Tamara Hey, a New York City-based singer/songwriter, follows her 2005 debut Right This Minute with an expertly crafted sophomore release, Miserably Happy.  Refreshingly, Hey – all smiles in the two photos on the cover of the CD jacket – brings lighthearted optimism to a singer/songwriter genre often skewed toward the brooding and depressive.  In the latest record, Hey has surrounded herself with an individually noteworthy cast of accompanying musicians: producer and guitarist Art Heys linked with Matchbox Twenty and Carbondale, Keyboardist (and husband) Henry Hey known from his work with Rod Stewart and Jeff Watts, drummer Brian Delaney of NY Dolls, and bassist Tim Lefebvre whose played alongside the likes of James Taylor and Patty Austin.  Amid such a talented backdrop, Tamara Hey’s joyously soulful voice and deeply contemplative lyrics stand out, allowing her emotive ability to forge a personal connection between listener and song.  While there is obviously an immense level of talent, Hey has also been formerly educated in the elite settings of both the Performing Arts School and the renowned Berkeley College of Music.

Miserably Happy blends humor, sarcasm, wit, and introspection to create a feel good album with tons of pop vibes.  There’s too too much of a full band sound to be truly classify it as a singer/songwriter record, rather the album falls somewhere in the realm of folk rock, AAA, with subtle hints of country sensibilities.  Her diverse sound comes from a wide range of influences, but her interests seem primarily rooted in the realm of classic rock and its extensions, proclaiming herself as a Beatles-fanatic with a deep appreciation for the likes of Fleetwood Mac, The Rolling Stones, ELO, and Suzanne Vega.  Her voice echoes the same spinnability and freedom that characterizes the era of the flower children.  “Miserably Happy” the album’s titled track, rides a pleasant but bare melody, yet Hey’s ability to elevates a simple phrase “I’m so miserably happy” into a catchy hook transforms it into one of those songs that seems to linger in your mind long after the track is done.  Hey can best be described as a blending of Aimee Mann’s story telling prowess, Dido’s sincerity, and KT Tunstall’s poppy angst.  While the CD will certainly have you bobbing your head with a smile, I imagine the real pleasure to come with seeing Hey and her extremely talented band play a live set.  She currently plays a majority of shows throughout the New York City region, but as momentum gains behind this talented songstress, keep an eye for shows popping up throughout the Northeast region. 

Reviewed By Trevor Dye

Reviews, Trevor Dye Miserably Happy, Tamara Hey

I’m always a bit apprehensive when receiving an instrumental record; I’m typically most drawn to lyrical content, but Rob Metz’s debut Legion of Dreams is an exceptional instrumental record that stands without words.  Metz, who has earned the moniker “the six-string alchemist”, began his guitar experimentations at age 15 with a second-hand Kramer Striker.  Although he’d received plenty of encouragement from his family and self-justification after winning his high school’s Battle of the Bands, Metz didn’t fully find his musical voice until being exposed to some of the instrumental greats, such as Steve Vai and Joe Satriani.  He soon found a home with Warmouth Publishing (ASCAP) and put his first record on shelves in 2006.   Legion of Dreams is a trippy exploration for any guitar enthusiast, starting with its Pink Floyd style cover featuring a light beam streaking across the silhouette of a pyramid set against a purple sky.  Metz handles the guitar and synth work on the album, with a few additional musicians complementing with drums, bass, and piano. 

Real musicianship is a fleeting characteristic in much of the popular music world, but Metz is an artist with an intimate connection to his instrument, taking the guitar to the brink of it’s capabilities and finding new ways to express the same sound.  His album is littered with dirty solo riffs, begging for comparisons to the aforementioned Vai.  In the track “Cruisin’ 5^th Ave”, Metz seems to channel Satriani’s uncanny ability to speak with his guitar to drive a chorus line.  These two iconic instrumentalist are the obvious comparisons, but Metz work is also similar to the likes of the Travis Larson Band, Jeff Beck, and John Petrucci.  The most compelling part of Legion of Dreams is easily Metz’s emotionally evocative manner of expression, best conceptualized on the record’s closing track “Island Unto Myself”, a brief but drifting  and ethereal track bathed in introspection.  While many instrumental albums can be classified as background music, Rob Metz’s Legion of Dreams has reached far from that mark, with a level of skilled musicianship demanding (and deserving) the listeners utmost attention.       

