.

Rukshan Thenuwara – MuzikReviews.com Staff

December 21, 2009

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The Complaints - Sunday Morning Radio

It doesn’t happen often, but every once in a while I find myself stumbling upon an album where the band sounds like they were just trying too hard. Unfortunately, Sunday Morning Radio, the newest release by The Complaints, is one of those rare albums.

Sunday Morning Radio doesn’t start off too badly—in fact, it made me feel fairly nostalgic. The vibe of the first track, “Man Downtown,” has a sound right out of the mid-90s pop-rock scene.

For a better idea of what the album starts out as, think Bon Jovi meets a mellowed out version of the Gin Blossoms.

This, however, only lasts for the first two songs. After that, Sunday Morning Radio begins to sound more like a band you’d hear playing at the local bar or as the special guest at the city fair. The songs are bland, with a lack of variety in the instrumentals, and mediocre vocals.

What makes this disappointing is the fact that the band has been playing together for over a decade, yet sound more like they’re just starting out and still working on playing cohesively.

Midway through the album, it starts to feel like The Complaints realized the first half of the album left quite a bit to be desired, and decided to up the effort, namely through trying their hand at a jam-band type sound. Unfortunately, the effect of the extra effort is a feeling of overcompensation that oozes through the second half of Sunday Morning Radio.

Sadly, the album just never takes off. Even the attempt at changing things up in the second half falls flat, and while the last track, “Sunday Girl” tries to end things on a good note, Sunday Morning Radio is too far gone by that point.

Carly Doenges—MuzikReviews.com Staff

December 22, 2009

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Makajodama - Makajodama

Like the work of fellow Swede Gustav Ejstes (of Dungen fame), Matthias Danielsson’s instrumental post-prog experiment, Makajodama, is rife with psychedelia. But while records like Ejstes’s Ta Det Lugnt explore the pop influence of the flower generation, Danielsson and his quartet prefer a stylistic ambiguity allowing for copious amounts of improvisation and experimentation, making this self-titled debut an adventurous production.

Makajodama set out to explore the fusion of written and improvised music from a progressive rock perspective (Danielsson regularly plays guitar for the prog band Gösta Berlings Saga). As a result, theseeight tracks often involve elaborations upon a general theme, typically with prolonged sections of improvisation that at times owe allegiance to jazz or classical structures while at other times harken back to oddball, Zappa schizo-funk. As can often be the case with such ambition, Makajodama tend to overstay their welcome where many of the songs would benefit from a more concise treatment. For example, the latter six minutes of “Buddha and the camel” are purely superfluous, whereas the succeeding “Wolof” ties things up nicely in brass and birdsong in nearly a third of the time. But what really stands out about these songs is their instrumentation. The strings (violin and cello) deserve most of the credit for the focus and warmth they imbue, but bassoon, saxophone, sitar, flute, and pedal steel—among many others—all contribute to a sound that defies, even transcends, genre pigeonholing. For the patient listener that makes for rewarding repeat listens.

As much as this record owes to art music, it hardly lacks soul. “Reodor Felgen blues” is steeped in psychedelia laid over a groove that eventually crescendoes in a careening 60s revival blitz. “Vallingby revisited,” named after a suburb of Stockholm, is a bass-fueled jazz shamble, featuring saxophone and violin interplay that eventually disperses for the eerie single-note whine introducing “The girls at the marches.” This track seems to breathe, stretch, and even yawn as though rising from a long, Nordic nap.

It’s Makajodama’s final entry, “Autumn suite,” that singularly attests to this group’s ambition and artistry. From string quartet beauty, to English folk-rock groove, to near-comic fractured experimentalism, to psychedelic (think Dark Side of the Moon) ambience, “Autumn suite” tastefully blends a bevy of distinct styles into a single statement that not only rounds out a challenging and adventurous album but defines the reach and the harmony this group can achieve.

Stephen B. Griggs – MuzikReviews.com Contributor

December 22, 2009

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Zac Mac Band - Don't Look Down

I don't really know what to make of the Zac Mac Band. I tried to like it, and I tried to get past the overwhelmingly cheesy lyrics, but I just can't manage it.

Some bands are all about the music, and the lyrics don't matter. The Zac Mac Band is not one of those bands. Zac McIntyre, the lyricist and singer for the band, is front and center, but I'm not sure that he's handling the spotlight well. He's so focused on rhyming that he forgets to make a point.

After you realize that literally every sentence rhymes, and you get past how annoying that is, you actually start listening and recognize what the songs are about. One of the songs is actually called “MySpace Heartbreak”, and includes lyrics like “I always find myself/checking your Myspace/but when I just went there/it seemed I'd been replaced” and “I still find myself checking your Facebook/but I can't find my face/no matter how hard I look”. Another, “Cougar”, is a soft-rock ballad about an older woman, only “I met her on match.com/a cool cougar, a real hot mom” and “she's a cougar/but she ain't got claws/they fell off after menopause”. The rest of the songs don't get much better.

I just can't tell what the Zac Mac Band is going for. Are they trying to show off their music, or their pointless lyrics? The music is overdone, pop-punk piano driven rock that sounds like a bad Ben Folds ripoff, without Folds' famous voice and ability to switch from toilet humor to heart-breaking love songs. They list The Killers and Snow Patrol as influences but lack the irresistible synth originality that The Killers have and the sincerity of Snow Patrol's lyrics. I'm not sure if they're not trying hard enough or trying too hard. If they're trying to be ironic and funny, it's just not working.

McIntyre says in “15 Songs on the Radio” that he has a plan to follow his “rock and roll dream”. I'd like to see it; I'm sure he's capable of lyrics that don't make the listener cringe. Perhaps the Zac Mac Band should take their own advice: all those other bands have the same plan, guys. You need an original one.

Abbey K. Davis – MuzikReviews.com Staff

December 21, 2009

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Myra Flynn - Crooked Measures

Neo-soul and folk blend together on Crooked Measures, the new release from Myra Flynn.

Singer/songwriter Flynn uses her gospel-tinged voice to accentuate her thoughtfully penned lyrics on the eleven original songs that make up the album. Her songs – mostly about breakups or falling in love – crowd into a familiar territory in pop music; but Flynn's lyrics are emotionally open enough (and sexually frank enough) to keep things from getting boring.

Producer Colin McCaffery contributes seamless production values on Crooked Measures, and serves as an indispensable backing musician throughout, playing multiple different instruments and even contributing backing vocals. The spare arrangements, based around an earthy core consisting of simply guitar, bass, and drums on most of the tracks, adds to the intimate feel.

Tim Madison – MuzikReviews.com Staff

December 21, 2009

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Bill James - The Love Doctor

Bill James is at least 56 by now, considering that he sings “somebody told me you can't rock and roll at 52“ on “You Never Get Too Old To Rock And Roll” and The Love Doctor came out in 2005. While his age makes him an experienced guitarist and lyricist, his music isn't too aged for today's generation.

The Love Doctor is a homey, welcoming album full of original lyrics and familiar music. James is obviously a fan of classic rock, and it shows, without sounding like he's stealing. He cites The Beatles and The Rolling Stones as influences, and many of his riffs call The Doors to mind, mostly because of the piano tracks cleverly hiding beneath the guitar parts.

Lyrically, the album is almost as cute as it is homey. “Got me a fine woman/and some cornbread” he sings on “I Wanna Go Home”, a bouncy ode to going back to your roots. However, James isn't all about the home life; on “Love is True”, he sings “if you love me so/you gotta tell me everything is true/waiting on the phone to ring/I gotta know if you love me so”. His lyrics range from almost adorably Southern to wise advice and life lessons, without managing to sound smug.

James's biggest problem is that he doesn't have the greatest voice. His lyrics are sharp and intelligent, but he almost has too much of a twang which sometimes makes him sound off-pitch and out of time. The female backup vocals sound like a choir and almost push the songs too far. With a vocal coach of some kind, James could probably find the right balance between his Texas accent and the correct key.

Bill James calls himself “true American music”, and that's what he makes. He writes songs that he obviously believes in, musically and lyrically, and he's doing an excellent job of telling the stories he's collected during his lifetime. James may have waited late in life to release a CD, but doing so caused him to release an album full of wisdom and charm.

Abbey K. Davis – MuzikReviews.com Staff

December 21, 2009

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Kansas - There's Know Place Like Home

Kansas keeps rolling right along after all these years they still have an appeal that reaches far beyond generation separation with a classic sound and tracks that everyone knows.

There’s Know Place Like Home is a stunning live DVD recorded at Washburn University’s White Concert Hall in the band’s home Topeka Kansas. The 50-piece Washburn University Symphony Orchestra backs Kansas during this superb performance. In celebration of their first release 35 years ago, the group - which includes singer/keyboardist Steve Walsh, guitarist Rich Williams, violinist David Ragsdale, bassist Billy Greer, and drummer Phil Ehart – was united with former members Kerry Livgren (guitar/keyboards) and Steve Morse (guitar).

