Muzik Reviews

Anderson/Wakeman - The Living Tree In Concert Part One

Jon Anderson and Rick Wakeman have been very busy since they teamed up to release Jon’s solo albums The Living Tree (2010) and Survival & Other Stories (2011).

Anderson has made an amazing comeback from a debilitating health issue that took away his angelic vocals. Since fighting his way back and then watching his former band mates in Yes go on without him, well let’s just say there have been plenty of motivational tools to keep those creative fires burning in his belly. Rick Wakeman has proved to be a true friend of Jon’s and has not only made fine contributions to his recent solo efforts in the studio but now with live recordings such as the recently released The Living Tree In Concert Part One.

Fans of Jon’s music are assured of a second installment of live recordings as indicated by the title of this new release. This is a good thing if you enjoy Jon’s music in a live setting. Although the vocalist may have lost some of his mojo over the years because of age and so many years of performing, where he may lack ever so slightly now is overcome with heart, soul, and a real spirituality and belief in himself and his fellow man. All of that comes through in a big way when you hear this duo perform. Wakeman’s keyboards are the perfect complement to Jon’s dreamy vocal style. Rick is arguably the best keyboard player in the history of rock music and his special touch and talents sound so elegant and well placed on stage with Jon.

The cover art of this release says a lot about the music and the creators. The luminescent “Living Tree” is comparable to the trees that were the essence of life in the movie Avatar. If you look closely at what is coming off the tree you will see birds and musical notes. With progressive artists like Anderson there is always more to it than meets the eye and it comes together quite nicely.

What you get on these live tracks is a mixture of Anderson’s solo catalog and a few Yes classics, which hardly covers the immense career this prolific artist has enjoyed but it does you give a solid glimpse of where he was and where he is now. Tracks like “Long Distance Runaround” is a window to the past and “23/24/11” takes you to present day battlefields where are young men and women are dying every day. Amongst all of this harsh reality, Anderson offers hope and the energy of his spirit to give every track a positive spin regardless of the subject.

I admire Jon Anderson the artist but more importantly I am impressed with the person, the individual views and spirituality of the man. Feeling this way made The Living Tree In Concert Part One a special experience.

Key Tracks: 23/24/11, Long Distance Runaround, House of Freedom

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

January 27, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Leslie West - Unusual Suspects

Rock lives! I'm not talking about new rock, with its incredible angst (and distortion). I'm not talking about early rock either (Chubby Checker or Elvis). I'm talking about the rock that I feel safe calling the ultimate real thing... the bluesy, riff-based stuff from the likes of Clapton and Zeppelin. Leslie West proves with Unusual Suspects that the genre not only lives, but is still vital.

Every track is all about raw guitar playing. In fact, this is kind of a guitar fan's dream, featuring not only the great playing of West but also (in no particular order) Gibbons (ZZ Top), Wylde (Ozzy), Bonamassa, Slash and more. Let's cover some of the best moments (because there really aren't any bad ones). “Nothing's Changed” sets the wild and angular playing of Wylde in competition with West's signature bluesy, bendy guitar sound. The result is a little strange, to be sure. It's strange in the best possible way, though. The two don't exactly mesh together, but rather they scream at each other, just like the in the screaming lyrics; “What am I gonna do about you?”

The slower numbers really grab at your heart. “My Gravity” is literally just the man and his guitar, and it has all the power and soul of a Joe Cocker or Leon Russell performance. “Legend” is another great ballad. In the true spirit of rock and roll West puts aside his past successes as unimportant next to the drive in his heart to just keep singing his songs. Unlike the sentimental junk you hear on the radio all the time, this time I believe every word. He says “Don't call me legend. I just came here to play.” Well, as far as I'm concerned that attitude is exactly what makes a real legend.

Key Tracks- Legend, Nothing's Changed, My Gravity

Donny Harvey- MuzikReviews.com Staff

January 26, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Ann Sweeten - In The Wake

Ann Sweeten is a pianist, composer, activist for animal and environmental rights, actress, singer, ballet dancer and she formerly fronted the band Fallout. In the Wake is the ninth album release by Sweeten due out in February of 2012. From the first moment I began to listen to this album, I knew it was going to be one I would enjoy immensely. The attention to detail and composition is flawless and worth keeping for those days when you just need to listen to something beautiful to get you away from the world for a while.

“On Wings Of Light” is a gliding trip through cloud filled skies on wings that never cease to beat. After reading about her work regarding the extinction of the Orange Band Sparrow, in my mind’s eye I see the last little sparrow, injured eye healed and free from pain, gliding through the air, strong again. Brought alive by the power of Sweeten’s passion filled music and soulful playing, he swoops through the sky, extinct no more, but alive in our hearts.

“Love Remembered” is a bittersweet and pensive piece that makes me think of walking beside a lake, thinking of a time gone by. Poignant strains that sound almost like a violin are ghostly in the background, and you can feel the hands of time drift backwards for just a moment as your mind reaches for a hand that you no longer hold. This piece is haunting in its thought provoking presence. The classical piano playing is original and so heartfelt, it takes you deep into the music and you don’t want it to let go.

“Now, And Again” is another walk down a path of memories and introspection. Smooth playing with harmonies and melodies just where they should be, this piece is beauty incarnate. Walking through a rose garden with the one you love, laughing while you tap your loved one’s nose with a spoon filled with ice cream, reading your favorite book…these are things you think about when you listen to this masterpiece. The composition is a blend of classical and innovative feeling that really engages the listener to relax and enjoy every moment of this album.

Ann Sweeten plays the piano like an angel singing. When she lifts finger to keys, she becomes an instrument herself. Her use of classical music and improvisation has created an album that is a joy to hear. A breast cancer survivor, activist for animal rights, she has been involved with the Arts in Healthcare Initiative. She is a multiple award winner and holds the honor of being a Steinway Artist, a highly coveted position.

In the Wake is a work of originality and passion that will make you very glad you took the time to listen.

Key Tracks: On Wings Of Light, Love Remembered, Now, And Again

Dana Wright-Muzikreviews.com Staff

January 25, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Eric Sardinas and Big Motor - Sticks and Stones

I first heard of Eric Sardinas in 2006. He appeared on Steve Vai’s Live at the Astoria London DVD. I knew he was a great guitarist, but seeing him playing “The Attitude Song” was my only exposure to him. He was a talented guitarist. I filed him away in my head under ‘slide guitar shredder’ and that was my entire experience with Mr. Sardinas.

I have spent quite a few years thinking that the blues were stagnant and the only new blues act selling albums was John Mayer.

When the Eric Sardinas and Big Motor, Sticks and Stones CD crossed my desk I swear the jewel case was convulsing. I loaded it up to give it a listen and to my surprise, the thing I noticed wasn’t the shredding I expected. What I noticed first was a great rockin’, almost rockabilly song, “Cherry Wine” with a deep and gruff rock ` n’ roll voice. I was instantly curious as to whether Mr. Sardinas was also the singer. Yep, Eric Sardinas (guitar,vocals), Levell Price (bass) and Chris Frazier (drums).

I listened to the whole CD and what I found was a great collection of songs that range anywhere from the Delta blues of “Ratchet Blues” all the way to a frenzied full out assault of “Behind The 8”.

Sticks and Stones is a collection of songs that are fun and clever. It doesn’t take itself too seriously. There is a lot of flashy playing on the album. That’s probably what you would be expecting to get if you bought this CD. To my surprise what you would end up with is an album that is entertaining and still enjoyable even after the flash has worn off.

The lesson I learned is, “Don’t believe everything you see on TV.” There are still exciting things happening in blues. After my re-introduction to Eric Sardinas and Big Motor I recommend Sticks and Stones to anyone who loves blues or rock.

Key Tracks: Ratchet Blues, Behind the 8, Country Line

Kirk Bullough – Muzikreviews.com Contributor

January 25, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Sandy Carroll - Just As I Am

Just As I Am is Sandy Carroll’s latest album and her first release with her new label. Produced by her Grammy-winning husband, Jim Gaines, Just As I Am features a range of musical influence with gospel, blues, and rock all making an appearance.

The subject matter is just as varied, featuring songs of thanks, relationships, and love.

Just As I Am has a strong opening with “Blessed Be.” Sounding like an updated rock version of The Sermon on the Mount, this song begins the album on a thankful note. “Heartfixin’ Man” is a catchy song about the ambiguities of love. Following this up is “Waiting For The Storm.” This one is a real winner. It is slower and a more atmospheric song that is full of brooding menace. It is a spot on the album where everything comes together and really shines. It is without a doubt the best song on the album. Coming up next is a song about the quintessential tragic love pair. The subject matter has been overdone over time, but “Romeo and Juliet” does have its charm.

The second part of the album is where the music hits a rough spot. “Runnin’ Out of Grace” and the others that follow do not stand out much. I found these songs to by less lively than the songs on the first half and a bit bland. Though, I do have to say that the guitar solo in “Messin’ With Me” livens up the song and is worth mentioning. The album ends on a strong note with the title track “Just As I Am.”

Sandy Carroll’s Just As I Am is a mixed album of high and low points. She has a great voice that is a pleasure to listen to, the production is well done, and there are some good songs on here. But, at the same time, there are other songs that are weak spots.

Key Tracks: Blessed Be, Waiting For The Storm, Just As I Am

Brian McKinnon - Muzikreviews.com Staff

January 24, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Slivovitz - Bani Ahead

According to Wikipedia, Slivovitz is also known as a type of Plum Brandy, and is also called Rakia in the Balkan regions. With a name like that–after a popular alcoholic beverage–one should expect to hear some very interesting music.

And one does. Napoli, Italy’s Slivovitz creates a sound that is very odd to western ears. But it’s more than just weirdness or shock value; this band’s music is very progressive as well, making it that much more of a challenge to listen to. Personally, I’m fascinated by how they superimpose prog over the textures the instruments emit.

Bani Ahead doesn’t appear to be a mind–blowing session at first, but gradually one will realize how much there is to discover with multiple listens. “Yascello” is a good place to start, since its beginning sounds very progressive. But then it moves into a more ethereal and jazzy passage that sounds very soulful, or perhaps high. “Fat” starts more straightforward, in what resembles 4/4 time before the drums change the groove–or do they? “02–09” begins very softly, with the guitar and violin playing in unison, and the horns sparsely coming in as it picks up the pace ever so slowly, up until the horns and guitar cut loose together on an atonal melody.

One underlying element to the music is that underneath the melody, almost constantly, are the accompanying instruments, holding drone notes arranged into jazz chords. It’s distracting if you concentrate on hearing them, but not if you don’t. As the songs go on, the musicianship only gets more impressive. As I said earlier, this isn’t an exercise in showing off how many notes one can cram into X amount of space, but each solo fills up all the space they need to, with an appropriate amount of flair. It’s a delicate balance they manage very well.

Would I buy this album? Maybe. I’m very glad I got to hear it–I can’t remember the last time I heard music quite like this. If I could liken this album to any preexisting similar one, I would say it’s closer to something by The Mars Volta. But unlike TMV, Slivovitz knows when to stop and contain the chaos. But still, I can’t help but think that I wouldn’t jump to play any of these songs when searching for something to listen to on my iPod. The listening experience is very good, but I don’t think I’d want so much more of it. And I think it’s because of this album’s self control; the limited wildness excludes it from being an album that sticks with you forever. But it should stay with you long enough to remember what it was like, and to remind you that a look back could be fun.

Key Tracks: 02-09, Fat, Bani Ahead

Daniel Erickson- Muzikreviews.com Contributor

January 23, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

My Shadow and I - Summer Cycle

Brad Podray is a Philadelphia native who began his love affair with music at the young age of eight, when he drove his parent’s crazy demanding piano lessons. Aspiring to become a concert pianist, plans have a way of changing and as a teenager; Podray and his friend Daniel Dolan formed the rock band Kryoteck and released their first album. Podray began working collaboratively with Dolan on two other projects with elements of trip hop and pirate hip hop but ultimately found himself working on New Age instrumentals. Summer Cycle is My Shadow and I’s third album release.

“Taken Higher” is the first track on the album. Languid string and keyboard lulls your senses into the spell Podray is weaving around your world weary soul. The gossamer web reaches up and grabs hold of you as the music spirals up in a rush of color and pulls you under the waves. The multi-instrumental sensations are epic and full of life. Under the cresting waves of this harmony, you are surrounded by peace and the warm summer waters caress your consciousness into submission.

“More Optimism” is pensive. Piano music trips and hops like a babbling brook traversing a meadow just coming into summer’s first blush of light and color. The layered textures created with the piano and percussion adds a world music flavor to this piece. Joy filters sunlight through your clouded mind as the little rays of sunshine flicker up from the brook and into your eyes. The subtle changes in tone and harmony flow and not one note of music is out of place.

“Unwither” has an optimism that moves right through you. If there was any chance of you not being relaxed through the beginning of this album, this should do it. The artistry captured with the striking of fingers on keys is truly magnificent in this piece and it is one of my favorites on this album. It has an even pace and the harmonies flow around each other like two moths around a streetlight. Gently beating their wings in the night, they know something great when they see it, or in this case, hear it.

Brad Podray was drawn to music at a young age and was inspired by friends and family to make his gift shine. His correspondence with New Age composer David Lanz encouraged him to create the My Shadow and I project. Podray’s ultimate goal is to write music for film and television. The serene pieces on this album are an excellent example of the versatility of this artist. His interests range from trip hop to classical and all over the board in between. The world music sound blended with relaxing New Age energy crafted here are worthy of notice and we will probably be hearing his work on television very, very soon.

Key Tracks- Taken Higher, More Optimism, Unwither

Dana Wright-Muzikreviews.com Staff

January 20, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Darlene Koldenhoven - Solitary Treasures

Darlene Koldenhoven is the Grammy award winning artist who has been amazing fans of multiple music genres since her church debut at the young age of three. Brought up in a Calvinist household in Chicago, Koldenhoven honed her skills on religious music and began to learn classical piano at age nine. Part of her growth as a musician was to help her sister, who was completely deaf. Using music as a healing tool has become a part of who Darlene Koldenhoven is. Not only is she a multiple award winner for her five octave vocal range, songwriter, composer and keyboardist, she is adept at improvisation in classical and non-classical styles and has used her knowledge to help people develop their skills as musicians. Solitary Treasures is Koldenhoven’s seventh album, and one of three albums released in 2011.

Solitary Treasures is a foray into opera, classical, pop and more. Listening to her for the first time literally brought tears to my eyes. There is a reason her singing has been compared to a voice of angels.

“Nessun Dorma From Turandot” is the first piece on the album. Light ambient sounds waft upward and for a moment you feel like you are drifting on clouds. Koldenhoven’s voice erupts into operatic song and it is beautiful. The range is flawless and the harmonies flow together to create the sensation of being in the finest opera box looking down at an amazing performance.

“Bella’s Lullaby From Twilight” is a foray into ambient music and light operatic tones. Koldenhoven’s voice is a musical instrument, blending in with the ambient sound and piano music to create a melody sweet in its spiraling simplicity and yet intricate with the burgeoning tension that brings to mind the popular story loved by millions of readers and movie goers.

“Remember Me” is a unique piece for this album. It is symphonic rock and dedicated to heroes in all walks of life. Light piano music drifts up and lifts Koldenhoven’s voice in an entirely new way from most of the songs on the album. Pensive and thought provoking, powerful lyrics explode into electric guitar playing that blends with lively keyboard explorations.

Darlene Koldenhoven is an award winning artist who arrived in Los Angeles with not much more than $400, a few sweaters and a dream. Her award winning work is now endorsed by American Idol and Julliard. She has performed with greats like Robin Williams, Pink Floyd, Barbara Streisand, the Royal Philharmonic and many more. You can also find her amazing vocals on video games like Harry Potter and the Chamber of Secrets and Baldur’s Gate. One of her best known appearances on television was the tambourine playing nun in Sister Act with Whoopi Goldberg. Koldenhoven has also used her experience to create a voice tutoring program called Tune Your Voice to develop musical knowledge and singing technique. Solitary Treasures, Koldenhoven’s seventh album, is a foray into classical pop at its finest, with elements of world music, symphonic rock, opera and classical. Listening to it was a joy and I really do believe Darlene Koldenhoven may be an angel on earth after all.