Reviewed By Trevor Dye

Reviews, Trevor Dye Legion of Dreams, Rob Metz

 If considered in a cumulative sense, Otis Read’s new record Turn A Page is the resultant product of a life immersed in music, but more accurately, the songs that compose this journeyman’s new album are the outpour of his first opportunity to sidebar all life’s diversions and focus wholly on his craft.  Like many artists with greatness brewing inside, Otis removed himself from the routine day-to-day, escaping to a quaint farm in Umbria, Italy.  During this sojourn, he wrote and  composed feverishly, and several of the tracks, including the title track “Turn A Page” feel of the sort of tranquility only found in rural Mediterranean life. While many will learn of Otis from his new music, he’s already a very well established name in the industry from his work with New England Christmastide, his instrumental work with North Star Records, and as the general manager of the renowned NYC music venue The Wetlands Nightclub. 

Otis Read’s years of experience certainly make for a broad array of musical influences, especially considering the diversity of acts he encountered at Wetlands,  but above all his sound seems rooted in a somewhat predictable but still pleasing blend of classic rock, folk, and country sensibilities.  While singing of love, life direction, and personal loss aren’t new concepts, Otis’s words carry a sense of thoughtfulness, spurring contemplation within the listener, as the best lyrically driven music often does.  His gentle voice has a timeless quality and an emotionally evocative ability, as Read sings of finding his way home like John Denver sings of West Virginia.  Fans of Gram Parson’s down-home flavor will find great comfort in Turn A Page, likewise for fans of artists like the New Riders, Jim Croce, Gordon Lightfoot, and Rodney Crowell.  Otis Read’s Turn A Page is only the first of four upcoming albums, and while he is a shoe-in as a favorite among adult contemporary crowds, he could also easily find a place among a younger contemporary folk audience.             

Reviewed By Trevor Dye

Reviews, Trevor Dye Otis Read, Turn A Page

With ten album releases under her belt, Kelly Richey’s latest, Carry the Light, may very well be one of the most notable, as the veteran musician who has long lingered with the status of legend, may finally earn such regards.  The approach in creating Carry A Light has evolved from her previous focus on an organic live feel, instead offering listeners a studio record that boasts the perfection of a finely produced composition.  Richey brought her masterful guitar-playing to producer Rick Brantley, whose studio is widely known as a guitarist’s mecca.  The resulting album, released on Kelly’s own Sweet Lucy Records and titled Kelly Richey, seems a little Kelly-centric, but when asked about the creation of the record Richey quickly points out a deep appreciation for the contributions from her guitar mentor John Redell, fellow guitarist Steve Carroll, and Kelly Richey Band drummer Shane Frye.  The aforementioned Kelly Richey Band, comprised of Richey, Frye, and bassist Jimmy V, is of particular note for the array of awards they’ve claimed in route to becoming the benchmark for blues bands in the Cincinnati, Ohio region.         

Carry the Light isn’t traditional blues, this is the sort of blues made famous by Zeppelin and the Stones, a gritty blues rock riding dirty electric riffs, but echoing more Stevie Ray Vaughan than Jimmy Page.     Commanding guitar solos are littered throughout the album; my favorite track in this regard is “Lookin’ For A Fight”, a song composed of much less threatening lyrics than the title might suggest.  I’ve come across some critics pegging this as more of a contemporary rock sound than blues rock, and while the lyrical content may not be particularly brooding, the soulfulness raging from her guitar walks a line originating at a man on his porch singin’ of those Delta Blues.  Her charismatic presence and haggard beauty make for an obvious Janis Joplin comparison, but she doesn’t quite carry the angst of Joplin.     If pressed for a contemporary mainstream comparison, I would point to John Mayer based on guitar mastery alone, so this means the real Mayer not the dulled down pop tracks he churned out to get rich.   For those who love the magical abilities of electric guitar and those who yearn for a new taste of blues rock done right, Kelly Richey’s Carry the Light is highly suggested.                   

