There is always a place for music that puts your mind in a better place, and "Between Stops" will have you reminiscing about days gone by with a smile on your face.

"Bittersweet" was the album's peak for me, a melodic blend of Alex Clements' stellar piano playing and the angellic voice of Zara Tellander. It offers the listener a peek inside of the soul of the writer, and the rest of the album gives you a better view. A lot of work went into the crafting of "Between Stops", and it was well worth it.

Having been on more than my fair share of bus trips, seeing an album entitled "Between Stops" definitely caught my attention. Upon hearing the album, I'm glad it did. Give "Between Stops" a spin on your next vacation, or just your next day off at home.


CLA    

In the beginning, there was jazz. America's finest gift to world music, jazz takes us back to the glory days, when lyrics had meaning, and sounds came from instruments and not producers' buttons. Al Basile is one of the finest jazz professors in the world, and with "Soul Blue 7", class is in session.

An album equally fitting for the commute to work or a cross country road trip, "Soul Blue 7" delivers from the opening notes of "Housekey Blues" clear through to the final sounds of "Termites In My Basement." The disc as a whole is likely to get some serious Grammy consideration with a sound that doesn't let up throughout. I'll have to give special praise to "Causing Joy". The search for love and happiness is captured to a tee with the line, "She's my paper, I'm her pen. We're up to our old tricks again. What we write you can't destroy, we're just too busy causing joy."

Art at it's core is hard to criticize. When any artist, be it a musician, sculptor or painter, takes the
Christopher Llewellyn Adams    

There's never a bad time of year to take a road trip, and "Queen of Hearts" just might be the perfect album to make those miles go by in a flash. A roller coaster of emotional lyrics and flawless musicianship, Alan Gerber's latest release makes me want to hit the road with no particular place to go.

"Engagement Song", featuring the supporting vocals of Hannah Gerber, might be the best ballad I have heard in years. If you can listen to this song and not feel something in response, you need to rent yourself a soul. There isn't a weak cut on the disc, as it is clear Gerber took the time to release a top-shelf album that his hordes of fans rightfully deserve.

Sometimes it is a bit difficult to find the bright side of things. "Queen of Hearts" could be the cure that ails for those who haven't cracked a smile in a while. Pick up your copy today.


CLA    

The HOLIDAY season always brings out the best in people, and Alexis Cole's "The Greatest Gift" is no exception. An effort to raise funds for the World Bicycle Relief, an organization that helps provide healthcare, education, and economic development in impoverished nations, "The Greatest Gift" might be one of the more thoughtful presents you could give this season.

All the classics are included in the album, and Cole's soulful voice resonates long after the album has played it's final notes. Her take on "What Child is This?" left me with chills. I hadn't heard a rendition of that song so flawlessly done since I watched Charlotte Church perform it a few years back.

Those blessed with the chance to have a forum to help others seem to produce greatness in their work. Alexis Cole, with her family & friends, truly produced an album that will stand the test of time. It isn't just a beautifully made HOLIDAY record; it is so much more than that. It is the tireless work of caring individuals who are using the most of their gifts while motivated to truly make a difference in the world.

This album was not only a pleasure to review, it is my honor to introduce it to the masses and encourage anyone with a heart to pick up a copy today. In doing so, people a world away, who can only dream of the blessings we have, just night get a break tonight.


Christopher Llewellyn Adams    

I admit to unfamiliarity with rap and to a predisposition not to like it. If On the Bright Side is representative of the genre, which I doubt, it is more appealing than I expected. The rapper, Dejuan "D Priest" Everett, has a pleasant, appealing voice, and most of his words are understandable, even when speaking quickly, as he does frequently. (The words are printed in the accompanying insert.)

In his introductory comments, Everett states that his group plays American music (hence, its name), among the major practitioners of which he mentions Miles Davis, John Coltrane, and Billie Holiday; the notes on the insert imply that the group also reflects the influence of Bessie Smith, Slim Gaillard, Eddie Jefferson, and others. Suggesting that the AMP is a descendant of such significant musicians disserves the group, primarily because the influences mentioned are not obvious, other than Coltrane’s on saxophonist Dane Bays. (Coltrane’s "Lonnie’s Lament" is the only selection with music not composed by Bays, who also wrote some of the lyrics; Everett wrote the other words.)

The group clearly shows the influence of at least one musician, however: Pharoah Sanders. This influence the writer of the notes acknowledges in passing. I would go further by saying that Sanders’s "The Creator Has a Master Plan," with a vocal by Leon Thomas, seems the work that most inspired AMP, both in music and words, especially the latter. On the Bright Side might be considered a suite dealing with positive thinking in various contexts and from different perspectives. The philosophy, if such it may be called, expressed in the lyrics reflects the feel-good positivism prevalent in certain quarters at the time of Sanders’s recording (1969), and revisited, perhaps, in Bobby McFerrin’s "Don’t Worry, Be Happy" (1988). Listeners can determine the validity of such attitudes, which strike me as possibly naïve, maybe even jejune.

To my surprise, this release has considerable jazz content, primarily because of Bays and secondarily because of pianist Keith Javors. They do not just establish the mood for rapper Everett and vocalist Curtis Isom; occasionally, they stretch out. Javors plays a pretty introduction to "By the Way." It and "My Past Is Here to Stay" are attractive melodies reminiscent of some popular tunes from the 1970s.


B. F.    

Original music during holiday shopping isn't always easy to find. Audrey Malone & Michael Evans have a hit on their hands with "A Holiday to Remember", destined to be one of the most successful original holiday albums released this year.

From the opening title track, Malone and Evans display their skills with a master's touch, offering well produced songs with lyrics penned by artists who have their audience's heart in mind. It would not surprise me one bit to hear future artists covering some of the tracks on this release.

"This Christmas" would be my choice for top track on the album. With piano by Jen Gunderman and sax played by Johnny Heinrich, this may well become a fast riser on the holiday charts. An exceptionally well crafted song that can't miss.

Every now and again, a holiday album transcends the genre, and is playable throughout the year. I have a feeling that I might still be spinning this album next summer on my way to Fenway with Tammy & Bee. Give "A Holiday to Remember" a listen today; you'll be glad you did.


Christopher Llewellyn Adams    

BB Queen lives up to her name with the release of "I Can Play Da Blues." She is a great singer, and one of the finer guitar players I've heard in a while. The blues can sometimes be hit or miss, but the latest album from BB Queen swings for the fences and circles the bases as a home run.

With tracks cut in Las Vegas and Louisville, the album has a sound to it like no other. With a voice similiar to early Tina Turner, BB Queen is a star on the rise and will probably stay for a while once she hits the top. My pick for the top cut on the album would be "There You Go Again." It tells the story of a lonely soul just wanting a little more time with the one they love. Sometimes it's pretty hard being apart from your sweetheart, and this song paints a picture most folks can surely relate to.