Key Tracks: Nessun Dorma From Turandot, Bella’s Lullaby From Twilight, Remember Me

Dana Wright-Muzikreviews.com Staff

January 23, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Big Brother And The Holding Company Featuring Janis Joplin - Live At The Carousel Ballroom 1968

Live At The Carousel Ballroom 1968 is a previously unavailable live recording of Janis Joplin and Big Brother and the Holding Company at a venue that was to become Bill Graham’s Fillmore West after a short six month run.

Big Brother and the Holding Company in 1968 were Janis Joplin (vocals), Sam Andrew (guitar, vocals), James Gurley (guitar), Peter Albin (bass) and Dave Getz (drums).

The attraction to this kind of release is the time period in which it was recorded. This is when Haight-Ashbury in San Francisco was becoming legendary for being the center of counter culture, art and music. Bands like The Grateful Dead and The Jefferson Airplane were rapidly building their own communities, which would eventually spread across the US then worldwide. Back then there was no internet and countless websites to promote your music, it was grassroots publicity through playing live every chance you could.

A hint at what was going on then and the type of people that were in attendance at these events is made apparent by the MC announcing after the eighth track “Call On Me,” to all the Hell’s Angels and more specifically to Tramp and Tiny, warning them that the policeman were going to be “on” their bikes shortly so they should move them before they had them towed. Things like this really give you a glimpse into another time and world that seems mild now in comparison to some of the things that have happened over the years at concerts. And of course more importantly the intent of this release which is to give listeners a chance to hear the two nights that this powerful force of music displayed to their fans. Keep in mind this is the non-stereo mix that you will hear, complete with all the imperfections that live concerts could bring in 1968, which notably does not distract from the musicianship and personality of the performances.

Live At The Carousel Ballroom 1968 was recorded by soundman Owsley Stanley AKA “Bear” who died in a fatal car accident March 12, 2011. Bear supervised the remastering of this recording prior to his untimely death.

Joplin is at her fiery best on these tracks and the band is incredibly powerful. Much care was taken to preserve the original integrity of these recordings and there is little overlap between the right and left channels so you are warned that the album will sound a bit strange with your current configuration of your stereo (mine being 5.1 Surround Sound) and the best way to enjoy this sonic experience is to push your left and right front speakers together if you want to hear it like the crowd did the day it was recorded. This is good advice if it applies to your system and can be arranged as such. Even though I could not do that I thought this recording was quite good. Everything that I have discussed so far runs parallel to the music. The history of the artists and people involved with these live performances is what makes it so interesting and captivating. The first listen to a recording such as this is always the most important because if it does not find a way to consume you in some way then there is nothing there to motivate you to play it again. I was blown away by the how they managed to make this performance sound so good, making you feel like you were there that day. I listened several times so it worked for me.

Some of the best tracks on the CD are “Light Is Faster Than Sound,” “Piece Of My Heart” and “Ball & Chain.” “Coo Coo” was a change in direction and sounds as if it could have been on a different album played by someone else, until it really starts moving further into to meat of the track. It starts off with surf like guitar riffs and it is as clean and bright as can be, almost like it was cut in the studio, not live. It definitely is live because you can hear Janis at the beginning before the music starts saying coo, coo, coo.

The 13 tracks on this monumental piece of rock history take up 71 minutes of your time, and time well spent indeed. This type of remaster is a quintessential part of musical history and culture that should be celebrated and recognized for what it really is. Most certainly young and old music fans alike will find some sort of connection inside the music because of the originality and meaning. The cover art captures the time and spirit of the music as well as the singer’s passion and soul. If that is not enough to peak your curiosity well then you just don’t have the music in your heart to go any further. From the cover to the last note played you will always have a reserved seat at the Carousel Ballroom with this fascinating recording.

Key Tracks: Light Is Faster Than Sound, Piece Of My Heart, Ball & Chain

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

January 23, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Lee-Leet - Leave It Behind

About a month ago we posted Lee-Leet’s video for “Leave It Behind” as our video of the week. Apparently the Polish independent singer/songwriter/composer was happy enough with being the video of the week that she asked us to review her third album, Leave It Behind as well. Her previous releases include State of Emergency and Bare.

Lee-Leet’s band is composed of Andrzej Frolow (keys), Tomasz Glinka (bass), Krysztof Rukat (guitars), and Robert Sopala (drums). Lee-Leet writes all of the music and lyrics and produced the album. She has also self-released all three of her albums.

At times I am reminded of Evanescence/Amy Lee when listening to Leave It Behind. The songs aren’t really as heavy, rocking, or dark as Evanescence, and Lee-Leet doesn’t put the power into her vocals that Lee does, but the songs generally have traditional vocals over a more modern pop/rock sound. Some of the songs are more traditional and have more of a piano foundation to them like Tori Amos tunes. Either way, I didn’t find it all that easy to compare Lee-Leet to something all that familiar. I must point out, that while Lee-Leet is Polish, most of the songs are sung in English (9 of the 11), and she sings very clearly when she does, so there should be no concerns in that regard for anyone that may have any. In fact, I found the Polish songs to be two of the better ones on the album.

Coming in at just under an hour (56 minutes) of music, Leave It Behind, has a nice bit of range to it. Not many of the songs sound the same and you go from harder to softer, piano to guitar driven, etc. Lee-Leet definitely writes a good song and instrumentally the songs are all performed well. I didn’t love every song, some are certainly better than others, and per usual I preferred the more rocking tunes, but the talent is certainly there. I found the production and effects on the songs to vary considerably and they seemed to make or break a few of the songs. Also, the vocals, while they are very good, could benefit from some more inflection to show more passion and emotion. Some little adjustments would go a long way for a few of these songs on this album. Still the talent and songwriting is certainly with Lee-Leet and I think making some minor adjustments can make good songs great.

Key Tracks: Gentle, Leave It Behind, Femme Fatale

Kevin Kozel - Sr. MuzikReviews.com Staff

January 20, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Johnny Got A Lighter - JGAL EP

How does a band make themselves known to the masses these days? Radio airplay? Music videos on MTV? How do you stand apart from everyone else? It seems that MTV exposure doesn’t do quite what it used to for bands, and radio stations are playing pop music more often than not. So that leaves being different and unique to set yourself apart.

But if that’s how to get people to listen to your music, then Johnny Got A Lighter won’t get so much sunshine. They aren’t a bad band, they just don’t appear to be any different than the ten thousand other alternative rock bands out there.

Let me make it clear, none of the songs are that bad, but they aren’t unique.

“Some People” is a fine opening track. As far as production goes it sounds great. It’s got some poppy and catchy hooks, which it needs. But other than the vocal melodies, neither is it that interesting. “All Those Things (You Don’t Want)” sounds no different from the previous track. The guitar plays on the offbeat almost constantly, which it did on “Some People.” Its guitar leads are not as apparent as the opener, nor are they as engaging. “Sleepless In San Fernando” has a jazzy opening riff which continues through the verses, but beyond that there really isn’t much there to write about. Here, some of the guitar leads sound like they didn’t have a lot of thought put into them, as they are there simply to not let a part of the song be just rhythm guitar, bass, and drums. The guitar solo doesn’t have a whole lot to offer either. At first, “Dreams Interrupted” sounds like something different and interesting with the piano. The song gradually builds and continues to be very piano driven and is easily the most listenable and engaging of the tracks. All is not lost!

JGAL EP is a start, and really just that. There’s lots of room for improvement as far as songwriting is concerned, but with the last track on this EP it sounds like they’re already on their way. They’re a young band (this is their first EP after all) and I won’t hold my breath on what their next material will sound like, but hopefully they’ll get it right.

Key Tracks: Dreams Interrupted, Sleepless In San Fernando, Some People

Daniel Erickson- Muzikreviews.com Contributor

January 18, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Syven - Aikaintaite

If you’re lucky enough to find any press in English about Syven’s debut album, Aikaintaite, one word you might encounter repeatedly is ‘shamanistic.’ It’s not the most descriptive qualifier, but it’s certainly the most fun to employ…the chanting makes it seem more monastic than shamanistic, but now I might just be splitting hairs. It’s hard for me to review this type of down tempo sludge objectively, because I really like it. Conceptually I like it. I like it just for that fact that it exists.

It’s hard to describe a band like Syven, who defy categorization by seemingly creating their sound from scratch, or channeling it from some other source. They’re ambient, for sure; atmospheric, but that doesn’t say much. You might say there’re aspects of metal present, especially on songs like “Jäljet,” but if you think of most metal being an appropriate soundtrack for a frenzied battle, then this is the type of metal that plays during the solemn march toward said battle. It’s slow and purposeful; it’s heavy, dark and mournful, but lacks that amphetamine-urgency that seems to drive most other metal. Just because it’s heavy and distorted doesn’t make it metal by rote, but in this case if it walks like a duck and sounds like a duck, I’m tempted to say that it at least resembles a similar species of water fowl. You’ve heard of Black Metal? I’m tempted to call this Blue Metal. I don’t know if that’s an accepted term, but if it’s not yet it should be, and maybe eventually it will.

The second track is really where things begin to take off. On “Jäljet,” the instrumentation becomes a little more dynamic with the addition of heavily distorted guitars to thicken things out a bit and a melodic element that supplants the ambient drone of the first track. Layering electric guitar leads over the rhythm provided by the kantele, the traditional Finnish lap harp which is the vocal point of Aikaintaite, offers a nice juxtaposition of traditional and contemporary, ‘folk’ and ‘modern’ instruments. This sound is complimented by low, basso profondo vocal chanting and the pulse of tribal percussion.

Having listened to the album from start to finish (Finnish, get it?), the way I imagine it should be experienced, considered as a whole rather than dissected and examined and consumed piece by piece, I can only conclude that they saved the best for last, “Tuulenvire.” This is the track with the most weight to it, featuring (in my opinion) the most complex arrangement. And, clocking in at a relatively modest pace of twelve minutes and thirteen seconds, it’s one of the more condensed compositions as well. They way to hear this album, I imagine, would be on vinyl. I don’t know whether it was an intentional decision during the mixing/mastering process, or just a trick of my media player, but there seem to be longer pauses in between tracks than I am accustomed to. Silence, however brief, can be a welcome reprieve after eighteen-plus minutes of the same tones pulsing in orbit around your head; a cleansing of the ear-palate prior to the next indulgence.

When it comes to Aikaintaite, patience is a virtue. Listening to this album is like watching plants grow in a time lapse video moving at a speed just slightly greater than that of real time (by which I mean neither to compliment or complain, merely explain). The kantele is certainly a unique instrument, there’s nothing that sounds quite like it (except for the koto, the guzheng, the yatga or maybe the ðan tranh). The mix of traditional and contemporary sounds makes for an interesting soundscape, and listeners with an ear for the eclectic would do well to acquaint themselves with Syven.

Key Tracks: Ne Jotka Selviävät Talvestamme, Tuulenvire

Drew Vreeland - MuzikReviews.com Staff

January 19, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

BlancaWhite - Resurgence of Rock

Resurgance of Rock is the debut album from BlancaWhite. While the title song will make you get ready for the rock revolution, the focus on middle age and middle class issues may have you reaching for the Metamucil.

The band is the brainchild of lawyer turned songwriter Ken Savage, and the album was put together as a vanity project. Most of the songs sound like just that, workmanlike efforts in the vein of 80’s hair metal bands.

Clearly Savage was attempting to re-create an era of head-bangin’, babe-bangin’ and hard livin’. And while the attempt is admirable, some variety in material is needed. After a few songs I found myself wondering about my pension fund, and I don’t have a pension fund.

That said, the musicianship is very good, especially the vocals, provided by several veterans of the music scene. There is tentativeness in the lyrics and a muddiness to the mix which mutes the effect of the songwriting. When I could make out the words, much of it seems shoehorned into a strict rhyming scheme.

The one standout is the title song, “Resurgence of Rock.” This song feels like it had as much work put into it as the rest of the album combined. It is a good fist pumping, sing-along anthem meant to rally rockers back to the sound of heavy metal. It is the gem of the album, but not enough of one to save the rest of the bunch. Buy it separately on iTunes, and play it loud.

Overall, a good attempt for a neophyte to the rock biz. One really good song is more than many debuts contain, so I will give Ken Savage and BlancaWhite an A for effort, but a C for execution.

Key Tracks: Resurgence of Rock, One for the Ages, Livin’ It Up (In a Mexican Bar)

John Starr – Guest Review

January 17, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Danny John Trio - Mr. Twister

Yesterday I had never even heard of Daniel John and today he is one of my favorite guitarists ever.

Danny grew up in Canberra, Australia. He picked up the guitar at age eight and taught himself to play. After gaining an enthusiastic response in Australia he dropped everything and moved to Hollywood where he attended Musicians Institute of Technology. After three years of studying and playing with the best he felt like he was ready. He moved back to Australia and played with the best musicians Australia has to offer.

His latest venture “The Danny John Trio” is Daniel John (Guitars); James Dennett (Drums) and Marcos Gil (Bass).

Their second album, Mr. Twister is ablaze with flashy, raucous, intense musical masterpieces. From the moment I hit play I was in guitar shredder heaven.

I hate it when guitar virtuosos put out albums with a bunch of singing with little guitar solos in-between. Mr. Twister delivers everything I ever wanted to hear on an instrumental guitar album. The shortest song is over 5 minutes long.

Don’t get me wrong, this isn’t just a bunch of heavy metal shredding for the sake of fitting as many notes into a measure as you can. No, each song on this album is a treasure trove of diverse styles, odd meters and vast dynamics, amazingly clean sweep picking, plus incredible bass and drum solos.

Mr. Twister starts out heavy with “Drift.” A lone distorted rhythm guitar progresses into a full out attack of guitar voodoo. It’s a nine minute song, but it never gets boring. “Would” rivals the group “The Mars Volta” for having the most genres in one song. The title track “Mr. Twister” is a lesson in playing in every meter except 4/4. “Lighthouse” makes a game of changing keys every two beats.

This album was recorded in 17 hours, but you would never guess. It’s a testament to the amazing talent of these artists. If they were painters this would be their Mona Lisa. If you are looking for a perfect Rock/ Jazz Fusion album, this is it. Look no further.

Key Tracks: Drift, Mr. Twister, Lighthouse

Kirk Bullough – Muzikreviews.com Contributor

January 18, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Brandon McHose - Late Night EP

Brandon McHose developed his passion for music as a child when his father shared his eclectic music collection and began to teach him on his 74 Les Paul guitar. As McHose grew in his musical talent, he spent a lot of time in the Austin music scene and then landed in Chicago. Late Night EP is McHose’s third album, but his first one featuring an electric guitar.

Although the album only has four tracks, they tell a story of an evolution. The first track, “Late Night” is the story of a musician’s travels on the road. The piece begins with an edgy bit of guitar work that leads the way for McHose’s textured vocals. Beginning with more of a gritty feel, they morph quickly into a smooth, soaring experience. The first piece that you hear with McHose’s electric guitar is full of harmony and many layers that blend well together to create a song worth listening to. Guest musician on this track is popular Austin drummer Wayne Salzman.

“Next 3” is the second track on the album. The electric guitar winds up and has a peppy rhythm that is quite infectious. The highs and lows of a musician’s life are exemplified in the thoughtful lyrics and the energy reflected in each strum of the guitar strings. The emotional outpouring in the vocals and all the possibility that shines when an artist gives himself to his craft are evident in this piece.

“Just Say When” is by far my favorite piece on the album. It combines the acoustic guitar in a ballad and has subtle electric guitar textures. The vocals on this track are smooth and feel like they are caressing the guitar as the music flows up and outward. The blend of acoustic guitar and electric is well done and creates a musical landscape that is a pleasure to listen to.

Brandon McHose has spent much of his musical career focused on acoustic guitar. In Late Night EP McHose has evolved into an artist who is not afraid to combine what he knows with who he is becoming. His early history listening to greats like The Beatles and more recent favorites like The Foo Fighters are evident in his work. The use of acoustic guitar blended with electric guitar in “Just Say When” is an effective tool to show how layered he can be. His ability to shred and capture a more aggressive tone with this album has illustrated what he is trying to accomplish. Because he is able to maintain the attitude that he is a guitar player first even before being a singer and songwriter, attests to the passion he has for his craft. Brandon McHose is going to be an artist to watch.