I was not too sure what to expect with this DVD, I only knew one thing; I wanted to see it once I heard it was coming out! It was worth the wait as this DVD was excellent and just blew me away. The production is brilliant and the recording outstanding. You can catch a piece of it here for to see for yourself http://kansasband.com/kansasdvd

Everyone in the band looks great; they all seem healthy and happy. I noticed how much healthier guitarist Richard Williams looked and he definitely shed some pounds. Steve Walsh sounds great, he still does not have the range he once did but with Billy Greer’s soaring vocals behind him, the combination is fantastic and it more than makes up for what Steve has lost over the years. Billy has a great rock voice and is fine bass player. You can check him out in other projects like this year’s Native Window (check out their excellent self-titled release) or Seventh Key. Native Window is actually Kansas without Steve Walsh and they opened for Kansas at concerts this year.

You get 19 tracks on this DVD including a great light show and a warm hometown atmosphere, making for a fantastic and memorable keepsake for all Kansas fans. The combination of Kansas music with a full orchestra is nothing short of breathtaking. Their music is perfect for this kind of show; it blends prog and symphonic rock and takes it to the next level in a live setting. What makes it even more of a treat is the appearance of founding member Kerry Livgren (guitar) and Steve Morse (guitar). At the end of the DVD, they include a bonus track “Down The Road” (Afternoon Jam) where they taped a sound check that turned into an all out jam session, it is a resounding display of musical acumen and fusion on one stage.

They cover a lot of ground from the Kansas archives spanning over three decades. Songs like the instrumental “Musicatto” shows the audience how complex their music can be and with what precision they reproduce it, ever reminding you of what great musicians each member of the band is, and continue to be. They play all lot of great music from the past including “Song For America”, “Point of Know Return”, “Hold On”, well the list goes on and on. Then to wind down the show down properly they play their mega hits “Dust In The Wind” and “Carry On Wayward Son”.

It is nice to get a DVD that goes far beyond any expectations you may have and this one did it for me. A most impressive performance and production from a band that is still relevant and fresh after all these years.

Keith “MuzikMan” Hannaleck

December 20, 2009

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The Aviation Orange - The Aviation Orange

Brooklyn's The Aviation Orange refers to themselves as “New York's hottest new band”. They may be jumping the gun a little, but they're on their way to becoming just that.

Their debut album, The Aviation Orange, is a synth-driven post-punk garage album full of marvelous harmonies between their male singer, Michael Nesci, and their female vocalist, Hana Mogulescu. The rest of the band (Alexander Beninato, Jon Levine, and Josh Harris), follow with music that doesn't depend on the synths Mogulescu provides, but is sharply aware of them.

Each track brings to mind other influential bands. The Aviation Orange list The Cure and The Shins as influences and you can hear it on tracks like “CCSS” and “Darling Johnny”, while “Radio” has an air of The Killers' early work and “Seattle Slide” is a delicately intricate track that calls to mind The Police and Radiohead. However, The Aviation Orange doesn't sound like a cheap rip-off. They sound like they're honestly influenced by a wide range of artists from the past and present, which is hard to find these days.

Unfortunately, the lyrics are more than a little hard to understand. None of the tracks stands out lyrically because they're almost impossible to decipher. Nesci and Mogulescu have beautiful voices, they just don't pronounce their words enough.

The Aviation Orange may not be New York's hottest band yet, but they're getting there. Their first album is almost unbelievably well mixed to be a DIY album. I can't wait to see what they do with a real label.

Abbey K. Davis – MuzikReviews.com Staff

December 20, 2009

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Halford - Winter Songs

What do we have here? It sure ain’t Santa and his elves! It is Christmas music with balls, and no, not the balls you hang up in your doorway this time of year.

When you think of Rob Halford many things come to mind-the metal god, Judas Priest, leather, to mention a few but the last thing you would think of is holiday cheer. That just changed because a new 10-track album is out called Winter Songs. Do not worry, if you like Halford and love metal this CD can work for you, well, most of the time. Having just a hint of Christmas and holiday spirit never hurts either.

Halford reignited his solo band consisting of Roy Z. (guitars), Metal Mike Chlasciak (guitars), Bobby Jarzombek (drums) and Ed Roth (keyboards). This is not Judas Priest by any means but they hold up well and are a good fit for Halford’s solo work, which has always been solid right from start dating back to the time he left JP and struck out on his own.

The album kicks straight into overdrive with an original “Get Into The Spirit”, the strongest track on the album. Although I am not sure what spirit you will get into after listening to this rocker, it could go either way. You could smile and have memories about Christmas past or walk across the street and throw a brick through your neighbor’s window. Metal is loud and angry music and some folks may have a hard time getting all toasty and warm with a hot toddy listening to Rob and his band plow through this one. There are the classics like “We Three Kings”, “Oh Holy Night” and “Come All Ye Faithful” that they do a decent job with considering you are taking sacred tunes and playing them with the energy of metal behind positive and gentle lyrics. This does not sound like it could work but somehow they manage to make you a believer for a little while. They take on the same meaning if you can keep those thoughts true to your heart and then you will be rocking all the way through, which makes it all a fun jaunt.

I think were this album really shines is when Halford and his band kick out the jams with all the originals. “Christmas For Everyone” (which you can download for free on his site) and “I Don’t Care” are a real kick in the pants and actually are more rock than metal, a total step away from what we are accustomed to from Halford but then this entire album is supposed to be. Roy Z. lays down some blazing guitar licks and his own stamp is on everything when the songs rock. “Winter Song” is the weakest track instrumentally and Rob’s vocals are a bit shaky but “Light of the World” redeems those aspects quite well, and restores your faith. Some good guitar work rolls out to back Halford and it all sounds much stronger.

Keep in mind this is not the head banging and screaming Halford you have come to know and love. He had to drop it down a few levels to record an album like this. I don’t think this is something I would like to see more often, it is better suited as a one off project that can be appreciated for what it really stands for and if anything shows how versatile a vocalist Halford can be when he gives it a go, probably more so than most of us thought.

I think what you end up with here is an average album with a few above average tunes to play during the holidays that will make you smile. Tis’ the season but hopefully this is the last we see of Santa Halford for some time. God bless metal and Judas Preist and thankfully he will return at his rightful place amongst the metal gods in 2010.

Keith “MuzikMan” Hannaleck

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Super 400 - Sweet Fist

Ask most modern rock fans if they've heard of Super 400, and most likely, unless they’re fairly knowledgeable about bands local to the state of New York, they’ll say no. Which is a shame, actually, because they’re a band deserving of recognition. Recognition that they may have received, had they not been dropped when Island Records was bought out. They continued to thrive, in any case, and with their fourth studio “Sweet Fist”, they’re active now more than ever.

Super 400’s music can be described as blues-rock with a distinct, hard edge. And with influences like Led Zeppelin and Cream, you shouldn’t expect anything less. “Sweet Fist” is an excellent cut of tracks that clearly establish what this band is all about, literally from the word go, with the opening track “Needle Down”. A track filled with distinctive yet simple riffs throughout, it boasts a structure similar to that of many Zeppelin songs, all while keeping the band’s distinctive flair.

For about the first half of the album, Super 400 continues to establish their characteristic sound, straying away from the formula they’ve developed very little. An exception to this is “FFMN”, which begins with some cool guitar work, fooling the listener into believing it’s going to take a slower pace. It then strikes with a Clutch-like force, drawing similarities in everything from the vocal style, to the guitar riff and tone. They revisit these obvious, although most likely unintentional, similarities later in the album, in the form of “Thorn Tree”.

Clutch isn’t the only band whose sound shares some similarities with Super 400. At first listen to “Sand Hill” my immediate impression was that it sounded like something Jack White might’ve done, in some of his more blues based White Stripes work. The beautifully dirty guitar and overall tone of the song is somewhat familiar, yet refreshing…a great track.

This album takes a bit of a turn, when bassist Lori Friday takes the mic in “Flashlight.” Her vocals create a nice change of pace for the album. She’s talented, although the hook and overall feel of the song tends to feel more pop-oriented, which is countered by quite a bit of exceptional lead guitar work.

Overall, “Sweet Fist” is a solid album. Each song flows nicely with each other. The musicianship is excellent and the vocals have a very nice, suiting tone. The acoustic tracks provide a nice balance to the normally edgier sound the band creates. But the problem is that there really are no standout tracks. You know, there’s often a track or two that’ll define an album, and test a band’s ability to challenge themselves musically. “Sweet Fist” lacks that kind of challenge. I will admit, Super 400’s cover of “I Feel The Earth Move” is both interesting, and well done. But it stays within an already well-established comfort zone. I like and appreciate what Super 400 has done, don’t get me wrong, but would love to see the band take a few more risks.

