Muzik Reviews

Ed Hale and The Transcendence - The Great Mistake

Ed Hale is a man that certainly likes to keep himself busy. He began his career at the age of 17 as Eddie Darling, and hasn’t really slowed down since. Be it as a singer/songwriter, author, or activist, he is always up to something. He speaks six languages, and records both as a solo artist, and in his group, Ed Hale and The Transcendence. Hale has released four albums as a solo artist, and The Great Mistake is his sixth full-length with The Transcendence.

Accompanying Hale’s vocals and guitar is lead guitarist Fernando Perdomo, bassist Roger Houdaille, keyboardist Allan Gabay, and drummers Bill Sommer and Ricardo Mazzi. Together they create a dozen pop/rock tunes on The Great Mistake reminiscent of 70s and 80s era David Bowie, Queen, and The Cars.

The Great Mistake is a turn from Ed Hale and The Transcendence’s previous albums. It’s not trying to be deep or complex this go round. Its aim is much more straightforward and fun. Like repeated punches to the gut, you get blast after blast of quick rockers that rarely break the three minute mark.

I was a bit concerned when I pushed play on opening track “ManChildWoman.” I certainly get that they were looking to kick-start the album with this track, but it just didn’t work for me. I would rather it have start with second track ”Monday.” It’s more pop than rock, had a great hook and will get stuck in your head. While I enjoyed the way Perdomo’s guitar drives the rock tunes, I found that I generally preferred the tunes that leaned more toward the pop side on The Great Mistake. Still, “Carol’s Catastrophe” and it’s “All the Young Dudes” vibe proves that Ed Hale and The Transcendence are more than capable of making a classic sounding rocker as well.

Overall The Great Mistake is a fun, rocker of an album. Hale shows that he is capable of creating some really good tunes that are centered around a nice poppy hook. It’s nice to hear his band take a step back to a more relaxed and simpler sound, though at times it does seem to be a bit too relaxed. Lyrically the songs are far from challenging, but the result is an entertaining album that sounds like a group of musicians that enjoy making music rather than trying to achieve something greater through it. It is just rock n’ roll after all, isn’t it?

Key Tracks: Monday, I Remember You, Carol’s Catastrophe

Kevin Kozel - Sr. MuzikReviews.com Staff

May 18, 2013

©MuzikReviews.com

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

Joe Satriani - Unstoppable Momentum

Joe Satriani, the legendary rock guitarist, started playing guitar at age fourteen and began teaching guitar in the 1970’s. Some of his students went on to enjoy their own success such as Steve Vai, Kirk Hammett of Metallica, Kevin Cadogan of Third Eye Blind, and David Bryson of Counting Crows. Satriani released his first solo album in 1986, and has since released two platinum and four gold albums and had a total of fifteen Grammy nominations. In 1996, Joe Satriani founded G3, an annual concert tour to feature three guitarists. In 2008, Satriani joined the supergroup Chickenfoot which consists of former Van Halen members, Sammy Hagar and Michael Anthony and Chad Smith of Red Hot Chili Peppers. Satriani has enjoyed much success throughout the years both as a solo performer and as a member of Chickenfoot. Now, he has released his fourteenth solo album, Unstoppable Momentum.

Unstoppable Momentum is a great name for this album as it has an enormous amount of energy and momentum from beginning to end. The album cover depicts Satriani playing guitar on the edge of a wooden stage in what appears to be some type of abandoned warehouse. Coming out from the guitar in different directions are bright red and orange colors suggesting the guitar is creating great amounts of energy. Along with Satriani are some talented musicians on Unstoppable Momentum; Mike Keneally on keyboard, Vinnie Colaiuta on drums, and Chris Chaney on bass.

The first song on the album, “Unstoppable Momentum,” starts off the album with lots of energy. Satriani shows off his abilities on this track. When it comes to the guitar, Joe Satriani is one of the best and this track supports it. Vinnie Colaiuta does a great job on drums, and Mike Keneally and Chris Chaney give the song a nice touch.

“Three Sheets To The Wind” is a great song with its catchy riff that can be heard throughout the track. Keneally’s keyboard helps give the riff that catchy feeling. Colaiuta’s drumming gives the song a nice beat with a great solo about halfway, and Chaney keeps the song together with his bass playing.

The hard pounding “Jumpin’ In” is a great hard rock song. With its big heavy drumming provided by Colaiuta, and Satriani’s guitar playing, this song could be a hard rock anthem. Satriani’s guitar skills on this track are amazing and he shows why he is one of the best with these songs.

Joe Satriani is a legend on the guitar, and Unstoppable Momentum shows why he is. When it comes to the guitar, Satriani is one of the best, and with this latest release he shows no sign of slowing down. Any fan of Satriani will want to check out this album, and hard rock fans in general will want to check out Unstoppable Momentum.

Key Tracks: Unstoppable Momentum, Three Sheets To The Wind, Jumpin’ In

Craig Kidd - MuzikReviews.com Staff

May 22, 2013

©MuzikReviews.com

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

Ravens Ballroom - Rain Dance

Ravens Ballroom is the trendsetting New York based band that has been playing in local venues and electrifying fans with songs from their new EP. The band is comprised of Matthew Ravens (songwriter, vocals, lyricist, producer, and guitar), Simi Ravens (bass, vocals, songwriter, and guitar) and Jon Rosenbaum (drums, percussion). This spring brings the long awaited EP Rain Dance to fruition and as the first notes glided out of my speakers I’m pretty sure my eyes rolled back into my head out of sheer bliss. I have followed this band since their early days and have loved watching the evolution of their sound and structure. Primarily a combination of psychedelic rock, post-punk and Euro-jazz, Ravens Ballroom is pure evocative emotion, epic vocals and thought provoking lyrics that will have you humming long after the music has stopped playing. (Or, if you’re like me, it never does.)

The first song on the album is “Riptide.” In this age of fascination with all things dystopian, this song brings to mind “Radioactive” by Imagine Dragons. It is a deliberate song with resonating lyrics that haunt the mind and make you think. The world is ending on a riptide. What will you do? Go crazy or embrace the love that you have within your grasp and live that last hour with the people you care about? The sweet guitar riffs blend with the bass, percussion elements and Matthew Ravens’ amazing vocals. Simi Ravens adds harmonic background vocalizations to the piece, making it simply mesmerizing. The more I hear it, the more it sticks in my head and I find myself humming it throughout the day.

“L’anima” is the third track on the album. There is both a long and shorter radio play version (track 7). Guitar riffs edge you into the song, with blended vocal harmonies between Matt and Simi. The piece takes off on a roller coaster ride of bass and guitar, leading into an almost Alice in Wonderland sensation of falling down the rabbit hole. The essence of the piece is evolution and change and to me, it really signifies a central theme in this album - To change, to become real and connecting with the people around you, or not even bothering to reach beyond the superficial as in “Paper Doll Lou.” Colors swirl bright and bigger than life. Theatrical images invade the senses in an almost psychedelic rock sensation as the song carries you away.

“Paper Doll Lou” is the fourth song on the album. If you want a song that will keep you pondering its meaning, this one is it. Lou is a husband that kind of tends to merge into the wallpaper. His “pot roast wife” serves up the news but not much else. They are slaves to society in all of its charades. Lou is torn with his internal secret life, behind the paper walls of his prison and dreams of death as a release. This song mocks the superficial cage that confines us all to become plastic selves that never really connect with the people around them. Edgy guitar riffs, percussion and some smooth bass blend seamlessly with the sexy as hell lyrics. Matt and Simi’s vocals swirl together in a flawless and deliberate performance of this very thought provoking song.

“Space Time Wave” is the sixth song on the album and one that has had a high resonance with fans of the band. A journey into a future of space travel as “our follies lead us to this place.” Again, you have a feeling of humanity trudging down the wrong path. If you look at the song and really listen, you can also hear the intimate connection in “drifting to the stars still in each other’s arms.” The twisting guitar and bass add a psychedelic feeling to the piece, but add a sensual connection through the lyrics and music combined. It is a love song both to humanity and each other as the lovers turn to the future as one, learning the ultimate lesson; we can only succeed by helping one another.

Matthew Ravens was the primary engineer on the album and favors the Jimmy Page model of writing and producing his work. This allows for a deeper clarity of composition, harmony and rhythm and gives him a more refined sense of control over the project in its entirety. Matt’s songwriting captures human emotion at its lightest and darkest, bringing out the truth of the human condition. Optimism mingling with despair is a central theme, but is carried off with a glimmer of hope that rockets this album into orbit. Simi brings a unique perspective to the group. Her harmonizing vocals and bass add a luster to the songs that makes them really pop. Jon Rosenbaum’s work on the drums and percussion adds the final polish that makes everything flow. This album is an EP that you are going to want in your collection and I can’t recommend it highly enough.

Key Tracks- L’Anima, Paper Doll Lou, Riptide, Space Time Wave

Dana Wright-Muzikreviews.com Sr. Staff

May 15, 2013

©Muzikreviews.com

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

The Inner Road - Ascension

The Inner Road is a symphonic instrumental progressive rock band. Coalition member Steve Gresswell created The Inner Road as a way to write more a symphonic style of progressive rock that wasn’t right for Coalition. Although Gresswell does the majority of the writing for The Inner Road, he collaborates with other artists when creating albums. The Inner Road released their debut album, Visions, in 2011 with guitarist Phil Braithwaite. Now The Inner Road is releasing their second album, Ascension, with guitarist Jay Parmar.

Ascension is an excellent album full of great instrumental progressive rock. Steve Gresswell has created an album full of emotions and Jay Parmar helps brings those emotions to life with his guitar skills.

“Two Worlds Two Tomorrows” is an excellent rock song. Parmar does a wonderful job on guitar. He also provides some incredible solos throughout this song. He really shows his skills on this track. At over eight minutes long, this is the second longest song on Ascensions; the longest is the epic “Flight Through Eternity” at over ten minutes.

The darker sounding “A Fleeting Dream” contains a great riff throughout the song. Once again Parmar provides some incredible guitar solos. The drumming on this song is also worthy of mention. There is a keyboard solo towards the end that would make any guitar fan want to take the keyboard.

“The Awakening” begins with an instrument that sounds like aborigine instrument, and continues through the song to provide the beat. Like the rest of the songs on the album, Parmar provides some excellent guitar playing as well as a few exceptional solos.

The Inner Road is an excellent band, and Steve Gresswell has done a great job a creating a marvelous progressive rock album, and Jay Parmar gives the album a unique sound with his amazing guitar skills. Ascension is a wonderful album, and any progressive rock fan will want to check it out.

Key Tracks: Two Worlds Two Tomorrows, A Fleeting Dream, The Awakening

Craig Kidd - MuzikReviews.com Staff

May 17, 2013

©MuzikReviews.com

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

Sell your beats online at ReverbNation.com

A Life Divided - The Great Escape

Germany is a country that is rich in tradition and culture. Its writers, artists, scientists, and philosophers are known all over the world. For all its brilliant poetry, technological achievements, and immortal symphonies, one thing that Germans know how to do is how to rock. And A Life Divided’s The Great Escape is the perfect album to rock out to. With their combination of hard rock, metal, and electronica, it is not hard to see why they bring to mind other German bands such as Rammstein, Megaherz, and Eisbrecher. Though not exactly a member of the New German Hardness genre, there is enough to make the comparison and I count this as a good thing for A Life Divided.

Based out of Munich, A Life Divided consists of Jürgen Plangger(vocals), Korl Fuhrmann (drums), Toby Egger (bass), Mike Hofstatter (guitar), Tony Berger (guitar), and Erik Damkohler (programming, keyboards). When describing the meaning behind the album’s title, vocalists JP says that “an escape can be motivated by emotions, by anger, by liberation, by resignation or by hope – and usually it is somewhere in between.” The emotions behind The Great Escape make for a unique and creative experience.

The Great Escape gets off to a brilliant start with “The Lost.” It has a hard, crushing sound that is positively infectious that is helped by JP’s clean vocals. It is one of those types of songs that are “all you need to know” about the band or the album. If this does not get you excited for the rest of The Great Escape, then I do not know what to tell you. Keeping the album jumping right along, “It Ain’t Good” is an energetic song that will get the blood pumping. Mixing things up is the darker “Clouds Of Glass.” Here the keyboards add to the atmosphere, making it seem more symphonic and mysterious.

Showing off their creative skills, “Game Over” is a song that cleverly makes use of game sound effects, making for a nice twist and use of the imagination. It makes the song that more memorable and something that I would like to see more of in the future, as it is not a gimmick and fits well with the rest of the music. After the slower paced “Feel,” “Perfect Day” soars and really hits its stride during the chorus. The dual vocals are a nice touch as well. “Wait For Me” is a calm, melodic song that is a joy to listen to. Its smooth sound is quite soothing that goes well with the song’s reflective lyrics before returning to the harder sound of the opening songs with “Goodbye” and “On The Edge,” which probably would have been a better choice to end the album. “Space” and “If You Want To” are slower paced and “On The Edge” would have ended the album with a bang.

A Life Divided’s The Great Escape is a solid piece of work. It is a creative and diverse album that makes use of multiple genres to achieve their desired sound. The Great Escape is one trip worth taking over and over again.

Key Tracks: The Lost, Game Over, Goodbye

Brian McKinnon – Sr. MuzikReviews.com Staff

May 16, 2013

©MuzikReviews.com

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

Arek Religa - Warrior

In Memory Of the Greatest was the first Arek Religa release I covered back in 2007. He impressed me so much he was chosen as our Weekly Featured Artist. Now 6 years have flown by and once again we have the opportunity to listen to this guitar virtuoso hailing from Poland. His instrumental tribute to some of the masters of the six-string was compelling and promising so now how would he follow that release up?

Now we have another set of instrumental guitar wizardry before us titled Warrior. I think after working his butt off honing his craft for another 6 years entitles him to own the descriptive term “Guitar Warrior.” All the tracks with the exception of one were composed by Religa and on two he had some guests come in to assist which include Leszek Fil (bass- tracks 6, 7), Wojtek Kozlowski (piano, keyboard-Track 6) and Gabriel Chorabik (drums-track 7).

“Changes” warms things up with some amazing string bending by Religa. It is a fusion filled track with elements of rock and jazz intersecting and showing the guitar players talents in the most complex way possible. When “Highway Traffic” kicks in it immediately reminds you of something Joe Satriani would do in one of his legendary sessions (think “Surfing with the Alien”). It is not a leisurely walk in the park and it really does sound like frenetic highway traffic - high speed madness with four lanes of everyone jockeying for position. It is one the fastest moving high energy tracks on the album. Then to show you even more diversity he takes you on a “Journey” by building soundscapes with stinging leads on top of each other. It is a classic rock ballad cooked to perfection instrumental style. The song builds to a tremendous crescendo then as soon as you think it has hit its apex he switches gears and slows things down and a light keyboard enters the picture making it sound like an entirely different track. Then once that segment is complete it segues right back into a rising mix of sounds then it slows down once again and fades off into the distance. The track covers a lot of ground and the time changes are simply amazing.

So what could one expect after all of this instrumental ecstasy? Next up is a bluesy foray called “PX AR” that once again has your ears climbing a mountain of sounds featuring amazing fret work. This one is supported by a heartbeat like bass and drums and it all comes together and explodes into a volcano of sounds only the true rock fan could appreciate. Religa uses some really good guitar effects as he brings the track to a close. Then this talented six-string aficionado combines the old and the new with “Revolutionary Etude op 10 no 12 (Chopin)” which is perhaps the most interesting and probably was the most difficult number to get down and recorded but again the man tops himself with an amazing display of technical expertise and agility with his axe. Chopin would have been proud. He plays so fast on this track it is mind boggling. If John Petrucci heard this one he would be smiling and nodding in recognition. The title track “Warrior” is fitting for the title as the guitar hero takes your over the landscape of rock with pinpoint accuracy using the full power of his instrument while cutting a path to instrumental guitar heaven. The backing instruments on this track are superb as well, helping to drive the music home.

This is the kind of album you could go on about forever. There is so much to appreciate here. It would have been easy to just wail away and shred but this very tasteful and talented artist gives the listener a view into every genre of music you can imagine and plays it all in his own particular style that can be recognized as his own. Arek Religa is a fine guitar player that is a joy to listen to any time. You never become bored or unappreciative of his efforts to entertain.

If you appreciate instrumental rock like Satriani or Vai you will love this guy!

Key Tracks: Revolutionary Etude op 10 no 12 (Chopin), Changes, Warrior

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

May 15, 2013

©MuzikReviews.com

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

Liquid Tension Experiment - 2 (Ltd. Ed. 2 Colored Vinyl LPs)

Liquid Tension Experiment was a short lived successful venture by four legendary performers. At the time Tony Levin (Chapman Stick & Bass) was the older veteran musician and the other members were becoming firmly established in another band. As history would unfold the other three would carve their own legendary path to superstardom in Dream Theater. Jordan Rudess (keyboards), John Petrucci (guitar) and Mike Portnoy (drums and percussion) would complete this phenomenal gathering of talent to create two masterpieces of progressive rock, metal and fusion.