Key Tracks- Late Night, Next 3, Just Say When

Dana Wright-Muzikreviews.com Staff

January 17, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Machine Mass Trio - As Real as Thinking

Blending the sounds of jazz and progressive rock is a feat that is not often attempted, but that did not stop Machine Mass Trio from doing it. Consisting of Tony Bianco (drums, loops, percussion), Michel Delville (guitar, bouzouki, electronics), and Jordi Grognard (tenor sax, bass clarinet, flute, bansuri, electric tempura), Machine Mass Trio’s As Real as Thinking is a testament to their creativity and skill as artists. The attempt is praise worthy by itself, but it is even more noteworthy that they have succeeded in blending two genres of music that one does not often link together.

This remarkable album begins with “Cuckoo.” The sound is straight-up jazz. It lures the listener into familiar territory. There are no surprises, yet. Following this up is the mellow jazz song “Knowledge.” Next up is “Let Go” and this is where the progressive rock sound joins in. The song has a sweet groove to it and makes music that is not quite like anything else that is normally heard. The eastern influenced “Khajurao” carries with it a mediation inducing sound. There is an overall sense of spirituality and mysticism to the song that makes it so haunting. The halfway point is marked by the lengthy jazz-rock fusion of “Hero.”

The spacey sound found in “UFO-RA” is no surprise given the title. The sound of “UFO-RA” leads right into “Falling Up.” This 18-minute odyssey is reminiscent of some of Pink Floyd’s longer songs. Here is another song that can be described as spacey; though, at times, it has the mellow sound an aquatic setting. Do not let the length of the song be a deterrent because there is never a boring moment as the time moves right along. Capping this album off is “Palitana Mood,” an engaging mix of progressive rock and jazz.

Machine Mass Trio’s As Real as Thinking is a masterpiece. The bending of jazz and progressive rock is a treat for the ears. It is something that I have never heard before and worth the listen because this experiment could have produced something like Frankenstein’s monster, but this creation is all beauty.

Key Tracks: Let Go, Khajurao, Falling Up, Palitana Mood

Brian McKinnon - Muzikreviews.com Staff

January 15, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Dan Wolff-PICK OF THE WEEK - Old Fashioned Love

Dan Wolff did not pick up a guitar until he was 18 years old. He then went off to college and immersed himself in music and continued to follow that path successfully.

Old Fashioned Love is his third studio effort and it certainly sounds like a polished veteran of the recording studio is at work on this recent release.

The vocals he provides will immediately remind you of Al Stewart (“Year of the Cat”) and John Mayer, if you happen to be familiar with either artist. That isn’t the only way to connect to Wolff’s music though. What you find with the 12 tracks on this CD is a totally relaxing sound with lyrics you can hear and understand.

Old Fashioned Love is a perfect title for this album. The subject matter is every day old fashioned love songs, just as advertised. Wolff’s smooth and straightforward voice is hard to dislike. And most importantly the critical element to make it all believable is the instrumentation throughout, it is exceptional. This helps to move his vocalizations over the top of the music like a bird gliding in the sky.

Even though you can classify this music as a combination of rock and folk there are other elements that come into play to give this solid release its flavor. Because of the multitude of instruments used, I heard some blues, and bits and pieces of roots and country. For that reason it made the entire listen more interesting and I was able to look further into what the artist was trying to accomplish with his music and how it really made me feel.

On “When She Was Mine” the line “drinking coffee from a bottomless cup, start to worry that I’ve had way too much,” was a brilliant way to put the entire track into proper perspective. It is a bitter sweet love song that makes you reflect upon your own life and the passing of time If you could turn back time what would you change? And on a deeper level the possibilities of how many different people would be in your life if that opportunity was presented.

Some of my favorite tracks are “Old Fashioned Love,” “Hard To Get” and “When She Was Mine.” The entire recording is impressive and a breath of fresh air in the otherwise polluted surroundings we live in. If you want to get away from anything electronic like the TV or PC and are yearning to kick back and take in some music that will soothe your soul, make you tap your feet and look at the reflection of yourself within the music, then Old Fashioned Love is your free pass to get there.

Key Tracks: Old Fashioned Love, Hard To Get, When She Was Mine

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

January 16, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Case In Theory - Cinematic

Have you ever had a dream, but a lack of funds held you back? Case in Theory, an alternative rock band from California, was in just that predicament. They used their smarts and KickStarter to raise $4,000 through friends, family, and fans to get their album, Cinematic, underway. That’s not to say a whole lot of hard work, perseverance and money from their own pockets wasn’t involved.

The band, formed in 2006 by friends Jonathan Posadas (guitar/vocals), and Tadeo Ramirez (guitar), has come a long way since then, adding two more members, Ben Everett (bass) and Jamin Bracken (drums), working in the studio and doing a six state tour in November 2011. Their style of music is a mix of their personal tastes ranging from rock to hip-hop to electronica.

Cinematic puts these varying tastes on display in a clean-cut and sharp manner. The “Mavericks” songs, which musically play out riding waves on the ocean, were originally slated to be the backdrop to a surfing documentary. Close your eyes and you’re out there playing in the waves, the effect is somehow both calming and exhilarating at the same time.

Mostly, Case In Theory, is your basic alternative rock band, but they do throw in some twists and turns along the way. “The Night,” along with others, has elements reminiscent of Yellowcard’s style in the early 2000’s. “Righteous Path” has subtle yet recognizable funk elements.

“Run Like Hell” is a harder song, but Posadas voice is just gentle enough to keep it well rounded. Unfortunately, sometimes characteristics of his singing style are a downfall. Some tracks’ vocals, especially the title track, “Cinematic,” sound just a little too sluggish and labored.

The goal of Case In Theory is not to become superrich rock stars. They just want to enjoy making music and get it out to their fans. Cinematic is, overall, an enjoyable album, and one that shows with a few tweaks here and there, the band has major potential to be very famous, whether they want to be or not.

Key Tracks: Mavericks (I,III,IV), Righteous Path, Run Like Hell

Christen LaFond – MuzikReviews.com Staff

January 14, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

The Autumn Electric - If You're Home

Michael Trew (guitars, vocals) met Naomi Smith (keys) at a coffee shop in Seattle. After their first tour they picked up drummer Dan Desrosiers off of Craigslist. They played as a three piece for a year and then hooked up guitarist/film maker Barton Macguire.

The band has recently met their fund raising goals at kickstarter.com and will begin recording a new CD Make Me a Tree in February. In the mean time you can listen to their current album If You’re Home.

The songs from this album are born out of the experiences the band had back packing in the UK and their first national tour in 2009.

If You’re Home begins with the ethereal “In the Redwoods.” The distorted guitar, cymbal rolls and vocal harmonies accented by church bells transport you into a dreamy world of electric folk music. I enjoy the imagery Trew paints of Paul Bunyon carving his name into a redwood tree.

The percussion in the middle of “Garage Rock” is a creative mix of rim shots and ratchet sounds that make it sound like you are in a garage. It’s the little things like this that make me think that these guys are probably a lot of fun to see live.

“Alasdair and the Sunwidow” is probably my favorite track off the album. It’s very mellow. This track combines airy acoustic guitars and snare drum and cymbals with brushes to create a soft backdrop for haunting vocals and harmonies.

Trew’s voice is unique and the variety of instruments: melodica (key-flute), mandolin, shakers, brushes, etc… add a lot of texture to these songs. The production is lacking in areas, but that’s to be expected for an indie band that can record and publish a whole CD for less than two grand.

If you want to support a hard working indie folk band give them a listen.

Key Tracks: In the Redwoods, Alasdair and the Sunwindow, Colorado

Kirk Bullough – Muzikreviews.com Contributor

January 15, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Skinny Puppy - HanDover

Skinny Puppy is Industrial Rock at its most symbolic. The brainchild of conceptualist and Frontman Ogre and electronics guru Cevin Key, the band has released its 14^th album, HanDover. As with most of their prior work, symbolism and social issues are enacted with a blend of recognizable song formations and still others are abstract pieces of modern art for the ears.

“Cullorblind” comes to life with ambient sound and abstract keyboards tentatively hovering. A strange plastic squeaking sound like a sneaker squelching across a wet floor leads the way into pensive vocals. Reminiscent of Sisters of Mercy, but all its own style, this track captures the best of what Skinny Puppy has to offer. Full of rhythmic groove and edgy grit, the lyrics portray a world that is full of uncertainty and the spending of a future that hasn’t happened yet. Spewing menace and dire predictions of what may be in store for our society; this piece is exhilarating and will make you think.

“Icktums” made me feel like I was on the set of Tron. Blasts of sound pulse like Tesla coils shooting off lightening into the darkness. A rhythm derived from percussion erupts into a lurid tale of man’s rapid descent with striking beats and guitar work. The mechanical sounds of an electrified coffee pot jolt you as the phrase “Worship money, Worship nothing” is repeated. A swirling miasma of electrified turmoil meets your ears and morphs into money sounds. This piece has movement and an energy that is infectious, despite the theme and is one of my favorite songs on the album.

“Village” erupts in a dark storm of lyrics and oppressive, grinding sounds. The percussion lays a background for brooding guitar, bleeping electronica and the continued theme of mankind falling deeper in the trap of financial dependence on an institution that will lead them to ruin. The deadpan vocals combine with a background of “Get out!” and allusions to being an egg in the frying pan of society.

Over the course of their three decades of working together, one thing has kept Skinny Puppy at the forefront of their genre, the ability to carve their own road out of society’s ills. They have never been afraid to express their views with intriguing atmospheric sounds and lyrics that are painfully aware of mankind’s foibles and excesses. HanDover does just that. Using alien bleeps, electronica, dark almost Goth vibes, gripping vocals and unique abstract formations, Skinny Puppy has created an album that will stretch your mind and make you ponder the world through their eyes. It can be a very dark place, but then again, what isn’t if you hold a microscope on it very long?

Key Tracks-Cullorblind, Icktums, Village

Dana Wright-Muzikreviews.com Staff

January 13, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Bebe Buell - Hard Love

I’m going to go out on a limb here and make this claim; in the world of rock n’ roll musicians, males outnumber females. This is not to say that women can’t do it too, it just seems that men are more apt to pick up a guitar and start trying. Bebe Buell’s life has revolved around rock n’ roll, from when she lived together with Todd Rundgren, through her brief relationship with Steven Tyler, and now, with the release of Hard Love.

This solo album is Buell’s first return to music since 1993, when she worked with the Gargoyles, though her first true solo effort was an EP released in 1981, produced by Rick Derringer and Rick Ocacek.

While I haven’t heard that EP myself, based on this album I don’t think I’ll give it a spin anytime soon.

Hard Love, I suppose, isn’t one hundred percent terrible. I applaud Buell for her efforts to get back to the life she always wanted, in and around rock n’ roll, by releasing this album. But that’s the only thing I can find to appreciate about Hard Love. It would be unfair to say the producer wrote all of these songs, but they sound like they came out of a factory, following a formula to get radio airplay and sell thousands of records rather than concentrate on making art that reflects her creativity and talent. This album is not one that continues to make music as a relevant art form.

“Mother of Rock & Roll” opens the album and sets the tone for every single song to follow. Buell tries to give an impression that she’s a queen among rock musicians and appear as a woman not to be taken lightly. I guess she can pull off that front, more or less; I would think that to be among rock and roll royalty one would need to create a lot more quality music than Buell has. “Heartbeat” is somewhat of a ballad, but is too fast to truly fit that description. It also suffers from the same malady each of the others do, being completely forgettable. With Buell’s abnormally low female voice, “Sugar” sounds very creepy, like the anthem of cougars worldwide. Imagine Buell saying these lyrics to you and you’ll know what I mean; “Did you feel me beside you/Taste me on your tongue/…deep inside me is the place where all your dreams are wrung…you’re mine tonight/you’re my sugar sugar.” And they only get worse. But the worst offender is “I Love A Man In Uniform,” which is based around two chords and hardly deviates. I think I’ve found the epitome of repetition in rock music. It’s like she played two chords and said to herself, “that’ll do” when she was writing this. That is, if the producer wasn’t writing it instead.

There’s nothing wrong with girl power in music. Look at pop for example, where many of the best selling artists are women. This album tries to be one of those girl power albums, and I suppose it achieves that goal, but other than that there’s really nothing else to it.

This is a what-you-hear-is-what-you-get album, because the music is so simple, similar, and unchallenging that if you hear one of these songs, you’ve just about heard them all. There really isn’t a standout track that offers anything different or more interesting. If you like music by women trying to be one of the boys, you’ll like this. If you like disposable pop rock songs, you’ll also like this. If you think of music as art, run and hide.

Key Tracks: Mother Of Rock & Roll, Sugar, I Love A Man In Uniform

Daniel Erickson- Muzikreviews.com Contributor

January 12, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Netherland Dwarf - Moi Moi

Netherland Dwarf's Moi Moi is in many ways a very impressive album. It is, for the most part, a one-man project by a Tokyo DJ and keyboard player (whose name, sadly, is not listed anywhere at the record label's website that I can tell). Considering that it is done by one person, I am in awe of the sheer amount of work that went into this album. Congratulations on your perseverance!

The problem is that half of the music here is classical music remade, and frankly, it does not work for me. From the album information online, it appears that the goal was to create a 70s prog rock sound. Instead it just comes off as corny and canned in the final product. The corniness is amplified by the changes made to the music, such as adding a drum track to “Ruslan and Ludmille,” or putting in sounds similar to electronic hurricane force winds on the “Hallelujah Chorus.” Further, what is truly lacking is the 'live' performance aspect (I understand that studio albums are not 'live' but bear with me). With Emerson, Lake and Palmer, for instance, you have the emotive qualities of their playing coming through loud and clear on their classical covers. On Moi Moi, however, the tracks sound like they are 'played' by a computer, because, well, they mostly are. This mechanistic approach takes nothing from original electronic music, because that is electronica's milieu. For me it just doesn't sell classics. That does lead us into the best stuff on the CD, however.

The original works show a great deal of musical creativity, and even some 'classical' sensibility. “Alone In The Blizzard Dawn” is an intriguing mix of bells, native flute sounds and more traditional synth, accompanied by tasteful drumming. It's as if trance music suddenly realized that it had somewhere to go (rather than just meandering as trance often does), and then marched there to a good beat. The title track sounds like an electronic version of what could almost be a medieval dance. It's truly charming in its simplicity. “Salad Bowl” grabs the listener by throat with its driving intensity, and never lets up from beginning to end. I would love to hear more from Netherland Dwarf, but only his own original stuff. Perhaps it would be best to just leave the classics alone.

Key Tracks- Alone In The Blizzard Dawn, Salad Bowl, Moi Moi

Donny Harvey- MuzikReviews.com Staff

January 12, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Corrosion of Conformity - Corrosion of Conformity

Raleigh, North Carolina legends, Corrosion of Conformity (or C.O.C. for those in the know) have been rockin’ for nearly 30 years now. It’s crazy to think that their first release, Eye for an Eye, was released back in 1984. They were already veterans when I started listening to them in high school during their major label release (and largest selling album) Deliverance, which had some nice singles in “Albatross” and “Clean My Wounds.” Like too many others, C.O.C. always seemed like one of those bands destined for bigger things, but ended just being really good and influencing many others. Now they’re back with a new full-length recorded by the three members that recorded 1985’s Animosity; vocalist/bassist Mike Dean, guitarist Woody Weatherman, and drummer/vocalist Reed Mullin. A tour is also scheduled for March.

C.O.C.’s sound has changed some over the years, be it punk, metal, or alt/rock, but no matter the time or the lineup, they’ve always shown they can rock. On this new self-titled album, Corrosion of Conformity brings a rather raw punk/metal sound. From the opening track, “Psychic Vampire” this album is full of dirty, heavy rock. While other bands have slowed it down, turned down the volume, and cut their hair, this is certainly not the case for C.O.C. I doubt they will be winning any awards for their lyrical content on this one, but when Dean and Mullin are screaming, it’s easy to forget about some of the things they’re singing about. Weatherman’s guitar chugs and wails throughout the eleven tracks and Dean lays down some big heavy beats. C.O.C. has a big sound for three guys. Needless to say, your head won’t stop banging (or nodding if you’ve been with this band for the long haul).