Sara Cooper – MuzikReviews.com Staff

December 19, 2009

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Tom Braxton - Endless Highway

Tom Braxton is one of the most respected artists on today’s jazz scene, and with his newest album Endless Highway, it’s not difficult to see why.

Braxton’s saxophone playing is absolutely flawless. Sax is an instrument that can sometimes get overshadowed by supporting instruments, but with Braxton the saxophone completely carries the music.

One of the highlights on the album is the track “Ventura Highway,” which features vocals by Arthur Dyer. Dyer’s voice and Braxton’s playing complement each other really well, with the result being an awesome break from the instrumental tracks on the rest of the album, without losing the overall feel of Endless Highway.

As can happen often with instrumental albums, Endless Highway hits a lull where each song sounds indistinguishable from the one preceding it. Luckily, this lull only lasts for about three songs, and Braxton steps it up in the following tracks.

Overall, the album is pretty up-tempo. However, the few songs that take it down a notch don’t feel out of place. They still showcase Braxton’s playing, and stick to the same style as their upbeat counterparts.

Really, the one downfall of Endless Highway is the fact that a few of the songs happen to fuse together. Despite this, the album is a success. The melodies are catchy and will have you moving in your seat, and Braxton’s saxophone playing will ingrain itself upon your brain. Definitely take a ride down Endless Highway—you’ll enjoy it.

Carly Doenges—MuzikReviews.com Staff

December 17, 2009

Koldasee - Journey

I feel that Christian music tends to get a bad rep. No matter the style of it, any Christian music is automatically assumed to be overly zealous religious music. As such, it is a genre many people tend to shy away from. Journey, the latest album from Christian group Koldasee Journey, is a pleasant surprise though.

There are, of course, the staple religious anthems, such as “How Great Thou Art” and “Amazing Grace,” and songs that have a blatant religious edge to them, like “Dancin’ on the Breath of God.”

Despite the religious slant of several of the tracks, much of the album tends more towards spiritual or inspirational. The songs talk about finding strength and hope when life gets difficult, which is a message that transcends religious borders.

However, if the fact that the album has any spiritual vibe to it still turns you off from checking out Journey, then ignore the lyrics and listen instead to the music itself. The vocals on the album are absolutely gorgeous, and listening to them it’s easy to tell that the singers aren’t just going through the act of singing, they are feeling every word coming out of their mouths.

Equally as beautiful are the numerous instrumental tracks. Journey is a two-disc collection, with both discs consisting of vocal and instrumental tracks. Some of the songs are on both discs, in vocal form on one and instrumental on the other. Both discs are by and large very mellow, but pleasant to listen to.

The one downside, though, is that as beautiful as the vocals and instrumentals are on their own, they don’t always work well together—the instrumentals occasionally overpower the vocals.

Overall, Journey is a decent album, even if you aren’t into Christian music. You can quickly pick out which songs are pushing a heavy religious message, so if that’s not something you’re looking for, you can easily skip over those tracks. The definite highlights of the album though, are the instrumental tracks, which range from light, haunting piano (“Endless Dream”) to a Cajun style twang (“Catch the Wind”).

Carly Doenges—MuzikReviews.com Staff

December 17, 2009

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Eban Schletter's Cosmic Christmas - Eban Schletter's Cosmic Christmas

At this time of year it is only fitting that we review some holiday albums, so I was pretty excited to land Eban Schletter’s Cosmic Christmas recently. I have never reviewed anything like this before, so I was thinking about how a holiday album should be probably be reviewed in a different manner than what I normally do. Holiday recordings are all about setting a mood and enjoying the spirit of the season right? It’s not really a time to be artistic or ground breaking. No one should be aiming for album of the year nods (at least I hope not).

In order to make sure that I listened to this album in the proper setting, I made sure to involve it in my own Christmas activities. I brought it over to my parent’s house as we put up our tree and decorated the house. I also recruited the ear of one of biggest Christmas fiends that I know, my sister. She has had the 24 hour Christmas music radio station on since Thanksgiving, which makes her either overly qualified to provide an opinion, or certifiably insane.

As one would expect from an album entitled Cosmic Christmas, there is a futuristic theme throughout it. This of course pretty much takes us into that artistic direction I was hoping to avoid. There are a lot of computerized voices and noises, use of Theremin, and futuristic interludes between tracks. Some of it works, but much of it doesn’t. The instrumental tracks are generally good, but in moderation. They would be fine occasionally on a holiday mix station, but I don’t think many people would want to listen to more than a couple in a row. I was pleased with the versions of “Christmas Time Is Here” and “It Came Upon a Midnight Clear”, the original songs and the interludes are a bit much though. Look no further then “Send Christmas Into the Universe” or the multiple “Space Baby” and “Computer” interludes.

My sister’s take, “It sounds like video game music. It would be fitting if I was celebrating Christmas on Mars, but it doesn’t fit into my traditional holiday experience.”

From a marketing standpoint, I understand Schletter’s thought process on aiming for something different when all of the other holiday albums are traditional and familiar, but it seems like he’s trying to do too much. I recommend either modernizing familiar classics or trying to create new more current sounding songs. Anything more seems likes too much at once.

Eban Schletter’s Comic Christmas is also a show being presented at the Glendale Planetarium in Glendale, CA. As a soundtrack, this music could easily be more fitting accompanied by visuals. So if you want to check out something different for Christmas this year, this might be it.

Kevin Kozel-MuzikReviews.com Staff

December 17, 2009

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Alice Cooper - Love It To Death (24 Karat Gold)

Love It To Death (1971) was the beginning of a long run of successful major label releases for Alice Cooper. This being their first major label release after Pretties For You (1969) and Easy Action (1970) got them enough attention to kick start their career.

If you have been picking up the 24-karat gold releases from Audio Fidelity this year, by now you should have a nice collection of these limited edition discs. It has been a great year for classic rock releases and the label.

Love It To Death set the precedence for what was to come and if you are fimiliar at all with the subsequent releases and this album’s songs like “Long Way To” with its driving garage drums and undying rhythm filled guitar riffs, many light bulbs should start going off. If you listen to “Black Juju” you will instantly recall “Gutter Cat vs. The Jets” on School’s Out. There is no coincidence here and Alice and his band used a similar formula for a very good reason and certainly their label was calling for another big hit like the anthem “I’m Eighteen” and they got it with the now legendary “School’s Out”. Interspersed amongst tracks like this were elements of Broadway, jazz and more. They should have ended the recording while they were ahead with “The Ballad of Dwight Fry” because “Sun Arise” was a weak and repetitive track that you are glad to see end. Other than that this was a great start for a band well on their way to superstardom.

Eventually all the cards would fall in line on a masterstroke of showmanship and horror rock on Billion Dollar Babies (which I hope to see next year in this format) but Love It To Death holds up very well today and without this there never would have been a BDB album.

Sonically it is solid and now thanks to Audio Fidelity’s attention to detail and remastering from the original source tapes, a rock classic gets the treatment it deserves. I bet the last time you heard “Ballad of Dwight Fry” sounding this good was when you first pulled off the cellophane from the original vinyl LP or someone you know owns a pristine copy of the original LP and some high-end stereo equipment with one of those turntables that cost a literal fortune. This is just as good, you can count on that.

The banned album cover with Alice sticking his finger through his fly is included here along with all the original album sleeve artwork. It is a package that would be hard for any Cooper fan to resist that is for sure!

Relive this great release and you can see in your mind’s eye a band ready to explode teetering on the cusp of greatness.

Keith “MuzikMan” Hannaleck

December 16, 2009

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Joe Walsh - The Smoker You Drink, The Player You Get (24 Karat Gold)

Now here is an album I have not heard in a long time and it happens to be one of my all time favorites. I had the vinyl version when it first came out and distinctly remember playing it several times a week. I liked Joe Walsh’s voice and guitar playing. For this listener both of those factors remain very distinctive to this day.

The Smoker You Drink, The Player You Get (24 Karat Gold) is a stellar piece of diverse rock music, originally released in 1973. I would have to say that Joe Walsh has never topped this solo work since. His place in rock history is secure with his contributions to The James Gang and The Eagles and this particular release launched a very successful solo career.

Audio Fidelity has made an excellent choice to remaster this classic slice of rock music as part of their 24 karat gold releases. Besides the rock anthem “Rocky Mountain Way” this album offers diverse jazz rock fusion inflected instrumental pieces like “Midnight Moodies”. It gives the listener the opportunity to realize the full talent range of Joe’s band at the time that consisted of Joe Vitale (vocals, drums, flute, keyboards, and synthesizer); Rocke Grace (keyboards, vocals), Kenny Passarelli (bass, vocals) and Mr. Walsh provided guitars, vocals, keyboards and synthesizers. The multifaceted talent of this band was allowed to shine through on the nine tracks on this album and now it sounds superior remastered from the original source tapes and given the Audio Fidelity treatment in the gold disc version.