Their self-titled maiden release came out in 1998 which I covered on CD and again in 2008 to celebrate the 10 year anniversary with a limited run of colored vinyl (1,000 copies). Their second release simply titled 2 arrived the following year. With Record Store Day on April 20^th the label Magna Carta, released a limited run of 1000 copies of the second release on vinyl. This time there were 300 copies of translucent coke bottle green and 700 copies of the translucent electric blue vinyl dispersed worldwide of the two album set. These gorgeous slabs of 180 gram virgin vinyl are stored in gatefold sleeves with never before seen photos and plenty of commentary from all the band members regarding the tracks. Also worthy of note is that each album side brandishes a photo of a band member.

Another point of interest for fans and collectors is the track arrangement, which is broken down differently into 4 sides opposed to the 8 tracks (original sequence) like you will find on the CD. The most extensive track is “When the Water Breaks” clocking in at 16:57, needing all the space of side two to accommodate it.

Perhaps the most interesting and implausible aspect of this music is that it was recorded live off the floor and at some points in the wee hours of the morning. It was a matter of constructing tracks and letting it fly to see what came of the sessions. As fate would have it the recordings are superb and each one features something different whether it be straight ahead rockin’ prog metal or a slice of rock-jazz-fusion with dabs of classical interspersed. This band of four amazing musicians made history with some ambitious music now forever etched in the annals of time.

From the bone crunching riffs of “Acid Rain” to the gentle beauty of “Hour Glass,” LTE was able to touch upon so many different genres and moods it defied logic for this type of session work even if it was freeform in the approach. My personal favorite is the opener on side four “Another Dimension,” which brings to mind the thought of these musicians seemingly originating from somewhere beyond a mere mortals understanding of a normal existence. The track rocks and rolls along at a tremendous pace. Petrucci’s guitar cuts away a path like a freshly sharpened blade and the Rudess keyboards are the driving force behind those pinpoint licks, then to complete this onslaught of audio ecstasy, the locomotive force behind it all is the rhythm section of Portnoy and Levin (a match made in heaven). Another aspect of this ever changing track is how it can knock your socks off with sheer power and force then lull you into a relaxed state with a passage of acoustic guitar painting a soundscape of everlasting beauty. It never lets you down too easy or for any length of time and it always comes roaring back at you like a tidal wave of sound to keep you on your toes. I have always loved the way the track ends with Portnoy hollering at the end “Yeah Baby! Yeah!” - what a great way to wind up the best track on the album. The entire album ebbs and flows just like this track, providing an endless array of twists and turns that keep your ears glued to the speakers at all times.

The same thing that attracted me to this music when it was first released still holds true to this day. This is original, exciting, progressive and above all, timeless music. It will always have the ability to take you to a different realm, just give it a spin on your turntable, listen to the CDs or you iTunes and the effect is similar. One thing to keep in mind though is the sound that vinyl can provide if you have a good stereo system. This is not compressed, it is full bodied and succinct without flaws, just like a perfect cup of coffee, which is of course liquid tension if you drink it with caffeine. Grab your copy and fill your cup with music beyond compare before they disappear!

Key Tracks: Another Dimension, Acid Rain, Hour Glass

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

May 15, 2013

©MuzikReviews.com

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

Savages-PICK OF THE WEEK - Silence Yourself

After last year’s CMJ Music Marathon in New York City, all the talk was about a new band out of London called Savages. The first song I heard from this band was a crazy tune called “Husbands.” It is full of this frenetic energy and crashing cymbals and is reminiscent of Siouxsie and the Banshees and early PJ Harvey. Savages had yet to release an album, but all the buzz was there and waiting.

On May 6^th Silence Yourself finally debuted the Savages in album form in the U.S. The all female four-piece, comprised of Jehny Beth (vocals), Gemma Thompson (guitar), Ayse Hassan (bass), and Fay Milton (drums), take no time in getting your attention. Opening track “Shut Up” is just awesome. After about a minute of quite build-up, the bass gets the track started on its growing path. By the time it’s done it’s hard not to be sold on the hype.

Silence Yourself doesn’t really let up either. Savages’ energy just oozes out of every piece of this band. Beth’s vocals are full of passion and range. Thompson’s guitar chugs along and leads the songs every which way. The rhythm section from Hassan and Milton is integral as well. They bass sets a prominent groove throughout the album, while the drums take the songs to crashing new heights. Look to “She Will” as another fine example as to what this band can bring.

Silence Yourself is a strong debut from Savages. When compared to the artists like Siouxsie and the Banshees, PJ Harvey, and even bands like Joy Division, you are generally setting the bar pretty high. Still Savages live up to the hype on their debut. They have made an excellent post-punk album, and it still has some strong hooks making it more accessible to a wider audience then the genre is generally capable of. It saddens me that I missed Savages when they recently passed through my city. If their album is this good, I can’t imagine how amazing they are live.

Key Tracks: Shut up, She Will, Husbands

Kevin Kozel - Sr. MuzikReviews.com Staff

May 13, 2013

©MuzikReviews.com

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

Merrell Fankhauser - Area 51 Suite

It has been several years since Merrell Fankhauser released new studio recordings (he has released several compilations and DVDs over the years as well). Rockin and Surfin was a 2004 release that I recall enjoying immensely so it came as no surprise that I had a similar experience listening to the latest release Area 51 Suite. Keep in mind music fans that Fankhauser has been getting it done in the recording studio since the 60s and has overcome health issues and every other obstacle thrown in his way to continue to entertain us all. There are two versions of the release available, the CD and the CD/DVD which features music videos and interviews with people from the ET and Sci-Fi community.

This collection of tracks is referred to as space pop. A lot of it as one would suspect if you are familiar with Fankhauser’s work, is influenced by surf. The subject matter is about space and extraterrestrials but I would classify most of this recording as instrumental with a wide range of influences coming together at once to form this hybrid of the referenced “space pop.”

The first and title track “Area 51” effectively creates an air of mystery and intrigue. Certainly that was the intent so mission accomplished and a great way to open the curtain to the show. “Signals From Zoran’” which is also an excellent track, takes a page out the surf-instrumental book. The following track “Stardazed” is slower bluesy like ballad that puts you in a starry eyed mood and just may have you looking up at the sky wondering who is out there watching us. “Bimini Road” which is an underwater rock formation near North Bimini Island in the Bahamas, is very appropriately a surf-blues number that takes you on an underwater adventure. Instrumental music, if it is very good, takes little time to create a picture of the track title in your mind, here again Fankhauser succeeds.

“Shadow People” is a very picturesque instrumental that brings those people in the shadows to life. The music flows along and rocks its way into your psyche making it inevitable that you start thinking about unexplained phenomena and people on this earth that we have no knowledge of or why they are here. It’s one of the more complex and changing tracks that takes things to another musical level for the artist. Then to switch things up yet again “Cocktails In Space” is entirely different than all the previous tracks and it includes a segment where a flute comes in giving it new age feel and texture.

When “Crash Landing” comes at you with a synthesizer depicting a spacecraft coming your way and Merrell’s guitar kicks in, it forms a spy thriller surf sound that keeps you hooked throughout. This track was the one that reminded me a lot of his previous surf-instrumental work. Many of the tracks begin with a spacey laser or craft landing like sound to make sure you are staying with the overall Area 51 Suite theme.

The biggest treat for old and new fans will be Fankhauser’s most prolific track “Calling From A Star.” I go back to 1999 with Merrell and that is when I first heard this amazing track. The title says it all and his voice is exceptional, backed by perfectly placed instrumentation. I don’t think he could have recorded a better track in his long and influential career. Every track offers the listener something different and even though the premise is visitors from outer space you will hear the diversity of an artist on display at every turn. Surf, space, pop, rock, blues, and country, just about every main genre, gets superb coverage on this eclectic slice of musical excellence.

This is a solid release and I have to say one of Merrell Fankhauser’s most exceptional releases in his career. He has made some great music over the years and this gives us all a reminder once again of his importance to the history of rock music and how his capabilities to entertain have not waned. His candle is still burning brightly and Area 51 Suite gives you a one way ticket to the stars. Don’t you give up hope down there; they are coming back again…

Key Tracks: Area 51, Calling From A Star, Crash Landing

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

May 12, 2013

©MuzikReviews.com

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

Daymoon - Fabric Of Space Divine

Hailing from Sintra, Portugal, Daymoon is a transgressive rock band that uses influences from any type of music from the past millennium. Daymoon is currently made up of members Fred Lessing (vocals, guitars, flute, recorders, keyboard), André Marques (acoustic & electric drums, vocals, keyboard), Adriano Pereira (woodwinds, reeds, melodic, keyboard, percussion, guitar, vocals), Paulo Catroga (keyboards, guitar, vocals), Luís Figueira (bass), and Joana Lessing (keyboard, percussion, vocals). Fred Lessing started Daymoon in the mid-1980’s as a solo project. While working in various side projects, Lessing recorded three solo albums, although they never became finished works. Lessing began to assemble a band for Daymoon, and in 2012 they released their first album, All Tomorrows. Daymoon is now releasing their second album, Fabric Of Space Divine, which has been in the works since 2002.

Fabric Of Space Divine is a musically chaotic album. It takes influences from any type of genre thinkable, from reggae to rock to ethnic music of various cultures. The hour long album attempts to tell the story of the evolution of the universe. Lessing provides a written story on the Daymoon website to help understand the story the music tells. Apart from the story the album tries to tell, the music within Fabric Of Space Divine is very well done. It is not meant to be mainstream or even likable to most people, but the album does contain some great musical pieces. It was difficult to pick out key tracks from this album as it is intended to be listened to as a whole. However, I have picked out some tracks that stand out or have parts that stand out. I won’t name all the instruments in these songs because there are many used on each one, and several are beyond my knowledge of instruments.

In the album’s storyline, “Beyond Trinity” attempts to look at the concept of Christianity’s Holy Trinity. The song features guest vocals from Bruno Evangelista who does a good job at making this song sound religious. Paulo Catroga provides nice piano playing throughout the song that goes well with Evangelista’s voice. This song stands out somewhat from the rest of the album as being simpler and mellower sounding.

“Beyond Multiplicity” looks at the Islam religion in the storyline. The music has Middle Eastern feeling with its various ethnic instruments. It is reminiscent of The Beatles’ “Love You To,” to give an example of a more familiar song.

The song in the set in the future of the album’s storyline, “Ice Prospector,” tells of humans who are now living and working on the Moon. The song has a Caribbean feeling. The song stands out more than any other song on the album with its very happy and upbeat feeling. As a side note, this was the first song recorded for the Fabric Of Space Divine back in 1999 before the album was conceived.

Daymoon is a very different band from anything else out there today. However, it is made up of some talented musicians that don’t conform to the standard pop song formula, and are willing to think outside the box. Fabric Of Space Divine represents this out of the box thinking very well. While many people will probably not enjoy this music, it is very well done. It is also very original; you won’t hear anything like this band. If you’re willing to accept this non-standard type of music, Fabric Of Space Divine is worth checking out. You might discover some new music you didn’t know you liked.

Key Tracks: Beyond Trinity, Beyond Multiplicity, Ice Prospector

Craig Kidd - MuzikReviews.com Staff

May 12, 2013

©MuzikReviews.com

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

Stephen DeRuby - Awakening

Stephen DeRuby began his musical career as a child in the 1950’s. A folk singer in New Mexico in the 1970’s, his fascination with Native American culture grew. He heard his first cedar flute and became infatuated with the sound. Ten years later, after an illness put a temporary hold on his musical career, he again heard the call of the flute and his fate as a cedar flute musician, healer and craftsman was sealed. He hasn’t looked back since.

Awakening is a mixture of New Age elements combined with world music, yoga and Native American culture. The profound presence of the mystical flute makes this album a relaxing experience that transports you beyond the pale of everyday life. Instruments included in this album are: handcrafted woodwinds, multi-layered guitars, dulcimer, tambura (drone instrument from India, vocals, Gu Zheng (Chinese harp), keyboards, percussion, African kalimba and steel drums.

“Loving Kindness” is the first song on the album. The world music feel of this piece with the string instruments echoing their graceful movements throughout is curl your toes in the sand and close your eyes good. Feel the Zen sweep over you with a light Asian flair. Flutes, tinkling bells, light percussion aspects and guitar movements bring this song to everlasting life. It is indeed a kindness to the ears and an audible masterpiece. I can envision myself reclining at a day spa with “Loving Kindness” playing in the background. This song is bliss taking flight.

“Desert Star” is a beautiful mix of woodwind instruments with a mysterious world music flair. Close your eyes and you can see the majesty of the open plains. Wild horses run free and the lone figure of an Indian warrior sits astride his stallion, watching over his lands. Ancestral magic flows through his blood, keeping in tune with Father Sky and Mother Earth. His hair streams out, echoing in the wind for all time. The light percussive elements woven into the beauty of the flute move down my body and I can feel myself at one with the earth. “Desert Star” is a beautiful piece with a timeless message of continuity with nature.

“Blessings” is the final song on the album and one that happens to be my favorite. It winds around me like the prickly vines of a rosebush, rife with abundant color but with hidden thorns that shock me into paying close attention. Around and around the tendrils of flute music wrap around me as I close my eyes and feel the essence of the music. Beautiful.

Full of breathtaking flutes and multi-instrumentation, Stephen DeRuby’s album Awakening is just what the title suggests. This is an album you won’t want to miss. A unique blend of sounds that range from New Age, yoga, world music and Native American, this album crosses many boundaries, but brings with it a centering that I felt all the way from the tips of my toes to the roots of my hair. It is obvious that DeRuby has a passion for the instruments he lovingly handcrafts and the sounds that flutter forth. A healer, master craftsman, composer and songwriter, DeRuby’s work is earthy with elements of Asian and Indian culture, woodwind instruments, light percussive elements and is joined with several quality musicians to give Awakening a well-rounded sound that is an afternoon well spent.

Key Tracks- Blessings, Loving Kindness, Desert Star

Dana Wright-Muzikreviews.com Sr. Staff

May 6, 2013

©Muzikreviews.com

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

Nosound - Afterthoughts

Nosound is an Italian neo-prog band that has previously released 3 studio albums, Sol29 (2005), LightDark (2008) and A Sense Of Loss (2009), thus making Afterthoughts (released 21^st May) studio album number four. After several reviews for artists that I was relatively unaware of, I can safely say that Nosound is a superb band and have featured on my radio show in the past. Having said that, does album number four, Afterthoughts, live up to the standard that I, and many others, have come to expect?

The band comprises of 6/7 members, Giancarlo Erra (vocals, guitars, keyboards), Marco Berni (keyboards, vocals), Alessandro Luci (bass, upright bass, keyboards), Paulo Vigliarolo (electric/acoustic guitars), Guilio Canepone (drums, percussion, noises), Chris Maitland (drums) and Marianne DeChastelaine (cello), although Marianne doesn’t seem to be a permanent member of the band, hence the starting comment of 6/7 members.

Afterthoughts is a 9 track album which has a total running time of around 51 minutes with track 4, “The Anger Song” being the shortest track at 4:19 minutes and the penultimate track, “Paralysed,” the longest at just over 8 minutes in length (8:08).

The music of Nosound is certainly in an area of its own although it does have tendrils that reach out into many different styles, including ethereal, flowing, spacey (a la Pink Floyd), progressive, ambient, cinematic and even touching on the psychedelic. This new album, Afterthoughts, conjures up magnificent, almost sparse, soundscapes which build from a subdued start into walls of sound before receding back into sparseness again. So without continuing to tease the reader, what did this reviewer make of the new album?

The highlights from the album after several listens to the album are, “In My Fears,” “Two Monkeys” and “Encounter,” although it was indeed a very hard choice to decide between all the tracks.

The opening track to Afterthoughts is “In My Fears” (7:56) and sets the scene with a solo electric guitar gently strumming, a somewhat familiar sound on Nosound albums. This is joined by a guitar/keyboard effect that almost “whines” away around the strumming guitar before the drum and bass feature just before the emotive vocals of Giancarlo weave their way into the track. This gentle, almost ethereal, sound continues and then slowly builds with soft piano and then the superb rounded sound of the cello. The drums, bass and guitar continue to intensify, almost overpowering Giancarlo’s vocals and then the track is stripped bare again leaving only the sparse drums and cymbals which are then joined by that superb, haunting piano melody before Giancarlo reappears with the vocals. The track settles back into the initial motif with the instruments again intensifying the sound, and the cello reappears, yet again threatening to completely mask the vocals but they rise over the music. This more intense feel to the track takes the opening track out. A stunning and very atmospheric start to the album, and sets the listener up for a musical voyage through the remaining eight tracks.