The blues is as much a part of Americana as apple pie and Yankees World Series games. BB Queen is an All -American blues performer with the skills to challenge the chart toppers for years to come.

Christopher Llewellyn Adams    

In the mid-80's, Minneapolis enjoyed a string of artists that earned national acclaim and nationwide success. The latest act to emerge from the next Twin Cities Renaissance may well be Bella Koshka.

Laura Boland possesses one of the ten best voices I've heard, and uses her gift to wrap the listener in a warm blanket of soulful melodies. Her accompanying band are skilled at their role as well, highlighted by Matt Vannelli's guitar. It wouldn't shock me in the least to see this album shoot up the college charts in coming months. BR>
Music is meant to invoke emotion, change moods, and leave you yearning for more. "Slow Dancing On the Ocean Floor" does that, and so much more. Give it a try today.


CLA    

A live blues album is a great way for an artist to capture music at it's best, in front of an audience. Hearing Ben Prestage's "Live at Pineapple Willy's" will make you want to make the journey to Florida to catch them at home, or at least score tickets to their next show in your area.

Their cover of the Grateful Dead's "Friend of the Devil" was expertly placed at the open of the double album's second disc. While paying homage to a classic, Prestage showed the professionalism to leave the song's oriignal shine unaltered. The artist clearly respects his craft and those who preceded him.

At no point does the music of "Live at Pineapple Willy's" disappoint, and I wouldn't be surprised to see the band sell out college venues from South Beach to Seattle. Get used to seeing Ben Prestage rising the charts in the near future.


Christopher Llewellyn Adams    

The quest for self improvement has been a common theme in blues music since it's inception. The earliest tracks told tales of how down & out a cat was, and how he was never all that sure things would get better. Bill Noonan offers a modern spin on the blues with "The Man That I Can't Be." It's not so much down and out as it is hope for a better day, and that makes for a solid album.

Noonan shows his chops throughout the release, at times pure Southern hospitality, and at others gritty, muddy, stick to your ribs soul. Even the folks in the ivory towers know what it's like to be on a bad streak, and the words of Bill Noonan might be just what the doctor ordered, regardless of your ailment.

"Southern Song" would be my pick for the top track on the album. The backing band really compliments Noonan's unique voice, and his homage to his roots resonates with each word.

Nobody's perfect. There are quite a few folks out there who could use that data from time to time. It takes a special kind of artist to bring folks back down to Earth when they've gotten too big for their britches. Pop in a copy of "The Man That I Can't Be" on your next trip South. Once you get wherever you're heading, you'll be in a better place.


Christopher Llewellyn Adams    

Canada has had a long tradition of producing beautiful voices in the folk/pop genre of music. Sarah McLachlan's massive breakthrough in the mid-90's opened the door for talented singer/songwriters from north of the border to share in her mainstream success. While we are still waiting for the next Sarah McLachlan album to hit the shelves, allow me to introduce to you a voice which may well be better. Catherine Maclellan's "Water In the Ground" is an absolute masterpiece.

Maclellan's songwriting skills alone are worth the cost of the album. "Isabel's Song," in particular, really struck a chord with me. I don't know that I have ever felt more connected to a lyric than when I first heard Ms. Maclellan sing, "If I could give you just one thing, it would not be a diamond ring. It would not be something money could buy, I'll give you this heart of mine."

The entirety of the album is art at it's finest. Maclellan captures the pure magic of songwriting and shares it with the world. No tricks, no hidden add ins from the studio; this album is reason to believe in music again. Greatness is debatable. Some might look at this album differently than I do. For those who disagree that "Water In the Ground" is the best Canadian folk/pop album of the last decade, I offer some humble advice; have another listen. I look forward to Catherine Maclellan's gifts to the music world for years to come.


Christopher Llewellyn Adams    

Too often, you'll come across music that tries too hard to hook you in, overplays their hand with production and lyrics that don't pull their weight. That is clearly not the case with "Tangled Directions" by Charity Huot. It is simple, beautiful music from an artist who speaks from the heart.

From the album's opening track "Cradle Me", Charity Huot opens the door to her world of musical pleasure, taking the time to bond with her audience and allowing them a chance to appreciate her skills with each passing song.

Few things in life are easy, and enjoying this album was just that; a breath of fresh air from a promising artist emerging from the Midwest music scene.


CLA    

Although this CD identifies all six instrumentalists, beginning with Chris Potter, before identifying the title, it has no leader. This is so because saxophonist and composer Brendon Edward Romaneck was to have led it, but died in 2005, two months before the two sessions that produced the music on this release. No one musician appears on all eleven selections, though pianist Keith Javors is absent from only one piece. Bassist Delbert Felix and drummer John Davis play on nine tunes, soprano and tenor saxophonist Potter on six, soprano and alto saxophonist Steve Wilson on five, and trumpeter and flugelhornist Terell Stafford on four. The saxophonists appear together on no selection; Stafford plays with Wilson, but not Potter.

The CD is dedicated to Romaneck, who composed eight of the tunes, with "Full Moon" and "You’ll Never Know" being especially attractive. (The latter is not the familiar composition of identical title by Harry Warren and Mack Gordon.) The other selections are the standards "My Shining Hour," "Nancy with the Laughing Face," and "Killing Me Softly with His Song," the first two of which strike me as the highlights of Coming Together.

"My Shining Hour" features Potter accompanied only by bassist Felix and drummer Davis. As Sonny Rollins demonstrated in the late 1950s—initially on Way out West with Ray Brown and Shelly Manne--the absence of a piano and its chording permits the horn player certain freedoms that occasionally lead to impassioned performances. Here, Potter establishes himself in this Rollins tradition and plays in a muscular manner reminiscent of the older saxophonist. Two aspects of Potter’s performance on this selection particularly appeal. One, he quotes from a tune or two, but briefly, as when playing only the first phrase from Miles Davis’s "Four." That is, while some musicians quote extensively from tunes because they possibly lack inventiveness, Potter does not, probably because of his fecundity of ideas. This saxophonist avoids crutches and cliches. Two, during the final thematic statement, Potter alters a note (the one corresponding to the second syllable of "hour"); while seemingly minor, this modification leads to the creation of five consecutive identical notes, which surprise, pleasantly.

With ruminative noodling, Javors establishes the mood for "Nancy with the Laughing Face," a slow ballad featuring Potter accompanied only by the pianist. ("Killing Me Softly with His Song" is a duet by Wilson and Javors.) On the Potter-Javors performance, the saxophonist demonstrates his sensitivity to melody while playing it largely straight, with embellishments, though he briefly violates the established feeling with passionate playing before returning to the dominant mood. This selection concludes with Potter fading into nothingness in a manner reminiscent of Ben Webster.