Some of the tracks are atmospheric with dreamy intros like “Wolf” with its beautiful acoustic guitar chased by a piercing electric lead with Walsh providing some of the best vocal tracks of his entire career. “Meadows” which opened side two on the LP has a funny intro with Joe screaming before launching into some fine six-string work. He was one of the clown princes of rock for many years and his antics were well documented prior to him giving up the sauce. This is yet another very strong track with great instrumentation and vocals.

The entire album is unblemished and stands as nine tracks of time tested rock. Really there are no weaknesses which made it an easy choice to make into a special edition 24 karat gold release. It makes it a bit less of a task to remaster and package when all you have to do is capitalize on the strengths of a recording rather than embellish any weaknesses. The original artwork is included with a windowed cardboard sleeve as usual with a nice reproduced tri-fold CD sleeve.

I think Walsh and this album was and still is highly underrated. It is one of the best albums recorded in the 70s and needs to be recognized as such. Hopefully this new version will shed some light on Walsh and the release with new found enthusiasm and gratitude for a superb rock classic now given its just due.

Keith “MuzikMan” Hannaleck

December 13, 2009

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Sean Chambers - Ten Til Midnight

To say Sean Chamber's latest release Ten Til Midnight is a guitar heavy album is a bit of an understatement. Though certainly adept as a singer, the six-string is where Chambers truly shines, and he does so on this CD with enough intensity to give his listeners a dark suntan.

Chambers' attack on the guitar is similar to that of Stevie Ray Vaughan, Jimi Hendrix, or Luther Allison. On each solo he springs forth a seemingly inexhaustible flurry of notes capable of melting the circuit board of a guitar hero controller. Although his dexterity on the guitar is impressive, he stays grounded in the blues, never straying into shred territory. His original compositions, which dominate the disk, are in the blues rock/roadhouse vein. The album also includes three classic covers, one by Luther Allison, one by Eddie Jones, and one by boogieman Billy Gibbons.

For fans of blues guitar Ten Til Midnight is a must. Sean Chambers manages to push the guitar to its limits on this release without losing touch with the blues tradition.

Tim Madison – MuzikReviews.com Staff

December 14, 2009

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Jakob Elvstrom - SaxClub Vol.1

You would think that an Alto Saxaphonist with roughly twenty years of experience on the modern jazz scene would have pumped out a slew of records to accent such an illustrious career, but SaxClub Vol.1 is Jakob Elvstrom’s first solo record.

Written primarily by Elvstrom and produced by Morten Eriksen, the sax player proves why patience is a virtue. The album is full of vintage sounding tracks that range from a gem of a jazz cover in Shanice's major hit "I Love Your Smile" to the RnB funk of “When We are Together,” with Raz Conway contributing lead vocals.

The Danish native switches the momentum up several times throughout the record, most notably with fellow native, rapper Miss Mukupa, who duets on the expansive “Make It Flow.” “Mokeytown” is a smooth track that levels off while “Put Em Up” introduces reggae elements to the mix. Elsewhere, Elvstrom captures the quiet storm feel on “Lost and not found” and turns up the energy on the gospel tinged “Step It Up.”

SaxClub Vol.1 is a seriously smooth album with a few choice cuts like “Late Night Slammin'” that really touch upon Elvstrom’s ablility to spin funky jazz tunes which really make his saxaphone playing shine. The record includes a radio edit of “Make It Flow” if that is any indication of how serious the artist is in expanding his reach across traditional genres and musical boundaries.

Rukshan Thenuwara – MuzikReviews.com Staff

December 12, 2009

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Michaela Rae - Blues With A Backbone

You won't believe Michaela Rae's first CD, Blues With a Backbone, when you hear it. Rae is fourteen years old, but plays guitar like any legend you can name. She's been playing basically her entire life, and Blues is full of one super charged song after another, none of which sound like something that came from someone under the age of thirty.

There aren't that many famous female guitar players out there who do more than strum a few chords, and there aren't that many kids out there who know how to do that much. But Rae is full of skill that's so beyond her level it's almost ridiculous. She plays with an ease you can sense just from hearing the CD. She must be a powerhouse when she plays live.

Rae is working on new material for a new CD due out in 2010. She lists influences that most kids her age haven't even heard of, from B.B. King to Stevie Ray Vaughn, and covers their songs on Blues. She rips through Buddy Guy’s “Mary Had A Little Lamb” and Stevie Ray Vaughn’s “The Phonebook Song”.

Obviously, Rae can play the guitar, and she proves it ten-fold on Blues. She’s not the greatest singer, and the few songs that do have lyrics (“Trust In You”, among them, with simple words about loving someone) aren’t as good as the ones that don’t. Rae should stick to playing guitar, I guess until she’s done with puberty or hires a vocal coach.

Growing up around the blues obviously paid off – this kid may not be living the blues, but she sure plays the hell out of them.

Abbey K. Davis – MuzikReviews.com Contributor

December 8, 2009

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Keith Hartman - Whatever Happens Happened

The moment the mellotron-tinged strings seep in on "It Feels Right," it's clear that pure-voiced San Diego singer/songwriter Keith Hartman is bringing a subtle, experimental edge to the modern acoustic alterna-rock of his debut album, Whatever Happens Happened. Filled with whispery synth touches and other dreamy melancholy, Hartman sets his folk-tinged apart from the usual barebones approach employed in the genre, opting instead for a plush sound that lends Happened a unique weight.

The approach hints at something greater than the sum of its parts: though on its face the album is a simple collection of sweet, well-written love songs, Hartman regularly shows signs of thematic greatness, not unlike Radiohead's early potential on their debut Pablo Honey.

Despite his capacity for smartly-crafted pop songs, Hartman's true strength lies in the non-accessible elements that fly low beneath the soaring melodies. The raw fiddle of "Evelyn" is a perfect foil for the marching piano that sneaks in at left, moving the track into a bluegrass gait typical of Nickel Creek's rural easiness. Elsewhere, songs such as "Minnows" and "Nothing Stays New" turn the spotlight on Hartman's unusually clean voice, which proves to be a suitable foil for his soft, art-rock sound. Indeed, pieces like "Hover" prove Hartman to be a kind of light, one-man version of the Silversun Pickups, replacing the latter group's screaming guitars with crying harmonicas and airy fuzz.

The unguarded pieces - such as naked narrative "Election Day" - seem to settle the issue: Hartman is an artist on the verge of establishing a profound voice, and Whatever Happens Happened is his arduous first step. As "Election Day" slowly rolls up and down like an uneasy ocean, complete with its sing-along chorus and ghostly, cinematic choirs, listeners will realize the limitless, maneuverable space that Hartman's music establishes for itself. Filmic, astute, and artful, Hartman's debut is a promising one, and an album that begs its maker to follow its competence and fully explore the boundaries of his own polished talent.

Kevin Liedel-MuzikReviews.com Contributor

December 11, 2009

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Thelonious Dub - Thelonious Dub

Thelonious Dub is a project created by musician Joe Bartone in August of 2007. Bartone specializes in guitar, but also plays sitar, melodica and keyboards on the album. On this self-titled release, he is joined by several skilled musicians for T-Dub’s take on songs by Thelonious Monk, Miles Davis, Charles Mingus, and more, done in a Modern Jazz/Reggae Dub style. The result is a trippy, distorted, and groovy sound reminiscent of artists like John Scofield and Thievery Corporation.

I must confess, I am not a jazz aficionado by any means. I own my fair share of some of the legends, consisting primarily of the musicians that wrote most the songs on this album though. I mostly enjoy jazz live, having a couple of drinks, and taking in the talent and creativity that comes from seeing such acts first hand. I can certainly see this album benefitting from such an experience. The idea is here and there is plenty of talent for it to work, but I feel it comes off a bit flat at times.

Personally I’m a rhythm guy, and I was feeling this album when it opens with “Straight No Chaser”, but it lost me somewhere along the way. I prefer the later tracks on the album, from “Caravan” on. Maybe it’d be better on shuffle more, I don’t know. One of my favorites on the album is the one original song, “Nanotite”, which makes me more optimistic about future releases from T-Dub (which you can hear more about below, see how nicely that works).

Thelonious Dub is currently working on their follow up album, which will consist entirely of original compositions with more of a New Orleans vibe mixed in with the dub and jazz theme of this release. The band is now more of true quartet and plays every Wednesday in Hollywood at the Blue Palms Brew House (along with other performances in the area from time to time). I would recommend checking them out live some time to get a better sense of the original material they are putting together as well as get a better appreciation of their self-titled debut.