Reviewed By Trevor Dye

Reviews, Trevor Dye Carry The Light, Kelly Richey

HannaH*s Field’s latest recording, Warriors of Love, is a ‘gypsy reggae’ homage to the optimist in us all, carrying the torch of the free love generation into a new era.  Crafted in the fertile artistic landscape of the Pacific Northwest, an area argued by many to possess the last true remnants of the hippie movement, the album’s organic feel urges listeners to embrace the same sort of free spirit and open mindfulness championed by the counterculture of flower children.  After being discovered singing in a nightclub, HannaH started her career as a back-up singer with renowned R&B/Funk band The Brothers Johnson.  Now she headlines HannaH*s Fields with Andy Ardensk and an array of accompanying musicians and performers.  Warriors of Love is the second release by the band, along with a solo project by HannaH entitled Psychedelic Woman.  Since its inception, the band has been enamored with critical acclaim, collectively they were recently awarded three Marijuana Music Awards for their track “Puff, Puff, Give”, and individually, HannaH received a nomination for best female vocalist by the Hartford Advocate.  

As a music journalist, I rarely come across a new musical coinage, but Hannah*s Field’s gypsy reggae is both fitting and unique, described as a blending of uplifting roots, acoustic fairy folk & African Earth Beats.  The resultant sound is an ideal accompaniment for HannaH’s earthy, acutely spiritual, and introspective songwriting.  The aforementioned track “Puff, Puff, Give” along with “Weed and Meditation” provide voice to the pro-legalization stance, a refreshingly artful declaration on a significant social issue often marginalized by a misconceived stoner stereotype.   For those who find fault in the industrial complex and the forty-plus hour workweek, “Boss Man” and “Work Song” speak of our essential freedoms and the danger of our misguided plunge into wave slavery.  In “Lost Children”, HannaH goes a cappella to showcase her award winning voice, evoking of a blending of Joan Baez and Grace Slick or a somewhat subdued Janis.  Hannah*s Field’s sophomore album Warriors of Love will likely resonate most with a particular earth loving, contemplative crowd, but the sultry vocals and smooth rhythmic beats may even bring the most steadfast conservative listeners into a free-spirited whirlwind of dance.             

Reviewed By Trevor Dye

Reviews, Trevor Dye HannaH*S Field, Warriors Of Love

Aside from the comedic imagery conjured by thoughts of a drunken primate, Booze Monkey’s newest recording 4^th St. compliments the funk of rockabilly with the bittersweetness of the blues, building a foundation of stellar rock tunes on elements typically considered to be on separate ends of the musical spectrum.  Technically, 4^th. St. is the fifth release by Booze Monkey, but in name alone after a split between the original acoustic duo of Blue Ajay and Joel Ludwig.  Seasoned and motivated by the Booze Monkey’s initial success, Ajay is continuing the project, conceptually evolving the sound in a surprising yet pleasing direction, an evolution that goes beyond the band’s previous work to offer a step forward for an entire genre of blues rock.  Considering the band’s name evokes thoughts of a dirt road dive bar, the album title references a location, and cocktail recipes fill the inside of the CD jacket, I wasn’t certain if I’d uncovered a new record or capitalist propaganda for a new watering hole.  After listening, I gained an appreciation for the overall concept of Booze Monkey; it’s not feel good music per say, rather it’s the type of music that reminds you of the uninhibited good times that compel people to ingest large doses of their favorite liquid vice.  Fittingly, it would stand nicely in the juke box of any dive playing Johnny Cash or Merle Haggard and serving PBR and well whiskey. 

After taking the reigns of Booze Monkey, Blue Ajay has elevated his musicianship, handling much of the instrumentation on the album himself, luring new fans and offering a nice surprise to long-time followers.    The newfound ambient/industrial twang is surely the most intriguing of Ajay’s sonic explorations, giving the record a hint of the experimental feel.  Many tracks are subtle exemplifications, but “Hope” is his best effort of incorporating the new direction seamlessly with the sound audiences have come to love.  “Firewater Fetish” will be a particular favorite for anyone who grew up in the early 90’s, with its opening vocal tempo and percussion rhythm following a pattern eerily similar to Save By The Bell’s theme song, yes!  Much of Ajay’s vocals seem more like rhythmic talking than singing, giving impetus for even more comparisons to the aforementioned Cash.  Obviously, building an image around good times and booze has already been done in the mainstream, but Booze Monkey has far more artistic integrity and straightforward musicianship than Jimmy Buffet’s six-string acoustic gimmick.  Given the penchant for heavy guitar riffs and the industrial skew, I would wholeheartedly suggest the album to fans of Tom Waits.  4^th St. is more a new band than simply a new direction, creating an album worthy of multiple spins (and not just because you’re to cloudy to change records after downing a few of Booze Monkey’s “Hurricane Monty” cocktails).                    