I recommend this recording primarily for the playing of Potter on the two selections detailed here.


B. F.    

Finding a lost soul sometimes takes great art, and "Lost In Dreams" may be the remedy you'll look for when the world seems to have let you down. With a subtle blend of terrific instrumentation mixed with Stigers' accomplished voice, the album is surely destined to further establish the artist as a musical force on a global level.

Stigers' take on the John Lennon classic "Jealous Guy" stands out as the high point for me, without straying too far from the original, and ofering a new spin on a classic.

"Lost In Dreams" is music at it's finest. Carefully constructed music with the listener's ear and mind at heart; a pleasure to experience first hand.


CLA    

Some people are confused about the nature of the blues. The uninformed might be under the impression that upbeat blues is as oxymoronic as the term "government oversight". For those, I present Danny Brooks and the Rockin' Revelators latest album, "Live at the Palais Royale". This album couldn't get you down if it tried!

Righteous Highway" transcends all thoughts of genres, creating a niche for itself among the all time great hybrid tracks in music history. If there was a "Gospel Soul" category on the charts, "Righteous Highway" would climb to the top in the blink of an eye. One of the most well-written songs I have heard in ten years.

It's not always easy to sell records that have a positive message. Sometimes, it is just a little easier to cut a record that sells to the lowest common denominator. "Live at the Palais Royale" does the exact opposite, elevating the artform to a sonic pipeline to the soul. This is an album that will be perfect for college kids, away from home for the first time, in need of some great music to keep them going.


Christopher Llewellyn Adams    

The MacKenzie-Johnston quintet, from Ireland, consists of violin, piano, guitar, bass, and percussion. It is perhaps most reminiscent of the Quintet of the Hot Club of France, but without the texture and insistent drive of Django Reinhardt and Stephane Grappelli’s group. Yet this influence is apparent on only a few selections and therefore does not adequately characterize the music on Notes Home, which has no prevailing mood, other than, usually, gentle swing. Violinist MacKenzie is the major soloist. The promotional material notes that he was inspired by Joe Venuti. If so, the older violinist's playing is not obvious in the younger one's performances. MacKenzie lacks Venuti's passion and inventiveness; his sound, sweeter than Venuti's, is closer to Grappelli's, or possibly Eddie South's.

Although the music appeals throughout, the improvisation strikes me as pleasant but unexceptional. The playing is one of two reasons for the attractiveness of these performances; the other is the compositions. MacKenzie wrote all but one of them, four with pianist Johnston, who composed one piece alone, "Waiting." The group plays no tune really up-tempo; most selections are in a middle groove, though a few are ballads, with certain of them being haunting and lachrymose, such as "Wistful Thinking" and the bossa nova "Silk," the latter of which creates a feeling similar to some fado. The melody of "Cap Mortola" reminds me of Gershwin’s "A Woman Is a Sometime Thing." "Pont Neuf" is a waltz. Wisely, the group placed first on the CD MacKenzie's "The Latecomer." Introduced by a walking bass (Andrew Csibi) and shuffle-rhythm drums (Robbie Harris) - and featuring solos by guitarist Stephen McFarlane, the composer, and Johnston - it is the grittiest performance on this release. The leaders play three tunes as duets; "La Narbonnaise" is a Johnston solo.


B. F.    

Modern jazz has the power to elevate the senses and return the mind to the glory days. The days of Beatniks reading Kerouac in the village, free thinkers sharing their art with the world, and the sounds of America's finest contribution to the global music world floating from the vents of clubs nationwide. Without a word being sung, the essence of jazz lies in the creation of sound. The transformation of beautiful instruments into an auditory pool where nobody hesitates to jump in for a dip. The latest from e.s.p. is just that; the perfect opportunity to realize how great jazz made you feel, or, for first timers, a chance to be baptised.

"Time's Up!" is nothing short of awe-inspiring. This band clearly takes the time to create an environment for their audience. The flow of the songs, from track to track, was clearly done by producers who made their bones in the industry years ago. If you are like me, at the album's finale, you'll be thinking two things: that the album ended way too fast, and where and when will the next one come out.

If I had to pick a favorite song from "Time's Up!", it would be "Post Bop Republic". The ebbs and flows of this track are guaranteed to take even a brand new jazz listener on a fantastic ride. Throughout the album, there isn't a weak cut to be found.

There might be folks who pass on jazz. There might even be those who are looking for a reason to branch away from different styles of music, to try something new. If that's the case, the time has come to stop looking for the next big thing, and toss e.s.p.'s "Time's Up!" into your stereo. You'll thank me later.


Christopher Llewellyn Adams    

Too often, recordings are so overproduced and technically perfect that they strike me as sterile. Such is not the case with the current release by Eric Frazier, which is the antithesis of slick. For example, it occasionally foregrounds the leader's conga drums when Frazier plays them in support of other musicians. (This might occur because of microphone placement.) That is, the music on this CD has a certain raw charm, as may perhaps best be illustrated by the leader's amateurish yet energetic singing.

The tunes the quintet plays are excellent: "Softly as in a Moring Sunrise," "Cantaloupe Island," "All Blues," "Route 66," "Moody's Mood for Love" (inspired by King Pleasure), and "Fever," in addition to Frazier's "Like a Lion in the Serengeti." The two major soloists, saxophonist Gene Ghee and pianist Yoichi Izeki, play well throughout.


B.F.    

The world seems a little brighter when you're watching sunrise from the shores of Myrtle Beach; the way the sun just lights up the entire sky as far as you can see. Gary Lowder's "'Cuz It's You" would best be described as the soundtrack for a Myrtle Beach sunrise, in that once you've seen one, you just want to keep coming back for more.

Of all the album's cuts, I'll take "I'd Really Love to See You Tonight" as my favorite. The heartfelt lyrics, mixed together with the choice instruments and Molly Askins' backing vocals, blend nicely for a song destined to shoot up the beach top 40 charts with a bullet.

Nobody said life is easy, you've gotta take the hits with the misses. For music fans, I recommend Gary Lowder's "'Cuz It's You". It couldn't let you down if it tried.


CLA    

Bluegrass music is American songwriting at it's finest. The ebbs and flows of of the lyrics with the raw energy of the instruments have long created storytelling for the ages. Gold Heart may well be the next great thing to come out of American bluegrass.

"My Sisters & me" is the finest bluegrass album I have heard since Bob Dylan ventured into the genre with 2001's "Love & Theft." The sisters paint a musical landscape for the audience to appreciate, and at album's end, I am certain you will see them as I do: American artists.

"Miles" might be one of the best military inspired songs of the last decade. Every member of our armed forces will appreciate the track. "Ready in the front, standing tall, he gives it his all...Trouble comes around, he won't back down, he stands his gorund."