Kevin Kozel-MuzikReviews.com Staff

December 10, 2009

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22nd Century - The Twenty Second Century

Canadian power-rock trio 22^nd Century is fronted by Tim Plommer (guitarist/vocalist) with Duane Chaos (bass /vocals) and Glen Gauphaum (drums) to round out the lineup and make up one complete juggernaut firing off on all cylinders.

There has always been something appealing about a good power trio. For some reason it has that X Factor that makes it unique unto itself unlike any other rock band configuration. Perhaps it’s the simplistic approach that suits it so well, you can hear uncluttered music, the bass, guitar and drums are heard loud and clear and the lead vocals are not drowned out by too many instruments or the need for over production and editing. All of those factors are there for a power trio but being able to deliver is another matter.

On The Twenty Second Century this band embodies the typically successful power trio with six punk-pop flavored tracks. The driving force of their music gets behind the tough as nails vocals of Tim Plommer and the finished product is a high energy fun CD to listen to and it never gets old because it sounds fresh, loud, and you can actually understand all the lyrics, which is revelation these days.

The lead off track “509” is perfect example of a formula that works. The vocals keep up with the fast paced rhythm section work and the phat power chords push the lyrics out to the front of the track. It all has an appealing underbelly of pop the glistens below however the rough edged punk wins out so the boys can walk away from this holding their heads high knowing they just knocked your rock lovin’ socks off.”Nightmare On 6th Avenue” shows how they can be really heavy with power as it grinds along setting you up for the curtain closer.

The closer “Sawgrass Hill” is another killer track that features all the strengths of the band. I love the line “Lost in Sawgrass Hill, with my girl and my dog and moonshine”, they make it sound like it was a good thing to get lost! That is what good kick in the arse rock ‘n’ roll is all about folks and 22^nd Century nails it on this CD.

Keith “MuzikMan” Hannaleck

December 10, 2009

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Mostly Autumn - Pass The Clock-1998-2008 Remastered (3 CD Set)

Mostly Autumn has been one of the most productive progressive rock bands over the last ten years. They also quickly became one of the best even though flying slightly under the radar initially did not position them ideally or fairly. Most deservingly that changed and now its over ten years later and we have Pass The Clock-1998-2008, a collection of 35 remastered tracks spanning that timeframe.

Bryan Josh (lead and backing vocals, lead guitar, rhythm guitar, acoustic guitar, 12 string guitar, keyboards, piano), Heather Findlay (lead and backing vocals, acoustic guitar, 12 string guitar, piano, recorders, percussion), Iain Jennings (keyboards, piano), Anne-Marie Helder (flutes, keyboards, piano, acoustic guitars, backing vocals),

Liam Davison (rhythm guitar, acoustic guitar, 12 string guitar, slide guitars, backing vocals), Andy Smith (bass guitars), Gavin Griffiths (drums) and Olivia Sparnenn (backing vocals, percussion) make up the current Mostly Autumn lineup.

Mostly Autumn’s sound is very atmospheric with a combination of keyboards, guitars, bass, various forms of percussion, flutes and dreamy vocals provided by Heather Findlay and David Gilmour like vocalizations from Bryan Josh. Their overall sound has always reminded me of Pink Floyd, but much of what they do is very original and memorable. I discovered this band early in their career around 2000 or thereabouts and immediately was captivated with what they had to offer. Since then I have reviewed a lot of their work including lavishly presented DVD sets and high end CDs for optimal sound. You can always count on a great quality presentation from this band.

Pass The Clock-1998-2008 seems like it could be overkill with 3 CDs and 35 tracks, however that should be the least of your worries. If you are a solid band like Mostly Autumn it’s not hard to come up with viable tracks over a ten year period, the difficulty lies in choosing which tracks to include in such a comprehensive set. It seemed like an insurmountable task for the band to choose the tracks, but it did come together and the final piece was remastering everything. The final results are jaw dropping sounds that even the most astute prog-rock enthusiast would find difficulty in criticizing. The packing is top notch featuring a high quality cardboard three piece gatefold CD holder with liner notes and the necessary thanks to all the important supporters of the band.

I suppose packaging is the least important in most cases, however when you are talking about progressive rock listeners it happens to go hand in hand with the music. Mostly Autumn has never been a band to feature futuristic or spacey designs on their album covers like Yes or Uriah Heep for instance, they are lower key and their artwork reflects a more subtle message while fitting the band’s approach and name.

This is an outstanding collection of tracks, not one dinger in the lot folks and a quintessential snapshot of one of the most excellent perhaps underrated prog-rock bands in the world.

Fans should know as well that two volumes of Live 2009 are now available from the band.

Keith “MuzikMan” Hannaleck

December 8, 2009

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Rush - Working Men

I love Rush. I really do. They're the only band of their distinct brand of progressive rock. Unique in their own right, it would seem, up until now, that any release by Rush would at least hold some merit. But upon listening to Working Men, the new live release from the trio, I'm not so sure.

Musically speaking, every recording featured on Working Men is absolutely on point. From the excellent opening with “Limelight” to the incredible closing “YYZ”, not a lot can be said other than Rush know exactly what they're doing. Geddy Lee never falters in any respect, Neil Peart continues to prove exactly why he is one of the most revered drummers on the planet, and Alex Lifeson's work still gives me a reason to believe that he is one of the most underrated guitarists today. It would seem that they actually improve as they age, a characteristic only few bands can really claim.

My biggest criticism of this album is that it seems nearly pointless as a release. Who ever heard of a “Live Greatest Hits” anyway? This album compiles material from three different tours, but only the already most known songs. You know, “Limelight”, “Tom Sawyer”, “Working Man”... all those. Now, I could understand it if these tours yielded no official releases. But the material used was from the albums mind you, Snakes & Arrows Live, R30: 30th Anniversary World Tour, and Rush in Rio. Current Rush fans will probably already have these, rendering Working Man nearly useless in terms of releases.

It would seem that in an attempt to make this album more appealing to the, say, die-hard fans, previously unreleased tracks would seem more of an incentive to purchase the album. Previously released track, I should say, as this album only features one: “One Little Victory” from the R30 Tour. Admittedly, the recording quality is actually considerably better than that of even the studio version, despite the audience noise. But it's up to the individual, really, if buying a live greatest hits album, for a band that already has eight previous compilations, is worth it for one song, especially when a studio remix is available on Retrospective 3.

Overall, it's not a bad collection. It just seems that, after their previous releases, this seems incredibly redundant, much in the way Nirvana's Best of the Box was redundant. If it seems like déjà vu, it's because you probably have heard it before. I can only imagine two main groups this would appeal to. The first would be the more obvious: the die-hards. The second, being casual listeners, who wouldn't mind hearing at least the hits, live. That's really the extent of it. Musically it's great, but, in the end, it's simply overkill.

Sara Cooper – MuzikReviews.com Staff

December 9, 2009

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Nosound - A Sense of Loss

Nosound’s album A Sense of Loss is interesting to say the least. This band’s name, Nosound, is more appropriate than the LP title with its serene melodies and gentle vocal harmonies that has the potential to unconsciously blend into your daily routine. Consequently, A Sense of Loss”would make for good background music. After the first few tracks A Sense of Loss catch’s you in its angelic undertow of ambient melodies begging you to surrender to its sea of enchanting drones.

However, this initial instinct would be dangerous. After all, one needs to remember that if you submit in an undertow the only result is to drown, and although that initial feeling of relief brought on by acquiescence to the incessant waves feels right, it will result in a tragic end. Or, in other words, the initial response to embrace this album will leave you unsatisfied.

Even though it is typical of the genre, the length of each song ultimately is one of the problems of the album. The shortest track clocks in just shy of six minutes. Therefore, if brevity is the soul of wit, this band has none. Also, what little lyrical content exists behind the repetitive musical progressions is forgetful, rendering a loss of clarity and lack of cohesiveness to the songs. This formula of small lyrics and big sound is a popular one on the jam band circuit and I suspect these guys wouldn’t have any problems performing live and being accepted by the audience at one of the many music festivals that prominently display this type of music. Unfortunately, this quality doesn’t translate as well on a studio album.

By albums end the realization that each song, with their repetitive, monotonous nature, though soft and beautiful, sounds similar to the last and becomes too stark a reality to ignore. By the time you get to “Winter Will Come,” the albums 15 minute closer, it feels like you are running a musical marathon in that it has become a conscious effort to finish listening to the album in its entirety.

Collin Minnis-MuzikReviews.com Contributor

December 8, 2009

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The Arkitecht - Hyperstructure

The Arkitecht is an interesting take on metal music. A “one man band” type project, put together by Genaro Ochoa, it was created to prove that musicians do not have to be dependent upon other musicians, to create the typical “band” sound and feel. A difficult undertaking in itself, The Arkitecht has released one album to date, Hyperstructure. With this release, does he achieve the desired effect? In a word-absolutely.