Track 3, “Two Monkeys” (5:44) has some superbly played beautiful piano, backed by the softest of bass notes and a guitar which soars over everything else. The drums add to the atmosphere before the vocals, emotion drenched, appear and tell the story of the two monkeys. This track simply drips with emotion, from the instrumentation to the vocals, it is a stunning piece of work, gently changing direction and easing the listener along. Around the 4:30 minute mark there is a terrific passage which takes the track to its finale. It seems to be finished much quicker than its 5:44 minutes, so enveloped do you become in the track that all sense of time simply disappears.

“Encounter” (4:53) enters the fray with a gentle, almost meandering piano passage, soon joined by crisp but unobtrusive drumming and floating guitar chords. The superb cello enters and is soon joined by Giancarlo’s vocals, forming an amazingly atmospheric track. The keyboards form a sort of “surround sound” to the track, wrapping everything else in. This must be the ultimate emotion soundscape on the album, with that melancholic cello so stunningly fusing with the vocals and painting the almost perfect aural experience.

You will gather that this reviewer was well impressed with Afterthoughts, but it does take a few plays before you realize that you are listening to a simply stunning album. I have heard Nosound being described as minimalist but this is far from being correct as the band of musicians move effortlessly between sparseness to walls of sound and back. Set aside the 50 minutes required to hear this album from start to finish and immerse yourself in an experience. I think that it almost goes without saying that this album, Afterthoughts, gets the special “One To Buy” sticker on the front, and indeed also gets a “This Experience Will Last Forever” sticker just below it.

Key Tracks: In My Fears, Two Monkeys, Encounters

Jim “The Ancient One” Lawson-MuzikReviews.com Staff

May 9, 2013

©MuzikReviews.com

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

Upload your music for free at ReverbNation.com

Sterling Koch - Let It Slide

With the weather warming up, there is not a better time for the rocking sound that comes from a lap steel guitar. Hailing from Pottsville, Pennsylvania in the state’s coal region, Sterling Koch is a veteran blues man. Let It Slide is his fifth solo effort and Koch (lap steel guitar, vocals) is backed by his touring band that consists of Gene Babula (bass, vocals), and John Goba (drums). At just under fifty minutes, Let It Slide is 13 tracks of some of the finest blues-rock that you will hear this year.

Like a pre-game warm-up before the big game, “Shape I’m In, Pt. 1” is one minute introduction that heats things up for what is to come. Grabbing you from the get go is “Shape I’m In, Pt. 2.” The music makes for a smooth, electric ride that is so much fun. Koch is really doing his thing on the guitar and it makes for a standout song. The quick drum beats that start off the ‘Wrong Side of the Blues” will grab your attention with the guitar rocking it for the rest of the song. The sultry “Mercury Blues” will please with its sweet groove.

“It Hurts Me Too” is slower and more methodical, and it works quite well because the pain in the music comes right on through. With an opening to rival any, “Too Sorry” is a song worth listening just for the guitar parts alone. “Lonely Avenues” is an impeccable instrumental. The music does all the talking and does a wonderful job of creating the kind of tone and atmosphere that is to be expected from a song titled “Lonely Avenue.” “My Baby’s Hot” is a solid song that does not take itself too seriously. “I Wanna Be Your Driver” is as fast and energetic as its subject matter. “Working Man’s Blues” is a hot song that is bursting with energy that will keep the house rocking until the very end.

Let It Slide sizzles like the summer sun. It is definitely worth a purchase. I have already listened to it about a half a dozen times, so you will get plenty of mileage with this album. If you are looking for an album to be your companion for the summer, choose Let It Slide.

Key Tracks: Shape I’m In, Pt. 2, Lonely Avenue, Working Man’s Blues

Brian McKinnon – Sr. MuzikReviews.com Staff

May 7, 2013

©MuzikReviews.com

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

Palma Violets - 180

For those of you that have read some of my past reviews you know that I love me some classic, dirty sounding, rock n’ roll. Earlier this year I heard the song “Best of Friends,” a great song that sounds like it could have been recorded 35 years ago. Well, it wasn’t, it was the latest single from the London foursome Palma Violets, and their debut album, 180, was released this past March. They have quite a buzz in the UK, but not much of one stateside just yet.

Just last week I heard an in-studio session on my favorite local radio station that included an interview with this group of young British lads that reminded me of old Sex Pistols interviews. It certainly made for entertaining radio as you might imagine, but usually doesn’t lend a band to being the most stable in the long-run. Regardless, the session and interview were both quite good.

Palma Violets don’t sound like the Pistols so much though. More like the Clash and at times even like the Rolling Stones (who they will apparently be opening for later this year). For a more modern comparison, try The Libertines, though hopefully they don’t follow the same disappointing path of that band.

Over the 11 songs that make up 180, these four young gents have some great tracks, but some that are just okay as well. From start to finish it’s not entirely consistent, but you can hear plenty of promise in this band. On songs like “Rattlesnake Highway,” “Tom the Drum,” and “Johnny Bagga’ Donuts” their influences are evident, but there is still an energy and freshness to their classic sound that allows it to still sound new. The production on the album does a wonderful job of making sure this album sounds like a lost recording from an era gone by.

For Palma Violets, there are signs of potential greatness to come from this young band on 180. Will they be able to follow through as they grow as a band or will these young stars get caught up in the pitfalls that so many acts before them have? Only time will tell about all of that, but for now we have a pretty good album of tunes reminiscent of some gritty greats that many of us miss.

Key Tracks: Best of Friends, Rattlesnake Highway, Tom the Drum, Johnny Bagga’ Donuts

Kevin Kozel - Sr. MuzikReviews.com Staff

April 4, 2013

©MuzikReviews.com

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

Vangelis - Blade Runner OST (180gm Red Vinyl LP)

Ridley Scott’s 1982 Sci-Fi classic Blade Runner had an equally memorable soundtrack provided by Evangelos Odysseas Papathanassiou, a Greek composer known worldwide as Vangelis. His electronic, progressive, ambient, jazz, pop rock, and orchestral scores, are recognized as more than an addition to a movie or background music.

The Blade Runner OST is now available through Audio Fidelity as a limited and numbered 180gm translucent red vinyl LP. The album comes housed in a beautiful gatefold sleeve that open up to pictures from the movie and comments by Vangelis regarding the recompiling of the music in 1994.

This is the first time I have heard the entire soundtrack of the classic film and I found every track to be haunting and mesmerizing and I imagine that it fit quite well with each segment of film it was selected to accompany. Although I have never had the pleasure of viewing the film, I was certainly aware of it and feel compelled now to watch it after hearing how the soundtrack makes the atmosphere so intriguing.

Tracks like “One More Kiss, Dear” sound eerily out of place in a futuristic sci-fi thriller yet it catches your attention and sends you back in time and you feel like you could be watching a movie about The Great Gatsby rather than something light-years into the future. As side one ends and you flip over the LP and hear “Blade Runner Blues” to begin side two, it pulls you back into a more appropriate setting for the film and then closes out with the grand “Tears in Rain.”

Vangelis has always been a superb arranger of interesting and compelling music that have been perfect for film and or for listening pleasures. What I found quite enjoyable as well is the voice excerpts from the movie and its cavalcade of stars that included Harrison Ford, Daryl Hannah, Rutger Hauer, Sean Young, and Edward James Olmos.

Any collector of vinyl, movie soundtracks or ambient electronic scores that have the magic to hold your attention, entrance, and excite will be delighted to own this piece of history. It is now more compelling than ever presented in the colorful vinyl format. As we get further away from those things that are tangible in this world and reach for digital technologies and the internet, music that you can actually hold in your hand and admire physically while listening becomes so much more precious than ever before.

Key Tracks: Blade Runner Blues, One More Kiss, Dear, Tears in Rain

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

May 4, 2013

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

Lia Scallon - The Luminous Pearl

Lia Scallon is a woman of many talents. Best known for her work as an actress with greats like Liam Neeson and Cate Blanchett, she decided to simplify her life and move to Australia. There, she has undertaken a life of musical creativity. Her work is centered on the philosophy of The Sound of Sirius, a “universal language that transcends all language barriers” and “shifts the vibrational frequency of the listener.”

The Luminous Pearl is her newest album. Contributing artists include Nigel Pegrum (Alto & Concert flute, Percussion), Mark Mannock (Grand Piano, Electronic Keyboards), David Hudson (Didgeridoo, Aboriginal vocals), Ben Hakalitz (Drums), Simon McMenamin (Violin, Viola, Mandolin) and Lia Scallon (Vocals and Percussion).

Listening to The Luminous Pearl is a journey into a language of the soul. “Age of Wisdom” is the first track on the album. It indeed gave me images of radiant pearls illuminating the night sky and ethereal dragons drifting in and out of cloud formations. Ancient wisdom captured in a language beyond our understanding circles around me as I sigh and take in what sounds like an angel reaching out to caress the inner workings of my soul. Beautiful and heart wrenching, this piece is comprised of ambient sound, delicate instrumentation and Lia’s evocative vocals that took me to a place beyond the pale of everyday musical experiences.

“Magnificent Gaia” is a trip into the Aboriginal influences of the Australian Outback. David Hudson winds his way through the piece with the world music sounds of the didgeridoo. Lia’s vocals soar high amidst the percussion and light instrumentation, crafting a piece that takes you into images of tribal elders and a people that transcend the passing of time in their otherworldly wisdom and sight.

“Light of Consciousness” begins with tender piano music that tickles across my ears like a babbling brook. Fresh and new, the wispy musical influences drift in and out with tender percussion elements and Lia’s elegant vocals. Truly, this piece gives me an image of a fresh spring time morning, with flowers budding freshly to experience the sun in its radiance. Swirling colors of light and fairy magic drift among the flowers, giving the gift of life.

“Walk in Beauty” is an audible painting crafted in hues of delicate piano music brought to life by Mark Mannock blended with the angelic vocalizations of Lia Scallon. The emotion invoked by this piece is one of tenderness and love. Walk each day with the blessings of the angels. Let the music fall over you like a cascading waterfall and fill your heart with joy.

Lia Scallon has composed and performed an elegant and magnificent album with The Luminous Pearl. It is a journey into a destination beyond language as we know it. A place of beauty and spiritual fulfillment that captured my heart from the first moment it began to play. The delicate strains of music from such instruments as the mandolin, didgeridoo, Grand Piano, violins and flutes to name just a few are intertwined with the lovely vocals of Lia Scallon. Her voice is the sound of angels singing. Each of the talented musicians working with her on this project is accomplished in their own right, coming to this album with years of experience and it shows in the cohesive and flawless performance on each and every track. This album completely transformed my day, helping me reach a place of tranquility and peace. I highly recommend it. It walks in beauty, like the night, luminous as a pearl hidden amongst the shimmering stars.

Key Tracks- Age of Wisdom, Light of Consciousness, Magnificent Gaia, Walk in Beauty

Dana Wright-Muzikreviews.com Sr. Staff

May 2, 2013

©Muzikreviews.com

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

Learn how to put a song on itunes at ReverbNation.com

Atropos Project - Equator

Atropos, in Greek mythology, was one of the three goddesses of fate and destiny. The daughter of Zeus, she was the fate who cut the thread of life. From this mythology, the name Atropos Project is formed. Atropos Project is a one man instrumental musical project created by John Quarles in New York. Started in 2012, this musical venture is instrumental progressive rock taking influences from acts such as Rush and Porcupine Tree. Now Atropos Project is releasing their debut album, Equator.

John Quarles, the man behind Atropos Project, wrote, performed, and produced all the tracks on Equator. The album is well done, and it’s hard to believe that it was the creation of one man. Equator has a great sound taking influences from progressive, avant-garde and metal to make a unique but enjoyable album.

The longest track on the album at eight minutes, fifty-five seconds, “Deadfall,” is an epic track. The guitars in this track are great giving the song a metal feeling at times. The drumming is also equally as good and very full of energy. The song has an intense feeling throughout the majority of its length, but sounding mellower at the beginning and ending.

The song “And…Lift” contains an additional musician, Gary Richardi, who provides pedal steel, dobro, and slide guitar which gives the song a slightly southern rock feeling within its progressive rock sounds. Richardi does a great job at the respective instruments he provides. Also there is an excellent guitar solo towards the end of the song that is worth checking out.

Another song with a great guitar solo is “Suspiria.” John Quarles is excellent guitar player; all the instruments he plays are well done. This song shows all his abilities of various instruments, but his guitar playing stands out the most. You can hear the influences of Porcupine Tree and Rush throughout the song.

John Quarles and Atropos Project is a talented musical venture that encompasses progressive rock along with other rock genres. Equator is a great debut album, especially considering the album was written, performed, and produced by one man. Any progressive rock fans will want to check this album out. Also anyone who enjoys great instrumentals or guitar solos will enjoy Equator. John Quarles shows an enormous amount of talent on this debut album, and I look forward to see what he creates in the future.

Key Tracks: Deadfall, And…Lift, Suspiria

Craig Kidd - MuzikReviews.com Staff

May 4, 2013

©MuzikReviews.com

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

Voodoo Circle - More Than One Way Home

Voodoo Circle formed in 2008 as a side project for Alex Beydroft, the guitarist from power metal band, Silent Force. The band is made up of Beydroft (guitar), David Readman (vocals), Mat Siner (bass), Jimmy Kresic (keyboard), and Markus Kullman (drums). Since forming they have released three albums, including their latest one; More Than One Way Home.

Beydroft originally formed the band to play a softer, more ‘eighties’ style of metal than he was doing with Silent Force. That sound that he wanted to create is clear to hear on More Than One Way Home. You can hear what a big influence bands like Whitesnake and Deep Purple have had on Beydroft. The album is full of big riffs, catchy choruses, soaring vocals and pounding drums; everything you’d expect from a good hair metal record.

Tracks like “Graveyard City” and “The Killer In You” rock really hard. Beydroft’s guitar playing and Readman’s lead vocals are undoubtedly the highlights on the heavier tracks like this. They blend together so well and really compliment each other brilliantly. Of course, that’s not to say that the rest of the band doesn’t deserve some praise too. Without the solid backing of Siner, Kresic, and Kullman, Beydroft and Readman’s stand-out performances wouldn’t be half as impressive.

More Than One Way Home isn’t all straight-up rock n roll, Voodoo Circle slow things down and explore their quieter side on a few occasions too. Songs such as, “Alissa” and the title track, “More Than One Way Home” provides a welcome break from the heavier sounds found elsewhere on the record. They give the album some much needed balance and help it to flow. As good as they are, an album full of rockers like “Bane Of My Exsistence” and “Heart Of Babylon” would probably be a bit of a chore to get through.

Beydroft started this band in the hope of emulating his heroes and he has managed to do just that. With More Than One Way Home, he and his bandmates have managed to create a record that captures the spirit that made bands like Rainbow and Whitesnake so much fun and so enjoyable.

Key Tracks: Graveyard City, Alissa, Heart Of Babylon

James Hinton – MuzikReviews.com Staff

May 2, 2013

©MuzikReviews.com

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

The Nonrefundables - Nothing to Be Done

The Nonrefundables are a quartet from Wilkes-Barre, Pennsylvania, but you would never guess it from their sound. One would assume they were from southern California, or some beach area based on their surf influenced pop/punk style. Hondo (vocals/guitar), Chris (guitar/vocals), Frank (bass), and Pete (drums) are now back with their fifth full-length album, Nothing to Be Done, and it is full of 15 new blasts of power pop/punk tunes.

Nothing to Be Done is a fun album. The tunes most often remind me of fun-loving artists like The Dead Milkmen, or Blink 182. They generally don’t get too heavy, mostly staying in the Weezer realm, but they will speed it up or slow it down on occasion.

Album opener “Moving Mountains” will certainly remind you of The Dead Milkmen, but the more I listen to it the more I am reminded of the Old 97s more up-tempo tunes. With the Nonrefunables you also get some tunes that are more rockabilly (“Daylight Saving Time”) or punk (“Typical”), but they also bring it down a few notches on a ballad like “Let Go.”

The Nonrefundbles tend to write a pretty good tune and hook, but there is a lot happening on Nothing to Be Done. Fifteen tracks is a bit much for this kind of release, I think it could do without 3-4 of the songs. The length of the album is not very long time-wise with the songs all being about a few minutes in length, but I think the quality over quantity view would make this album better from start to finish. I thought about half the songs were really good, and some of the others seemed a bit repetitive or unnecessary. You take a few of those out and you have a pretty strong album from front to back that you can bob your head to non-stop.

Key Tracks: Moving Mountains, Dayling Savings Time,Typical, A Familiar Tune

Kevin Kozel - Sr. MuzikReviews.com Staff

April 29, 2013

©MuzikReviews.com

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

ZED - Desperation Blues

ZED is the hard rock band hailing from San Jose, California. Taking influences from past greats such as AC/DC and Led Zeppelin to more recent acts like Queens Of The Stone Age and Rage Against The Machine, ZED are made up of members Pete Sattari (vocals, guitars), Greg Lopes (guitars), Mark Aceves (bass), and Rich Harris (drums). ZED released their debut album, The Invitation in 2010. In the summer of 2012, they went into the studio to record the songs for their follow up album, Desperation Blues, which is set to be released May 21.