I can honestly say that I feel lucky to have found this band. There is no doubt in my mind they will rise from their current level of bluegrass hitmakers soon, reaching mainstream comercial success. Be sure to check out Gold Heart when they come to your town.


Christopher Llewellyn Adams    

Blues is music of the people, an escape for those who yearn for a simpler time, when the sound of a voice and a guitar could awaken the senses and rekindle the soul. "Times Are Gettin' Hard" is just that; an example of how great music used to sound, and with luck, a peek into the next generation of blues albums that will keep the genre alive for generations to come.

All of the tracks on "Times" are flawless, cut from a blues master whose influences date back to the beginning of the art form. Henry Gray & the Cats should be a modern example of what can happen when people born to deliver great music are allowed to share their life's work with the masses.

It isn't always the blues masters who get the recognition they deserve. With so many types of music out there, blues can sometimes be overlooked. Great blues, like "Times Are Gettin' Hard", put their stamp on the music scene, and stand the test of time. Swing on down to your local record store for a copy today.


CLA    

There are few artists in the history of music who can lay legitimate claim to inventing a genre. Joao Gilberto is the unquestioned father of the bossa nova sound, and Ithamara Koorax & Juarez Moreira pay homage to this legend with grace and brilliance.

2009 marks the 50th anniversary of Gilberto's "Chega de Saudade" album, a benchmark in the late 50's jazz boom. Blending the sounds of this classic release with a generation of musical growth, Koorax & Moreira have managed to rekindle the flame that had people worldwide dancing the nights away.

"Acapulco", in particular, is a song that has the ability to lift the listener off their feet, and remove them from whatever problems they are having, if only for a moment. Ithamara Koorax has one of the finest voices I've heard in years, and I look forward to any solo projects she may have coming soon.

At times like these, the world can use a drink and a dance. The next time your musical taste yearns for a little something South of the border, give Koorax & Moreira's take on the Joao Gilberto songbook a spin.


Christopher Llewellyn Adams    

Without giving too much away, J.D. Cash's "Wish You Were Here" might be just what the world needs right now. There is nothing wrong with a "Rat Pack Throwback", and JD Cash is just that; a return to the swinging sounds that pulled this country out of it's last Depression.

The cover of "Fly Me to the Moon" is worth the price of the album by itself. It's been years since I heard that song at all, much less with the skills Cash shows on this and the rest of the album as well. With each passing cut, it becomes clearer and clearer that JD Cash has the chops to bring fans to their feet nationwide.

A lot of people make a living on the road. I recommend "Wish You Were Here" to anyone who has miles to go before they sleep.


CLA    

The psychedelic era of rock shattered the boundaries of what was possible in music. Jack Bruce and his bandmates from Cream were on the forefront of that movement; inventing a medium that transcended the limitations of the time they lived in while influencing all that followed to attempt to match them. The latest release from Bruce, with Procol Harum's Robin Trower on board, substantiates the claim Neil Young made years ago, "Rock n Roll will never die."

"Seven Moons Live", recorded in Holland, showcases these two rock legends at their finest, still possessing the gifts that made them stars back in the day, and has modern fans filling the seats a generation later.

"White Room", when it was a new song, was without question one of the ten best tracks of the 1960's. Hearing it live on this recording, it is clear that Cream really knew what they were doing. The words still resonate to this day, and the cut is just one of many that might have long time fans considering taking one more short journey.

All told, the album is a work of art. It is a good thing to be reminded of greatness, particularly greatness that survives the madness of the '60's and is still relevant decades later. Do your inner hippie a favor, and grab a copy of "Seven Moons Live."


Christopher Llewellyn Adams    

The last time I heard an album that stuck in my head as quickly as Jason Shannon's self-titled album was when I heard Dave Matthews Band's "Under the Table & Dreaming." in 1994. If finding an album worth buying has been tough for you, shoot a gaze at Jason Shannon.

Demonstrating a voice that evokes early Eddie Vedder, Shannon lays out a blueprint for a "how to have a great time" album. "Slow Down Love" has shades of "A Day in the Life" in it, which isn't exactly a bad thing.

There is no doubt that pop fans all over this land would be able to enjoy hearing Jason Shannon play live, with a sound built for big crowds. If you can't make the show, his album will more than suffice.


CLA    

A few years back, Jay-Z's Def Jam labelmate Nas had a hit with the album "Hip Hop Is Dead." If Nas was prophetic, allow me to present the soundtrack to the resurrection.

"The Blueprint III" doesn't need Grammys to define it's place in history. Thirteen years after "Reasonable Doubt", Jay-Z is the Brett Favre of hip hop, still slingin' after all these years, even when the haters had hoped he'd hung them up years ago.

The three track run of "D.O.A. (Death Of Autotune), Run This Town (w/ Rihanna & Kanye West)" and "Empire State of Mind"(w/ Alicia Keys") goes head to head with anything urban music has released in it's recorded history. If you never wore a Yankees hat before hearing "Empire State", you'll be looking for your Champs card soon after.

Urban music has had a rough go at it. T.I., Lil' Wayne, and Kanye West have all had a difficult time living up to the standards set by Jay-Z over the years. With his pending ownership role in the Brooklyn Nets, this may well be his final release. If that turns out to be the case, it has been an amazing decade and a half, and "The Blueprint III" puts a fitting exclamation point on the finest hip hop career of all time.


CLA    

If laughter is the world's best medicine, I won't be sick for years after hearing "Donald Trump's Hair" by Kacey Jones. This is the best comedy album I've heard since Adam Sandler's "They're All Gonna Laugh at You", only with exponentially better music.

Any stay at home mom will absolutely love "That's Why I Keep Him", an homage to the working men who bring home the bacon,and, well, take a nap before heading back to work. She is a lady who seems to yearn for better things at home, and judging by her voice, she definitely deserves it.

Not every note of "Donald Trump's Hair" is politically correct, and thank God for that. Not every album needs to make a political statement. It is OK to have a laugh every now and again, and Kacey Jones is just the gal to bring a smile to your face.


CLA    

The American Idol franchise has established itself as a bona fide star factory. From Kelly Clarkson to Carrie Underwood, Daughtry & Jennifer Hudson, the show has produced talent on a consistent basis that have excelled after the show. With all due respect to the aforementioned people, Kris Allen may be the best yet.

From the moment Ryan Seacrest announced Allen had beaten Adam Lambert, the world has been waiting for his debut album to drop, and it is well worth the wait. The balladeer is already skilled in the art of heartwarming sonnets. His voice has the power to help anyone through a difficult situation. There is nothing finer to listen to than a man with soul in his lyrics, and Kris Allen has it in spades.