If you’re looking for something good and heavy, definitely pick up the latest from Corrosion of Conformity. It is reminiscent of Black Sabbath, Pantera, Soundgarden, and most importantly, early C.O.C. Don’t think for a second that Dean, Weatherman, and Mullin are showing signs of aging because they’ve been at it for a while. While some of your other favorite rockers are trying to make the music they once did (ahem, Van Halen), Corrosion of Conformity is still doing it.

Key Tracks: Psychic Vampire, River of Stone, The Moneychangers

Kevin Kozel - Sr. MuzikReviews.com Staff

January 11, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Christine Salazar - On To Something

Based out of the Puget Sound area in the state of Washington, Christine Salazar has been making her music for a few years now. On To Something is her first release and showcases her voice and songwriting abilities. With its blend of influences ranging from folk to jazz, Christine Salazar is a great new talent.

“No Time For Worrying” is a quiet and soothing opening. It is a good introduction to her mellow sound and smooth vocals. After listening to “Anyway,” I have reached an early conclusion about this album and musician, especially. There is music that can be described as easy listening, and then, there is music that can be described as easy to listen to. Christine Salazar is the latter. “Messed It Up” is a touching song about personal growth.

“Always With You” is a more up-lifting song about enjoying a good day with its beat beaming with sunshine. I can image this song playing during a scene with the characters taking a stroll through a meadow. Despite its low-key beginning, “My Friends” is a song with a more rock sound. It caught me off-guard after all the slower songs. I like the change of sound and edginess that it brings to the overall sound of the album.

The title track “On To Something” begins a very strong few songs and it is definitely a hit. This one has a magic to it that when you listen to it you know that there is something just right about it. Following this is the upbeat “Mirror World.” This pop influenced song is a welcome addition to the album. “Find Me Now” is a love song that is dripping with melancholy. The jazzy “Tangled,” with its tale of vengeance, caps off this record.

On To Something by Christine Salazar is a strong debut that should set her on the track toward much success. Propelled by her lovely voice and her genre mixing sound, On To Something is full of promise for the her music career.

Key Tracks: On To Something, Mirror World, Find Me Now

Brian McKinnon - Muzikreviews.com Staff

January 10, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Crosby, Stills & Nash (24kt Gold) - Crosby, Stills & Nash

Let’s all give a collective thank you to Mama Cass, who assembled one of the greatest collaborations of all time, CSN. Crosby, Stills & Nash released their self-titled classic in 1969 and music was never the same. For a debut album this was a literal masterpiece beyond compare for the genre of Rock-Pop and arguably folk as well.

CSN never needed to add Neil Young nor did Young need them but it happened, it was good but the best music was made when there were three, I have no doubt and this album is irrefutable proof.

I had the pleasure of reviewing this album in the 180 gram LP format several years ago and recall it being an incredibly good experience and this time around was the same. Everything I believed all along is given further credence with one listen to this implausible work of musical art.

Audio Fidelity selects only the best music for their 24kt gold format. The Crosby, Stills & Nash self-titled debut was indeed a superb selection. Their special remastering process certainly did this recording justice in every instance. The music just sparkles with warm highs and lows and tracks such as “Guinevere,” “Long Time Gone,” and “Wooden Ships” are absolutely stunning. This recording reminded me of the Simon and Garfunkel releases in the same format in early 2010. Rock always sounds great however when you take tasteful music with a rock and pop mixture, the 24kt gold rendering is simply magical. CSN was magic, as pure as fresh fallen snow at the top of the highest mountain. The extra ingredient this time around was Audio Fidelity.

CSN defined a genre and time period with their music and the Audio Fidelity label embraced that and made a classic yet more appealing. As always the is a limited numbered edition that will fly out the door so get your copy while you can or forever be looked upon by the god’s of music as a fool.

Key Tracks: Guinevere, Long Time Gone, Wooden Ships

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

January 11, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Christina LaRocca - I Stand Tall With My Eyes Open

Christina LaRocca is an award winning singer and songwriter with a unique blend of folk and R&B. Hearing her for the first time, it is easy to see the roots of her music coming from her time listening to greats like Aretha Franklin, Stevie Wonder and Natalie Cole. After trying out theater in her teens and discovering musical greats like Alanis Morsette, she began writing her own music. Forming the group Heavy Weather with fellow musicians Carl Gallagher and Dorian Lake, the band has received international attention. After releasing two albums with Heavy Weather, I Stand Tall With My Eyes Wide Open is LaRocca’s first solo album. She is now collaborating with Josh Glazer of J. Glazer Productions. Guest artists on the album include: Matty J of Higher Concept, Wes Swing and Heavy Weather.

“Like A Cigarette (I Love Ya Baby)” has a subtle rhythm that will seduce you from the first listen. The groove created from the light guitar flowing into LaRocca’s voice, horn and delicate percussion is deceptively simple. The depth of LaRocca’s vocals and the passion she puts into her music is contagious and you can’t help but fall under her spell. The textures are smooth and molten, like one of those melted chocolate lava cakes. Taking your first bite, you know you like it, but as you delve deeper, the richer it gets.

“With You” opens with some elaborate guitar picking that flows into LaRocca’s vocals. Her words spiral around you as the lyrics take off and echo into the main vocalization. Lots of layers here with this piece, but together it creates a song worth listening to. There is a heavy soul edge to this track and a rhythm to match it note per note.

“Silver Bullets” is smokin hot. The multi-instrumental feel to this piece is a happy jumble of pulsing motion. A guitar flairs up with a steady percussion traipsing through the background, making this piece full of creative foot stompin fun. Images of movie monsters prevail as LaRocca spins her tale of betrayal. The composition and melodies crafted here are spot on and this is one of my favorite tracks on the album.

Christina LaRocca is an international award winning artist that takes her childhood love of classic soul artists and combines them with stronger than steel lyrics and a can do attitude. Her work with Heavy Weather was a great stepping off point and I Stand Tall With My Eyes Wide Open is an impressive solo album. This is definitely an artist to watch. Her soulful sound is a mix between folk and soul and carries a modern edge that makes her very compelling to listen to.

Key Tracks: Like A Cigarette ( I Love You Baby), With You, Silver Bullets

Dana Wright-Muzikreviews.com Staff

January 10, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Coeus the Boxing Titan - The Boxing Titan Spawns

Aron “Aro” Patterson of Grand Rapid Minnesota is the creator and sole member of the band Coeus the Boxing Titan. The Boxing Titan Spawns, a full length album that was released in October of 2011, left me feeling a mixture of emotions that were bad and good. The recording offers Industrial/ Prog Rock mixed with all different types of genres ranging from blues to electronic on the 10 tracks. Although I was slightly impressed with his composition abilities, I was thrown off by his vocal styling’s or lack thereof.

After my second time around listening to the music I felt like I had an understanding of what Aro was trying to accomplish with his music, but a lot of it was lost in translation. Songs like “Like Vegas” have a lot of potential but lose strength in the imbalance of all the instruments combined. The composition of the music is great - bass, drums, keyboards, all sound totally solid together but once the vocals start it goes downhill from there. There is a sense of confidence lacking in his vocals which made him experiment less with tones and melodies. Aside from that the timing is just about 1 second off, this I can all chalk up to needing experience and to experiment. Another problem I had was that he “talks” instead of singing melodies in a kind of high pitch nasally tone which sounds almost exactly like old school Marilyn Manson. On top of that the synthesizers are way too loud during the chorus, and drain out the rest of the music. Another song that had has its highs and lows are “The Devolver,” I was simultaneously happy and disappointed with it. The song is a little less industrial a little more melodic with a blues bottom end. The blues bass line mixed with a music box effect on the keyboards and a somewhat hip hop feel on the drums actually sounded pretty decent. This is the first song that I heard on the album that almost has a hook. I could hear SO much potential, but super loud synthesizers shadowed what seemed like a pretty good chorus. I can understand that he was trying to add a sense of fullness and power to the chorus, but at that volume it just starts to sound like noise. Some work on the vocals as well as production would do wonders to this song. Close to the end of the album there was another song that I thought was unique titled “February, This Is For You.” In this instrumental piece Aro is just kind of jamming out while he shows off with his keyboard and guitar solos. I really liked the titles of his songs and this was one of my favorites along with “Tension in Cloudland.”

As a musical composer I am actually impressed, this guy plays all the instruments pretty well. Aro proves that he has a good ear by blending some sounds together well, but he just needs to work on the balance of the music all around. It seems to me this is just the beginning for him and if he could get some good production it would do him a world of good. One important thing to remember when it comes to being in a band is that if the vocals are not good, people will not be drawn to it. The instruments can be epic, and still no one will care. Aro is talented there is NO question of this in my mind. But what I can say is that he lacks experience that comes with years and years of being a musician which he cannot be blamed for. I applaud his efforts and the uniqueness of this music in general. The Boxing Titans Spawns shows that Aro has extreme potential as a composer. After a year or two more of playing, perhaps some vocal lessons or maybe even hiring another vocalist this band will be extremely successful.

Key Tracks: Like Vegas, The Devolver, February, This is for You

January 9, 2012

Rhiana Lewis -MuzikReviews.com Contributor

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

UFO - Seven Deadly

UFO has been together for 42 years. In that time they have released 20 studio albums. The lineup has changed a bit over the years, but the band today has three original members Phil Mogg ( vocals), Paul Raymond (keyboards, guitars), Andy Parker (drums) and guitar slinger, Vinnie Moore.

It’s not often that I fall in love with an album on the first listen through. But when I do, I know I am in for a journey. That’s exactly what happened when I first listened to UFO’s new release, Seven Deadly.

FYI, the first track “Fight Night” is best played as loud as you can stand it. My pictures were falling off the walls. The biting rhythm guitar part is so infectious. Can’t help but play your air guitar while it’s playing. You will find yourself humming it later, “Tell my friends in ol’ Calcutta, the cat is staying and I’m living in the gutter.”

“Angel Station” is a beautiful ballad about the loss of a loved one. It has layers of chorused guitars underneath a legion of angelic vocal harmonies. It really makes you feel like your ears are in heaven when you are listening to it.

Seven Deadly ends strong with “Waving Goodbye,” a song with a nice blend of acoustic and electric guitars with a nice side of Hammond B3 organ. It’s the perfect song to end the album because it makes my finger hit the replay button and I start the journey again.

It isn’t hard to pin down what makes Seven Deadly such a great album. The songs are well written, catchy and intelligent, but most of all they have heart. The vocals are simply amazing and that would be enough to make Seven Deadly great, but on top of that are some amazing guitar sounds.

This is a solid rock album. It’s music like this that will keep the Rock genre alive forever.

Key Tracks: Fight Night, Angel Station, Waving Goodbye

Kirk Bullough – Muzikreviews.com Contributor

January 10, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Astral Doors - Jerusalem

Imitation is the greatest form of flattery. That’s something that applies to music very well, and is very apparent. If one musician does something great and/or original, others imitate it. That’s how a musical legacy is made.

Sweden’s Astral Doors isn’t an original band. Their latest record, Jerusalem isn’t a groundbreaking effort. Besides the simply awesome album cover, there isn’t much that jumps out at me as particularly incredible.

Let’s not jump to conclusions that this album is a waste of time, though. Joachim Nordlund’’s guitar playing sounds as tough as power metal should. Couple that with Joakim Roberg’s Organ and keys and you get an orchestral overtone no band of this type should be without. Johan Lindstedt’s drumming and Ulf Lagerstroem’s bass playing fulfill the necessary requirements for a full metal band sound, but the kicker is Nils Patrik Johansson’s vocals.

And the vocals are what I am referring to with imitation and flattery. I’m not the first to say this, but Johansson’s vocals sound very much like another heavy metal singer, and a very notable one at that; the godfather of power metal, Ronnie James Dio.

Look no further than the opening track “Seventh Crusade” to see what I mean. Right from the beginning, the vocal power and vibrato take you back to the 1980’s when Dio’s voice was being heard for the first time. “Pearl Harbor” is another good example of Dio worship, from the soaring vocal melodies to the lyrics “Pearl Harbor/Attack of the Island in the Sun/Pearl Harbor/The battle was lost but the war was won,” sounds like pure power metal. “The Battle of Jacob’s Ford,” from the title alone, sounds like it belongs on a Dio record, but fortunately the groove and tempo prove otherwise.

There’s nothing wrong with paying tribute to a musical figure you admire, as long as you leave it at a tribute. Once you cross over into copycat world, you limit yourself and go into a dangerous line of fire, comparison with the original. Jerusalem is in that danger zone and doesn’t quite measure up. Yes, the songs are epic metal and none are inherently bad, but beyond the vocals neither do any of them have that special something making them stand out. And the vocals become this album’s Achilles heel; if I want to hear Dio’s voice, I’ll go listen to some Dio.

But, as I said earlier, I won’t say this is a bad album, because it isn’t. But neither is it a great album either. It lands in music's problem area, mediocrity. If you like power metal you’re sure to like this one, but if you want something unique to jump out, get your attention and pull you along, look elsewhere.

Key Tracks: Seventh Crusade, Pearl Harbor, The Battle of Jacob’s Ford

Daniel Erickson- Muzikreviews.com Contributor

January 9, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Gary Wright - The Dream Weaver (24kt Gold)

The last time I heard The Dream Weaver (1975) in its entirety was when I was driving my first car, an AMC Hornet, back in 1976. I had the 8-Track and listened to it frequently. I have difficulty remembering any other songs besides “The Dream Weaver” and the energy filled “Love Is Alive.” I do fondly remember this album but never sought it out again over the years. Now it was time to revisit this unique recording.

Audio Fidelity made a good selection by taking this classic album and running it through their process of remastering for this limited edition gold disc.

Gary Wright was in well know band called Spooky Tooth before he launched his solo career which reached its pinnacle with The Dream Weaver. Wright would eventually befriend George Harrison and play keyboards for him on All Things Must Past and also go on a spiritual quest to India. The lyrics for this album were most likely influenced by Wright’s spiritual path at the time. Three of the tracks are about ‘Love’ so there is every indication of that sort of inspiration in the music. The picture of the artist on the cover certainly indicates that he was in a peaceful state of existence at the time. Lines from tracks like “Love Is Alive” such as “Well I think it’s time to get ready, to relax just what I have found, I have lived only half of what I am, it’s all clear to me now,” put it all into proper perspective.

I believed this album to be unique when it was released because it was focused on keyboards and the vocalist. Actually every sound produced on the album, with the exception of drums and vocals were produced by keyboards. Ronnie Montrose also played guitar on “Power of Love,” but that was the only guitar you would hear on the entire album. Back in 1975 when this was released it was very unusual for an artist to release an album, not to mention a very successful one, with keyboards as the main instrument and entire focus. Today it would be and is common for such a thing to happen with all advanced tools and sounds that you can produce with keyboards. I wonder what Wright could do with the same album today if he re-recorded it?

The Audio Fidelity treatment suits this recording very well. All the energy and brightness of the tracks really pop out at you, especially on the invigorating “Love Is Alive” and “Can’t Find The Judge.” On “Can’t Find The Judge” I could hear some influences from Stevie Wonder. He goes from rock and pop to punching out some bouncy funk on the track. This one track gives the album more spice and variety and makes it more interesting. The title track has those chirping bird sounds from Wright’s keyboards that make it a real journey to another realm, which I believe was his intent.

The 24 karat gold version of The Dream Weaver is a welcome addition to my collection. I was reminded of why I loved this album so much when it first came out. The sound on this disc blows away the 8-Track and inadequate little speakers I had in that junky car so long ago. That is not a good comparison at all just an illustration of the leaps and bounds we have made with sound reproduction. The power of the music and Wright’s message comes through loud and clear now with the warmth and richness of a vinyl LP sound and a spiritual glow, a beautiful combination indeed. Get your ticket and climb aboard the The Dream Weaver train before they sell out!