Desperation Blues is a great rock album that takes influences from past and present alike. The album has a bluesy feel underneath its hard rock exterior. Lead vocalist, Pete Sattari gives the album a heavy metal feeling with his powerful gritty vocals.

The song from which the album gets its name, “Desperation Blues,” is a classic example of what a great rock song should sound like. Greg Lopes provides some awesome guitar solos. Sattari brings the song to life with his powerful vocals. Mark Aceves keeps the song moving forward with some great bass playing.

“Crawl Back To You” has more of a southern rock feeling than the rest of the album with its twangy guitar sounds. Sattari really shows his emotions with this song, singing more in a crooning style throughout most of the song. Rich Harris provides some excellent drumming during the song.

Closing out the album is “The River.” The song once again features Sattari’s powerful vocals, and Lopes’s hard rock guitar playing is absolutely wonderful. Harris’s drumming keeps everything together and moving along. The song has a heavy metal feeling with the big hard guitars along with Sattari’s gritty vocals.

ZED is a great rock band that takes influences from Black Sabbath to Queens Of The Stone Age. Pete Sattari’s gritty vocals provide the band with a hard rock feeling. Greg Lopes performs the guitar excellently throughout the album. Mark Aceves and Rich Harris keep the songs together with their bass and drumming respectively. Desperation Blues is an excellent album that any rock fan would enjoy. Whether you’re into Led Zeppelin or Rage Against The Machine, you’re sure to enjoy this album.

Key Tracks: Desperation Blues, Crawl Back To You, The River

Craig Kidd - MuzikReviews.com Staff

April 30, 2013

©MuzikReviews.com

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

Sell music on Amazon at ReverbNation.com

Paul Anka - Duets

Paul Anka is a singer and songwriter of many talents. Beginning his career in the 1950’s, he has steadily climbed the charts due to dual efforts of persistence and ability. His voice is one that we have heard for many years. In his newest release Duets, Anka showcases duets over the course of his musical career. There are some amazing contributing artists to hear on this album and has a dual release with his new biography, My Way: An Autobiography co-written with David Dalton.

Duets has a multifaceted array of songs, from the completely new recordings, new versions with vocals and instrumentation and some classic pieces that have appeared on his 1998 album Body of Work.

One of the brand new pieces on this album is “Find My Way Back to Your Heart,” a song written and sung by Anka, with background vocals by Tita Hutchinson. The song opens up with a light piano and electronica pop feel with Anka’s smooth vocals crooning their way into my attentions. Love, loss and hope for what’s next are central themes. The slow pace is ratcheted up and Anka’s vocals are met with the talented Ms. Hutchinson adding some colorful elements to the piece. Fluid composition, upbeat instrumentals and vocals that complement each other make this one of my favorite songs on the album. Being that this is Anka’s newest composition, it illustrates just how versatile he is at finding his way into the hearts of a whole new generation of fans.

“It’s Hard to Say Goodbye” is a duet with Celine Dion. The slow and sensual feeling of this piece immediately caught my attention. Dion’s voice is that of an angel and paired with Anka’s graceful vocals, this is a song that lingers in the ears long after the final note has been played. The light instrumentation that floats just beyond the amazing duet is the perfect complement to this album. This song is one that first appeared on the 1998 album, but is a more than worthy addition to Duets.

“Crazy” is a duet sung with Paul Anka and Willie Nelson. This piece has been reworked with new instrumentation and vocals. The tender moments that Patsy Cline brought to life all those years ago still linger in the words of this magnificent song. The slow pace Anka and Nelson take, is inspirational and hypnotic with the instrumentation almost a whisper behind the words.

“This Is It” was written by Paul Anka for Michael Jackson and sung as a duet by both performers. This recording has some new instrumentations and vocals. This song is one of the examples of Anka stretching his musical boundaries and meeting Jackson more than half way. Floating pop sounds, engaging harmonies and a lively performance make this piece a shining star on this album.

I could literally go on and on about each song on Duets. Every performer, from Dolly Parton in “Do I Love You,” Leon Russell in the new “I Really Miss You” and Michael Bublé in “Pennies from Heaven” give stellar performances. A piece to note is “Walk a Fine Line” with George Benson and Michael McDonald in a three part duet with Paul Anka. Whether you are a longtime fan from when Anka got his start by hanging out with greats like Connie Francis or are just now hearing him for the first time, there is a reason Anka is one of Billboard Magazine’s top 25 musicians. Listen to this album if you want to find out why. Every song shows a slightly different side to a musician that is as timeless as the Beatles and Elvis Presley. Grab a copy today and give it a listen. It is more than worth the time.

Key Tracks- It’s Hard to Say Goodbye, Find My Way Back to Your Heart, Crazy, This Is It

Dana Wright-Muzikreviews.com Sr. Staff

April 25, 2013

©Muzikreviews.com

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

Amplifier - Echo Street

Following up a critically acclaimed album can be nerve-racking for a band. The pressure to recapture the success of the previous work can be enormous. Few let it faze them and continue right along producing fine work. This seems to be the case with Amplifier. It took them four years to make The Octopus, but a mere sixty days for their fourth album Echo Street. Fans will be happy to know that shorter production timetable did not affect the quality.

Hailing from Manchester, England, they are Sel Balamir (vocals, guitar), Matt Brobin (drums), Steve Durose (guitar), and Alexander "Magnum" Redhead (bass). Echo Street marks their first album as a four-piece band. Balamir has an admirable take on Amplifier’s musical progression: “It's important that people understand that not everything will be like what has gone before. I never want to repeat myself.” This is always good to hear, especially from a band in a genre with the word “progressive” in it.

What I like about Echo Street is that each song has its own unique atmosphere. “Matmos” is poetry to the ears with its surreal lyrics backed by a meditative opening. The music goes along with this atmosphere just like the way dreams change and seamlessly move from one image to another. Following it up is “The Wheel.” This one is darker than the opener with its metallic and mysterious opening. There is a sense of claustrophobia running throughout the song, of being trapped with something lurking in the shadow that is too clever to be seen. The haunting “Extra Vehicular” has a thread of sadness running throughout the song. My main problem with this song is its length. At just over twelve minutes, it wears on me around the seven minute mark. I checked to see how much was left and was surprised to see all the time left in the song. I do not mind long songs, but they should not feel long. With its mellow, folksy opening, “Where the River Goes” is refreshing like a cool breeze on a hot day. It keeps getting better in the second half as it transitions into a blistering rock song.

“Paris in the Spring” is one of those songs that sound light and sweet until you pay attention to the lyrics: So come / Walk with me down streets of rain / Long gone are the tears of a child that weeps / So let’s dry those cheeks / As cold as the world is outside / We’ll run away and hide / Its only goodbye / Till I see you again. The melancholy of this song is inescapable. There is no need to get down because “Between Today and Yesterday” is more stoic in nature with lyrics such as So never try to turn your head /
Avoid the bitterness and It’s better to leave your frustrations / And ride the train as far as it goes. The title track “Echo Street” is the most ambient song on the album. This is the type of song where you should just close your eyes and let the music take you away. “Mary Rose” ends the album on a positive note. Less dark than the others, it is hard not to be taken by the song’s message.

The progressive rock genre is in fine form with bands like Amplifier making music. Echo Street is like listening to the musical version of a dark dream. This is one album that progressive fans should not let fly under their radar.

Key Tracks: The Wheel, Where the River Goes, Mary Rose

Brian McKinnon – Sr. MuzikReviews.com Street

April 28, 2013

©MuzikReviews.com

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

Hans Theessink - Wishing Well

Hans Theessink is a real veteran of the music business. He’s been around for over forty years and has released more than twenty albums. After all that time, he still wants to create and record new music, as his latest album, Wishing Well, shows.

Theessink’s new recordhas a laid-back, bluesy, sound that fans will no doubt already be familiar with. The minimal backing band, made up of Theessink (guitar, mandolin, banjo, madola and harmonica), David Pearlman (pedal steel guitar), Gyan Singh (tabla) and Blessings Nkomo (shaker), create a gentle vibe that complements Theessink’s gruff, distinctive, voice brilliantly.

The material on Wishing Well is a mixture of old traditional songs, covers and originals written by Hans Theessink. The covers are enjoyable. Townes van Zandt’s “Snowing On Raton,” Brownie McGhee’s “Living With The Blues,” and Bob Dylan’s “Ballad Of Hollis Brown,” all get the Theessink treatment. None of them deviate too far from the original versions but there really isn’t any need for them too. They all slot seamlessly in with Theessink’s own compositions and add to the album’s folky atmosphere.

“Make Me Down A Pallet On Your Floor” and “Alberta Let Your Hair Hang Down Low” are included among the traditional tunes on the album. Theessink’s versions are good, and it’s nice to see somebody still playing these songs. If not for people like Hans Theessink keeping them alive, these songs would just disappear.

Though the covers and traditional songs are good, it’s on his own material where Theessink really shines. “Take Your Picture” is quirky, fun, and almost guaranteed to put a smile on your face. “Hellbound” is as dark and daunting as the title suggests. The title track, “Wishing Well” is a lovely, calming song that is made by Theessink’s outstanding vocals.

The highlight though, is “Didn’t We Try.” It’s a simple song, the backing is almost non-existent, but it has a melody so catchy that it is almost impossible not to like it. Theessink proves here that he can write great pop songs as well as the deeper, more thoughtful songs on the record.

It must be hard to stay fresh and exciting when you’ve spent so long in the music industry; Hans Theessink makes it seem easy.

Key Tracks: Take Your Picture, Hellbound, Didn’t We Try

James Hinton – MuzikReviews.com Staff

April 27, 2013

©MuzikReviews.com

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

Send Newsletters to your fans from ReverbNation.com

Vidunder - Vidunder

Formed in 2011, in Malmö, Sweden, Vidunder is a rock power trio consisting of Martin Prim (vocals and guitar), Linus Larsson (bass), and Jens Rasmussen (drums). Vidunder’s style of rock draws on influences from great classic and blues rock acts such as Led Zeppelin, Pink Floyd, and Cream. Not long after forming the band signed with Crusher Records and released their debut single, “Asmodeus,” on 7” vinyl. After touring throughout Sweden, Vidunder recorded their debut album, which is set to be released May 24^th.

Vidunder is simply a great rock album. There are no special effects or gimmicks; it’s just plain and simple rock. The band’s music has the feel of 1970’s rock, and the album cover holds true to that feeling as well. The cover features only the faces of the band members with the band name, Vidunder, above them. This is reminiscent of album covers of the 1960’s and 1970’s like Dr. Hook’s Sloppy Seconds or The Beatles’ With The Beatles for example.

“Summoning The Not Living” is an excellent rock song. Martin Prim’s powerful vocals remind one of a Led Zeppelin recording. Prim’s guitar playing is also very well done with some nice solos throughout the song. Larsson’s bass and Rasmussen’s drum adds a great touch to the song, giving it that ‘70’s feeling.

The equally powerful song, “Into Her Grave,” also shows the use of Prim’s wonderful vocals. Rasmussen’s drumming is worth noting in this song. His drumming is very energetic, and gets even more energetic towards the end of the song. Prim’s guitar playing is excellent throughout the song, which goes well with Rasmussen’s energetic drumming

The song, “Your Ghost,” has a more bluesy slightly darker feeling than the other songs on Vidunder. Prim’s style of guitar playing along with his powerful vocals help add to this feeling. Once again, Rasmussen’s energetic drumming helps keep the song moving forward.

Vidunder is a great hard rock album. Anybody who enjoys the classic rock sounds of Led Zeppelin or Cream will want to check out this album. Vidunder doesn’t contain any auto-tune or pop-radio catchy hooks, but it does contain some great rock n’ roll. Vidunder is an excellent band, and I look forward to seeing what they will come up with in the future.

Key Tracks: Summoning The Not Living, Into Her Grave, Your Ghost

Craig Kidd - MuzikReviews.com Staff

April 24, 2013

©MuzikReviews.com

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

Captain Beyond - Frozen Over Texas (Live 1973)

The latest CD to be reviewed, was by another of those unknown artists, well, certainly unknown to me. The album is Frozen Over Texas (Live 73) by Captain Beyond. First port of call was an internet search to find out a bit about Captain Beyond, and I was surprised at the information I found. Captain Beyond are described as one of the more overlooked “supergroups” of the time. The composition of the band was very impressive, Rod Evans (lead vocals and ex Deep Purple), Bobby Caldwell (drums and ex Johnny Winter Group), Larry “Rhino” Reinhardt (Guitar and ex Iron Butterfly) and Lee Dorman (bass and ex Iron Butterfly). The band released 3 studio albums, Captain Beyond (1972), Sufficiently Breathless (1973) and Dawn Explosion (1977), but it was the debut album that gained the highest plaudits. The album being reviewed, Frozen Over Texas (Live 73) was recorded prior to the second album being recorded and is the only live material from the band to survive. I also have managed to glean that the Frozen Over Texas album is in fact a cleaned up (sound-wise) bootleg version of the Far Beyond A Distant Sun-Live In Arlington Texas which apparently had better sound to start with. My main gripe, and I’ll mention it at the start, is that I do wonder what the sound quality will be like.

Frozen Over Texas is a 14 track album with a total running time of around 68 minutes and has 3 tracks lasting under the 2 minute mark, with track 8, “Thousands Of Yesterdays,” the shortest at 1:33 minutes. The longest track on the album is track 12, “Drum Solo” clocking in at just under 13 minutes (12.52).

This is certainly an interesting release, and bearing in mind that it does appear to be the only live recording that exists, it is also a historical statement. Having listened to the album many times, I must admit to finding it an amazing piece of work. Remember that this is a reviewer that isn’t totally convinced of the merits of live albums in general and is very critical of poor quality sound. Once I had accepted the sound limitations, then the music did indeed, win me over.

My favorite tracks, at the moment are track 2, “Distant Sun,” track 3, “Dancing Madly Backwards” and track 4, “Armworth,” which are all early tracks after which the band moves into a more “spacey” feel to some of the tracks.

“Distant Sun” (5:51) is from the second studio album and has an amazingly powerful driving bass/drums start before the keyboards appear. The vocals while not the most powerful, are adequate and do manage to remain in key, most of the time. The track continues with the keyboards and guitar adding a layer of sound above the rhythm engine. There is some superb lead guitar work which powers the track along. “Dancing Madly Backwards” (4:42) has another intro that is heavy with drum and bass power and more of that majestic lead guitar riffing. There are nice tempo changes, and the band drives the track along before a blistering guitar solo fires up around the 2:05 minute mark. I assume at this point, Rod is desperately banging away on his tambourine awaiting his return to vocal proceedings around the 3:05 minute mark and takes the track out. The short fourth track, “Armworth” (1:40), is a little shiny nugget and cuts a perfect heavy rock feel. This track may be short but certainly big in the impression it leaves.

As mentioned earlier, the band at this point move more into the spacier side of their music with “Myopic Void,” ”It’s War,” “Thousand Days Of Yesterdays” before returning to the heavy rock on “Frozen Over.” Unfortunately, and this is another personal gripe, there is the 70’s obligatory “Guitar Solo” (6:42) and “Drum Solo” (12:52), which I find a little on the extravagant side, but was a common component of live shows. The concert ends with a very passable cover version of “Stone Free.”

Despite Frozen Over Texas being a live and not perfectly recorded bootleg, it is, by virtue of it being the only live material from Captain Beyond, a collector’s item. The album is certainly worth a few listens and while falling short of a special “One To Buy” sticker, it certainly comes with a big “Highly Recommended” tick on the cover.

Key Tracks: Distant Sun, Dancing Madly Backwards, Armworth

Jim “The Ancient One” Lawson-MuzikReviews.com Staff

April 23, 2013

©MuzikReviews.com

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

Danny Wright - Full of Love

Danny Wright, also known as the Healer of Hearts has been commissioned to compose over one hundred and fifty songs to commemorate living loved ones and those that have already passed over. His new album Full of Love holds twenty of these breathtaking melodies. Full of emotion that flows from each note, you get a glimpse of the person Danny was trying to capture on each audible canvas. Full of Love is indeed what the title of the album suggests. Each of the original songs and piano compositions in this twenty song love letter are vibrant with appreciation and true vision into the elusive and irrepressible nature of the human spirit.

“Full of Love” is the first piece on the album. Tender piano melodies flow in intricate patterns, like a trellis rose creeping up the side of a fairytale castle. Bittersweet harmonies evoke longings in my heart for things unseen. As I close my eyes, I catch the memories of times gone by and images of loved ones that have filled my heart, both in good times and in bad. This is the tender emotional play of the human psyche set to notes of music. Beautiful and outpouring, Wright is truly possessed by a higher power as he plays. Literally a window into the ever after, I see the future and embrace the past in one searing moment and my heart feels happy.