His cover of Kanye West's "Heartless" is right up there with Jimi Hendrix's rendition of Bob Dylan's "All Along the Watchtower." While paying proper respect to the original, Allen takes the lyrics and brings them back down to Earth. He turns the song from a vocoder-fueled science project into a pop rock hit.

Even if American Idol hadn't brought Kris Allen to the front of the line, I believe he would have gotten there eventually. His blend of voice, looks, and star power wasn't going to keep him anonymous for long. He may have gotten a little push getting to the stage, but he is here, he's not going anywhere, and I am already psyched to hear what comes next. Welcome to the top, Kris Allen. The mic is yours.


Christopher Llewellyn Adams    

Lisa Richards is an Australian / Austin, Texas based songwriter who shares her truth soulfully and simply. With an instantly identifiable vocal timbre and an elastic sense of phrasing, Lisa has been called a singer's singer. Her songs are subtle, explosive and original. A melting pot mixture of jazz, folk, blues, pop, rock and country - honest, original, accessible music - her own brand of adventurous folk art.

Every once in awhile you run across music that really turns your head hard to the left… Ya know… I’m an ol’ rocker and blues guy for the most part… That’s my foundation in music. Everything else usually comes after that for me harmoniously. However, listening to this CD has unlocked those endorphins and receptors in my brain and I have fallen in love with Lisa Richards’s wonderful and heartfelt music. Her songwriting abilities are just phenomenal. She really knows how to get you into her muse with her melodies and beautiful full ranging voice… Talk about getting lost in the music… Lisa can take you on a journey lyrically that just leaves you mesmerized and leaving you forgetful of all time and space.

Lisa has released several albums and has performed in Texas, Louisiana, Colorado, The UK, Netherlands, Belgium and Australia. Her song-writing talent has been acknowledged throughout the recording industry. She has been a finalist in The International Songwriting Competition, The Billboard Song Contest, the Telluride Bluegrass Festival, the Rocky Mountain Folks festival and The Chris Austin Song-writing competition. Most recently 2 of her songs have been released in Eastern Europe on a compilation CD distributed by Warner Brothers. Lisa's songs appear along side Amy Winehouse, Christina Aguilira, Adele, Nina Simone, Corinne Bailey Rae, Yael Naim and Duffy.

The music here on"Mad Mad Love", her fourth release, is very multi-dimensional in every aspect of the name. The production, engineering, and musicianship on this fine album are second to none. Once again while listening to this, I’m just floored at the way Lisa Richards approaches her widely diversified songs. At times"poppy", and other times rockin’… Then, at other times soulful and sultry… And yes, there are some exploratory country and folk crossover sensibilities here too. The song"Daddy Please" is a clear demonstration of Richards' vocal range and writing skillz.

Simply put, there is not one filler Song on the CD… I can’t pick a favorite because each time I listen to the album my taste changes. The tunes are all that good !!!

Produced by Tm Bright, Billy Masters, Jeff May and Craig Ross and recorded in NYC and Austin Texas

Favorite Songs – ALL OF THEM !!! (This is a first for me)

I give Mad Mad Love a"5" out of 5 stars

Song List:

Imagine yourself on a white sandy beach, tall drink in hand, miles away from a care in the world. A place like this is where you might be when hearing "Krazy Love" for the first time, and if not, closing your eyes may well put you there.

"Gorgeous Fool" is art without explanation. The track highlights an album packed full of radio friendly hits and award-worthy writing. After enjoying the songs from cover to cover, you might be motivated to see this star in person, and you wouldn't be the only one.

If musical bliss is what you're seeking, give Luba Mason's "Krazy Love" a try. You're guaranteed to fall in love with it.


CLA    

Lynch Mob is finally back for the attack with "Smoke and Mirrors", the record that all fans have been expecting since the release of their breakthrough album "Wicked Sensation" in 1990! Critics and fans alike praised the album for singer Oni Logan’s hook-laden vocals and George Lynch’s virtuoso guitar playing. Shortly after touring in support of "Wicked Sensation", Logan and the band parted ways.

After seventeen long years Oni Logan and George Lynch are back together and they found again an incredible chemistry that brought them to write some killer new songs.

I finely got the NEW Lynch Mob album today… What a Rockin’ CD !!! From the first song to the last, this album has all those aspect of the first Lynch Mob record back in 1990. "Swagger" is the word that comes to mind. Oni Logan and George Lynch have teamed up once again to create a Solid Hard Rock Album that will be timeless. The song writing is watertight… Oni’s vocals and lyrics are entertaining while thought provoking, while George’s Guitar playing is masterful, exciting, hair rising, and pure sweetness to my aural senses. His guitar antics almost tickle my air drums into a frenzy at times. He has all these neat little nuances in his rhythmic playing, while his lead solos leave you feeling like you just finished a race in one of those Formula One Cars at the Monaco Grand Prix in the south of France. Whew !!!

In the 1980’s, Lynch’s guitar playing and song writing catapulted the band Dokken into a highly successful, multi-platinum act. His work with Dokken solidified Lynch as a full-blown guitar hero, earning a Grammy nomination in 1989 for best instrumental. After recording and touring relentlessly through much of the decade, Lynch left Dokken in 1989 to form Lynch Mob. Lynch continues to inspire a new generation of guitarists and fans all over the world.

One of things that really impressed me is the wide variety of songs, tempos, and styles that are present on "Smoke and Mirrors". Oni’s vocal timbers and tones are right on the money… There are some very impressive vocal harmonies done thru out the cd’s song list. George and the fellas take you back with killer grooves that keep you in the pocket, while at times making you want to throw your metal-fist in the air.

Joining the line-up are dynamic bassist Marco Mendoza (Ted Nugent, Thin Lizzy) and drummer Scott Coogan (Brides of Destruction, Ace Frehley). More than a band, this team is guaranteed to create one of the most explosive shows you can ever experience and shines big time on the brand new recording which is set to bring back Lynch Mob on the map of the most exciting Hard Rock bands around! George Lynch says ""Smoke and Mirrors", is the record we should have put out as a follow up to "Wicked Sensation" ...better late then never I guess". With a career that spans over 30 years, George Lynch is one of the most influential guitarists in modern music.

"So there you go, an impressive line-up of musicians equals impressive songs, equals impressive rock music for the ages…"

My Favorite Songs…? O’ boy, they are all superior… I like some songs for the music vibe thing, and then there are songs that I like more for the lyrical content… These guys have got allot mileage between them and they have pulled out all of the stops. You can hear allot of other great musical influences at play here too. Marco Mendoza and Scott Coogan are class acts. They keep the machine well oiled and the motor running loudly…

Favorite Tunes: 21 Century Man, Smoke and Mirrors, Time Keepers, Let the Music Be Your Master

Lynch Mob: Oni Logan – vocals / George Lynch – guitars / Marco Mendoza – bass / Scott Coogan – drums.