Key Tracks: Love Is Alive, Dream Weaver, Can't Find The Judge

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

January 8, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Beyond the Bridge - The Old Man and the Spirit

“If you don’t have anything nice to say, don’t say anything at all.” The mothers of the critics of the world must be severely disappointed – If all rock critics adhered to this age old adage, half of them would be out of a job, and half of those that remained employed wouldn’t be any good at what they did. They’d be lying through their teeth to a public grown cross eyed from years spent in the perpetual wearing of rose-colored spectacles. I don’t want to lie to you and tell you I like something when I don’t, but I also don’t want to tell you something is bad when what I really mean is I don’t like it…

Receiving the latest release from Beyond the Bridge, my first thoughts upon catching the title (The Old Man and The Spirit), for obvious reasons perhaps, were of Hemmingway. I began to speculate: maybe Beyond the Bridge had adapted Hemmingway’s last and possibly most famous novel, built a concept album around it the way Leviathan did with Moby Dick. I let myself get carried away. I was eager to channel the spirit of the late, great laureate; so, grabbing a bottle of whiskey and a shotgun (my two best Hemmingway props) and pressing the play button, I began my analysis with high hopes. By the end of the first track I had unloaded and put away the gun, for fear that I might turn it against myself (or at the very least my speakers) before the end of the album.

According to most web sources, chief among them Beyond the Bridge’s own website, The Old Man and the Spirit “…deals with the polarity of human sensuousness and superhuman awareness. The latter is embodied by the character of the Spirit. She is the personification of all wisdom and awareness that is unachievable to mankind, however, lacks of the ability to feel. Her opponent, the character of the Old Man, is presented as a bon vivant who has lived through all highs and lows of human sensation. Steadied by his old age, he searches for a sense, for a coherence, for the meaning of his life in the maelstrom of transiency. As the story unfolds, the Spirit convinces the Old Man that there is no way for Man to overcome the limits of human perception. They can only be transgressed with the help of the Spirit's wisdom. Aware of human curiosity, the Spirit offers to answer all of the Old Man's questions - in exchange for his experiences and feelings. A high price, as they are inseparably connected to the Old Man's memories.”

Rather than search for sense, coherence and meaning in the preceding quote, I will just assume they’re not lying. The interplay of male and female vocals is a good way to convey the Man/Spirit dialogue (most notably during “The Struggle,” where the conflict described more or less comes to a head). I feel like to properly enjoy this album, to hear it the way it may have been intended, you’d have to travel seven years back in time, to when the project was first conceived by guitarist Peter Degenfeld-Schonburg, to when it was relevant. The Old Man and the Spirit has all the hallmarks of a typical melodic metal album: dueling guitar and synth riffs, dizzying legato, the breakdowns in half time which build back to the original tempo. It’s symphonic; it’s epic. It’s pedantic, but not in the way you’d expect. There aren’t any difficult time signatures or modes or anything that would make the music itself deliberately hard to comprehend. If their goal is to show their proficiency as technical masters of their craft, then they have succeeded. Their skills as songwriters however, leave something to be desired. Namely: originality (or personality, perhaps).

If a vegan told you he didn’t like the burger he just ate, would your first thought be that it was a bad burger, or would you instead consider that this person’s (the vegan’s) perspective in this instance (the instance of the burger) might be so limited as to render any criticism essentially meaningless? This poor soul trying to describe to you what he just ate, having little to no basis for comparison, whose digestive system may not be conditioned to the sudden introduction of said substance(s), who may be morally or at the very least principally against consuming what they had just themselves consumed; do you think you’re going to get a positive reaction? The same principle applies to my reviewing The Old Man and the Spirit. It could be bad and I wouldn’t know it, and it could be good and I still wouldn’t like it.

Key Tracks: The Difference Is Human, Triumph of Irreality

Drew Vreeland - Muzikreviews.com Staff

January 7, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Claire Ritter - The Stream Of Pearls Project

Claire Ritter began her study of piano at Queens University in Charlotte, NC. Her work has taken her to back to Charlotte, where she now resides in between her international performances. Her music has been compared with Duke Ellington with classical and jazz intertwining to create a sound that is both playful and calming. The Stream Of Pearls Project is the tenth album in Ritter’s’ discography and she is joined by several guest artists: Ashima Scripp (cello), Richie Stearns (banjo), Toni Naples & Rick Hansen (accordion 1+2), Jon Metzger (vibraphone) and Takaaki Masuko (percussion/drums). The theme of this album is the free spirited nature of water.

The first song on the album is “The Beauty Of Its Stillness, Overflowed Me Like A Tide.” The tranquil piano notes trickle over you like a babbling brook dancing down a riverbed. It was inspired by Longfellow’s “To The River Charles.” Ritter’s flawless handling of this piece had me sighing and settling in to listen-repeatedly. Every piece of the composition is placed where it needs to be. The harmonies and textures created by her musical paint brush are delicate and transcendental.

“Valse Of The Ponds” is one of the shorter pieces on the album, but is also one of the loveliest. It is a reflection on the brooks and ponds near Ritter’s New York studio. The musical brushstrokes are a little bolder with this piece and make me think of walking down a country road while the autumn leaves are striking in their orange and red splendor. The flowing effect of the piano as Ritter masterfully manipulates the keys is refreshing and invigorating.

“Mustang Calypso” is a vibrant addition to this album. Calypso drums are married with Ritter’s piano music and create an energetic piece that pays tribute to the Outer Banks and the wild ponies that run free on Currituck beach. The tempo of the music actually does give me a picture of equine dancing and that in itself is chuckle worthy and smile inducing. The textures Ritter uses with this piece are vibrant and full of energy.

Claire Ritter has become an artist to watch, both in her home community of Charlotte, NC, but in the international scene as well. Her tenth album, The Stream of Pearls Project is a great example of what this artist is capable of. From the lighthearted “Mustang Calypso” to the elegant “Valse of the Ponds,” this artist has the talent for crafting her music to celebrate layers in music and interpretation. The classical and jazz elements are powerful and at the same time, delicate. This album was inspired by Ritter’s travels to the 1,000 islands area on the St. Lawrence and manifested itself in the beautiful undercurrents and ripples of sound that make this an album to relax to.

Key Tracks- The Beauty Of Its Stillness, Overflowed Me Like A Tide, Valse Of The Ponds, Mustang Calypso

Dana Wright-Muzikreviews.com Staff

January 6, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

HTML Comment Box is loading comments...

Boy Wells - Blue Skies Calling

Ever wonder what the Allman Brothers, or possibly even Government Mule, would sound like if they had jazz chops too? Then let me introduce you to Boy Wells. Blue Skies Calling is kind of like Southern rock without borders. There are many moments that feel like home to me (I'm Southern, so I know Southern rock), but then again you have songs like the opening track “Mr. Colluzi.” It's a good old-fashioned instrumental jam that could be classified as jazz, or funk, or horn band rock in the style of Average White Band.

Speaking of the horns, sax player Bill Watson deserves special mention for “Love In Vain,” which is just great. His playing is as sultry as any down-in-dirt tune I've ever heard. You can almost feel the heat of a Southern summer in the music. All of the musicians, in fact, are very good.

The star of the show, though, is Mr. Wells and his excellent guitar work. Every track shows off his talent, but “Tin Winter” in particular sells his creativity as a writer. Not every shredder can tie together such varied figures into a musical whole. My only real criticism of the music at all is regarding the vocals on “Mon Angel,” which are a little off in places. He wanders a little out of the pocket in terms of intonation a few times. Please don't let that stop you from getting this CD! If you love Southern rock you need this album. It will give you want you want, plus a few things that might broaden your musical horizons. Enjoy!

Key Tracks- Bring It Back, Love In Vain, Tin Winter

Donny Harvey- MuzikReviews.com Staff

January 5, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Patrick Hemer - More Than Meets The Eye

Patrick Hemer is a hell of a guitar player. This fact is as obvious as a brick to the head if you simply listen to the first song on More Than Meets The Eye. But, more importantly to me is that he is also a hell of a songwriter. Those two things don’t normally go together well and if you doubt me I give you Steve Vai as example Number one. He’s a brilliant guitar player but ask him to write a song someone will listen to and he looks at you like a confused dog. Patrick is no confused dog but he does write songs that are so raw and vicious they will attack your ears like a dog with rabies.

From the opening fret work of “Up From The Ashes” you are taken by the neck and your head is thrust into the amplifier. The riff in this song is a monster. Drummer Tom Wagner and keyboardist David Casanova are perfect fits to back up Patrick and his voice which I will actually say surprised me. It’s better than I would have imagined considering that most great guitar players can only do that, play guitar.

His songs show maturity and a good grasp of the all too elusive concept of how to put together a great metal song. This will be of no surprise to anyone who knows of Patrick from his work with the German band Horizon. He unlocks a great riff on “Edge Of Insanity” that compliments his voice quite well. “The Godfather” opens with a sound I have never even heard before and wouldn’t have thought possible coming from a guitar. I’d have to say that this is one of the most accessible songs on the album and it might be the key to breaking into the mainstream. “Panem Et Circenes” is a master work in how to write a song that will crush your bones to dust but still have a melody to it that leaves you smiling while the music grinds away.

Patrick’s guitar solos keep this album very interesting as he thankfully resists temptation to simply play a million miles an hour and instead adds great color and feeling to each solo. It’s refreshing to hear talent being used correctly. So many gifted guitar players get lost in the realm of speed and fret work acrobatics and while Patrick does indulge in that, he has the direction and song writing talent to not get lost.

Key Tracks: Edge Of Insanity, Up From The Ashes, The Godfather

Doug Morrissey- Staff MuzikReviews.com

January 6, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

HTML Comment Box is loading comments...

Almah - Motion

Where does metal come from? What part of the world is generally accepted as the home of metal? Most would say Scandinavia, and other parts of Europe, though the United States has been no slouch in terms of its metal output. This is what makes Almah so interesting; they aren’t from either metal hub but have still managed to crank out some great music.

Almah is from Brazil, which to be fair is not destitute when it comes to metal, but neither would one include it in the discussion of giant metal countries. Edu Falaschi, Vocals, started Almah as a solo side project opposite his other band Angra, but Almah quickly developed into something more. Before long the current lineup of Felipe Andreoli, Bass, from Angra, who joined along with Marcelo Barbosa, a Berklee graduate and master guitar player, Paulo Schroeber, another brilliant guitarist, and Marcelo Moreira on drums came into being.

Motion was recorded very quickly, between May and June 2011, but it sounds anything but rushed. “Hypnotized” functions very well as an album opener; it chugs along at a thunderous pace. “Living And Drifting” moves slightly faster and features some incredible dual guitar soloing between Schroeber and Barbosa. They are unbelievable. The groove on “Days Of The New” is very catchy and offers a nice change of pace from the first two songs’ tempos, but it isn’t without more amazing guitar shredding that has to be heard to be believed. “Zombies Dictator” not only has a great song title, but also a bridge in the middle that flat out rocks. The thrash riffage opening “Daydream Lucidity” is simply astonishing, but this track also does something else; it says loudly…spend more time not in the key of B flat. “When and Why” is a beautiful album closer, featuring acoustic guitar and vocals alone that have an X factor to it; I can’t quite put my finger on why it’s as good a track as it is.

There really isn’t a single weak song on this record. Motion also treads a fine line very well, between making each song memorable at risk of the album not sounding cohesive. The little things that make each track memorable on its own are very subtle, but they’re there, which is what matters.

Almah has received high praise from their beginning, and based on this album it sounds deserved. One complaint I have is actually addressed in “Daydream Lucidity,” it gets a little boring for every song to be in the same key, consistently. This track spends much of its time around it but not in it. It’s a nice touch that solves that problem. The other critique I have is that for most of the album I couldn’t hear the lead vocals as clearly as I’d like. This is a shame, as I’ve found Edu Falaschi to be a very good vocalist indeed.

Almah’s latest offering, Motion, is simply a good record. Other than the vocals it’s well produced, the songwriting is excellent, the musicianship is outstanding. It’s solid in every way an album should be.

Key Tracks: Daydream Lucidity, Zombies Dictator, Days Of The New

Daniel Erickson- Muzikreviews.com Contributor

January 4, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Claire Dickson - Scattin' Doll

I am not much of a jazz fan, so receiving a jazz album from a teenage artist did not get me jumping. This all changed when I started to listen to Scattin’ Doll, Claire Dickson’s debut release. Recorded over a two year period when the artist was becoming a teenager, this collection of covers showcases the talents of this young singer. Supported by Michael McLaughlin (piano), Greg Loughman (bass), and Eric Rosenthal (drums), this album will blow you away.

“Caravan” is a perfect attention grabbing opening track beginning with a trumpet that leads into the amazing vocals of Claire Dickson. Seriously, it is hard to believe that this girl is barely a teenager. And she keeps getting better and more vibrant as the song goes on. “Confirmation” is a song that shows off her scatting skills, appropriately given the album title. It is basically a scatting interlude that runs into the sultry “Black Coffee.” I will never view coffee in the same way again thanks to Claire.

“Love Me or Leave Me” is a love song that is handled convincingly by the young artist. “Phantom Doll” marks the halfway point of the album and I am impressed thoroughly. Her voice is incredible and the band completes the whole musical experience. “Just One of Those Things” has great drum solo that leads into some more scatting. You can never have enough scatting on this record. “My Man’s Gone Now” shows the depth of passion and emotion that Claire can reach in her vocals. “Ornithology/ How High The Moon” is a short and sweet ending to this fantastic effort.

Scattin’ Doll is a phenomenal achievement for the young artist. The level of maturity and emotion reached by Claire is a demonstration of her incredible talent. This album might not make you a jazz fan when all is said and done, but it will leave you a fan of Claire Dickson.

Key Tracks: Caravan, Black Coffee, Phantom Doll, Ornithology/ How High The Moon

Brian McKinnon - Muzikreviews.com Staff

January 3, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Jeff Andrew - Hobo Postcards

When he is not wandering the highways of North America and “writing hobo postcards on the highwayside at dawn,” Jeff Andrew finds the time to pick up his instruments and make some remarkable music. Based out of Vancouver, British Columbia, Jeff’s main influences are cited as “Treehouses and Trainsmoke” that makes for a unique and wonderful listening experience. Hobo Postcards is the second album for Jeff Andrew and filled with melancholy, anger, despair, and perseverance. Get out a bottle of whiskey and enjoy.

“Wooden Dress” is a blistering opening song that shows off Jeff’s raw and powerful voice. I really enjoy the type of songs that tell a story, especially one with tastes of the open road. It sets a high standard for the rest of the album that is soon surpassed because this album is that good. “Jersey Hill” keeps the spirit of the first song with its tale of traveling with a hint of darkness in the narration. “Please Let Me Sleep On Your Floor” is a calm song with a touch of melancholy as the title alludes to. With the title of Hobo Postcards, cloudy days are expected to be the norm and that is not such a bad thing.

“What’s Going On In The Alleyway?” has frenzied atmosphere to it. It is a catchy and sing-along type of song with a twisted sense of humor. Well, it had me grinning. It is by far the shortest song, but it is also one of the more memorable. I very much enjoyed the anger I found in “The Wandering Dead,” especially the relaxed attitude the narrative voice displays toward the wrongs, but still keeps on going in spite of those wrongs. The most political song is one of the top songs. To keep it simple, “When The Whistle Blows” is a heartfelt and beautiful song.

“Voice In The Floorboards” is another magnificent song with a “If these walls could talk” theme to it with lyrical content on the same road as “The Wandering Dead.” It is not often that someone asks to be haunted, but that is exactly what is requested in “I Want You To Haunt Me.” It is the type of song that will leave listeners mesmerized and my favorite on the album. “Hobo Postcards” brings the album to a conclusion with everything that makes this album such a wondrous experience.

After listening to Hobo Postcards, Jeff Andrew is a name that is not soon to be forgotten. He is a true poet-musician with the talent to match. He is the Canadian Tom Waits and I look forward to the coming of more incredible music from him.