“My Guiding Light-Barb” was commissioned by a husband who lost his wife. The opening of the song is a beautiful glimpse into the soul of the woman whose life went into the essence of this piece. From mellow and delicate playing to a journey down the keyboard that is both fierce and inspirational, Wright hits all the emotional highs and lows this audible masterpiece of brilliant bursts of color and feeling. Tender melodies caress and comfort as I close my eyes and take in the beauty of a woman who lived her life for her family and the love of a husband who wanted to commemorate her with a song.

“Bethie’s Song” is the last song on the album. It has a tender beginning that blossoms outward like the tender bud of a rose becoming the beauty it is destined to become. Another commemoration filled with flickering images of a life well lived, “Bethie’s Song” is a tune that almost seems familiar, but the threads of color that erupt, sounding eerily like “Somewhere Over the Rainbow” burst into something else entirely. Mild and thoughtful, I got a feeling of introspection from this piece. Elegant piano work creates a piece as delicate and fragile as blown glass.

Danny Wright is a composer and pianist that has captured the emotions of lives well lived and crafted music that speaks to the heart. He takes a paragraph about the person, living or dead and lets the information percolate until the song is ready to burst forth. And it does. Wright has a beautiful compilation of sound and structure that is as elaborate as it is artful. Better than a salted caramel hot chocolate, this album goes down smooth. If you are looking for an artist that plays with feeling and is able to capture the soul of a person in an audible experience, then this is the album for you. I have immersed myself in this album all week and I can’t stop listening. There is no greater compliment than that.

Key Tracks- My Guiding Light- Barb, Full of Love, Bethie’s Song

Dana Wright-Muzikreviews.com Sr. Staff

April 20, 2013

©Muzikreviews.com

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

Sell music on Amazon at ReverbNation.com

Dust - Hard Attack/Dust (Remastered)

Dust were a heavy metal band that came out of Brooklyn in the early seventies. They released just two albums before the band went their separate ways. Since splitting, each of the has gone on to have a great career in music.

Lead singer and guitarist Richie Wise went on to produce records for the likes of Kiss, Gladys Night and James Brown. Bass player Kenny Aaronson kept on playing and has toured with Bob Dylan, Billy Idol and Joan Jett, amongst many, many others. The most noteworthy of the trio though is Marc Bell, who, six years after Dust broke-up, became Marky Ramone. With such an incredible line-up of talent, it’s hard to believe that this band has been ignored for so long.

This newly remastered collection brings Dust’s two studio albums to light. The first of those is their self-titled debut.

Dust opens with the fantastic combination of “Stone Woman” and “Chasin’ Ladies.” The band really let loose on these songs and Marc Bell gets chance to show that he is capable of much more than he did with The Ramones.

“Love Me Hard” is one of the first album’s high points. It’s really rocks and it’s really unpredictable – it’s hard to keep up with all the twists, turns and changes. It doesn’t quite live up to the track that follows it though. “From A Dry Camel” lasts for nearly ten minutes and is almost entirely instrumental. The playing on this track is phenomenal. Everybody is on top of their game, and you can really feel the band pushing each other on and getting the best from each other.

Their second album, Hard Attack, was originally released just one year after Dust and it was the last thing that the band did before splitting up. There are no signs of a band falling apart on there though.

The album opens with a softer sound than on their debut. On “Pull Away/So Many Times” and “Walk The Soft Rain” they use acoustic guitar sounds combined with frantic drumming and some fantastic lead guitar to great effect.

“Thusly Spoken” is just a straight-out ballad and it’s brilliant. The string arrangement in the introduction is glorious. Had Dust have not split up then it would’ve been really interesting to see them try more things in this style.

Elsewhere on Hard Attack you get the rock ‘n’ roll that you’d expect from this band. “All In All” and “Suicide” are both good examples of this. They aren’t overly complicated songs but, the playing is great and the riffs are catchy.

Going back and listening to these albums now, it’s amazing that Dust didn’t go further in music. They had great songs and a great sound. It’s a shame that they didn’t manage to put a couple more albums together during the short time that they were together.

Key Tracks: From A Dry Camel, Thusly Spoken, All in All

James Hinton – MuzikReviews.com Staff

April 21, 2013

©MuzikReviews.com

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

Kito Peters - Black Birds

New Mexico’s Kito Peters continues to put out quality albums at an astonishing pace. Black Birds is his twelfth release, following up 2012’s Capital Dreams. At about an album per year pace it’s impressive that Peters is able to create such interesting and diverse originals so consistently.

What I enjoy most about Kito’s albums is that (while I have to find a way to) you can’t really pin point a genre on it. They can go poppy, jazzy, folky, bluesy, or rock, yet they still work. It reminds me of some of the more recent endeavors that Elvis Costello has had. It comes as no surprise that Peter’s considers himself a “sucker for jazz-inflected folk and pop”.

On the album opener and title track “Black Birds,” Peters’ rocks a bit more than what I recall of his previous work. It goes on this Tom Petty-esque path that seems to suit Kito and his vocal styling best. The second track, “Humble,” ventures into more of the jazz inspired territory and is quite a change from the opener. For me, the best track on the album was “God Said Noah” though. It’s a well written poppy gem, and has a classic timelessness that got me tapping my foot within moments. I am still perplexed by the “angel monkeys” however.

Going back to the opening two tracks, they are prime examples of what makes Kito so interesting. They are both well written, but very different. Any given person could easily like only one of them, so the song you hear first could have a pretty big effect on whether you want to hear more. Black Birds has a great mix of styles though. Peters never seems to reach so far that his idea doesn’t work, and it lends his music the addition of horns, synths, and all kinds of instruments. It makes for a more interesting and diverse album and one that requires a more thorough listen. Be sure to sample several songs to get a better sense of everything Kito Peters has to offer on Black Birds.

Key Tracks: Black Birds, Humble, God Said Noah

Kevin Kozel - Sr. MuzikReviews.com Staff

April 19, 2013

©MuzikReviews.com

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

Learn how to put a song on itunes at ReverbNation.com

Platypus Egg - Little Street Of Happiness

Platypus Egg is a progressive rock band formed in 2009 in San Diego, California with influences ranging from pop and classic rock to punk and folk. Platypus Egg, consisting of Michael Louden (vocals, flute), Mark Calabio (bass), Kris Calabio (guitar), Andre Beller (melodica, contrabass), and Michael Bongiovanni (drums) is now releasing their debut album, Little Street Of Happiness, and introduce the world to Platypus Egg.

Street Of Happiness is a chaotic circus of music. The band uses an array of instruments such as the flute, tambourine, and English concertina in these songs to help bring this circus to life. Although, it may not to appeal to everyone, this album is good and contains some talented musicians.

The opening track, “Lemonade,” which actually seems to be about lemonade, contains vocals by Mark Calabio. The song contains an excellent guitar solo toward the end. The song has an appealing sound, in that there is no steady structure throughout the song. This leaves the listener on the edge of their seat, never knowing what to expect next.

“Long Distance Call (From Grandma)” sounds like a traditional English folk ballad complete with flute. Even with a time of two and a half minutes, the shortest song on the record, this is a wonderful track. It has a unique sound compared to today’s music, and even compared to the rest of the album. The song is mostly mellow compared to the rest of the album. The band also does a great job of harmonizing throughout the track.

The very bright and happy “Wonderful Day” is just a fun song. The song contains some fun features such as the random babbling sounds made by the band, or the background singers exclaiming “alright!” or “hey!” to certain lines singer Louden makes. The guitar and drums style of playing make for an up tempo feeling that helps give the song its happiness.

Platypus Egg is an excellent band that doesn’t mind exploring different genres. The combination of a unique style and talented musicians makes for an incredible band that is sure to make a name for themselves. Little Street Of Happiness is an awesome album, especially considering it is their debut album. This is an album worth checking out; you may not like every song, but you should be able to find something that appeals to you. Little Street Of Happiness has the ability to appeal to a wide variety of listeners.

Key Tracks: Lemonade, Long Distance Call (From Grandma), Wonderful Day

Craig Kidd - MuzikReviews.com Staff

April 20, 2013

©MuzikReviews.com

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

Greg Lake - Songs Of A Lifetime

The album for review this week is the new release by Greg Lake, entitled Songs Of A Lifetime. Greg Lake is, of course, a household name in the progressive genre, as he was a founding member of King Crimson (along with Robert Fripp) and Emerson Lake and Palmer (ELP).

Songs Of A Lifetime is a recording of an evening of intimate, interactive musical reminiscences which are full of drama, pathos and humor. I approached this release eagerly, offering as it does a solo concert with music from King Crimson and ELP plus insightful information and witty anecdotes, and my thoughts turned back to a similar, but live, evening in the presence of Rick “The Caped Crusader” Wakeman, who surrounded by banks of keyboards, serenaded the hall with excerpts from classic prog albums and entertained with many anecdotes.

To the matter in hand then, with this release from Greg Lake, Songs Of A Lifetime, and a detailed review of how the “evening” progressed listening to the performance.

Songs Of A Lifetime is a single disc, which is an initial surprise when the track listing is looked at, with a running time of around 74 minutes for the 20 tracks. The shortest track is the album opener, “ 21^st Century Schizoid Man,” lasting a mere 1:00 minute and track 5, “Tribute To The King,” being the longest at 7:03 minutes.

Highlights from the album after several listens to some very familiar material, are “Lend Your Love To Me Tonight,” “From The Beginning,” “Epitaph/Court Of The Crimson King” and “Lucky Man.”

“Lend Your Love To Me Tonight” (3:39), is originally from The Works by ELP and this version has that superb Greg Lake voice in fine fettle. This is an excellent version, powerful, atmospheric and outstanding and is, in my opinion, the best track on the album. The superb acoustic start to “From The Beginning” (5:04) sets the scene for another stunning version of an old ELP favorite. The Greg Lake voice is smooth although I did notice that there is a change in the “quality” of some of the vocals and I assume that has been caused by taking tracks from shows on different evenings. King Crimson is the source for “Epitaph/In The Court Of The Crimson King” (5:05) and another powerhouse for Greg but I started to wonder why the backing material is all prerecorded, some from original early material and some subsequently all redone by Greg. I really think that having a live band would have added another dimension to the evenings. A song that Greg wrote when he was only 12, is the last of my highlighted tracks, and is the simply stunning “Lucky Man.” This version is still as magnificent as the original, all those years ago, and that manic synthesizer outro is still “out of this world.”

I will admit to being a bit deflated by Songs Of A Lifetime and there are several reasons. I think, as to why I have this feeling. Over 30 minutes of the CD is turned over to the anecdotes, which, interesting and funny they may be, but once heard, I tended to skip past these tracks on future listens. I also appreciate that Greg was paying homage to the other artists that he covers, namely Elvis and The Beatles, but I’m not sure these tracks really work. The final reason that I don’t think Songs Of A Lifetime really hits the nail on the head, is the fact that the backing to the tracks is all prerecorded and therefore precludes any form of spontaneity during the performance. At times, my feeling was that there was a bit of a sterile feel to some of the tracks.

Although I did find some excellent passages, and his voice is certainly still very powerful (on some tracks), I did find that looked for the original King Crimson and ELP tracks once Greg had given a sample of the material.

What seemed an excellent idea at the outset, didn’t quite work, although if you had attended one of these evening performances, it would be a great reminder and I think that a DVD of the evening might have been a more successful way to have progressed. Songs Of A Lifetime is certainly worth a listen, but not something that I would go back to time after time.

Key Tracks: Lend Your Love To Me Tonight, From The Beginning, Epitaph, Lucky Man

Jim “The Ancient One” Lawson-MuzikReviews.com Staff

April 20, 2013

©MuzikReviews.com

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

Clutch - Earth Rocker

If you are the kind of person who bemoans all the latest music that is promoted through the different media channels, or if you are the kind of person who is sick of hearing people complain about the state of modern music and want to shut them up, then Clutch’s Earth Rocker is just what you need. Hailing from Germantown, Maryland, Clutch consists of Neil Fallon (vocals, guitar), Dan Maines (bass), Tim Sult (guitar), and Jean-Paul Gaster (drums). They formed at the beginning of the 90s, and three decades and ten albums later; they are as strong as ever on Earth Rocker. This is what rock and roll is all about.

Clutch goes straight to work on the title track. The seductive guitar strumming on “Earth Rocker” lures you in before the vocals are unleashed. There is a primal energy running throughout this song that leaves a lasting impression. Do not be surprised if you find yourself screaming “I’m an Earth Rocker!” after hearing this one. If you are taken with this song, then be prepared for a wild and rocking time because there are ten more to go. “Crucial Velocity” comes out hard and heavy to keep the heart pumping fast. If the pounding drums and blazing guitar do not do it for you, you might just want to give up at this point. Next up are “Mr. Freedom” and “DC Sound Attack!,” which are two songs that veer into the social commentary/political territory. They are able to pull it off by not being too specific and tying it down to a certain person or event that could easily date the songs. Also, they stay away from the serious, self-righteous area by injecting some humor into the message, such as Mr. Freedom and his bumper stickers.

“Unto the Breach” is an unrelenting song from beginning to finish. Like infantry soldiers storming the beachheads, it is just an all-out assault on the senses and it is so good! If you are getting a bit overwhelmed by the all rocking so far, the bluesy “Gone Cold” is a nice change of pace. This one features my favorite vocal performance on the album, and I could listen to it over and over just for that reason. “The Face” is another song that absolutely crushes it, and just try not to sing along with the chorus after you hear it. It is a worthy ode to the spirit of rock. “Book, Saddle, & Go,” “Cyborg Bette,” and “Oh, Isabella” keep the second half of the album going strong, especially “Oh, Isabella” with its scenes of battle and catchy chorus. “The Wolfman Kindly Requests” brings it out as hard as it came in, leaves everything on the floor, and with lines such as “You want to know my political persuasion? / Well sugar I howl at the moon at the moon can ya dig it?” what is there not to love?

Clutch delivers nothing but quality goods on Earth Rocker. This is the type of album the gives the genre a great reputation. It is like a fine meal that should be savored and taken in slowly. And once you are finished you will be coming back for more.

Key Tracks: Earth Rocker, Unto the Breach, The Face, The Wolfman Kindly Requests

Brian McKinnon – Sr. MuzikReviews.com Staff

April 19, 2013

©MuzikReviews.com

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

Nat "King" Cole - Welcome To The Club (SACD)

Nat “King” Cole had a voice as smooth as silk with deep rich intonations that could mesmerize a listener. As with many great artists of the past his music lives and continues to gain notoriety with new audiences.

Audio Fidelity has reissued Cole’s Welcome to the Club for the first time since the 1958 stereo remasters were unearthed. This incredible SACD Reissue also includes the rare bonus track “Madrid.”

Once again the astute Steve Hoffman handled the remastering process and as usual he did a stellar job.

This is timeless classic jazz with that jumping big band sound backing one of the truly great voices of our time. It is unfortunate his life was cut short at the young age of 46. He died prematurely from lung cancer caused by smoking. Certainly that is not a take away from this brilliant performance; it’s merely an anecdote to the history music. The best thing about music is that it’s for eternity like its counterpoint celluloid, it preserves magical performances and certainly this is one extraordinary recording.

There are 11 great tracks with a special bonus track added to sweeten the pie. The opener and title track sets the tone perfectly as Cole brings his smooth delivery to the fore, never missing a step. The band backing him is in fine form accentuating all of his articulations with the ease and grace of the great big bands of that time period. Literally every song will move you in some way. Cole had a way of setting you at ease and making you smile inside whether he was singing about the blues or saying goodbye to his sweetheart. He had the innate talent of making you part of the song with his vocalizations. The most recognizable tracks to longtime fans will be “Avalon” and “Mood Indigo.”

As I recall my Mom loved listening to Nat “King” Cole and I do remember seeing the LPs in the family collection. Now I understand what the appeal was. Not only was it great music, it was accompanied by a legendary voice that continues to live on through a rich back catalog and superb reissues such as this SACD that helps bring out the subtleties and nuances of such finely crafted music.

Key Tracks: Welcome To The Club, Avalon, Mood Indigo

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

April 19, 2013

©MuzikReviews.com

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

Landmarq - Entertaining Angels

Landmarq is a UK 5-piece band, formed in London in 1990. Prior to this new studio album being released, they have issued four studio albums, Solitary Witness (1992), Infinity Parade (1993), The Vision Pit (1995) and Science Of Coincidence (1998), and so there has been a 14 year wait for this, the fifth studio album, Entertaining Angels (Deluxe Edition). The main reason for such a long period of time between these albums was the illness of the female lead singer, who has now returned to fine form after making a full recovery.

The current lineup of the band is Tracy Hitchins (lead vocals), Uwe D’Rose (guitars), Steve Gee (bass/vocals), Mike Varty (keyboards/vocals) and Daniel Martin (drums) although Dave Wagstaff was the man on the drum stool for the album. Entertaining Angels (Deluxe Edition) is a 2 disc set which has a total running time of around 100 minutes. Disc 1, the main disc, comprises of 8 tracks and lasts about 71 minutes, while disc 2, the bonus disc, has a further 4 tracks and a running time of around 29 minutes. Shortest track on the main disc is track 2, “Glowing Part 1: Friends” which is 4:05 minutes and track 8, the final track, “Calm Before The Storm” is a real tour-de-force lasting in excess of 16 minutes (16:11).