The term “one man band” used in this context is misleading, however. It would be difficult for one person to take all the responsibilities of creating an album, and even then, you wouldn't be able to guarantee its quality. In Hyperstructure, Ochoa did, in fact, write and produce all songs on the albums, as well as play rhythm guitars, keyboards, some guitar solos, bass, and do the drum programming. He was also in charge of art direction for the album, which I might add is some of the most abstract, fascinating album art I’ve ever seen. But, understandably, even one with the best ideas may not have the technical ability to make those ideas happen. So, in this case, Ochoa has employed the talents of a few other musicians, one for lead guitar and two for sharing vocal duties, with excellent results.

Hyperstructure starts off with “Blackout.” A quiet opening but intense opening, leads into some very nice acoustic guitar work. And then the vocals come in: clean and low, with a distinct, beautiful tone, that adapt with a more harsh sound very effectively in heavier sections. The piano adds a perfect facet to this track, creating a unique beauty.

“Through The Broken Glass” takes a much different turn in regards to style. It adds a new, slightly bizarre mystique to The Arkitecht’s array of sounds. It begins very dark in nature, with lots of effects on the considerably lighter styled vocals, which in this case are completely suitable. It suddenly morphs into a heavy chant of sorts, ending with an excellent wah guitar solo, very chilling vocals, and a seamless lead into the next track, the unmistakably progressive “Elation.”

The album explores many different styles and influences throughout. Anyone familiar with the popular metal acts of today will notice distinct similarities to Swedish metal band Opeth, and appropriately is named for The Arkitecht’s biggest metal influence. Between the intricate acoustic intros and abrupt heavy transitions of “Blackout” and the similarly styled title track, it’s a wonder that Opeth had no involvement in this. Even the growling vocals of “Hyperstructure” would give Mikael Åkerfeldt a run for his money. The other vocalist, however, takes on a much different tone, one comparable to Megadeth’s Dave Mustaine in terms of enunciation, only with more focus on technical proficiency.

The final track, “Face Thief”, is indeed a monster of a track. A thirty-two minute song, now the longest one in my collection by a good ten minutes, it is a perfect depiction of epic music. It’s very orchestral in nature, taking the form of something like a film score. This is appropriate given the fact that it is, in part, based on a script. It is equal parts metal and classically styled, following a plot based around Lazarus, a serial killer, also known as the “Face Thief”, and the narrator’s regret and the burden he takes on for teaching his skills to Lazarus that are now used for dark purposes. It’s literally a mind-blowing track, bringing together everything the listener has heard, and considerably more: from an unusual electronic influence, to chilling choirs. Understandably, however, the listener may find themselves overwhelmed by the length, and it could have been better suited as a standalone concept album.

This was, without a doubt, an incredible album. There is so much to say about it that cannot be said in a simple review. It brings together heavy metal and progressive sensibilities, blended so perfectly into something unique, and completely outstanding. Progressive music, of all types, takes some getting used to for some, however. The constant changes in tempo and time may overwhelm a casual listener, and I will admit that even some transitions, mostly in “Face Thief” may strike the listener to be off or even awkward. But this is a simply minor detail. I cannot express how incredible this is: from the musicianship, to the mixing, to the expression of so many different creative characteristics. It’s a huge undertaking, but The Arkitecht has done it. Hyperstructure is a masterpiece.

Sara Cooper – MuzikReviews.com Staff

Decmeber 8, 2009

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Mr. B and Bob Seeley - Back to Back

Boogie-woogie piano acolytes Mr. B (aka Mark Lincoln Braun) and Bob Seeley have each dedicated their careers to keeping the genre alive. Their joint release, Back to Back, features each in a solo piano setting, working through a list of stride piano classics.

The album takes a unique, if somewhat clinical approach: the two artists work their way through a treasure trove of boogie-woogie classics penned by the likes of: W.C. Handy, Jelly Roll Morton, Duke Ellington, and others; but each song is played twice, once by Mr. B and once by Bob Seeley, unaccompanied on piano. The result is an album that showcases the difference in approach between the two artists; Mr. B, the younger of the two, often takes a subtler more nuanced approach, while the octogenarian Bob Seeley stays grounded in the boogie-woogie rhythm.

For those who aren't willing to take the time and listen, this album may seem repetitive; but for enthusiasts of the boogie-woogie genre, or for serious piano students, Back to Back will be a welcome contribution.

Tim Madison– MuzikReviews.com Staff

November 13^th, 2009

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I Love Rich - Season of the Rich

When listening to Season of the Rich, the latest release from Chicago rockers I Love Rich, one thing about the band is obvious: I Love Rich loves Kiss. A lot. In fact I would guess they started as a tribute band and evolved gradually into an original outfit, possibly without noticing. They sound a lot like Kiss.

This style of rock is about celebrating the old “sex, drugs, and rock n’ roll,” having fun and playing loud. It’s about raw instinct and unapologetic brashness, and not thinking too much. Maybe the only fair way to judge this album is to listen on the same mental level, just using instinct and not over-thinking, going with whatever comes to mind first. Ok, here goes, my first instinct: get back in the garage guys, please. Wow, that does feel good. Maybe they’re on to something after all.

Having fun and keeping things simple is a great approach to rock and roll but “Season of the Rich” just isn’t that good. Frontman, lyricist, and apparently beloved dude Rich, sings with all the energy and expression of a good rock and roll singer, but he’s always out of tune. The guitar riffs (the meat of any good Kiss – style rock song) are pretty lame, and in the case of “I’ll Be Around,” plain annoying. The unabashed lyrics are good for shock value but Kiss’s innuendos were much funnier.

I admit this style isn’t really my cup of tea so I may not be the best judge. And even I still see some redeeming qualities in these five songs. The guitar solos are decent, there are some funny lyrics, and I bet the live show is fun. Also, you’ve got to hand it to I Love Rich for playing exactly what they want for over a decade. And for some people, nostalgia for Kiss and 1970’s hard rock might be enough to make Season of the Rich enjoyable.

I do recommend checking out the band’s website. Rich may not be a great singer but he’s a good writer and his sense of humor is much better without music.

Nathaniel Rolnick – MuzikReviews.com Staff

December 7, 2009

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Jackie Ryan - Doozy

As with many words in the English language Doozy has a dual meaning. In the case of the new Jackie Ryan release with the same name it is without a doubt a positive connotation.

The one factor that I found amazing about this two disc set is that it was all recorded in just two days during three recording sessions at Tony Bennett’s studio! That is a phenomenal pace in any day and age. What is probably most important is that even though it seems like it was a “rush job” it does not sound that way. The final results are incredibly good in both production and by and large presentation.

Jackie has some of the best in the business with her on Doozy including Cyrus Chestnut (piano), Eric Alexander (sax), Romero Lubambo (guitar), Jeremy Pelt (trumpet/flugelhorn), Ray Drummond (bass), Carl Allen (drums), Derzon Douglas (bass) and Neal Smith (drums). Those not familiar with Jackie’s work may look at this as a relatively unknown singer using bigger names in the business to push her own interest out front. This is not the case at all. Jackie has a solid reputation in the recording industry with two other highly acclaimed releases to her credit. You And The Night And The Music (with Red Holloway) and Passion Flower received considerable acclaim and from what I heard on Doozy those kind of accolades will continue.

I appreciated the way Jackie uses a diverse approach with a generous assortment of 20 tracks on this set. The first disc offers up some standards of contemporary jazz with a mixture of originals covering the span of the jazz idiom. Disc two has more of a Latin Jazz focus making sure the listener understands just how talented and versatile this songbird is.

The packaging is impressive as well. The CDs are housed in 3 part gatefold cardboard sleeve with a fold out back to back disc tray, which is handy and compact. There are some great color photos on the inside cover including the disc tray. Also provided is a nice booklet that slides into the middle sleeve. It is not a common occurrence to mention the details of packaging but in this case it was necessary and very deserving.

The main point here is that the singer is quality just like the packaging of the product. I was not familiar with Jackie Ryan until now and thanks to Doozy I will not forget her name and there will be an immediate acknowledgment with the top female jazz vocalists in the genre.

Keith “MuzikMan” Hannaleck

December 5, December 3, 2009

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Katie Locke & Bullet Proof Tiger - Katie Locke & Bullet Proof Tiger

Plain and simple, Katie Locke & Bullet Proof Tiger’s self-titled EP is wonderful.

The music falls into that genre of jazzy tinged pop that you hear from artists like Dido, Feist, and Norah Jones. However, Bullet Proof Tiger stands apart from those, thanks largely to vocalist Katie Locke.

With Dido, Feist, and Norah Jones, you have artists who are certainly talented and possess excellent voices. In common with the three though is the fact that their voices all have a certain softness to them. Not Locke.

Locke has a very strong, full voice that makes the listener sit up and take notice. Her voice has a power to it, and an awesome range, that can’t be ignored. Locke isn’t an artist you can have on as background music—her voice demands that you actively listen to her.