Track Listing

1. 21st Century Man
2. Smoke and Mirrors
3. Lucky Man
4. My Kind Of Healer
5. Time Keepers
6. Revolution Hero
7. Let The Music Be Your Master
8. The Fascist
9. Where Do You Sleep at Night?
10. Madly Backwards
11. We Will Remain
12. Before I Close My Eyes
13. Mansions In The Sky (Bonus Track)


Scott Thomas    

Music at it's best can brighten your soul, change your mood, and keep you humming a tune all day long. Music at it's worst can make you wish you had bought some Fig Newtons with the money you just spent on an album. Somewhere in between lies Magnetfisch.

In every musician lies the heart of a champion and the mind of an artist, and Magnetfisch clearly gave all they had with this release. The lyrics are poignant and the arrangements are solidly produced, but I feel they could have done a little more to grab the audience and capture their attention.

"Spit Me Out Before I Drown" is one of the album's top shelf tracks. It has a great line which vividly described what the band was feeling with the song; "They talked to me in a code I could not understand but as I spoke I spoke like them heading off for the unknown land."

I look forward to the next release from this group. It is hard to believe that this effort won't be topped the next time out.


Christopher Llewellyn Adams    

The holiday season is upon us, and there is no better way to spend a cold winter night with the family than listening to beautiful music played by amazing artists. Mystic Harmony's "Mystic Christmas" will satisfy both sides of that equation perfectly.

As far as holiday music goes, Celtic songs are some of my favorites. Mystic Harmony are flawless in their delivery, bringing all the best aspects of European music traditions home with some of the finest instrumental performances I've heard in years.

The songs of faith and hope offered in "Mystic Christmas" are surefire hits in homes around the world. The authentic sounds of harp, played enchantingly by Mary Anne Brundage, are sure to remind long time Celtic fans of the timeless music of generations past.

The holidays are a time for gathering close and celebrating the gifts of the season, while hoping for a safe new year to come. Give "Mystic Christmas" a listen at your holiday gathering this year.


Christopher Llewellyn Adams    

As a person who has lost several family members to cancer, any opportunity to bring awareness to a project that raises money to fight this plague is an honor and a privilege to me. N.E.D. is a six team collection of gynecologic oncology surgeons whose life's work has been to help assist women with various forms of cancer and to help prevent new cancer from striking as well. One last little detail: They rock!

Will Winter's "False Pretenses" is an absolute masterpiece. His lyrics grabbed my heart and would not let go. "Whisper your thoughts so I can feel what you are thinking. Deep in your mind lies the key to our freedom. Trust...feel...if you can't touch my heart then nobody will."

All six of these artists give solid contributions to the work, destined to gain nationwide acclaim, not only for it's humanitarian effort, but on musical merit as well. All proceeds from the album go towards the fight to aid those affected by cancer and to help keep women from contracting the disease in the future.

We all need a hero. Nobody is untouchable. When a group already in the business of saving lives creates a work of art to lift spirits, I'd call it a blessing. If N.E.D.'s "No Evidence of Disease" is not available in your area, there had better be a good reason why.


Christopher Llewellyn Adams    

I have long been a fan of Nelly Furtado's, so the chance to review her Spanish album made me acutely aware of two things: I really love my job, and I am really glad I didn't take French at Mt. Blue High School.

"Mi Plan" is clearly Nelly Furtado's gift back to the Latin community that has embraced her from the start. Throughout her career, Ms. Furtado has worked with the biggest and best stars in the world, and her entry into Latin pop is certainly no exception. Her duet with Josh Groban on the "Silencio" track is pure platinum, a guaranteed global sensation.

The real power in Furtado's voice is her ability to share her musical vision with people who may have never spoken Spanish. She can make people dance without understanding a word, and that is something the world needs right about now.

After the tragic death of Tejano superstar Selena, a string of Latin sensations have made their mark on the music scene. From Jennifer Lopez to Shakira, the right combination of voice, soul and production have paved the way for these stars to shine all over the world. With "Mi Plan", Nelly Furtado has rolled out her plan for a better tomorrow. and one with a hell of a lot more dancing in it at that.


CLA    

It's always a good day when a rock album comes my way, and Pan.a.ce.a's "We the Broken" pretty much made my whole week. From start to finish, the album harkens back to early '90's "Seattle Sound" releases, with great guitars, well written tracks, and gave me a genuine feeling that these guys may well be on their way to the top.

This Pennsylvania group managed to deliver greatness on each cut, with "Children of Tomorrow" the album peak. It's nice to hear real rock again, as opposed to what passes for rock these days. Guitars that make you turn down the stereo to avoid neighbor complaints are always a good thing.

In short, "We the Broken" is the best independent rock album I have heard this year, and I would honestly be shocked if Pan.a.ce.a isn't booking a national college tour to promote within six months.


CLA    

There was a time when every word that came out of Eddie Vedder's mouth was instantly absorbed by the masses. "The voice of Generation X" had a lot to live up to, and would often shy away from the public eye, with the exception of live shows. Well, Generation X has grown up, and the music of Pearl Jam has evolved right along with it.

"Backspacer" is the band's finest work since 1994's "Vitalogy", an album that due to an early vinyl release and widespread midnight release sales, went platinum in just over 28 hours. It answered the bell as the sound of promise in a world turned black. "Backspacer" is just as powerful in parts, reminding those who may have forgotten that there is plenty of real rock music being made these days.

For me, "Amongst the Waves" is the album's peak. For anyone who's been counted out, cast aside, told to give up on their dreams, Eddie Vedder has this to offer: "Riding high amongst the waves,I can feel like I have a soul that has been saved. I can feel like I put away my early grave."

Point blank, Pearl Jam saved my life more than once. It's easy to praise the people who sang me out of the abyss. Let Pearl Jam make your day a little brighter.


CLA    

It isn't altogether common when a film star successfully crosses over into music, or vice versa. There have bneen quite a few average talents in music that have gone onto huge success in movies. I have a feeling that Scarlett Johansson may well have a chance at being one of the more accepted industry-crossing entries in recent time.

Johansson's new work with Pete Yorn, entitled "Break Up" is a solid album from start to finish. Lyrically speaking, the songs are easy to listen to, the music is performed very well, and the flow of the album makes it seem to go by without time moving at all.

The album's first single, "Relator" showcases Johansson's smoky voice capturing the heart of every person who has felt left behind when things get rocky in a relationship. I can't imagine how Scarlett Johansson could have accumulated a whole lot of experience being dumped in her life, but she manages to conjure up some well-tuned angst that is sure to put a smile on the faces of women world wide.