Having not been a Landmarq enthusiast previously, mainly due to the fact that my only knowledge of the band prior to this album review, was a single track on a sampler album from earlier in 2012, I settled down to give Entertaining Angels (Deluxe Version) an initial listen to get an immediate impression. That first impression was very favorable and I certainly looked forward to further runs through the album to finalize this review.

This album is a fairly difficult album to pull some highlighted tracks from, as the achievement level in terms of auditory satisfaction is very high across the board. As disc 2 is a bonus disc, I will limit my choices to the main disc. At the moment, the tracks that I am listening to more are, track 1, the title track, “Entertaining Angels,” track 4, “Mountains Of Anglia” and the long final track, track 8, “Calm Before The Storm.”

“Entertaining Angels” (8:31), the opening, and title track, is a superb start to the album. Gentle synthesizer warblings build to a simple guitar melody which instantly “grabs your ears” allowing Uwe D’Rose to show his skills straight from the off. At around the 2 minute mark, the guitar melody changes to a more strident “harsher” sound and also heralds the entry of Tracy Hitchins vocals. Her voice simply “drips” emotion and soars astride the subdued backing of the band. A change in tempo around the 4 minute mark also sees a change in the vocals from Tracy which fit the music so well. Returning to the soaring vocals and a repeat of the time change follows to remind the listener of the recurring melody. Just after 6 minutes there is a superb saxophone passage, backed by piano and that unobtrusive but stunning engine room of drums (Dave) and bass (Steve) which has permeated the track. Tracy returns again to the soaring vocal performance of earlier that also heralds the ending of the track.

Track 4, “Mountains of Anglia” (8:56) is another of those “builder” tracks which increases in intensity from the start. The guitar of Uwe, above the simmering sound of the rest of the band, soon gives way to the throaty vocals of Tracy with some more forays into the soaring vocals sphere. The band continues to drive along behind the vocal with more great guitar from Uwe and keyboard passages from Mike, weaving in and out above the foundations of the drums and bass. That superb saxophone from track one reappears after a change of pace, sounding very melancholic, with subdued guitar/keyboards in the background and more of those stunning vocals. There is a very large “ tug of the forelock” towards Pink Floyd, although never copying, it simply oozes the “feel” of that classic band.

The final track on disc 1, “Calm Before The Storm” (16:11) is really a mini suite in 3 parts, “Strange But Beautiful,” “Spiderman” and “From The Abyss” which merge seamlessly into one piece of music. Keyboards swirl and Uwe’s guitar picks out a simply melody which hits high intensity very quickly. A change of pace around 1:30 minutes to acoustic strumming, allows the whispery vocals from Tracy to enter and then build. Stunningly melodic, the track moves along highlighting the vocals which have, from time to time throughout the album, reminded me a little of Aleena Gibson from Kaipa. There are some wonderful little piano and keyboard runs in the background and the melodies continue to swap places. Around the 6:00 minute mark, there is an upward shift in pace and the keyboards power the track along before providing a springboard for the return of a different, more forceful vocal from Tracy. Keyboard flourishes continue throughout this passage, driving the track, and at 8:15 minutes there is another slight change in emphasis before a return to the motif present around 6:00 minutes. The shift to the third part of the suite follows an extended instrumental passage and another change of pace. At around 11:30 minutes, there is a superb passage of keyboard washes interspersed with choral voices and a little “saw toothed” guitar before keyboards player Mike gets the chance to be in the spotlight on this epic track. Uwe’s guitar has a soaring passage and the interplay with the keyboards from about 13:30 minutes is a fitting finale to this stunning track. The band is in full flight for the last part, giving Tracy a rest from vocals, as they take the track out.

All in all, this is a majestic album, which uses the skills of the 5 musicians involved to create the superb sounds. Although there are flourishes of guitar, keyboards etc, the main weapon in the armory of the band has to be the stunning melodies that they achieve within each track. There are hints towards some of the “classic” prog bands but this is a very unique sound, the sound of Landmarq. Another of the special edition “One To Buy” stickers adorns the front of this album, which will probably mean that I will have to order more stickers. There are so many amazing prog releases happening and we are only into April.

Key Tracks: Entertaining Angels, Mountains Of Anglia, Calm Before The Storm

Jim “The Ancient One” Lawson-MuzikReviews.com Staff

April 16, 2013

©MuzikReviews.com

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

Free Electronic Press Kits template from ReverbNation.com

Linda Valori - Days Like This

Linda Valori is a popular Italian singer, born in San Benedetto del Tronto, Italy, began her musical career in 1995 when she placed second in a contest called A New Italian Voice in Milan, Italy. Since then she has done well in Italy, winning top places for several contests and festivals in including winning the New Voices national contest in 2000 and the International Festival, Megahit in 2004. Other career highlights for Valori include being selected best singer on the Italian show Popstars Show, singing on Walt Disney’s “Chicken Little” soundtrack, and performing for Pope John Paul II in 2004 and Pope Benedict XVI in 2005.

With all these achievements at such a young age, one would think Valori would be satisfied, but Linda Valori now has a new goal to achieve; gaining an American audience. Her new album, Days Like This, produced by Grammy Award nominee Larry Skoller, is now set to bring Valori some American success.

With the album, Days Like This, Linda Valori brings her take on the blues. The album has an old soul feeling, and with background singers, it more specifically has a sound reminiscent of the 1960’s R&B girl groups. Valori has powerful voice, and brings with her the spirit of powerful women such as Aretha Franklin. This all helps to create a wonderful, soulful blues album.

The song, “My Turn My Time” immensely shows the R&B feeling of the album. The song has an upbeat feeling with a horn section that helps keep that feeling. The background singers, repeating the lines Valori sings, add a nice touch. This is something that has almost disappeared from popular music, and it’s really nice to hear on a new recording.

While having a similar feeling, “The Way You Love Me” also has a more soulful feel within it. Valori once again brings her powerful vocals to the song. The background singers are also included to once again help bring an upbeat feeling. While there isn’t a horn section in this song, there is however a harmonic which adds a little touch of jazz.

The much slower song, “After Laughter” has more of a blues influence than the previous songs. Even the background singers sound sadder in this song. Valori’s powerful vocals evoke much more emotion in this song showing more of her capabilities.

Days Like This is a great album full of influences from soul, R&B, and jazz. Linda Valori is an amazing singer who can awaken many emotions. Fans of the 1960’s girl groups or any blues or soul artists like Aretha Franklin will want to check this album out. There are not many artists these days that have as powerful a voice as Linda Valori and even fewer who use soul and jazz influences in their recordings. In short Linda Valori is a great singer, and Days Like This is a great album.

Key Tracks: My Turn My Time, The Way You Love Me, After Laughter

Craig Kidd - MuzikReviews.com Staff

April 15, 2013

©MuzikReviews.com

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

Willie Nelson and Family - Let's Face the Music and Dance

Willie Nelson and family have crafted a walk down memory lane with this eightieth birthday celebration wrapped up in a musical pop country performance. This album will be the first of a series of events and releases that celebrates this momentous occasion. Recorded at Pedernales Recording Studio in Austin, TX, the album was made with his band, Family, which is comprised of his sister Bobbie (piano), Paul English (drums), Mickey Raphael (harmonica), Billy English (electric guitar, snare drum), Kevin Smith (upright bass) Micah Nelson (percussion on some tracks), Jim “Moose” Brown (B-3 organ) and of course, Willie himself playing his old standby Trigger on all tracks. The album is a journey into several genres, namely pop, country, and classics from the 1930’s, 40’s and 50’s.

Let’s visit for a moment with Irving Berlin and 1935 with the classic “Let’s Face the Music and Dance.” I can’t think of a better song to start out this landmark album. Nelson’s effortless crooning and mellow guitar playing swirl around me as my eyes close and time begins to sway. The twang of Nelson’s country vocals with the polish of Berlin’s svelte tune merge for an unforgettable sound experience and one that paves the way for a celebration of a country music great that shows to be that much more.

“Walking My Baby Back Home” is a piece by Fred Ahlert and Roy Turk from 1930. The lyrics are absolutely timeless as Nelson sings about walking his baby back home and her getting face powder on his clothes. You could be talking about a date any night of the week, any year since. The light and almost popish nature of the piece is mellowed by the soft percussion in the background and the country feeling that pervades through the song.

“Shame on You” is a Spade Cooley classic from 1944. It has an up-tempo beat that is accentuated with plucky guitar work and a steady percussion that digs deep. Smooth lyrics by Nelson roll along with ease and a harmonica adds to the country and pop blend that works through the piece. Overall, this is an excellent track to wrap up the album and only goes to show that Legacy and Nelson make a good team as they embark on a new adventure together.

Willie Nelson has had a six decade musical career and more than two hundred songs under his belt. His grit and almost effortless performance makes this another classic album to add to your collection. This seven time Grammy winner makes it look is easy. In this historic homecoming, Nelson returns to Legacy Recordings on a tour of many timeless classics that have a whole new spin as Nelson brings them to life once again. Activist and co-founder of Farm-Aid, Nelson has worked hard to advance the cause of the American farmer and continues to tour with the Family. With the release of his biography Roll Me Up and Smoke Me When I Die, this new album Let’s Face the Music and Dance is yet another chapter in this amazing artist’s life. His ability to cover pop, rock, country, blues and to make it sound absolutely effortless is a talent that transcends time. Don’t miss this great album.

Key Tracks- Let’s Face the Music and Dance, Walking My Baby Back Home, Shame on You

Dana Wright-Muzikreviews.com Sr. Staff

April 12, 2013

©Muzikreviews.com

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

Various - Sound City: Real to Reel

Dave Grohl has done a pretty impressive job of staying involved in some cool rock n’ roll projects over the years. He’s always keeping tabs on rock history, helping his friends out, and finding time to jam with the legends. Sound City: Real to Reel is no exception, and it really hits on all of these passions.

For Sound City, Grohl decided he wanted to create a documentary about Sound City Studios, the L.A. recording studio where many great albums were created, including Nirvana’s Nevermind. Grohl also had many of the musicians that recorded at Sound City come to his studio, Studio 606. They then recorded original songs for the film within a 24-hour session on the console that he purchased from the studio, and Sound City Real to Reel is the outcome of these sessions. Greats like Stevie Nicks, Trent Reznor, and Sir Paul McCartney are just some of the impressive names that make appearances on this release.

I haven’t had a chance to see the documentary itself yet, but I certainly plan to based on my being a music nerd and all, the album itself is rather hit and miss though. Conceptually it is an awesome idea, and for that reason alone it is worth listening to the results. However, realistically it is asking an awful lot for all of these musicians, many of whom have never played together before, to be able to make great songs in such a short amount of time. The results vary considerably because of this.

Album opener “Heaven and All” comes out really well and is reminiscent of Black Rebel Motorcycle Club’s earlier work, but generally I found that the older guys tend to rock harder than the younger ones here. “From Can toott Can’t” was my favorite track. It has Spiknot’s Corey Taylor on vocals, Cheap Trick’s Rick Nielson shredding on guitar, Scott Reeder of Kyuss on bass and Grohl on drums. The song rocks pretty hard and realizing Nielson was on guitar after hearing it was pretty surprising considering what most think know him for. Another highlight is Paul McCartney playing with the remaining members of Nirvana on “Cut Me Some Slack.” If you don’t want to hear how that turns out, you probably don’t really care about music. This is what it really comes down to on Sound City: Read to Reel. It is well worth your time based on the history surrounding it, the musicians involved, and the idea behind the songs created here. The outcome may not be an epic album, but not wanting to hear the finished product is hard to justify for any rock fan.

Key Tracks: Heaven and All, From Can To Can’t, Cut Me Some Slack

Kevin Kozel - Sr. MuzikReviews.com Staff

April 12, 2013

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

Dan Kennedy - Intuition

Dan Kennedy has been working with New Age music since the 1980’s and has been classically trained in composition. Not to stop there, Kennedy is also proficient as a rock drummer and is a master at improvisation. He has over 70 compositions and can be found on the Spa channel on Sirius radio. Kennedy’s debut album Lantern was produced by Will Ackerman of the legendary Windham Hill Records. His newest release, Intuition, was produced by Grammy Award winner Corin Nelsen. Contributing musicians on the album include Steve Holley (drums, percussion), Premik Russell Tubbs (alto sax), Jeff Haynes (percussion), David Cullen (guitar), Jill Haley (English horn) and Mehuman Jonson (vocals). The incredible combination of these musicians, Kennedy’s own innate talents and Corin Nelsen’s production skills has created an album that is full of inspiring soundscapes and warmth.

“Easy Living” is the first piece on the album. Jazzy percussion and bright flairs of piano music come to life in intricate melodies and sound construction that blooms outward like a midnight garden reaching toward the intoxicating rays of the moon. Brilliant in color and vibrant in sound, this piece is joyful and full of different musical styles. It is not enough to say New Age instrumental with this piece. It is more like a contemporary instrumental blend of musical sensations. Light percussion warms the palate while horns play; pianos caress your ears and guitars pluck at your heart strings.

“Troubadour” is an elemental force, filled with elegant sax playing, divinely inspired piano playing and elegant harmonies. This piece has a texture that sparkles through the ordinary and shines. From the tickling of the piano keys to the light percussion and seamless guitar playing, this piece was one that I gravitated to each time I listened to the album.

“Story within A Story” intrigued me with the name of the song and as soon as I heard the heartfelt piano playing, I knew it was going to be my absolute favorite piece on the album. Sweetly elegant with swirling lights and colorful musical phrases, the beautifully constructed melodies brought me into the essence of the song. Closing my eyes, brilliant colors flared to life like a glorious painting given life. The improvisation and absolute warmth that flows from every note in this piece was like drinking a velvety hot chocolate and reading a book of fairy tales, where I could get lost for hours. This song is a story within a story and filled me with a longing to hear it again and again.

Dan Kennedy has crafted a magnificent album with Intuition. Each member of his musical team has added their fullest measure of talent and given this album a vibrant feeling that you don’t always see in a New Age instrumental recording. More contemporary instrumental with improvisational flair, Kennedy has composed harmonies and musical stories that delight the senses and bring you past whatever elements in your day that may be occupying your mind. This album is a trip to the spa, elegant and inspiring and full of refreshing vigor. I highly recommend it to those who want a peaceful interlude that brings warmth to the soul.

Key Tracks-Story within a Story, Easy Living, Troubadour

Dana Wright-Muzikreviews.com Sr. Staff

April 10, 2013

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

Promote your mixtape at ReverbNation.com

Lisa Hilton - Getaway

Lisa Hilton, otherwise known as “The Lioness of Jazz” has had a distinctive career as a composer and pianist. Her style is a unique and seamless blend of classical technique and improvisations that cast a warm glow throughout her work. Hilton can be found playing solo and with her band across the country and her albums have appeared all over the Jazz charts. Contributing artists in this album are Larry Grenadier (bass) and Nasheet Waits (drums). Getaway is their 2013 release.

From the first fluid moments of this album, I was hooked on the evocative sensations of Hilton’s playing. “Stepping into Paradise” is the second track, but with the swaying percussion and island feel, it really captured my attention. A song that feels familiar but yet not, this piece has a unique flair that sinks past the day to day and lets you breathe in a bit of air and relax. Stunning piano music feels like fingers running up and down your spine, with the bright florals of the multi-instrumentation rioting around you like a garden gone wild.

“Just for Fun” has some strong lead in piano playing that feels an awful lot like a game of tag. I can see a recess yard full of kids racing around with each frantic note. At times, the piece gets very frantic but the overall pulse is a hold your finger on your nose and scream “You’re it!” barrel of twists and fun. The jazzy bursts of piano color, steady percussion beat and joyful blends of colorful pops make this song just what the title suggests. Nanny Nanny boo boo! You’re it! Come and get me! This song is a bundle of fun and will make a lighthearted kid out of even the most serious of us for a few minutes. Very enjoyable.

“Huckleberry Moon” is the last piece on the album and in many ways one of the most lovely. Classic in its compositional style, it floats like a paper lantern across the water, secure in its brightness and never afraid to drown. Bubbling brooks of happiness burble along in a piano solo that is beautiful and breathtaking. I sometimes like to listen to an albums last song first and I did it with this one. A kaleidoscope of color, this song is a richly hued landscape of rich greens, dark blues and a bright purplish moon watching us all from above. It is, in a word, glorious.

Over the span of her career, Lisa Hilton has played in many Jazz venues, written for magazines and appeared on television and radio programs. She has a special dedication to helping young blind musicians at several music schools in the Boston, Chicago and Los Angeles. Ms. Hilton is an inspiration in her music, words and deeds. If you are looking for an album that spans many angles of instrumental jazz, then this is one you are going to want in your collection. Every musician on the album plays to their fullest and it was a joy to listen to.