Key Tracks: The Wandering Dead, Voice In The Floorboards, I Want You To Haunt Me

Brian McKinnon - Muzikreviews.com Staff

January 2, 2012

©Muzikreviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Broken Romeo - Desperation Daze

Broken Romeo, a 4 piece Arizona based band has released their second full length album titled Desperation Daze. The 11 track album will keep you enthralled as you fluctuate through emotions. The band has not released anything since their EP 2004, and it’s obvious they were working on nothing short of a master piece.

Although their most popular single is “One In A Million,” I fell in love with the first three songs on album. The first song named after the album’s title “Desperation Days,” is a beautiful melodic intro, with delayed guitars meshing together with soft drums and bass. The music takes you to a far away place in your mind. It makes you feel a little at peace. I was shocked when it ended and I saw it was a two minute instrumental piece that carries into the second song “Mark of Cain,” genius! Literally my jaw dropped, that is brave to do, but I LOVED it. Not only was the first song great, the second song “Mark of Cain,” was another that I was highly impressed with. Again another awesome melodic intro continued from the first song, right when I anticipated the vocals the instruments got even more powerful. Kind of what house music lovers would call a “drop,” but rock’ n’ roll style. They completely drew me into their music with their musical abilities, and then sold me completely after hearing the vocals. Lead singer James Turpin leaves nothing to be desired throughout in the verse and chorus. He very much reminds me of Scott Weiland of STP. Not only does James have a knack at writing unique and catchy melodies, but his lyrics are honest and deep.

The amazement continues into the 3rd song “Believe.” Bassist Ari Sloane and drummer Matt Ringall own the bottom end, while guitarist and singers James and Steve Turpin take care of the top. It is clear that these guys have a bond as guitarist and vocalist, and this is one of the songs that really show that. Consistently throughout the album, the rhythm and lead guitar play together blends so seamlessly you are not sure which is which. Their talents are equally matched with the lead and back up vocals. Right into the chorus of “Believe,” the melody of the vocals dances around the main guitar riff tugging at your heart strings. Goosebumps jumped onto my skin as I closed my eyes listened to the sea of notes. This along with the song “Raging Sea” were tied for my favorite on the album.

This band is a great example of what happens when really talented passionate musicians get together and create something that means something to them. I can see Broken Romeo in a few different genres of music from blues to indie. I expect to see this band name popping up all over in the place, and cannot wait to see what these guys do in the future. Listen to this album, and then listen to it again. Each time you will find something different that you like about it I assure you.

Key Tracks: Desperation Daze, Mark of Cain, Believe

Rhiana Lewis -MuzikReviews.com -Contributor

January 2, 2012

©MuzikReviews .com

For Questions Or Comments About This Review Send An Email To info @muzikreviews .com

HTML Comment Box is loading comments...

Qwiet - The Meridian of Rhyme

In true hip-hop form, L.A.’s Qwiet brings an improperly spelled pseudonym to the masses. I kid, but what really is interesting about the artist, who’s all about bringing beats, rhymes, and beautiful things, is his differences more than his similarities to others in the genre.

What I enjoyed most about Qwiet’s latest album, The Meridian of Rhyme, is the positivity he brings that is missing in much of the hip-hop out there. When it seems like the most talked about hip-hop act last year was Odd Future, whose lyrical content is considered extremely offensive, it’s good to be reminded that there are still artists trying to break the stereotypes hip-hop has gotten. Still, Qwiet is not only positive, but spiritual as well. No knock against it, but this will turn off some listeners and something one should know before purchasing this album.

This said, I don’t generally listen to religious/spiritual releases, and I didn’t really find The Meridian of Rhyme to be extremely in your face or suffer in its attempt to convey a message. Qwiet definitely shows that he and his cronies are knowledgeable to the genre and have skills. I wouldn’t say anyone on here is as good as Common, Andrew 3000, or guys like that, but they’re still as good, if not better than, much of what we hear on a regular basis.

The Meridian of Rhyme is full of good beats and rhymes, solid hooks, and strong verses from its contributors. It certainly shows that Qwiet is paying attention to what’s out there, not just those that share his point of view. This is something that is often lost in spiritual releases as often times you get musicians trying to get through to people in a genre that the people like, rather than one they enjoy themselves. Regardless of this, when viewed as a hip-hop artist, Qwiet and his album certainly hold their own within the genre, not just their sub-genre. Qwiet certainly practices what he preaches; beats, rhymes, and beautiful things indeed.

Key Tracks: I Believe, The Truth, To the Sky

Kevin Kozel - Sr. MuzikReviews.com Staff

January 3, 2012

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Various - The Blues An Evolution

On December 13, 2011, Electro Glide Records released their first compilation CD. The artists included in this amazing collection are: Marty “Big Dog” Mercer, Brandon Santini, Dan Baron and Tom Holland. While their style of blues is very similar, each brings their own signature feel and scorching compilations to the table. After listening to this album, I had only one thought on my mind: where can I find more of this music.

“Big Dog Blues” is Big Dog Mercer at his best. The song erupts into a guitar fest that makes you want to pull on some dancing boots and kick around the floor awhile. The arrangements and melodies are on fire. Mercer captures the soul of electrified blues with smokin’ style and leaves you wanting more. Using his ability for slide work that grabs you by the hair and soulful vocals, this piece is only the tip of the iceberg where this artist is concerned.

“She’s Sweet Like Honey” brings us Brandon Santini, vocalist and harmonica player. Frontman for Delta Highway, this Memphis talent was nominated with his band for the Blues Music Award. The intricate guitar playing that spirals to life rapidly is married with Santini’s harmonica playing and vocals. Like a sweet glass of iced tea, this piece quenches the heat from the earlier songs on this album and then ramps it back up again. The composition is pure blues and every element is just where it should be.

“Jealousy” is brought to us by Danny and the Devils. The slow and sultry beginning is enough to curl your toes and sit you back in your chair. The edgy lyrics and vocal style are captivating as they ride the waves created by subtle guitar work. Just when you think this song can’t get any better, a guitar rises up out of the smoke and seduces you with some serious picking and grooving. The beat in the background adds another textured element and makes this song a great addition to this album.

“Zeb’s Blues” has to be the happiest blues song I have ever heard. Holland and his group have kept this piece completely instrumental, but you won’t find yourself minding at all. It has elements of swing and rock peeking out at you from around corners. The single most interesting thing was the sheer amount of energy poured into this track. It is electric; the layers of guitar and percussion are dynamic. The rhythm created here is precise and I found myself hitting rewind a few times just so I could hear it one more time.

Each and every song on Electro Glide Records The Blues, An Evolution is full of energy and love of a genre that can at times be filled with the weight of sadness and the sheer lightness of joy. In each piece by these talented artists, you will see elements of both. One thing that holds true is the dedication to the craft and the evolution of the Blues. It was hard to settle for just three songs for key tracks, so I picked four. I would have selected them all, but I wanted you to listen to the music, not me. So, go grab yourself a cold one and settle in for some scorching blues.

Key Tracks- Sweet Like Honey, Big Dog Blues, Jealousy, Zeb’s Blues

Dana Wright-Muzikreviews.com Staff

January 2, 2012

©Muzikreviews.com

For Questions or comments about this review send an email to info@muzikreviews.com

The Inner Road - Visions

When I received another album entitled Visions to review, at first I thought I was seeing things. Earlier in 2011, Haken released an album with the same name, so once I realized that it was not some type of error, I was excited to see how different approaches (with one large aesthetic similarity: the title) may compare. Turns out, they don’t really. The inherent similarities of two albums called Visions may have been an oversight on my part. I’ll let that go.

Despite being an instrumental album (for the most part, the way a prog album ought to be), there are sparse vocals peppered throughout the album. “Day of the Sun” for example, includes what sounds like samples of Stephen Hawking talking about the universe. Birdsong, barking dogs, babies crying, distant laughter and some harmonious vibrato ‘Ooh’s and ‘Ahh’s can be heard as well across various tracks (mostly on “Heaven”). Though never featured the way that lyrics typically are, their inclusion does render the songs more dynamic (though I would hesitate to say that they are an integral part of the score).

On the whole, Visions is a solid symphonic prog rock album, heavy on the synth. Formed as a spin-off side project of British band Coalition, The Inner Road was established as a vehicle for the collaboration between Steve Gresswell (comp./keys/drums/bass) and Phil Braithwaite (comp./guitars) who felt that some of the material they were writing together would not suit Coalition. To me this sounds like they just wanted to write some new material without including Coalition’s third and final member, vocalist Paul Bulger, on the new songs. But having heard Coalition, there are differences between the two bands that render them distinct from one another, the way apple juice is different from apple cider. (If you’re not sure which is which, Coalition = Juice and TIR = Cider.)

Coalition’s songs seem to have more structure and direction to them, distinct ‘parts’ as you may call them (This part here’s the intro, then there’s an A part, followed maybe by a B part, back to A, throw a bridge in there from B to C, &c.), constructed in a way that is congruous to most commercially accessible rock, while The Inner Road seem to take, well, an inside approach, creating more meandering and pensive music where mood and atmosphere take precedence over action and objects. To put it another way: Coalition plays progressive rock with an emphasis on the rock, while The Inner Road plays progressive rock with an emphasis on the progressive. (Interestingly enough, both Coalition and The Inner Road are practically side by side on ReverbNation’s ‘Rock Charts’ for Reading, UK. Coalition remains 4 places higher than The Inner road, however (69 and 74 respectively, as of 12/28/11).) Continuing with the cider/juice metaphor, it stands to reason the if you like one you’ll like the other, but drinkers (and listeners) may have a clear preference for one over another. My money’s on Visions.

Key Tracks: Heaven, Day of the Sun, Night Light

Drew Vreeland - Muzikreviews.com Staff

January 1, 2012

For Questions or Comments About This Review Send An Email To info@muzikreviews.com

Dario Mollo /Tony Martin - The Third Cage

The album titled The Third Cage is comprised of Italian musician Dario Mollo, and previous singer of Black Sabbath, Tony Martin. Both have worked in a myriad of projects over the years, and have come together again to bring the third installation of their work together.

“As usual we are 50/50 partners,” states Mollo, who composes the music and then turns it over to Martin who writes the melodies and lyrics. The album has a general generic metal feeling through most of it, sometimes intertwined with the melodic feel of different keyboard tones ranging from general synths to symphony sounds. Immediately I was drawn to the first song “ Wicked World,” with its lengthy but powerful introduction. I was taken back to my youth and reminded of bands like Pantera. As the song continued I waited in anticipation for the vocal stylings, and when they finally came in I was sadly disappointed. Although Tony Martin has a powerful and amazing voice that never strays from key, it was not exactly what my ears were waiting for. The fantastic musical structure of the album, melodic intertwinements, and head banging-inducing guitar solos were outshined or rather dimmed by the vocals and lyrics that failed to give the music justice.

Musicians Dario and Martin did have some great ideas with songs like the song “War Dance,” in which a strings/symphony feel are thrown in with the metal. I very much enjoyed the rhythm guitar on the verse of this song as well. The chords that Dario are playing really just have a full feeling that let you know this guy really knows his stuff as a guitarist. Further into “War Dance” after the break down, a guitar solo ensues. This is the head banging inducing I was speaking of earlier. This type of shredding just further proves the well roundedness of Dario as a musician in general. Not only does he play lead and rhythm guitar on this album he is also responsible for the keyboards as well as the bass! Unfortunately, this is all under the very invasive vocals of Martin. There were times I needed to strain to hear what was happening with the music. Most of the songs on the album had the same thing…A great introduction, melodic, great musical structures and sounds, but the vocals/lyrics just don’t seem to fit. BUT If I had to choose one song with the best vocal styling’s, and perhaps most “hook driven,” it would be the song “I Don’t Know What It Is About You.” Martin very much reminded me of Chris Cornel of Sound Garden on the track. I liked the melody for the verse, though none of the lyrics grabbed me. I could see this song being very popular in the 80’s, or perhaps today to the people who are still into that kind of music today. “Oh My Soul” had some wonderful vocal harmonizing, though I fear perhaps he is once again stuck in the past with the lyrics. Not only do most of the vocals sound the same, but they almost always follow the guitar and lack uniqueness.

All the musicians who worked on this album are obviously talented from the instruments to the singer, who could maybe even have a career in opera some day. The album was missing passion which very much shined through in the lyrics, and lack of hooks. This music could be marked in the “Classic Metal” genre, but may not gain the hype that is anticipated main stream wise. But to committed fans, and previous 80s metal lovers, this band is for you!

Key Tracks: Oh My Soul, Still In Love With You, War Dance

Rhiana Lewis -MuzikReviews.com Contributor

December 31, 2011

©MuzikReviews.com

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Red Orchid - Blood Vessels & Marshmallows

At first I was intrigued by the title, Blood Vessels & Marshmallows. I mean, everyone needs at least one of those things to live, right? Beyond that, I didn’t have much more to go on. You never know what to expect with a two-piece, but I’ve had good luck in the past. Out of Vienna, Virgina, US, Red Orchid (Tom Dupree – Drums/Sanmeet Sidhu – Not Drums) would most readily draw comparisons to El Ten Eleven, another loopy, spacey, post-rock duo from the opposite coast (LA). If that’s your bag (as it is mine) then you should waste no further time in getting your hands on a copy. If you’re new to the scene or just not sure, read on:

BV&M leads with its title track which starts off sounding alternately like a beating heart and a ticking clock; a real slow, heady intro. And it isn’t disappointing, falling somewhere between Prog- and Post-on the Rock Spectrum. Once this album gets off the ground, it doesn’t touch down again. Not even when it ends. Instead, it just drifts off into the stratosphere.

At first, Red Orchid use guitars like some bands use keyboards: more for texture than for melody. On the B-side of the album they (the guitars) resume their traditional function as piano and synthesizers make their presence heard. Taking the vocals out of the equation, the music is somewhere on the order of a mid-set Mogwai or Arab Strap: reassuringly repetitive riffs, clean arpeggios over distorted progressions, nothing fancy from the drums. Just enough rhythm to remind you they’re there. The vocals, when present, are minimal and understated, which is a plus. Music like this is largely about the monotony of the riffs, the droning, repetitive, &c. Vocals only serve to break up the monotony, thereby dampening the intended effect. Not to overstate the obvious but when it comes to minimalism, less is more.

“Silent Train” is one of the album’s highlights, incorporating elements of the psychedelic sound as well as Middle Eastern themes. I hate to compare anything to Pink Floyd, because it creates unreasonable expectations and it’s inherently unfair (and I mean, who hasn’t been influenced in some way by Pink Floyd? They’re one of those seminal bands to which comparison is essentially meaningless.), but by the end of “Silent Train” Floyd is invariably who I am reminded of. “Bitter Hands” seems out of place on the album. It’s an acoustic ballad that’s almost entirely incongruous with the rest of Blood Vessels & Marshmallows. On it we are treated to the more melodic side of Sanmeet Sidhu’s vocals. It’s not a bad tune, but it’s certainly a departure, and by the end you are left wondering if the duo just decided midway through production to become a completely different band. And then so swiftly you’d think the track had changed, it returns to the sound they spent the last thirty minutes establishing. If there’s a track to skip, it’s “Bitter Hands.”

The most interesting percussion on BV&M can be found buried among the layers of space junk which comprise “Flabbergast Butterfly,” the albums ten-minutes-plus Überjam. If you started from the beginning, and you’re still listening by the time you get to it, there’s no reason you won’t like it (unless of course you’ve hated the whole thing and you’re still listening just to punish yourself).

This is not the album for listeners craving hooks. You can’t dance to it, and it might make you a bit dizzy. It has depth but not breadth, heart but not soul, and form but not function. It’s smart, but not genius. You’ll either like it immediately or know halfway through any track you choose that it’s not for you. (Or maybe you’ll warm up to it slowly, liking it gradually more over time. Who knows?) I would recommend this album more than most.

Key Tracks: Silent Train, Astronomicon, Flabbergast Butterfly

Drew Vreeland - Muzikreviews.com Staff

December 31, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Cinque - Catch A Corner

My computer media player tagged Cinque's Catch A Corner as R&B when I loaded it. Imagine my surprise when I listened and heard instrumental jazz flowing from the speakers. I've now realized, however, that this CD is actually much more than just another example of any one genre. This is what you get when some of the best musicians in the world decide to get together and simply do their own thing.