Looking at this release as just another album is impossible. It is what it is; one of the biggest stars in the world showcasing her love of music, and finding a great team to work with to help share her passion. "Break Up" will be one of the easiest purchases you make this week.


Christopher Llewellyn Adams    

How jazzy this recording is depends on definition and personal taste. As best as I can tell, it includes no improvisation, though it often swings compositions by an important jazz composer. Jazz or not, the music appeals for three reasons: the instrumentation, the arrangements, and the compositions of Dave Brubeck.

Brubeck’s tunes are often played by a quartet, most frequently by Brubeck’s own group. I know of no previous interpretation of his creations by a string quartet, however, and to me the classical approach to these jazz tunes works. Yes, the instrumentalists play well, but the arrangements, which dictate what they play, are more significant than they. Cellist Jeremy Cohen arranged nine of the dozen selections; Larry Dunlap, Robert Gilmore, and Brubeck’s son Matthew did one each. Their writing honors the compositions by changing the melodies little from the way Dave Brubeck wrote them, yet the arrangers contribute original voicings that the two violinists, violist, and cellis t execute deftly.

Because five of the selections initially appeared on Brubeck’s Columbia album Time Out (1959), one of the best-selling jazz albums ever, even the casual jazz fan will recognize them. They are "Three to Get Ready," "Strange Meadowlark," "Kathy’s Waltz," "Blue Rondo a la Turk," and "Take Five," the last one composed by Paul Desmond, Brubeck’s long-time alto saxophonist. The quartet plays another non-Brubeck composition, "What Child Is This?," which Brubeck played as a piano solo on his Christmas album (1996).

Partly because of Miles Davis’s recording of "The Duke" (1957), Brubeck’s homage to Duke Ellington, it, too, is well known. It is the selection arranged by Matthew Brubeck, who has the group quote from and allude to several Ellington compositions, including, in the introduction, "Don’t Get around Much Anymore."

I would not characterize this music as third-stream, as the term is generally used to indicate a fusion of jazz and classical music. Rather, it is an attractive classical treatment of compositions by a jazz musician and composer.


B. F.    

The Piano Artistry of Jonathan Edwards so captivated Leonard Feather that when reviewing it for Down Beat in 1957, he awarded it forty-eight stars, one for each state of the United States, as the country was then constituted. He called his rating modest. I feel similarly about Jazz for Juniors, an introduction to jazz conceived, written (music and text), and performed by Randy Sandke. (This is hardly the first effort to present jazz to children. Beginning in 1958, Leonard Bernstein gave a series of jazz concerts for youngsters; Cannonball Adderley narrated A Child’s Introduction to Jazz for Riverside in 1961.)

The narrator (Allan Harris, supported by Carolyn Leonhart) tells of a trumpet-playing Asian tiger (Sandke) who travels to Africa, where he meets a bass-playing elephant (Jay Leonhart), a trombone-playing hippo (Wycliffe Gordon), a guitar-playing giraffe (Howard Alden), and a drum-playing dromedary (John Riley). In order to have a real jazz group, they need a pianist, which they find in Antarctica: a penguin (Ted Rosenthal). They locate a saxophone-playing swan in Europe (Wayne Escoffery) and a clarinet-playing cockatoo in South America (Ken Peplowski). Finally, they discover two vocalists in the United States: a bison (Harris) and a robin (Carolyn Leonhart). Each animal is featured on a selection. The music is legitimate as music; the delightful lyrics are often witty. Jenny the giraffe is partial to the guitar, for example, because it has a long neck, as does she; the penguin is eager to travel north, both because he is chilly in Antarctica and because he wants to see trees, which provide the wood for pianos.

The band plays the traditional spiritual "This Little Light of Mine, I’m Gonna Let It Shine." Then, in the longest selection on the CD—almost eight minutes—the group performs this tune in various jazz styles: ragtime, blues, traditional/dixieland, swing, bop, cool/modal, soul/hard bop, free, and metatonal. Any listener will be able to gain a clear sense of each style.

The words of "Join Our Band" emphasize inclusiveness and the importance of all people: anyone who appreciates the music can become a member of the group, a sentiment restated in the reprise of "This Little Light of Mine."

The CD includes an engaging slide show that may be seen on a PC, though not on a Mac. While the adventures of the animals and the music they create can be fully appreciated on their own terms, the slide show enhances them. The illustrations, by Kimble Mead, are charming.

Jazz for Juniors is one of the most appealing—even uplifting--recordings I have heard in years. Anyone, child or adult, would appreciate it, and it would make a lovely gift.


B. F.    

From an exploding fusion of jazz and rock comes "Atroefy" by Ryan Meagher. An album sure to get your head spinning and your soul stirring, it may well be the best modern jazz album I've heard in ten years. A virtual sonic boom of sound captured expertly for the world to hear, Ryan Meagher has unleashed a gem!

From his early days in San Jose, Meagher was destined to make music that fired people up. Teaming with his five piece band, the musicians handle their roles well, and produce a wall of sound unique in it's effectiveness. Without a word being sung, the songs all got their point across, and had me yearning for more at the album's finale.

"Re: Creation" closes the album on a high note, showcasing the song crafting abilities of Meagher along with the top shelf instrumental chops of his bandmates. An effective way to not only wrap up a release, but to also have the listener getting online and trying to figure out when the next album comes out.

Music has the ability to break down barriers and reinvent itself every now and again. I have a feeling that Ryan Meagher's "Atroefy" may well be a sign of things to come in the modern jazz world. If that's the case, whatever follows has a lot to live up to.


Christopher Llewellyn Adams    

Great Blues can evolve from any location. If the artist is true to the craft, he can apply the wisdom of the past masters to their particular set of experiences, translating their perspective into music from the soul, regardless of their hometown. With that in mind, one of Canada's finest, Samuel James, has captured the essence of classic blues with his latest release, "For Rosa, Maeve and Noreen."

Each track highlights James giving back to the source of his inspiration. The sounds & words of the Godfathers of blues are clearly guiding this artist in the studio, and he carries the mantle with skill and swagger alike. "Path of Ashes", the album's finale, literally had me shouting, "Encore!", the perfect choice to keep the audience chomping at the bit for the next go around.

With three Canadian-born grandparents, it's fairly easy for me to praise talent from North of the Border. "For Rosa...", however, would get the same grade had it come out of Bourbon Street or Lakeshore Drive.


Christopher Llewellyn Adams    

On Happy Little Tune, Sarah Corman sings original compositions (four), standards or popular songs (seven), and a jazz piece. As evidenced here, she writes attractive melodies, including the perky title tune. Not all of her creations are upbeat, however, and some of the lyrics convey a sense of darkness, as on those to "Personal Space" (words written with Elihu Rubin) and "Little Woman." Because her "Dionysus" has no lyrics, Corman performs it as a wordless vocal with some scatting. In an insistent middle groove, it is not dionysian. In addition to singing and composing, Corman is the major arranger of the music on this release.