Key Tracks- Huckleberry Moon, Just for Fun, Stepping Into Paradise

Dana Wright-Muzikreviews.com Sr. Staff

April 8, 2013

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

The Mike Eldred Trio - Elvis Unleaded

Covering the work of big bands and artists can be a daunting prospect. People know, and love, the originals so well that they often find it hard to accept a new take. The Mike Eldred Trio’s decision to record a whole album of Elvis covers is a pretty gutsy one.

The track listing should appeal to Elvis obsessives as well as more casual fans of his work. Elvis Unleaded features some of Elvis’ most famous tunes like “Heartbreak Hotel” and “Jailhouse Rock,” as well as deeper cuts like “One Night Of Sin” and “I Feel So Bad.”

“Burning Love,” the album’s opener, is packed with energy. It’s raw and a lot more in your face than Elvis’ version. That energy can be heard all over this record. Tracks like “Long Tall Sally” and “Rip It Up” really rock hard. While listening to those songs, you get the feeling that the band really had a lot of fun recording them.

The Mike Eldred Trio aren’t just good at the fast stuff though. They also handle slower tunes like “Don’t” and “Love Me” excellently. These tracks really show off Eldred’s vocals. The minimal backing really lets it shine. There are times when a hint of Elvis’ distinctive drawl creeps in but even then, Eldred manages to sound like himself, rather than somebody doing an Elvis impersonation.

The thing that really holds this album together is that band’s playing. John Bazz’s bass playing is tight, Jerry Angel’s drums are punchy and Mike Eldred’s guitars crunch through the tunes and help give them a harder edge.

Doing covers is never easy but The Mike Eldred Trio have managed to pull off twenty great ones here. They give The King’s hits freshness and a modern sound, while still retaining what made them great in the first place.

Key Tracks: Burning Love, Love Me, Long Tall Sally

James Hinton – MuzikReviews.com Staff

April 10, 2013

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

AOMUSIC - Hokulea

AO (i-o) is an Ancient Polynesian word meaning pure light and all colors.

I am not the type of listener that usually sits through and entire CD filled with a language I cannot translate. There is one thing I do understand though, the universal language of music and the powerful message it can send regardless if the vocals are in a different language.

AOMUSIC brings together international recording artists Richard Gannaway, Miriam Stockley and Jay Oliver to provide excellent musicianship and vocals that are augmented beautifully by the voices of children from around the world on their fourth studio release Hokulea.

What is very special besides the music on this recording is that all the proceeds from the sale of CDs and MP3s go out to children in need around the world via their new 501c3 AO Foundation International.

What I found compelling about Hokulea were the irresistible rhythms that the music brings to you. My first listen was one that got my attention. I knew absolutely nothing about why this music was being created and the purpose of it. It is meant to relax and soothe the soul however it has many values to many people all over the globe. If you support this music you not only are providing a listening experience that will enlighten you and put a smile in your heart, it will put a smile on the face of a child somewhere in the world that needs help. I cannot think of a better cause than our children from all corners of this great planet. We all can give them an opportunity to have a future by supporting organizations such as the AO Foundation International.

What I really appreciated about this CD was how they provided an English translation so everything could hit home in a more powerful way. “Sisi Ni Moja” was one song that really touched me and when I read the translation I found out why. The vocals are in Swahili and translated they mean “Can you fly over the earth, dancing with the light? It is time! – The Earth is ours! Be free! Smile and live for today! We are One!” The very next song “Ha Le” starts with an enticing toe tapping acoustic guitar then explodes in a lush canvas of color and sound provided by voices and various instruments. Translated the track is saying “I am a quiet star of Life. In my happy home I walk as the One Life. I am joy! I am home!”

“Edge Walkers” was the next track that moved me. It starts off with a passage of banjo licks followed by more angelic voices. I now have heard three consecutive tracks that pulled me right in and gave me wonderful feelings and visions of peoples from all over the world dancing in the streets, in the mountains, through streams and anywhere else you could imagine that brings you closer to heaven at any given moment. “Irie Gra Medley” is one of the more interesting musical tapestries you will hear on this album. This track I found to be the most prolific of them all. It is world music with a new age flair that amazes with countless transitions into different sounds and textures. It glides effortlessly from a decidedly Celtic atmosphere to immense waves of effective percussion to people singing as if they were floating by on the billowing clouds above. This combination will take you away and you will not want to return to a normal conscious state of being. It becomes heaven on earth listening to the track.

Hokulea is something I could see someone like Paul Simon being involved with (think Graceland). This was a very spiritual experience for me once I understood the meaning of what all the music meant and why it was being created. I think anyone that has an open mind and heart for new age music with a definitive diverse world sound, will find a treasure trove of sounds that will last a lifetime.

Key Tracks: Sisi Ni Moja, Ha Le, Irie Gra Medley

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

April 9, 2013

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

Send Newsletters to your fans from ReverbNation.com

Half Past Four - Good Things

Half Past Four are a Canadian progressive rock band that initially started to evolve around 1999, when guitarist, Constantin Necrosov, joined forces with the bass player, Dmitry Lesov. Now, in 2013, we have the current up-to-date lineup of the band which includes Igor Kurtzman on keyboards (2002), Kyree Vibrant on vocals (2005) and Marcello Ciurleo on drums (2012). The first full length album from the band, Rabbit In The Vestibule in 2008, received critical acclaim and on my desk now, is the follow up to Rabbit, released on the 13^th of April, Good Things.

To take a little information from the band website, they class themselves as an art rock band, aiming to create music which is smart, novel and firmly rooted in the progressive genre and with a huge “tip of the hat” to jazz-rock fusion. Certainly there is a refreshing newness to passages in this new album together with the familiarity that listeners to early Genesis, King Crimson, Frank Zappa and the ilk will recognize.

Good Things is a 12 track album lasting around the 70 minute mark, with the shortest track, track 7, “Spin The Girl” clocking in at 2:42 minutes and the longest track, track 9, “I Am Lion” which runs on for 6:34 minutes.

I have listened to this album over the last 10 days or so and can say that I am very impressed with some of the musical passages contained therein, and have already aired the long track, “I Am Lion” on my radio show. So are we all sitting comfortably as this reviewer “spills the beans” on Good Things by Half Past Four. There is a lot on show over the 12 tracks and I have concentrated on the three tracks that I currently favor. The tracks in question are, track 1, the opening track “It Strikes You,” track 3, “ All Day And All Night” and track 9,” I Am Lion.”

“It Strikes You” (4:26) starts with a “talk box style” introduction over the keyboards, drums and bass, with the voice of Kyree coming in over the top. (The talk box style harks back to the mid-70s and Peter Frampton.) The clear vocals of the female singer lead into a bit of heavy riffing before returning to showcase the vocals again. There is a good guitar break around the 1:30 minute mark, allowing Constantin a little time in the spotlight, with the keyboards starting to make themselves heard from time to time before taking center stage at around 2:40 minutes and shows the skills of Igor. There is then a return to the “talk box” style before Kyree returns to take the track out. This is an interesting opening track to Good Things, with a lot going on in the 4+ minutes. It certainly alerts the eardrums that this could be a very good hour plus starting up.

“All Day And All Night” (4:44) starts with keyboards and acoustic guitar leading into a jazzier, bluesy Kyree vocal. The keyboards certainly shift into the jazz genre area as the song continues at a slower pace than previous tracks. The intensity builds in Kyree’s voice and then lowers again to allow a much muted, almost brash like guitar theme. At this point, the vocals from Kyree tend to be a bit off putting, never discordant but almost metronomic in delivery, but they are soon replaced by a terrific passage from the guitar of Constantin. There is then a move into whispered male vocals behind the lead of Kyree which adds a different dimension to the vocals. There is a very good gentle keyboards passage that takes the track to the end.

There is a very atmospheric, almost spacey, feel to the start of “I Am Lion” (6:34), with keyboards and guitar over the tight bass and drums. The lead guitar work is very interesting leading up to the vocals appearing. This is an excellent track from the four musicians, but the vocals bring the overall impression of the track down slightly. There is almost the feeling that they ran out of lyrics when there is a repetition of “da de da de dah” vocals which doesn’t add anything to the song, in fact, it does the exact opposite. I would have preferred to simply allow the track to continue with no vocals present.

It may seem slightly unusual, having given these three tracks as tracks that I favor, to then not praise them out of sight. The reason for this is that I have concerns about the album, in that, there are simply superb passages on show, but tempered with that, there are passages which simply don’t gel. I could pick almost any of the tracks and make both positive and negative comments about each. My impression is that here we have a band with many, many ideas, but who have then tried to implement everything into this album with the result that it doesn’t work. The tracks have amazing guitar passages (e.g. the guitar styling of the Surfaris/Ventures on track 4), jazzy passages, and some excellent vocals but at times it just doesn’t come together. Quite why tracks 7 and 10, “Spin The Girl” and “Wolf,” have been included, I am not sure, as the musical styles bear no link to the rest of the album.

“Good Things” doesn’t really live up to its title. What it is an example of, is a band that has terrific ideas, but needs to focus on the better passages contained within the album, to show what they can achieve. This album should be looked at as a sort of musical crossroads, where the musicians involved are all excellent but need to move the band in a particular direction. I think I will look forward to the next album with a lot of interest.

Key Tracks: It Strikes You, All Day And All Night, I Am Lion

Jim “The Ancient One” Lawson-MuzikReviews.com Staff

April 9, 2013

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

Von Herzten Brothers - Nine Lives

Von Hertzen Brothers or VHB is a rock band from Finland that you should take noctice of. Based out of the country’s capital of Helsinki, Von Hertzen Brothers consist of Mikko Von Hertzen (vocals, guitar), Kie Von Hertzen (guitar, vocals), Jonne Von Hertzen (bass, vocals), Juha Kuoppala (keyboards), and Mikko Kaakkuriniemi (drums). With a sound that is not afraid to veer into progressive and psychedelic territory, Von Hertzen Brothers make for an exciting band to listen to and on their fifth album, Nine Lives, is no exception.

“Insomniac” is a solid opener that breaks the ice. It is a standard rock song that comes out with a nice groove, but it does not do anything that you have not heard before. Despite this, Mikko’s vocals are lively and are a pleasure to listen to and save this song by making it stick in the mind. It also features a cow bell, if that helps. “Flowers and Rust” really gets the album going with its melodic sound. “Coming Home” starts off with some killer roaring drums to pull the listener into the song before the guitars kick in to bring it to new heights. And then there is the chorus, which might just be too catchy for its own good.

Next up is the atmospheric “Lost In Time.” Challenging their metal side, this song is heavy, creepy, and the darkest on the album. It would be right at home in a horror movie or a bleak psychological thriller. In a similar vein as the previous song is “Separate Forevers.” It has its own eerie atmosphere. My problem with it is that kills the energy of the album, which is something that I think “Lost In Time” managed to maintain, while still doing something different.

Von Hertzen Brothers bring the energy back with the folksy “One May Never Know.” The music has a serene vibe to it and it is quite pleasant. “World Without” starts off with a cappella making it sound like a choir of monks. It pulls you in and, once the music starts, you will not want to leave. It is a moving song with a heartfelt message. “Black Heart’s Cry” mixes folk influences with a synth for quite a new musical experience. The lengthy, meditative “Prospect For Escape” makes for a strong finish.

Nine Lives makes for a nice addition to the music collection, as Von Hertzen Brothers have produced another solid rock album. There are one or two songs that I do not care for and the album does not appear to have direction thanks to the many musical styles popping up on it. Overall, it is still an interesting production.

Key Tracks: Coming Home, Lost In Time, World Without

Brian McKinnon – Sr. MuzikReviews.com Staff

April 8, 2013

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

Matt Baxter & Jake Sampson - Haunted

The genre that people refer to as the “real” blues is known as country blues or delta blues. The style almost always consisted of the artist with only an acoustic guitar accompaniment, and was popular in the 1920’s and ‘30’s. After artists started using the electric guitar in blues recordings, the delta blues style was largely abandoned in favor of styles that accented the electric guitar. Since then few blues artists have made recordings in the delta blues style. Fortunately, the great guitarist, Matt Baxter, and blues singer and bassist, Jake Sampson, have collaborated to create an authentic delta blues album, Haunted.

Containing forty minutes of blues, Haunted reminds you of a time when Blind Lemon Jefferson or Robert Johnson were making records. Besides the modern-day quality of the recordings, these songs sound as if they were made in that time too. There are some deviations from the traditional blues style; “Jamie Lynn” has a country influence, while “Take Me Back Home” contains piano throughout the song. However, these variations don’t take away from the album, or the blues sound within. Haunted remains true to the blues while given enough modern variations throughout to not become too bland. The result is a great album.

“Dusty Mule” transforms you back to a time when blues were being played all over the south. This song sounds so much like the 1930’s blues that I had to research to make sure it wasn’t a cover; it’s not. Sampson’s vocals convey a sadness that is traditionally felt in blues. Baxter does an excellent job on guitar. He shows just enough flare with the slide guitar to remain traditional sounding, and keeping you entertained at the same time.

The title track, “Haunted,” has a well deserved name. The song truly has a haunted feeling with Sampson’s deep vocals that are very emotional. Baxter’s guitar playing adds to the haunted feeling. His guitar also goes well with Sampson’s vocals. It sounds if the two weren’t meant to perform together.

The surprisingly more upbeat song, “Soul,” has an underlying sadness to it. The song, about a man looking for his soul, keeps an upbeat type of sound thanks to Baxter’s steady mid-tempo playing throughout the song. While this song has a faster spirit than the rest of the songs on Haunted, it still maintains a blues identity with Sampson’s deep and mournful vocals.

Haunted is an excellent blues album. Any fan of Robert Johnson or John Lee Hooker will want to listen to this album. Baxter’s guitar skills are simply amazing, and Sampson’s vocals rival some of the greatest blues singers. Matt Baxter and Jake Sampson make a great collaborative team. I hope in the future they will continue to work together to make more blues albums as great as this one.

Key Tracks: Dusty Mule, Haunted, Soul

Craig Kidd - MuzikReviews.com Staff

April 8, 2013

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

Wavves - Afraid of Heights

I can’t think of many examples of bands that I like more later in their catalog then I did early on. Wavves is one such band though. There was a lot of buzz around the California surf-rock/punk band’s 2009 release, Wavvves, but I never really got into it. This was the bands second album, following up 2008’s Wavves (tricky I know), which wasn’t widely available.

Wavves is ultimately the music of Nathan Williams, a 26 year old that has had his share of issues over the years. It has resulted in plenty of shakes ups in the makeup of the Wavves band. One thing that has remained consistent over the years is the positive reception to Wavves releases.

2010’s King of the Beach marked a bit of a change in Wavves sound. It was a more polished and poppier sound than was heard on the previous albums. This is where I began to enjoy William’s music more. Afraid of Heights continues down this path, and provides plenty of pop/punk hooks for the masses.

If you enjoyed King of the Beach, I think you pretty much know what you are going to get with Afraid of Heights; for the most part anyway. The bigger songs and singles like “Sail to the Sun,” and “Demon to Lean On,” all have that signature Williams style to them. He has making this type of song down to a science, which is great because it’s really good, but becoming too dependent on it is cause for concern. Still I think there is some growth here as seen on tunes like “Everything is My Fault” and “I Can’t Dream.” Wavves mellows some on Afraid of Heights, which adds a bit more range and is good for them in the long term. There is also additional growth in production now that Wavves has moved to a bigger label, Mom & Pop, which is now owned by Warner Bros.

Afraid of Heights is a very strong follow-up to 2010’s King of the Beach for Wavves. It picks up where Nathan Williams left off, though maybe a little too much at times. While Wavves is always capable of making a really good song, they do sound rather similar after a while. I think it works really well on Afraid of Heights and it just may even be a better album than King of the Beach, but Wavves is riding a very thin line for their next release. If they continue to show more of the growth that they show bits of on Afraid of Heights, then they should be fine, but hopefully not too much of the same.

Key Tracks: Sail to the Sun, Demon to Lean On, Cop, Everything is My Fault

Kevin Kozel - Sr. MuzikReviews.com Staff

April 6, 2013

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

Hibernal - The Machine

Hibernal is a concept album which sets out to use the spoken word, as opposed to singing the narrative, within the context of progressive music. The concept relates to an employee (male) moving upwards in the company he works with, but loses part of himself every time he gains promotion. Hibernal is really Australian Mark Healy, solo composer and instrumentalist, who enlists the services of a select few to narrate throughout The Machine. The small narration cast are Rowan Michaels (narrator), Samantha Beart (Jane) and Robert Blythe (Mr Wilkins), who carry the storyline through the hour of The Machine.

The Machine is an 11 track concept album, with track 6, “Hard At Work,” being the shortest at only 1:46 minutes and track 9, “Disconnection,” the longest at 10:00 minutes.