Reviewed By Trevor Dye

Reviews, Trevor Dye 4th Street, Booze Monkey

‘Victory of The Spirit’ is a remarkable piece of music on a number of levels. It is a remarkable demonstration of enormously high quality musical integrity. And it is remarkable that the composer, arranger producer and performer has, in the words of Marc Béziat’s bio, only recently discovered and begun to develop his musical skills.

‘Victory of The Spirit’ is also breathtaking from the outset and displays significant musical virtuosity. The Minor scale introduction builds to a crescendo which, with a delicate touch of echo, conveys an almost cathedral-like expectation, a promise of greatness to follow.

The section ‘The Yearning of The Soul’ in particular develops phrases that are delightfully reminiscent of Mussorgsky’s ‘Pictures of an Exhibition’ (Emerson Lake and Palmer).

The arrangements in this work are simple yet pleasing, although the lack of consistency in the compositional phraseology sometimes makes listening a challenge. Perhaps the composer would be advised to steer a line either closer to the avant garde or stay closer to traditional classical principles, rather than fluctuate quite so much between the two?

Aside from this minor note on stylistic consistency, the values of ‘Victory of The Spirit’ are obvious. This is an opus in which the composer has taken extraordinary care. The precise nature of the score and the detailing of the notational values are examples of extreme attention to detail. The composer’s musical ability and his sheer enthusiasm are both clearly obvious throughout every stage of his work; frankly, it is these qualities that make listening to Victory of The Spirit far more enjoyable than listening to many more widely-recognised works in this genre.

In any musical field bold structural changes are difficult to carry off. In the pure classical genre there are few composers who have routinely achieved this with success (Dvorak, Bartok, Stravinsky). Classical composers who have successfully developed thematic pictures as a process are even more rare (notably Sir Edward Elgar’s ‘Enigma Variations’; Johannes Brahms’s Variations on a Theme of Paganini). Marc Béziat ‘s work is also an attempt to develop the thematic process and it is staggering that a composer of relative musical immaturity has achieved such impressively high standards.

Summary:

With ‘Victory of The Spirit’, Marc Béziat has given his audience a modern-day classical work that successfully captures a variety of moods, a range of styles and a rich diversity of techniques. His work is never unpleasant, usually captivating and always a complete joy to listen to. The compositional technique varies between pure classical and modern classical but even this variance is not unlikeable. This listener is torn between seeing the composer’s potential in the purely classical arena or following a path in the classical/film accompaniment world. However, given the relatively short time that Marc Béziat has begun to develop his skills over, whichever path he chooses to tread, he will be an inspirational figure. I look forward to following his work with great interest. If Marc Béziat can entertain us so well now, what will he be doing for us in ten years?

Reviewed By Brennig Jones

Brennig Jones, Reviews Marc Beziat, Victory of the Spirit

The genre of Christian Rock is crowded with the remains of many unsuccessful artists. Those who have survived, flourished and gone on to achieve national and international success are surprisingly few.  Globally, the most famous international act to have sprung from the Christian charts is undoubtedly Evanescence; with their hardened, multi-layered, strobing guitar-work, haunting, crystal-clearly delivered lyrics and (in their early work) a Belief message carried at a subliminal level, Evanescence took their appeal to a huge audience. This is a fundamental requirement in the Christian Music genre.

Musicologists accept that the genre of Christian Music is split in to a number of sub-genres. These are:

·         Contemporary Christian Music (CCM)

·         Christian Alternative Rock (CAR)

·         Christian Hardcore (CH)

·         Christian Hip Hop (CHH)

·         Christian Metal (CM)

·         Christian Punk (CP) and

·         Christian Rock (CR)

This reviewer finds that ‘God Has No Name’ by the IMARi toNES is, for the most part, in the CCM sub-genre, with occasional forays in to CR.