Here's the lineup: Steve Gadd on drums, Peter Cardinali on bass, Joey DeFrancesco and Robi Botos on various keyboard instruments, and John Johnson on sax. Not familiar? Well, here's who they've played for as individuals (in no particular order): James Taylor, Eric Clapton, Steely Dan, Chick Corea, Paul Simon, Oscar Peterson, Aretha Franklin, Ray Charles, Michael Buble... and more. Enough said.

So, let's talk about the music. There are no 'bad' moments on this album. It's a nearly perfect blend of good musical taste with virtuosic ability. I guess this is how you play when you've got nothing to prove. “Two Worlds” particularly showcases the talents of Johnson on sax. The smooth phrasing and absolute control of pitch and articulation in his long lines bring to mind the vocals of Ella Fitzgerald. He sings through the instrument with great eloquence. “Bolivia” features Cardinali on a relentless ostinato bass line that serves as one long hook, beautifully underpinning the solo work of the rest of the ensemble (this kind of highly repetitive playing is very challenging from a technical stand point, by the way). “Over The Humpty Dump” proves that you can groove in 3. It also has some amazing keyboard work, but I could really say the same regarding DeFrancesco and Botos on every track. I'll just end with a personal note to the band: “Please do more albums!”

Key Tracks- Two Worlds, Over The Humpty Dump, Bolivia

Donny Harvey- MuzikReviews.com Staff

December 29, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Black Skies - On The Wings Of Time

One thing that’s unique about the metal scene is that there is more wiggle room for artistic freedom. Metal listeners like to think of themselves as being open minded regarding metal genres. The one style that I feel pushed what artistic expression was to be tolerated was Sludge Metal, which is the music Black Skies plays.

Based in Chapel Hill, North Carolina, Black Skies say they have been “tuning down and turning up since late 2005, constantly evolving their aural offerings of psychedelic sludge.” That description is right on par with their latest offering, On The Wings Of Time.

With Kevin Clark (guitar and vocals), Tim Herzog (drums) and Michelle Temple (bass), they create a raw collection of songs that are powerful despite their minimalism, a key characteristic of Sludge. The album’s production sounds rather low budget, but again this is one component listeners of Sludge have come to appreciate–it makes the songs appear more honest, true to the band’s personal expressions coming out. Between the distorted guitars and deliberate drumming sits a group of artists presenting themselves in the purest way they can, by not worrying about how professional it sounds and letting their art speak for itself.

“Rebirth” sets the tone for the album perfectly. The dark guitar sounds and drumming here let the listener know exactly what the rest of the album will sound like. It’s huge, heavy, and low; a perfect introduction. “Darkness and Disguise” changes up the groove, but the power is still there. It’s a welcome change to keep this album fresh, and not boring. “Technologicon” is a slightly faster paced march in 6/8 time before switching back to 4/4, and it’s just as great as both the aforementioned songs. “Weightless” is a short acoustic interlude with howling winds in the background, giving a sinister tone to an otherwise forgettable track.

I didn’t want to like this album when I learned it was Sludge. I respect this genre for all its characteristics but I haven’t found very many bands that play it to my liking. This album has completely won me over. It embraces Sludge in all its glory and runs with it for all its worth. No, it doesn’t have crazy guitar solos (it does have solos, but they’re nothing like Petrucci or Malmsteen by any means) or an unbelievable singer, and yes, the songs sound rather similar to each other. For most of the album the lead singer’s voice can’t be heard clearly either. But what it does well it does so well that I can look past its flaws and enjoy it. And I enjoyed it very much.

Sludge is a genre for bands to do whatever they want, regardless of what “metal” dictates they do to fit in. And that’s okay; without bands like this to balance out the virtuosos, metal would be boring. I still may not be a huge Sludge fan, but I am now a fan of this band thanks to this great album.

Key Tracks: Rebirth, Darkness and Disguise, Technologicon

Daniel Erickson- Muzikreviews.com Contributor

December 26, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Late for Breakfast - The Art of Falling

With the cold and the holidays upon us, many people are nearing a search for warm weather. What better way to accompany that weather with some light, jazzy, yacht rock from Late for Breakfast?

I have to say, I do have an occasional itch for some yacht rock. Break out a little Steely Dan, Doobie Brothers, or Michael McDonald. Sometimes it sounds a little silly, but other times it just has that breezy feeling that just fits a nice relaxing day. This is just the feeling that this four-piece from Melbourne delivers on their debut release,The Art of Falling.

Late for Breakfast still have a Doobie/Steely feeling, I also think of Hall & Oates when I listen to them. The band also listed Bruce Hornsby, Supertramp, and Jamiroquai as influences. For better or worse, this album makes me think of “Love Me Sexy” as performed by Will Ferrell, from the movie Semi-Pro.

Over The Art of Falling’s 10 tracks, Late for Breakfast gets soulful, jazzy, funky, and even breaks out a little reggae. It really is a pretty good mix. The keys and bass provide the groove that gets you dancing, and the sax really gives the songs that coolness that makes them work.

Still I found myself getting a little tired of this album towards the end. Things got too similar after awhile, and maybe there is only so much of this style I can handle (around a half hour maybe?). What certainly didn’t help is that a few of the songs get rather cheesey lyrically. Sometimes you can hide lyrics in a song, but in a song like “Michelle” it ends up being a bit comical to have these lyrics over this style of music.

Overall, The Art of Falling certainly has its moments and is enjoyable up to a point, but it wasn’t easy to get through the full album in one sitting. Late for Breakfast show they are capable of making good songs in a genre that has a very fine line of line of sounding good and sounding comical. Unfortunately they fall on the latter side occasionally.

Key Tracks: The Art of Falling, Teller of Things to Come

Kevin Kozel - Sr. MuzikReviews.com Staff

December 24, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Andrea Balestra - Fine Arts Avenue

Andrea Balestra's Fine Arts Avenue is a mixed bag. Some of the tunes are great and some leave something to be desired. The tracks “Dawn” and “Ocean” beautifully illustrate the point.

“Dawn” frankly comes across as a poor imitation of Pink Floyd. It has that 'bendy' Gilmouresque guitar playing and even a gospel style lady back-up singer, but falls well short of the majesty of Pink Floyd's writing. Then by contrast you have “Ocean,” which also has a feel a little like Floyd. The difference between it and the somewhat tepid “Dawn” is that the guitar solo work in this case is intense and exciting. Since George Lynch is in the band on this album, I can't help but wonder which guitar work belongs to which artist...

Anyway, the theme of “Yes!,” then “No,” continues throughout. On the plus side, “Elephants” is just a whole lot of funky goodness. This excellent number jams all the way through. I should give a special nod to the excellent playing of “Deacon” Jones on the organ on this track. On the downside there's “Song To The Shoreline,” which falls into the easy listening trap. That is, it's pretty and melodic but just not very memorable. “Memories Of A Castaway” splits the difference, with some very intriguing solo work (especially by Balestra), but also an intro which drags on for over a minute without adding much to the song.

To sum up, some of the music is great. Some of it comes off dry. At moments Balestra (with ensemble) really shines, and those are the moments to focus on. He's clearly a talented musician with a lot of good music ahead of him. Hopefully he'll hook up with more talented artists (as he has on this album) and continue to grow musically as a writer, because there's no doubt that he's good with that axe.

Key Tracks- Elephants, Burn, Ocean

Donny Harvey- MuzikReviews.com Staff

December 22, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Michael Brant DeMaria - Bindu

Bindu is the fourth album from the Grammy nominee, multiple award winning musician, Michael Brant DeMaria. His work as a therapist entwines with his musical talents to create a place of healing for the body and the mind. DeMaria began working with music as a child when he used it to heal from surgery. Learning that music could make him feel whole and could take him places in his mind, DeMaria began to experiment with different musical styles and pursued them. With the great passion that is evident in every note of music, DeMaria has proven his ability to enrapture the soul and lighten the spirit.

“The Way Beyond” is the first track on the album. After a hectic day dealing with holiday shoppers in all of their incarnations, I wasn’t sure how I would like this music. When the first strains of light percussion erupted and the flute music sprang into action, I was intrigued. It had a Native American flair to it that appealed to me and a sense of balance that made me slow down, shut my eyes and just listen. The swirling blend of piano, pipe, ambient music and percussion merged to create a delicate melody that takes an inner journey to the soul.

“Twilight” is a breath of air into the lungs of a sleeping soul, weary from the world. The ambient sound is met with light piano music that trips along the surface, coaxing you out of slumber. Another breath comes and you struggle awake, looking for your inner path. The Native American flute begins to play with undertones of piano and ambient music gliding beneath the surface. Bells tinkle and another breath sounds out. This piece is very textured and one of my favorites on the album.

“Bindu” is the title track for this album. Astral sounds awaken the inner universe of your mind as suspense builds with ambient sounds and an interesting percussion series I can’t quite place. The rhythm of this song is infectious and the beat carries you along effortlessly. The ethnic blends in this piece are very intriguing and call you back to the center of yourself - where does the soul begin? The cover art for the album is also very reflective of this theme. The harmonies and composition are flawless. Every piece of the track is placed where it needs to be to create the maximum effect for the listener.

Michael Brant DeMaria is the multi-award winning artist who has captured the essence of healing with music. In his work as a therapist, DeMaria began to create music and eventually the Ontos Healing Sound Project. He has worked with Grammy Award winning artists (Mary Youngblood, Bill Miller, David Darling and R. Carlos Nakai) and continues to be an active performer, in addition to being a therapist and wildlife activist. In fact, with each purchase, a portion of his proceeds goes to wildlife rescue.

Bindu was a joy to listen to. It had a feeling of creation about it that made me feel energized after a day out in the maddening land of Christmas shoppers. It was a long cool drink of water for the soul and just the Zen I was looking for. Most of DeMaria’s prior work is very earth connected, but this one is an inner journey to the soul. With its ambient sounds, ethnic rhythms on a couple of tracks and the Native American flute that has become DeMaria’ s trademark, this album is all about awakening the creative juices in all of us. It was very enjoyable and I can’t recommend it highly enough.

Key Tracks- The Way Beyond, Twilight, Bindu

Dana Wright-Muzikreviews.com Staff

December 21, 2011

For Questions or comments about this review send an email to info@muzikreviews.com

Oscar Perez Nuevo Comienzo - Afropean Affair

Pianist Oscar Perez's group on the album Afropean Affair, which he calls NUEVO COMIENZO features some of the most outstanding jazz musicians on the New York scene: Greg Glassman on trumpet, Stacy Dillard on saxophones, Anthony Perez on bass, Emiliano Valerio on percussion, Jerome Jennings on drums and vocalist Charenee Wade on the last 3 tracks.

The music is original, written by Perez and was composed after a commission from Chamber Music America. It was premiered at the Jazz Gallery in New York City and the OSPAC Jazz Festival in New Jersey in 2009. After many more gigs at various venues and Jazz Festivals, the composing was finished and recorded in November 2010.

Eleven months later we see the culmination of all this work with the Afropean Affair release in October 2011. It is very soothing music, perfect for the background in a variety of settings. However, I did have a bit of difficulty selecting key tracks because of the consistency I saw in the album, at least through the first couple of listens. While it is very unobtrusive and pleasing to hear background music it took more listens to expose the individuality in the tracks.

The piano intro in Track 3, “As Brothers Would,” was something that really appealed to me so I considered that my first favorite. Overall I thought that Track 5, “Cosas Lindas Que Viven Ahora” was the most interesting and most dynamic and Track 7 “A New Day Emerging” does a very nice job of completing the experience of taking in the album. Had I seen a bit more variety in sound and perhaps the introduction of a slightly more melodic flow I would have considered a higher rating. It has been said that Perez does throw a bit of everything into his mixes and blurs the genre lines. While this is true I would like to see him separate the sounds into different songs at different times rather than keeping the lines blurred on every song.

Nonetheless, if you are looking for a nice mostly instrumental jazz album with a touch of Latin and blues, something to listen to in the background at home or in a car while driving, then I would definitely recommend the purchase of Afropean Affair.

Rob Savickis - Muzikreviews.com Contributor

Dec 22, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

The Weber Brothers - Baddest Band In The Land

When I first listened to The Weber Brothers new CD Baddest Band in the Land, I pictured a bunch of guys in their late fifties who spent the last 30 years paying their dues playing in a Classic Rock cover band. Boy was I wrong.

Brothers Ryan Weber (vocals, guitar) and Sam Weber (bass) were born in 1980-83 in Baltimore, MD. They started playing in 1992. By the time Sam was 15 he was playing in bars at night and then getting up to go to school the next morning.

In 2001 Ryan emailed Ronnie Hawkins and through that email Ryan and Sam ended up working his farm in the day and being schooled by him at night. They eventually became official members of his band before breaking out on their own.

In the line-up for the Baddest Band in the Land the Weber Brothers are joined by: Emmet Van Etten (Drums), Shai Peer (Keyboards) and Tim Bracken (Multi-Instrumentalist).

Baddest Band in the Land gets off to a strong start with a hard rocking song “Stay in the Game.” It has a groove that reminds me of something Zeppelin would play. It’s littered with excerpts of American political activist, Mario Savio’s “Bodies upon the gears” speech. The vocals and keys remind me of the Doors. It’s probably my favorite track on the CD.

“Can’t Help Feeling Bad,” is like a cross between Bruce Springsteen and David Bowie. “Nothing We Can’t Get Through” reminds me a little of the Flaming Lips. Then the band switches it up with a classic Rockabilly style song, “Sell, Sell, Sell”.

The track “Who Ever Would Have Thought” is the low point of the CD for me; it’s a less catchy rip off of “Whiter Shade of Pale”. Things look up though with, “Things Are Looking Up For You.” It’s a cross between Tom Petty and The Who. The song “Panic Attack” could easily be an AC/DC song with a little REM thrown in. Baddest Band in the Land Ends with “Different Day” which reminds me of “Trampled Under Foot,” by Zeppelin with some REO Speedwagon and Kansas thrown in. The whole album seems to be sprinkled with a bit of the Beatles.

If you took all the best recordings from classic rock, diced them into little pieces and glued them back together in different places you would have this CD. It was recorded live over two days live. It feels nice and raw. The vocals and musicianship are great and the band really lives up to its claim of being the “Baddest Band in the Land”.

I would recommend this CD to anyone who likes Classic Rock, Heavy Rock or Album Oriented Rock.

Key Tracks: Stay in the Game, Can’t Help Feeling Bad, Different Day

Kirk Bullough – Muzikreviews.com Contributor

December 21, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Voyager - The Meaning Of I

Which would you rather be–a jack of all trades, or a master of one? In music, to appeal to larger audiences, most bands become the former. They may not have to sacrifice their artistic vision and as a result will still end up making music they’re happy with, but this creates another problem. Voyager is one such band.

Voyager are from Australia, but have fought global isolation well and cemented themselves in the music realm to stay. They’ve toured Europe twice and played at various prog metal festivals such as ProgPower Europe in 2006. Beginning in 1999 with founding member Danny Estrin, vocals and synths, Voyager released its first album in 2003. Lineup changes over the years led to its current state, featuring Alex Canion, Bass, Mark Boejen, Drums, Scott Kay and Simone Dow, guitars.

The Meaning Of I is their fifth album overall, but their first for Sensory Records. It’s a tough album to review, because it isn’t a record that stretches your ears, or has anything to really hate about it. It’s a good, solid album, but it’s missing something; that zing that makes it a memorable classic.

None of the songs are weak, but they are not standout achievements. “Fire Of The Times” is a good example of this. It’s got all the aggression, sonic power and melody a metal listener would want, coupled with a great guitar solo. But beyond the solo, there’s really nothing that you haven’t heard before. “She Takes Me (Into The Morning Light)” has some very cool synths and a very beautiful vocal melody. Dann Estrin’s voice really seems to fit the band’s sound well, and I’ve run out of things to write about regarding this song. “Feuer Meiner Zeit” is a short interlude completely in German. After all, Danny is German born. It’s pretty but very short.

“Iron Dream (In Memoria: Peter Steele)” is my personal favorite. This song is a tribute to the late Peter Steele of Type O–Negative. As a tribute song, however, it doesn’t much sound like a traditional homage at all, which is good– it gives this song something the others don’t have much of: uniqueness. It sounds like it could possibly be heard on the radio, as it’s rather poppy. As a result it stands out more than the other tracks.