As with all concept albums, the difficulty can be in singling out tracks as “the best bits,” as the album should be heard in its entirety. With that in mind however, the tracks that are, at the moment, foremost in my mind are “Downward,” “Home” and “Disconnection”.

“Downward” (8:34) is the second track of The Machine, following on from the relatively short opening track which begins the journey. There is a glorious sounding, chiming guitar melody, before the drums (which can seem close to being programmed at times) and bass fill the sound out. Around the 1:30 minute, there is a superb melody produced on the guitar which is instantly memorable, before the track changes to allow further narration of the story. Behind the narration, the music continues to provide a stunning soundscape and at about 5:00 minutes, the guitars, drums and bass return, but are much more assertive in the manner of the light and dark passages bands such as Porcupine Tree produce. The track continues with changing emphasis on bass, guitar and intensity. The final minute or so of this track includes some of the most intense guitar thus far heard.

Track 4, “Home” (3:03) is indeed just that, as the “hero” returns home and explains his promotion. There is some superb acoustic guitar playing behind the narration, prior to the bass and drums joining in to change the sound of the track, with some stunning lead guitar work over the top. The sound then drops to allow another piece of narration to take the track out.

“Disconnection” (10:00), track 9 and the longest on the disc, begins with more of that superb interplay between guitar, bass and drums before the electric guitar carves its way, melodically, in over the top. Around the 1:20 minute mark, the narration appears while the music continues to burble away in the background with the electric guitar riffs around the 2:00 minute point, signals a hardening to the sound of the track with complementary bass and drums. The track then slips back into the narration mode to explain the continuing storyline, then another superb lead guitar driven passage, moving into another harsher sounding section again. Just after the halfway point in the track, another chunk of narration leads into a beautiful acoustic guitar passage which slowly builds in intensity as the “hero” voices concern and confusion are just behind the main melody. Ultimately the electric guitar picks up the melody and takes the track towards its finale, with the intensity increasing as the track finally finishes.

My initial reaction to The Machine on first hearing was one that I can safely say I had not previously experienced with a new CD. I thought that the music was superb; varying as it does from the acoustic to the electric and from soft to harsh melodic passages, but the solely spoken narration seemed at odds with the musical setting. Many concept albums have spoken passages to link areas of the concept, with much of the storyline being covered in the lyrical content and The Machine sits firmly outside this “norm.” Several listens later and I am not sure I can explain why this album works so superbly: perhaps it is just a variation on a theme of “opposites attracting.” The overall outcome is that this album definitely gains one of my “One To Buy” special stickers. This is a stunning work of art by a man, Mark Healy, who had the vision that this combination would work.

Take a huge bow Mark while I gently whisper the question “where do you go from here?” How exactly Mark will follow this “monster” remains to be seen, but this reviewer will be very interested in the direction he takes. Until that happens, listen to The Machine in its entirety and rest assured the experience will last forever, or at least a very long time.

Key Tracks: Downward, Home, Disconnection

Jim “The Ancient One” Lawson-MuzikReviews.com Staff

April 4, 2013

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

Al Conti - The Blue Rose

Al Conti is a Grammy Award nominated artist whose talents cover multiple fields. Actor, activist, composer and songwriter, Conti doesn’t sit still for anything. With his third album, The Blue Rose, he weaves a tale of love and longing that will stay with you even after the music stops. From the first strains of music, I knew this album was one that would stay with me. The New Age atmospheric music, combined with an Asian flair makes this album just as beautiful and alluring as the name suggests.

The Blue Rose was an album two years in the making and was based on an Asian fairy tale of an Emperor who loved his daughter above all else. He wanted someone to care for her, and so he began the search to find her a worthy husband. The princess, who is determined not to marry, insists that only a man who brings her a blue rose will call her a bride, thus setting an impossible task.

“Silk and Jasmine” begins the tale of the lovely princess and her devoted father. Soaring atmospheric sounds cascade around me as the music spirals to life. Multi-instrumentation weaves a tapestry of light and wonder as the story takes over and I am lost in the music. Delicate flute, paired with keyboard playing denote an Asian flair and set the stage for the rest of the album.

“Minstrel’s Song” is an awakening of emotion. Diaphanous strains flutter in the background as an Asian presence takes over the piece, lilting and beautiful as the emperor’s daughter must have been. As she hears the minstrel’s song, she sees his heart unfolding like the leaves of a blue rose and knows he is the one for her, but is now doomed by her own requirement. This piece is bittersweet as the awakening love begins to burn and consume them both.

“Heart in Bloom” is a festival of fairy lights and a percussion element that got my blood pumping; this piece is a celebration of love. Night after night the minstrel comes to the princess and their love grows. How will they wed? Surely it is impossible. He is not a prince, but true love may yet indeed conquer all. Filled with Asian elements that weave the story into an almost theatrical performance, I could see the humble minstrel wooing the princess with the steady persistence of true love and a patient heart.

“Bamboo Night Garden” is the final piece on the album and a fitting end. I close my eyes and see the princess and her white rose, now turned blue by the light of the stained glass window and her new husband that will love her until the end of time. Soothing piano strains merge with ambient music to craft a smooth sensation of twinkling lights, happy endings and hearts taking flight on the wings of eternity.

Artist Al Conti has brought to life an ancient legend and given it wings. The Blue Rose is a concept album that has brought the beauty and grace of the Orient to life with this amazing musical journey. Conti is a Grammy nominated composer, arranger, producer and multi-instrumentalist. His previous two albums were noteworthy, and he is already on the hunt for a new concept album. Conti is an activist raising money for HIV/AIDS awareness and can also be found as an actor in a number of television shows, stage productions, films and commercials. If you are looking for music that will take you away from the stress of the working day world and into a realm of cherry blossoms and Asian splendor, then look no further. I fell in love the first time I listened to this album, and I can’t recommend it highly enough.

Key Tracks- Heart in Bloom, Silk and Jasmine, Minstrel’s Song, Bamboo Night Garden

Dana Wright-Muzikreviews.com Sr. Staff

April 1, 2013

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

Jolly - The Audio Guide To Happiness Part 1 & 2

Jolly is a progressive rock band from New York consisting of members Anadale (vocals, guitar), Joe Reilly (keyboard), Anthony Rondinone (bass), and Louis Abramson (drums). The band formed in 2008, and released their debut album, Forty-Six Minutes, Twelve Seconds Of Music, in 2009. After the release created a small buzz, the band signed with Inside Out Music. In 2011, Jolly released the first of a two part album series entitled The Audio Guide To Happiness. This year Jolly completes the journey to happiness with The Audio Guide To Happiness Part 2.

The two album series are concept albums that are scientifically designed to bring the listener to a position of happiness. Jolly used binaural tones throughout the albums to help bring the listener to their state of happiness. Binaural tones are two tones with slightly offset frequencies played simultaneously in stereo headphones. While listening to these tones, the brain will perceive a third “phantom tone,” and this third tone will alter the brain’s natural frequency. The result will be an altered state of consciousness, and the listener will feel “happier.” Jolly worked with a university professor who administered studies on over 5,000 subjects to help the band correctly use binaural tones and achieve the best listening experience. The two albums are made up of four stages, acknowledging confinement, diffusing coping mechanisms, transcending the subjective, and achieving happiness. These four stages are introduced by a very calm woman’s voice.

With all that aside, the music of Jolly’s latest release, The Audio Guide To Happiness Part 2, has some good music. The band creates a balance between a hard metal sound and smooth melodic rock. This is best represented by lead singer, Anadale, who has some slightly gritty vocals, but can also provide smooth harmonies. With this second album of the series having a running time of just short of an hour, it’s a lot of music to take in, especially if one listens to parts one and two in one sitting. Even with the amount of music, these albums contain some songs worth the time.

“You Against The World” is a great Jolly song that represents the band’s sound well. Anadale provides some great vocals on this, and the band’s harmonies during the choruses are superb. Louis Abramson keeps a great beat going with his drumming, and Andale completes the package with his guitar playing. Anthony Rondinone’s bass skills are also worth noting in this song.

The first song on the final phase, “Lucky” is a more upbeat song. Joe Reilly’s video-game-sounding keyboard helps with this more upbeat feeling. Also, Anadale’s singing has a more friendly and positive tone on this track. Even the song’s theme of being lucky is a more positive image the band presents.

“The Grand Utopia,” the final track of The Audio Guide To Happiness, is an excellent song. While listening to the album, Jolly seems to be progressing as a band from track to track, and “The Grand Utopia” is their most progressive song of the album series. Reilly’s keyboard playing gives the song a different feeling from the rest of the album, with it being more prominent than in previous albums. Anadale provides his best vocals on this song with some really nice melodies.

Jolly is great band that isn’t afraid of trying new things with music, and The Audio Guide To Happiness is a great example of that. Whether the albums actually make you happy are not, they are filled with some great music. It is nice to see a band that doesn’t stick to the same formula of a half hour of music that contains one or two singles and a lot of filler. These albums are great from beginning to end. I can’t wait to see what Jolly comes up with next. If you’re looking for a new musical experience or maybe if you want to be happier, check out The Audio Guide To Happiness.

Key Tracks: You Against The World, Lucky, The Grand Utopia

Craig Kidd - MuzikReviews.com Staff

April 3, 2013

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

Learn how to get a song on itunes at ReverbNation.com

Steven Wilson - The Raven That Refused to Sing (And Other Stories)

At the ripe age of 45, Steven Wilson is still going strong in his fourth decade making music. The English musician who is most known his role as founder, lead singer, and lead guitarist for progressive/psychedelic rock band Porcupine Tree, which is currently on hiatus, returns with his third solo effort The Raven That Refused to Sing. Although it is not a concept album, each song tells its own narrative. Focusing on the gothic and supernatural, the songs deal with relationships, love, loss, death, and murder with accompanying music to set the tragic and ominous atmosphere.

“Luminol” is a grand opening track with its twelve minute run time. It comes out fast and energetic with a sweet base line that lasts for about four and a half minutes before taking on a slower pace to tell the sad tale of a street performer. It is the longest song on the album and the least satisfying, as it goes on for too long and could have been condensed without losing anything. It is not a bad song, but the others overshadow it. Thankfully, “Drive Home” is a shorter and better song. Dealing with the themes of loss and acceptance, the atmosphere is tragic and sad, yet there is a comforting presence in the music. Backed by a great guitar solo, the music is tight and has more direction than the opener. Next up is the aggressive and manic “The Holy Drinker.” It tells of a hypocritical, alcoholic preacher who challenges a stranger to a drinking contest, and the stranger just happens to be the Devil. The end part sounds delightfully sinister.

Marking the halfway point of the album, “The Pin Drop” is a macabre tale of a failed relationship. It has reached its breaking point with the husband tossing his dead wife in a river, who sings the song as she drifts away. Wilson explains that “the idea is that sometimes in a relationship there can be so much tension, so much unspoken resentment and hatred, that the tiniest thing can set off a violent episode, and in this case, one that ends in tragedy. The sound of a pin dropping on a floor can be the thing that instigates the fury.” The music captures the essence of this broken and wasted relationship, making for a dynamic song. “The Watchmaker” is a gothic tale of watchmaker and his wife. The loveless union ends with the watchmaker killing her and burying the body beneath the floorboards, but she is not ready to leave him. It is a twisted tale that seems like a mix of Poe’s “The Tell-Tale Heart” and “The Premature Burial.” “The Raven That Refused to Sing” is a fitting end, bringing the album’s main themes of relationships, death, and loss together.

The Raven That Refused to Sing (And Other Stories) is a worthy musical accomplishment. This is one progressive rock album that fans will find much enjoyment in. The longer songs do tend to go on for a bit, but it does not ruin the overall success of the album. When it is over, The Raven That Refused to Sing makes for a haunting experience with its macabre tales of personal failures, loss, and tragedy.

Key Tracks: Drive Home, The Pin Drop, The Raven That Refused to Sing

Brian McKinnon – Sr. MuzikReviews.com Staff

April 3, 2013

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

Dynamo Bliss - Poplar Music

Dynamo Bliss is a crossover prog band from Sweden. They are made up of Mikael Sandström (vocals, electric and acoustic guitars, banjo, accordion, pedal steel), Stefan Olofsson (vocals, keyboards, zither, guitar, bass, percussion) and Peter Olofsson (drums).Their latest album, Poplar Music, is their first since 2010’s 21^st Century Junk.

After a brief intro, the album kicks off with the wonderful “Can You Hear The Sound.” It’s hard to hear the prog influences on the album’s opener. This is straight-up sunshine pop. The fantastic harmonies in the chorus bring up an obvious comparison with The Beach Boys’ early records.

“And Forever” is another great pop song with a lot of energy. “Over The Rolling Hills” sees the band getting a little bit more experimental but, at its core, this song is still a brilliantly written pop song. The use of banjo on this track is great. It’s not an obvious choice of instrument, but it’s one that definitely works.

“Blue Halo” sounds like vintage ELO, which is not a bad thing. From there the album gets a little bit funkier. “Savage Minds” and “Panic In The Eyes” both feature tight drums and great bass-lines that really groove.

“Running Out Of Mind” is undoubtedly one of the album’s highlights. They manage to surpass the harmonies of the opening track. If “Can You Hear The Sound” is like early Beach Boys then this is Pet Sounds era. This track has many layers and takes a few listens to really be appreciated.

Poplar Music closes with “Been Ostracized” and “In The Country,” two songs that gather up all the good stuff on the album and put it all together. You get the harmonies, the nice melodies, the quirky instruments and the great playing. It’s all here.

Dynamo Bliss is a band that should have a big future. It’s clear from this record that they are more than capable of writing catchy pop songs that could easily crossover into the mainstream. They don’t get lost in self-indulgence like some bands. Are there times on the album when they let loose and solo? Sure, but it’s always at the right time.

Poplar Music is a great record and hopefully it will get the attention that it deserves.

Key Tracks: Can You Hear The Sound, Blue Halo, Running Out Of Mind

James Hinton – MuzikReviews.com Staff

April 2, 2013

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

Brad Vickers & His Vestapolitans - Great Day in the Morning

Brad Vickers & His Vestapolitans is a blend of roots music with twists on Americana, blues, ragtime and hill country breakdowns. Either way you spin it, this group of artists has a pop and whirl of a time with each piece they perform, whether it is an original or cover. Full of quirks, humor and a whole lot of spirit, this band is absolute joyful noise. Comprised of Brad Vickers (guitar/vocals), Jim Davis (clarinet/tenor sax), Matt Cowan ( baritone/tenor sax),Margey Peters (bass), Dave Gross ( upright bass),V. D. King (banjolele), Gina Sicilia (vocals), Christine Santelli (vocals), Charles Burnham (violin), Michael Bram (mandolin) and Bill Rankin (drums). Great Day in the Morning is their fourth and newest album.

From the first song, “Intro” and into the rest of the album, the beat of this band is addictive. Percussion rails and rolls you into a foot stompin good time with “Little Gem.” Strutting and swaying, this piece is bluesy with a spice all its own. The swinging harmonies and multi-instrumentation roll along into some wicked good sax moments that melted my butter and spread it on toast. It is hard to keep your knees from jumping from all the toe tapping as this piece really gets rolling. Pure smoking hot blues that will warm your soul, this song will have you listening to the rest of the album with eager anticipation.

“Great Day in the Morning” is sunny side eggs, waffles heaping with butter and syrup and a heaping pile of bacon on the side. Fiddles blaze across your sleep addled head and make you smile as you grab that first cup of coffee and embrace the day. Heck, with this song, you may not even need coffee. The percussion blended with the string portion of the band rally’s around the pleasant male vocals to give you warmth of feeling that pervades any kind of cranky moment and makes your day a happy one.

“This Might Not Be Your Day” is an odd little song. Quirky vocals with disaster written in every line, this piece will make you nod and say, “Oh yeah. I have so been there.” The female vocals have an almost spoken word feel to them. The overall feeling of the song is poking fun at the crappy things that can suddenly descend on your day leaving you wondering when the next plague of locusts is going to hit. Taxes, coming up short at the store with an uncooperative atm machine are just two of the humorous horrors that are in this lineup. The plodding music is kind of a frolicky little sequence with a bit of a ragtime feel to it.

Brad Vickers & the Vestapolitans are a band that brings ragtime, Americana and blues to vibrant life. Vestapolitans is a unique name for parlor guitar artists of the 1800’s that were talented in sound effects and morphed into specific chord and tuning elements. “Vastabol” was a specific tuning technique used by Bo Diddley himself and refers to the chord voicing, or relationship between open strings. Vickers has himself played with Pinetop Perkins on two Grammy nominated albums. His dedication to his craft shows in the sheer variety of sound and structure of this album. Full of spice, Great Day In the Morning is better than a cup of joe and a large jelly donut. It gets you moving and gives you something to hum to yourself all day long. A great listen and one I highly recommend.

Key Tracks- Great Day in the Morning, This Might Not Be Your Day, Frisco Town, Little Gem

Dana Wright-Muzikreviews.com Sr. Staff

March 27, 2013

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