With the album title ‘God Has No Name’, IMARI toNES airs, of course, the age-old paradoxical question: how can God have no name if His name is God? The band then attempt to answer their own question through their own highly individual style. A mix of fast bass riffs accompanied by some wonderfully supportive drumming set the framework; overlaying these sections is a muddled blend of lighter guitar-work and distinctive vocals. The clarity of the lower registers – the bass and the percussion – are regretfully unmatched by the upper elements. At times the delivery of the vocal performance borders on the hysterical. The compositional skills of the group are remarkable given that the Occidental musical frame is so vastly different from the Oriental pattern.

The messages contained in the track titles transcend religious messages: Freedom, Never Too Late To Learn, Stay Beautiful… but the unsubtle doctrinal messages contained in the lyrics firmly mark the potential audience to this album as the ‘already committed Christians’ group. If IMARi toNES adopted a more understated approach to the Belief message they might be able to find a wider audience – and one with less conservative musical values.

It is worth noting that the market for Christian Rock is contracting. The seminal Christian band The Crucified has now explicitly rejected the classification of “Christian punk” and they have shifted to the extreme periphery of the Christian music industry. Even the hugely successful Christian rock band Zao has turned away from the Christian Rock genre. So too has Evanescence. Internationally, Religion is a contracting organism and Christian rock will contract with it. To be successful in a contracting genre any artist has to appeal to the widest possible audience. ‘God Has No Name’ doesn’t hit that mainstream appeal. As a starter though, God Has No Name is a promising work; it promises things for the future.

Reviewed By Brennig Jones

Brennig Jones, Reviews God Has No Name, IMARi ToNES

The word ‘evocative’ is used far too frequently to describe musical works which would be better labelled as ‘good’. Common use of ‘evocative’ cheapens those special occasions when an exceptional work is accidentally discovered. Yet ‘evocative’ is a word that is so right to use with St Patrick’s Day by Katie McMahon. This stunningly woven tapestry of music conjures up memories of many visits to Ireland. To hear English and Gaelic sung so beautifully to traditional and original tunes is breathtaking. The delightful arrangements serve only to underline the performances whilst they manage to captivate and transport the listener to a very special place.

With St Patrick’s Day Katie McMahon has delivered an enticing collection of music and musical artistry. She has come a long way since performing her breathtaking solo in Bill Whelan’s ‘Riverdance’.  Dublin born and bred, but now living in Minnesota, Katie has performed recitals for many of the World’s Great and Good and these include a Presidential performance. Every time Katie McMahon takes the stage she gains richly deserved acclamation and praise – and she will continue to earn richly deserved tributes from audiences on both sides of the Atlantic.

Katie’s striking intonation and beautiful diction add dimensions to her performance that most other performers could only regard jealously. But Katie’s musical arrangements are so delicately made that this album deserves many, many listens – if only to truly appreciate her talents. Every St Patrick’s Day listener will immediately find their favourites within the selection this album offers, but the artistry with which the entire piece has been put before the listener is undeniable.

We should thank Bill Whelan for putting Katie firmly in the World’s spotlight, though as a result Dublin may be missing a talented daughter; the rest of the world can continue to enjoy work from wherever she plays and sings.

St Patrick’s Day by Katie McMahon, this is a wonderful collection of art and artistry wrapped in a beguilingly evocative package that you won’t want to listen to just once.

Reviewed By Brennig Jones

Brennig Jones, Reviews Katie McMahon, St. Patrick's Day

In the brief biographical notes accompanying his debut CD, French composer Marc Béziat claims to have discovered his love of music just a few short years ago, spending the intervening years gathering the necessary skills and techniques to bring his creative notions to fruition. The resulting Victory of the Spirit, then, is all the more impressive—its epic themes and technicality suggest the work of a seasoned, if not veteran composer. Though he performs Victory entirely on keyboard, Béziat obviously composed the 14 instrumental selections with much larger ambitions: The music ranges from chamber music to grand symphonic works, utilizing the entire range of orchestral voices, from strings to woodwinds, not to mention a few pleasant piano interludes and synthesized human voices. While it would be nice to hear these works borne out with “real” instruments, it is clear that, for Béziat, the release of this CD is indeed a victory of the creative spirit.

Reviewed By John Brodeur

John Brodeur, Reviews Marc Beziat, Victory of the Spirit