Overall this is a good album. I do like it. It’s produced wonderfully, the songs are all strong, and it’s a very accessible listen. There’s not one aspect that totally outshines another, and that is a mixed blessing; it means there’s nothing to instantly catch your ears with and keep you coming back for more. If you want a progressive metal album with evenly displaced talent, well composed songs, and excellent production, this album will be fine. But if you want an element of excitement, look elsewhere. This album does all things well except the most important, which it does adequately at best; entertain.

Key Tracks: Iron Dream (In Memoria: Peter Steele), Fire Of The Times, Broken

Daniel Erickson- Muzikreviews.com Contributor

December 21, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

The Revelations feat. Tre Williams - It's That Time of Year

With the Christmas season in full swing, the holiday themed albums are sure to come out. It’s That Time of Year is a four track EP that packs the punch of a full-length holiday album. The Revelations featuring Tre Williams have made a wonderful record that should be on everyone’s holiday play list. Whether the party is in full swing or there is some nestling by the fire, there is something on the album that fits.

“It’s That Time of Year” is slightly different from your usual Christmas song with its jazzy groove. What really carries the song is Tre Williams’ smooth and passionate voice. It is one of those feel good holiday songs about the magic of the season that is sure to resonate with listeners. “Merry Christmas Baby” adds some funky jazz spirit to your holiday gatherings. It sure is not like any of the regular Christmas songs we have been all accustomed to hearing, but this is a very good thing.

“It’s Christmas Time” has a more tradition sound. I like this song because it embraces the spirit of Christmas and is about coming together and reconnecting with loved ones. This is definitely a slow dance song with the significant other and maybe one for a trip underneath the mistletoe. “This Christmas” ends the EP on a festive note. It has all the makings of a holiday favorite.

This four track EP is the perfect addition to add to your Christmas music catalogue. It’s jazzy and soulful sound will stand out from the usual carols and add that extra fun sound to your holiday experience.

Key Tracks: It’s That Time of Year, This Christmas

Brian McKinnon - Muzikreviews.com Staff

December 20, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

The Last Vegas - The Other Side EP

In my experience there are a few golden rules in music that must be obeyed or else you’ll risk angering the Rock Gods. The most important of these is to never, under absolutely no circumstances should you ever, name your band after a City or a Country or use any part of it in your name. Rock music is littered with the corpses of fools who felt that if they named their band Europe, Boston, or Chicago, they would have a built in audience and easy name recognition. Those bands could never escape the curse put upon them by the Rock Gods that made their music suck like a Light Up night in Amish Country. I know, I know Chicago and Boston sold a lot of music but they only were popular with people who hated their hearing and those who were just let out of mental institutions. This brings us to the latest rock group to step up and defy the golden rule of rock music, The Last Vegas.

The Last Vegas is a Rock band out of Chicago that sounds like they landed here in a spaceship from the planet SleazeRock where it is permanently 1989. Except, rather than let their music sound outdated they modernized it and made it pretty F’ing good. These guys look like the kind of group that was profiled in the movie The Decline of the Western Civilization Part 2 with one big difference, they are good. Band members Chad Cherry (vocals), John Wator (guitar), Adam Arling (guitar), Danny Smash (bass), and Nate Arling (drums) have crafted a sound that is pure modern throwback and worthy of your time.

The Last Vegas are known for winning Guitar Center’s On Stage contest which got them the prize of touring with Motley Crue and if any group could complement a Motley Crue tour it would be these guys. Their new EP, The Other Side, is an amazing set of songs that I have personally had on repeat for about 2 hours now without even coming close to getting sick of. Everything works on this album. Cherry’s voice pulls you in on “It Ain’t Easy” and makes you want to find your leather pants again. Unlike other bands that try to pull this sound off and end up sounding terribly dated The Last Vegas sound fresh and razor sharp on tracks like “Evil Eyes”.

The Last Vegas manages to break the curse of naming your band after a town because they are simply good enough to do it. This is a group who knows exactly who they are and you need to pay attention to where they are going.

Key Tracks: Evil Eyes, It Ain’t Easy, Otherside

Doug Morrissey- Muzikreviews.com Staff

December 18, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Thin Lizzy - Live at the BBC

Thin Lizzy was founded in late 1969 when guitarist Eric Bell and organist Eric Wrixon went to see the band Orphanage, which featured vocalist Phil Lynott and drummer Brian Downey. They formed with Lynott taking on bass as well as singing. Eric Wrixon left shortly after.

The band put out several records that charted in their homeland of Ireland, but failed to do much outside of their own country. At the time the band was playing Celtic music infused with spatterings of Hard Rock.

In 1973 Thin Lizzy made it to number 6 on the UK charts with their version of a Celtic folk song “Whiskey in the Jar”.

The following album failed to chart and Eric Bell left the band. After playing with a few temporay replacements including Gary Moore, the band settled on 18 year old Scottish guitarist Brian Robertson, and Californian Scott Gorham. In 1976 this lineup of the band recorded the album Jailbreak which contained the tracks “Jailbreak” and “The Boys are Back in Town”.

The band went through several changes from 1978 – 1983 when the band finally broke up. Phil Lynott focused on his solo career. In 1986 there were whispers of getting the band back together, but Lynott died that year at the age of 36.

Universal released a 2 CD and 6 CD version of Live at the BBC, which cover the different eras of Thin Lizzy and the BBC. The Live at the BBC 2 CD set is like a greatest hits of the 6 CD box set.

Disc one contains material from 1971-1974 which gives you a great feel for what the band was like in its original form. Songs like “Showdown” and “Slow Blues” showcase some great bluesy guitar solos. “Suicide” shows off some great slide guitar playing. Lynott’s ability to sing gruff vocals on songs like “The Rocker” and then sing equally as well on a quiet song like, “Randolph’s Tango” is proof of his amazing versatility.

Disc two covers 1974-1983. This CD covers more of the hit songs from the band. It has songs like “The Boys are Back in Town” with their signature sound of two guitars playing leads in harmony and “Jailbreak” among others.

I was also impressed to find a Reggae song, “Half Castle” and more of a Jazz sound on the song, “Dancing in the Moonlight” in this collection. They save the best for last with the final track being “The Boys are Back in Town” from a concert in 1983 at the Regal Theatre.

It’s a shame that Lynott didn’t get to see his music on the big screen in Toy Story. Or the new generation of fans that are discovering Thin Lizzy’s music now. I still hear a few Thin Lizzy songs regularly on the radio and there are still incarnations of the band that still tour, but without Lynott it just doesn’t seem like Thin Lizzy.

I probably wouldn’t suggest this collection as your first introduction to Thin Lizzy, but for fans of the band these CDs are a goldmine. I also think Universal should get a pat on the back for making Live at the BBC available as a 2 CD or 6 CD collections.

Key Tracks: Whiskey in the Jar, Jailbreak, The Boys are Back in Town

Kirk Bullough – Muzikreviews.com Contributor

December 16, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Bill Leslie - A Midnight Clear: Christmas in Mitford

It’s that time of year once again, which means it’s time for my yearly Christmas album review!

It’s always pretty interesting to see what the year’s holiday season brings. In the past I have had some rather interesting takes on new songs and traditional classics, while others try and keep things pretty much the same. I tend to take the “if it ain’t broke…” approach, but once in a while a new tune or take can be just what your holiday needed. This does seem rare though.

On A Midnight Clear: Christmas in Mitford, Bill Leslie tends to stay along the traditional path, even on its original tunes. There is a nice mix of classics and originals on this album, which Leslie named after a series by author Jan Karon. Mitford is a mythical mountain town that reminds him of his childhood home in North Carolina.

As I have found out in the past, you generally want to stay pretty safe when you’ve got multiple generations listening. Bill Leslie does a pretty good job of this as he takes a generally classical approach, and mixes in his Celtic fusion style. Once in a while the abundance of whistles gets to be a bit much and it sounds like Christmas on the Titanic (think the movie), and generally the original tunes aren’t as good as the classics (though they rarely are). Still this is a pretty enjoyable holiday listen.

All of the songs are also instrumental outside of the final track, “Winter Rose”. Over these 16 tracks, Leslie involves guitar, piano, violin, cello, Celtic whistles, flute, oboe, harp, and hammered dulcimer. Quite an array of instruments as you can tell. The results make for nice album for the family that mixes the new and old up enough to keep things familiar, yet keep you from getting tired of the same old tunes as well.

A Midnight Clear: Christmas in Mitford is worth a few spins to get you in the spirit of the Holiday season or if you’re in the mood to kick back and chill out. Break out the eggnog and Christmas cheer with Bill Leslie on is trip to Mitford.

Key Tracks: Conventry Carol – What Child Is This, Angels We Have Heard On High, December Dance

Kevin Kozel - Sr. MuzikReviews.com Staff

December 16, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Emblema - Keep Out From Me

Emblema is a band out of Italy composed of Stefano Massari (vocals), Andrea Piemonti (guitar), Massimo Baldini (bass) and Carlo Lastrucci (drums).

Their short (8 tracks) Keep Out From Me is a fun hard rock album, from the opening rising screech of “Break The Cover” to the final (rare on this CD) acoustic strum of “Cut Them Entirely”. It's a smorgasbord of sounds and influences that are so diverse they can't possibly be intentional. I'll run through it for you, briefly...

The title track sounds kind of like a mix of the So-Cal bands Sublime and Weezer. It also has a little hot guitar work, a la Iron Maiden (just imagine that mix). “Trashing Smashing” features a One Republic style beat, but contrasts that with guitar work reminiscent of Nirvana. “Day Off” is a little like a pseudo-reggae reinvention of The Smashing Pumpkin's “Today,” but with a drum feature (not a solo since the singing continues through it) and the occasional DJ effect thrown in, just for fun I'm sure.

At first I was a little skeptical of the vocals, but in the end analysis the interesting accent of the singer (a smidge of the native Italian over English that sounds kind of Scotch/Irish) is really a good fit for the music. It adds an exotic element to the band's already unique blend of styles (styles all within the rock genre, of course). Further, he sounds good when he gets out of the low register. “Rusting All” (a track that is highly original by the way, bringing no other artists immediately to mind) and “A Step Ahead” show off his high range well. If you're a rocker in search of something different, yet hauntingly familiar, then here it is. Go get it and enjoy!

Key Tracks- Rusting All, Keep Out From Me, A Step Ahead

Donny Harvey- MuzikReviews.com Staff

December 15, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Bobby Kimball and Jimi Jamison - Kimball Jamison

When I saw that Frontier Records was putting together an album with Bobby Kimball (Toto) and Jimi Jamison (Survivor) I was thrilled. The song “Rosanna” was the soundtrack for my Jr. High School days. Kimball’s moustache was in style back then too.

Bobby Kimball played in Toto from the beginning in 1977 until 1984 and then came back in 1997. He played with many different bands in-between his engagements with Toto. Toto broke up in 2008.

Survivor was also formed in 1977. Jimi Jamison joined Survivor in 1983 when singer Dave Bickler suffered voice problems that caused him to leave. Jamison stayed with the band until 1993. He also played with many different bands in-between his breaks from Survivor. On November 15, 2011, Jimi Jamison announced he is returning to Survivor.

On this CD you have two extremely experienced singers and a band of top-notch musicians: Alex Beyrodt (Guitars & Lead Guitar), Mat Sinner (Bass), Jimmy Kresic (Keyboards), Martin Schmidt (Drums & Percussion). The production is very clean which makes it very enjoyable to listen to.

The very first song, “Worth Fighting For” on Kimball Jamison is exactly what I was hoping to hear on this CD. It reminds me a lot of the early Toto sound off their first couple of albums. The melody is very catchy with Kimball singing the highs and Jamison singing the lows. Their voices complement each other very well. It reminds me a little of the Toto song “English Eyes”.

My favorite song on Kimball Jamison is “Get Back in the Game”. It starts out with a capella vocals and then a wall of guitars, bass, drums and keyboards kick in. After a little guitar solo everything drops out and you hear a guitar playing something that sounds very similar to the riff in David Lee Roth’s “Going Crazy”. This song has some great opportunities for Kimball and Jamison to show off their vocal ranges. They both rise to the challenge. The lyrics, “Time to get up and get back in the game, little by little ‘til you’re out of the rain, oh get back in the game,” could very well apply to the careers that each of them have had.

Looking for something that sounds more like Survivor? “I did Everything Wrong” will satisfy that craving. This song is a nice power ballad. The melody is very catchy and the guitars are hypnotic. It feels like you are being teleported to the 80’s when you hear the lyric, “How I wish that I could turn back time, so that I could make it right”.

Kimball and Jamison seem to have tried to put some songs on Kimball Jamison that don’t sound like Toto or Survivor. They still sound like Toto and Survivor anyway, but who cares? Why start from scratch trying to get a new following? People will buy this album because they love Toto and Survivor. If they are lucky they may get some new fans that aren’t familiar with their work. I applaud Kimball for keeping his moustache too. John Oates looks so weird without his. It’s your look, own it! Most people who buy this album will be happy that it contains songs that sound like their former bands.

For me this is the album that should have been Toto VI. If you liked Toto or Survivor you will love Kimball Jamison.

Key Tracks: Worth Waiting For, Get Back in the Game, I Did Everything Wrong

Kirk Bullough – Muzikreviews.com Contributor

December 13, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com

Shade Out - One Of One

There’s something to be said about musicians who create odd music specifically to be different and sound completely original. Without them, music would be stagnant forever, and nothing new would be created. Not everything new is worthy of being remembered as genius, but there are always novel ideas that become recognized.

Shade Out is one of those artists that push the envelope. Self described as a band to “make you think, broaden your tastes and blow your speakers,” they live up to that description well. None of these songs are going to be heard on the radio anytime soon, but don’t look at that as a reason to think this album is bad. It isn’t, it’s just very unique.

One of One istheir latest record. It’s a hard record to categorize, combining elements of Blues, Progressive Rock, Swing, and Latin. There’s no good way to describe it; it’s a record unto itself. It's dark, foreboding, yet cool at the same time. “Other Ways” sets the tone and none of the songs deviate from it very much, if at all. The opening riff in this song has that swing feel to it but clearly isn’t a fun, inviting swing song like you might be expecting. “Disappearing” is much more straightforward, with a driving rock beat to start, with some Latin percussion thrown in to make it all the more mysterious. “Looking Up To The Sky” reminds me of trip–hop, and is a big stretch for the ears. There are several points that seem more accessible to listen to, but then the strangeness comes back. The whole album sounds like it’s on a psychedelic trip in black and white.

Samantha Smith’s Vocals are dark and rich, a perfect alto blend. Mark Smith’s keyboard work carries the band as they go and it works well. Hank Hanewinkel III’s drumming is very deliberate yet not distracting from any other aspect of the band. Ron Wood’s auxiliary percussion complements the drum kit perfectly, and adds a creepy texture that can’t be missed. Starla Robinson’s Tenor Sax playing is very sensual, adding a more human aspect to the music that almost wouldn’t be there without it.

I appreciate music like this a lot. It’s good to see that creativity is still alive and well, that music isn’t just staying within the borders we’ve known for so long. The trouble is that creative genius in music takes some getting used to, oftentimes hurting those who created it; by the time it’s appreciated and lauded, others have begun to do the same thing and are getting recognized for it, even though they were influenced by someone else to begin with. And speaking of getting used to, for me this album will take a lot of it. I’m not sure I’d listen to this every day, or even once a week for that matter. I’m glad I heard this album, and it’s definitely worth checking out, but I’m not sure this would make the cut into my personal library forever. Its uniqueness is somewhat of a novelty for me, one that would eventually wear off.

That being said, if you appreciate art that stretches your mind, is incomparable to anything, and exists to make the artist happy and no one else, then this is the album for you. Just be sure to have an open mind when you give this one a try.

Key Tracks: Other Ways, Disappearing, Full Sails

Daniel Erickson- Muzikreviews.com Contributor

December 15, 2011

For Questions Or Comments About This Review Send An Email To info@muzikreviews.com