Despite the strength of her vocals, Locke doesn’t overshadow her bandmates. Particular attention has to be paid to the background vocals of Lucas Madrazo. The smooth quietness of Madrazo’s voice complements Locke’s perfectly, especially on the ballad “Watch and Wait.”

The vocals on the record are stellar, but would be significantly lacking without the instrumentals. Rather than simply being accompaniment or background to Locke’s vocals, the instrumentals set the stage for Locke to vocalize. There is a definite feel of the vocals being built around the music, instead of the music being built around the lyrics. The result is a beautifully achieved cohesion between the two parts.

Really, the only downside to Katie Locke & Bullet Proof Tiger is how short it is. At only 5 tracks, the listener is left wanting more, particularly because the final track is a slow ballad that shows off a gentleness in Locke’s voice that isn’t present for the rest of the album.

Overall, Katie Locke & Bullet Proof Tiger is a great record. It is one that you won’t be able to help putting on repeat and, each time listening, a different aspect of the tracks will stand out.

Carly Doenges—MuzikReviews.com Staff

December 6, 2009

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Random Ninjas - Whatcha-Wanna-Gotta-Getcha!

Donning ninja masks and stealth appropriate monikers gives Random Ninjas an interesting edge in self definition as a new band from Los Angeles. With a debut EP drawing from various sounds such as the beat of taiko drums juxtaposing western drums and influences from both heavy metal and jazz, the band introduces an energtic set of songs that traverses different genres with symphonic ease.

A true example, “Tomorrow” with its hard rock riffs that interject lead singer Soozana’s contemplative lyrics which she sings with dedication and a wonderful frailty. Elsewhere, “Yellow No. 5” begins like a 70’s pop song with funky guitar strings that transitions into a full blown rock song and then back to a solid groove like its expected.

Singer Soozana is a jewel in Random Ninjas crown, being able to convey both fragile beauty and punk rock angst with aggressive growls. Her fellow ninjas use their intstrumental expertise to surround her formidable range with a rapid intensity which should make for some explosive live performances. “Break Away” serves as a powerful piece with tons of raging guitar riffs and death metal drumming that surround Soozana’s powerful vocalizations, even during a rather difficult key change near the end of the song.

Whatcha-Wanna-Gotta-Getcha! at times sounds like a basement recording by a group of passionate musicians. While “Virus” sounds like a Cranberries cast off and “Madness” is a little too repetitive for a mainstream crossover, the majority of the record is a good indication of things to come. With their musical diversity, Random Ninjas should be an interesting band to watch out for in the future.

Rukshan Thenuwara – MuzikReviews.com Staff

December 6, 2009

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The Starting Line - Somebody's Gonna Miss Us

The summer of 2008 saw the final tour (for now) of pop-punk band The Starting Line. This tour provided the content for the band’s recently released CD/DVD combo Somebody’s Gonna Miss Us.

The CD part of Somebody’s Gonna Miss Us is a live recording of The Starting Line’s final performance in their hometown of Philadelphia. The DVD contains a video of the performance, as well as a documentary following the band as they head into their last tour and talk about what has brought them to that point.

Out of the two parts to Somebody’s Gonna Miss Us, the DVD far outshines the CD. Lead singer Kenny Vasoli generally has a pretty good voice, but on this album it’s just not there. He frequently sounds as though he is shouting or talk-singing, more than doing any real vocal work. Even when his singing does come out, it sounds flat in comparison to the band’s studio recordings.

The rest of the band manages to hold strong in the wake of Vasoli’s disappointing vocals. There are a couple of times where they sound as though they’re overplaying their instruments, but this is forgivable as it adds a different dimension to the music, and likely is a reflection of the band knowing it was one of their last shows and wanting to put everything they had into it.

When contrasted with the audio recording, it’s fairly obvious that the video recording of the show underwent quite a bit of editing-where Vasoli’s vocals fall flat or too talky on the CD, they’re strong and smooth on the video. While the sound quality of the performance on DVD is better than on the CD, there’s not much to brag about with the video of the show.

The footage is clear and well shot, but the overall performance is fairly lackluster. The video is nothing spectacular, but it’s not terrible either. It’s an enjoyable viewing experience, and certainly a good addition to the album (particularly given the disappointing CD), but that’s really all it is—just good.

The real highlight of Somebody’s Gonna Miss Us is the documentary included on the DVD. The members of the band talk openly about heading into their final tour, the unfortunate circumstances with their label that led to their end, and the various stages of the band’s career.

No matter what the subject, the band is very genuine in their responses, and their expressions say more than their actual words could. In regards to life post-The Starting Line, the fear and uncertainty of what’s to come can be seen blatantly in their faces, as is the frustration and disappointment when talking about the issues they had with their label(s).

Taken altogether, Somebody’s Gonna Miss Us is a decent farewell, but it’s definitely better to listen to the live songs on the DVD and more or less just forget about the CD.

Carly Doenges—MuzikReviews.com Staff

December 6, 2009

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Poncho Sanchez - Psychedelic Blues

Poncho Sanchez is back with a great collection of material written by jazz greats Herbie Hancock, Freddie Hubbard, John Coltrane and Horace Silver, as well as a couple of original compositions from within the band, all performed in the venerated traditional Afro-Cuban jazz style. The new release, Psychedelic Blues, is titled for a track composed by Sonny Henry who wrote Santana’s hit “Evil Ways” (also recorded by Willie Bobo). On recent albums (he has over 26 in addition to his recordings with Cal Tjader) Sanchez has shown a penchant for Stax R&B and Motown sounds, but on Psychedelic Blues he is back in his Be-Bop and Swing tinged Latin Jazz groove. Most of the musicians are long-time band members supplemented by guitarist, Andrew Synowiec (five Grammy nominations) and “Special Guest,” Arturo Sandaval, Dizzy Gillespie protégé and trumpet soloist on “Crisis,” the Freddie Hubbard tune.

The track list was conscientiously chosen to represent important elements and people in Sanchez’s life and life’s work. The Herbie Hancock hit “Cantaloupe Island” leads off and seems to be an obvious reference to another Hancock composition, “Watermelon Man,” which appeared on Sanchez’s Grammy Winning 1999 CD, Latin Soul. The second track was written by recently deceased trumpeter Freddie Hubbard who played as special guest on Cambrios, 1990. Track four is a tribute to one of Sanchez’s idols, Afro-Cuban jazz percussionist Willie Bobo. “Silver’s Serenade” was written by Horace Silver, a composer favored by Sanchez over the years. “Grand Central” represents the influence of John Coltrane in Sanchez’s musical palette. “Slowly But Surely” was written by influential jazz pianist and composer, John Hicks (recently deceased). And, the final cut, “Con Sabor Latino,” is by Rene Touzet, Cuban bandleader (also recently deceased) and the source of many of Sanchez’s childhood musical memories. “Con Sabor Latino” was the theme song of the only Latin disc jockey in Southern California at the time, Chico Sesma.

The whole album percolates, but highlights include: Sandoval’s trumpet solo on “Crisis”; Francisco Torres’ trombone work on “Canteloupe Island,” “Psychedelic Blues,” “Silver’s Serenade” and “Delifonse”; Synowiec’s guitar solos on “Canteloupe Island,” “Psychedelic Blues” and “Willie Bobo Medley.” Sanchez is rock steady as usual and contributes soulful vocals on “Willie Bobo Medley” and “Con Sabor Latino.” Also, regular band member, Ron Blake, not to be outdone by guest soloist, Sandoval, contributes a beautiful solo on “Slowly But Surely.” The horn arrangements by band members, mainly Francisco Torres but also David Torres and Ron Blake, are crisp and tight with rapid fire unison runs splitting into harmonious conclusions (“Delifonse”).

After so many years in the business and so much success, Poncho Sanchez does not succumb to the temptation to simply roll out just another session. The selections are well thought out and heartfelt. The regular band is impeccable and the guest performers are carefully selected. Psychedelic Blues stands as an excellent piece of work on its own merits.

Mike Reynolds-MuzikReviews.com Staff

December 5, 2009

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Ruder Than You - Creation Sounds

Ruder Than You is the unsung epitome of modern ska. Although the most popular subgenre of third wave ska is ska-punk, Ruder Than You has avoided this kind of exclusivity. Obviously taking some influence from punk, they also have derived their sound from the more traditional dancehall, rocksteady, and even hip hop, funk, and jazz, although they are most known for their unique cover of Black Sabbath’s “Paranoid.” And with Creation Sounds, their most recent, admittedly off the radar, release, all these elements are as prevalent as ever.