Lennon and McCartney’s "Honey Pie" and Ellington and Strayhorn’s "Such Sweet Thurder" are the jazziest selections on this CD. On the former, Corman sings the sentiments of a person too lazy to go to his lover, thereby conveying the composers’ meaning, despite omitting the first stanza, which Lennon and McCartney used to establish the probable English residence of the indolent one, whose lover is in Hollywood. Trombonist Alan Ferber and bassist Yoshi Waki solo. The title of the latter selection comes from Shakespeare’s A Midsummer Night’s Dream, though the composers intended the piece to reflect some of the title character’s words to Desdemona in Othello. In arranging this new version, Corman and Waki retain the rambunctiousness of the original, especially in the drumming of Mark Ferber. Again Corman offers a wordless vocal with brief scatting. She also overdubbed vocal parts, as well as the trombone that plays in unison with the melody. This recording concludes on the same discordant note as the 1957 original.

Corman has some vocal characteristics. They include a tendency to sing no more than a few words without breathing, thinness on high notes, and wavering pitch, the last especially noticeable on "Tenderly." Still, her singing appeals, primarily because of the quality of her voice. In its girlishness, it is reminiscent most obviously of Blossom Dearie; more remotely, it reminds me of Joanie Sommers.


B. F.    

The search for "the next big thing" has been made many times in every area of music. Where will the next Carrie Underwood come from? Who will be the next big Nashville star? These and countless questions like them are pretty hard to answer, but I have a feeling that in 20 years, people will be asking, "When are we gonna hear another Sarah Darling?"

"Every Monday Morning" is about to take the music world by storm, and Sarah Darling is a bona fide star! Her song writing rivals that of the most seasoned veterans in Nashville, and she has the ability to grab your heart captive and have you asking for more.

"Don't Love Me" is my new favorite country song. The chorus contained in the track screams out for a Grammy. "If this is the way it feels then I don't want to feel it anymore, I'm out the door baby. If this is the way it goes down then I don't wanna be around to see how low it takes me 'cause if this is love, baby don't love me."

Sarah Darling is about to have one of those magical careers that come along once in a generation, and I feel lucky to have heard her on the way up. Be the first to grab your copy of "Every Monday Morning" today!


Christopher Llewellyn Adams    

Scott Thomas www.guitarz-for-ever.com    

As a proud Catholic, it was my absolute pleasure to review September Penn's "Hope For You". Some of my all time favorite live performances took place in churches, and September Penn was no exception.

Without venturing too far from her church roots, "Hope For You" showcases Penn's world class voice with a solid backing band. Her presence comes across brilliantly, and the pride she demonstrates in her music is evident from start to finish.

In a world that can be downright crazy at times, it is crucial to have an escape once in a while. "Hope For You" is hope for all. With grace for what we have, and hope for what's to come, September Penn may well be the voice of a new gospel revolution, and I'll be along for the ride.


CLA    

The first time I heard Somi's voice, I was immediately taken back to a early experience with Sade years ago, simply being amazed by the rarity of the sound of the voice, and knowing I won't ever hear many like it again. "If the Rains Come First" is the opening chapter of a musical career destined for greatness.

"Changing Inspiration" invites the listener on a mystical quest through a world of sound and pleasure not heard in decades. The team of people behind the making of this album had genre-crossing greatness in mind when they were making it, and from where I'm sitting, they succeeded admirably.

No less a musical impresario than Hugh Masekela lends his trumpet to "Enganjyani," a remarkably brilliant song that transcends the boundaries of language to find itself at the perch of greatness on the World music stage.

Do your soul a favor, and grab your copy of Somi's "If the Rains Come First" today.


Christopher Llewellyn Adams    

Music that'll make you wanna dance will never be out of style, and The People Say Fox is just that. A suitable soundtrack for a great gathering of friends.

With a Midwest bent to it's catchy pop sound, the band is able to keep it upbeat while giving the audience plenty of great lyrics to scan the liner notes for. All things considered, The People Say Fox are probably one of the top five bands I've come across in the area, and I look forward to seeing them when they get an East coast tour together.

There's plenty of mediocrity on the shelves these days, but The People Say Fox is nowhere near that, solid sounds from a group who clearly enjoy what they do. Pick up your copy of the band's self-titled album today.


CLA    

Honest folk music is easy to appreciate. The flow of the instruments, lyrics to set the perfect subtle tone, and singers whose voices allow the audience to enjoy the work as a whole. These are all elements of great folk captured flawlessly on "This Darkness of Love" by The Sunny Era.

"Head in the Sand" is American music at it's finest. Eric & Laila Stainbrook's voices compliment each other to a tee, and the backing instruments create an almost storybook quality to the track. This song would fit great in the next Hollywood production of a classic children's book.

It's never too late to rediscover music for what it should be; a temporary escape to the days when your imagination led you through your days. Let The Sunny Era take you home today.


Christopher Llewellyn Adams    

It has been too long since I have heard great East Coast rock. Competing against some of the all time greats can be a challenging road for the average New York City act. If the Twees were hitting for average, they'd be leading the league.

"Lessons to Connect" has all the elements of the great 1970's NYC acts that revolutionized music as we heard it. Stripped away are the mundane production tricks and mediocre writing that plagues our industry, replaced by musicianship born from vintage rock influences mixed with lyrics that would have had Debbie Harry on her band's case to make something better.

"Different Pages" is the best song I have heard during my early career with this magazine. Taking the listener on a personal journey of rejection followed by redemption, it is the perfect cut for someone to listen to when they're not sure if life's worth living, a guaranteed Top 10 college hit within months.

Did I grow up on the East Coast? Sure. Does it alter my ability to criticize less than stellar music? Not at all. Of course, that's not a problem I'm facing at the moment, I just spent the last few hours listening to "Lessons to Connect" by the Twees. It wouldn't be a bad idea for you to do the same.


Christopher Llewellyn Adams    

There is no such thing as a bad gospel album. The music is spoken from the heart and directed back to the Lord. Wess Morgan is a great example of God's gifts being shared with the world.

With "Look At Me Now", Morgan has captured his love of the church and his passion for music in a solid release destined to rise up the charts. His dedication to creating an album worthy of praise is evident with each song.

"It's My Pleasure" is a prime example of Morgan's talents. The track engulfs the listener with the eternal splendor of gratitude. It's not such a bad thing to be humbled by the gifts bestowed upon you, and to have the sense to thank the source of your daily blessings.

"Look At Me Now" should be seen as a benchmark in modern gospel. from the first note to the album's finale, Wess Morgan has delivered unto his audience an outstanding collection of music that will have us coming back for more.


Christopher Llewellyn Adams