Creation Sounds begins with the instrumental “pRaise HaVoC.” I found this to be an interesting placement for an instrumental track, as they normally come later in an album. It’s actually a clever move, considering instrumentals placed later are more likely to be overlooked, or even passed off as filler. Which is often a ridiculous thought in itself, as it is in this case, because “pRaise HaVoC” is an excellent track, showing off each instrumentalist’s capabilities in a fine way. Characterized by its wah bass guitar, scratch effects, and varying styles of electric guitar, it manages to bring together the funk, punk, and hip hop influences in an appropriate intro song.

“Baby Tonight” takes a much more third wave typical approach, but with much more focus on brass. With its quick verses, and considerably catchier chorus and choppy style of vocals, it’s reminiscent of the now defunct Mephiskapheles. From there, it leads into the title track, which gives the listener a large dose of the band’s jazz influence, with the heavy brass presence. That is, until the electric guitar takes over with an excellent rock influenced solo. It’s actually quite interesting how the band manages to mix so many styles not only from song-to-song, but within each one. It takes talent.

“Brand New Day” also features a sound reminiscent of Mephiskapheles, with its heavier sound, starting out much like a metal song, constantly transitioning in and out of this style, even with a small touch of hip hop towards the middle. There are also other familiar sounds within this album, however. Much of this album is comparable to the very influential 2-Tone era band, The Specials, especially the upbeat, but still very relaxed, melody of “Give the People What They Need.” Even the effect-laden “The Witch” is reminiscent of The Specials’ hit, “Ghost Town”, although with less mystique.

Easily the main flaw with Creation Sounds is its short length. Sure, it’s not as good as Horny For Ska, often considered the band’s best release to date, but it’s an outstanding cut of pure ska that mixes both modern and early ska characteristics. With eight tracks, adding up to literally less than a half hour, however, it leaves any ska fanatic wanting more. It features great musicianship, as well as some excellent hooks. The mixes are also commendable, as ska remains to be one of the more difficult genres to mix. In that respect, I would only criticize some of the instances of the backing vocals, where they weren’t blended as well as they could have been. Naturally, this isn’t a “something for everyone” release, as ska tends to be a hit or miss style in itself. But any current fan of Ruder Than You, or at the very least the genre, is sure to appreciate this.

Sara Cooper – MuzikReviews.com Staff

December 4, 2009

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Eldorado - Golden

You likely have not heard of Eldorado, but if you like to rock, you need to check them out.

Hailing from Madrid, Eldorado formed at the beginning of 2007 and released their first album En Busca de Eldorado to strong reviews in May of 2008. The group consists of Jesus Trujillo on vocals, Nano Paramio on guitar, Cesar Sanchez on bass, and Javi Planelles on drums.

Their latest release, Golden, is produced by Richard Chychi, as was their first. Chychi has produced other such rock acts as Aerosmith, Mick Jagger, Rush, and Def Leppard. Clearly his resume speaks for itself, and it appears that Eldorado is growing under his tutelage.

This go round it seems Eldorado has recognized that there is a void in hard rock, and that they can take advantage of it. Their first release was primarily recorded in Spanish, so they decided to release Golden in English, and a Spanish version, entitled Dorado. These songs would rock in Pig Latin, but if it gets more people to check them out, seems like a great idea to me.

Eldorado rocks in a 70’s/80’s way. Most of the comparisons are to bands like Deep Purple, Whitesnake, and the more current Wolfmother. Personally, I think of Buckcherry as well, especially because Trujillo’s vocals remind me of Josh Todd at times. Instrumentally, it’s what you expect based on these comparisons and production; plenty of grand guitar solos and heavy head banging rhythms. Of course you get your “monster ballad” here and there and some more mellow rockers just to mix things up, but Golden rocks from the press of play starting with “The House of the 7 Smokestacks”. I prefer, “The Rocket Song” and “I Don’t Need No Doctor” for straight up rockin’ fun though.

What keeps this from being a five star review? Not too much. Lyrically it’s not amazing, but I wonder if some of it might suffer in translation. Also, some of the lyrics come off as a bit too serious, an unfair stigma associated with this style unfortunately. The ballads and slower jams aren’t amazing and I think could be better, but when you want to rock the way you did in the 70s and 80s, you can’t go wrong with Eldorado. You can’t ask for much more when it comes to that.

Kevin Kozel-MuzikReviews.com Staff

December 3, 2009

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KR Morales - Simple Man

In this, our ADD era, when our collective attention span has killed the album and declared the single king, KR Morales’ Simple Man will be right at home in your iPod’s “Shuffle Songs” or “Dance Party” playlist. Just don’t expect to remember what you hear. Morales, with his honeyed voice and extensive production team, is swimming in some pretty congested waters, and Simple Man is no indication that he’ll be dining with the big fish any time soon.

Truth be told, the songs off Simple Man fit in with much of top 40 radio’s output quite nicely, full of the ingredients that American audiences have come to expect (for better or worse) from their pop music: flashy production, singable hooks and suggestive lyrical content—tried and true. Undeniably, moments of this record are infectious and unavoidably catchy, but Morales doesn’t distinguish himself in any way over 11 tracks. In fact, on the disc’s highlights, he’s sharing the bill. On album opener “Ballin’ Outta Control,” 100 Dollaz brings a swagger that makes up for Morales’ missing ingredient: any semblance of character. And label mate Mandy Barry’s contributions on “If Ya Feelin’ Me” and “Come Get It” at least provide some variety to a record that otherwise quickly proves altogether boring.

In the end, this music is always about entertainment. Of course high-end production values and guest contributors can help, but the best or most successful pop acts provide characters because characters are entertaining. And that’s why we listen to this music: because we want to be entertained, even if it’s only for a few minutes. Hopefully Morales has time to try again.

Stephen B. Griggs – MuzikReviews.com Contributor

December 3, 2009

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Rod Stewart - Never A Dull Moment-24 Karat Gold

I always loved the early Rod Stewart and when he was with The Faces. The music was gritty to suit his voice and it was all so pure. After Stewart reached mega superstardom things changed and mainly his sound ultimately paid the price. He left his roots behind and started pumping out disco flavored hits. Oh well so it goes, he is not the only artist that has cashed in on a popular sound.

Thankfully we still have great albums like Never A Dull Moment to remind us of Stewart’s early years and the true greatness he commanded from his voice and band.

This is a 24 karat gold disc but with some variations this time around. This limited numbered edition is an HDCD with a hand folded replica of the original album cover and sleeve inserted into a slim line case. I have never seen a CD released like this from Audio Fidelity. The price is a little higher than usual because of the expensive reproduction of the album cover insert and the time intensive labor involved with packaging but trust me it is absolutely worth every penny.

Ronny Wood (guitar), Kenny Jones (drums) and Ian McLagan (organ) were nothing short of masterful on this session. I simply cannot see where Stewart was any better at anytime during his career and I believe it was all downhill from here when looking at it from a purely musical perspective (not stylistically). The blues-folk-rock melting pot created on these nine tracks was sheer perfection, what more can be said except that this 24 karat gold version sounds wonderful and it throws in some extra incentives to pick up a copy.

If you aren’t tapping your toes and bobbing your head to “You Wear It Well” which is essentially a reprisal of the huge hit “Maggie May” and “Twistin’ the Night Away” (check out Wood’s smokin’ slide on this one) then you better check the paper to see if your are listed in the obituaries.

Keith “MuzikMan” Hannaleck

December 3, 2009

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John Mayall With Eric Clapton - Blues Breakers-24 Karat Gold

The Blues Breakers was Eric Clapton’s first step to his soon to be iconic status. People were writing “Clapton Is God” on walls already and he was just getting started. This album will help you understand why he ascended to this lofty status.

The John Mayall With Eric Clapton release finds itself remastered on the Audio Fidelity 24 karat gold disc in its original mono sound. I am certain blues enthusiast and Clapton fans will be gaga over this one. The gold disc version itself earmarks it as a collectable however with the addition of the mono tracks makes it an instant sought after item and soon to be rarity.

Mayall’s band became a springboard to stardom for many guitarists of Clapton’s ilk such as Peter Green (Fleetwood Mac) and Mick Taylor (Rolling Stones). I do not think Taylor was on the same level as EC but Green definitely was. What is even more remarkable is the fact that these three legendary guitarists joined Mayall’s band in succession!

I like what the outside of the slipcover says on this CD “The original dynamic range of this recording was not maximized, brickwalled, limited or compressed in any way during remastering”. For this listener a statement to that effect means something from an overall listening experience and as a collector. I think this will resonate throughout the music buying community.

I listened to this a few times and realized why this became important music so rapidly, and for obvious reasons never waned, in fact it has done nothing but increase interest in John Mayall’s music and lets people get a glimpse of a developing superstar in EC.

Blues Breakers is some killer blues and I would not be sticking my neck out to say that this was the template for everything going forward regarding all British and white boy blues worldwide. To hear it in this format is icing on the cake.

Keith “MuzikMan” Hannaleck

December 3, 2009

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