British composer Todd McNeal has delivered a gem with All My Good Intentions.  This timeless collection of ten songs is artfully written and perfectly sets the mood for reflection and relaxation.  McNeal, with his classical training, lays the groundwork on the piano and keyboards injecting a cool, intellectual jazz vibe into each finely crafted tune.  While some of his songs are rompy and fun, with a Jamie Cullum type appeal, as in the opener “Sunlight Up to the Sky,” McNeal can quickly change gears into a more serious setting.  His more hushed piano playing in the quiet uplifting ballad “Let It Go, Brother” was recognized by the Indie International Songwriting Competition in the folk/acoustic category.

McNeal employs the beautifully talented Emma Lewendon on vocals whose crystalline voice easily blends with McNeal’s instrumentation and with herself.  With a background in contemporary folk singing, Lewendon expertly controls her voice and creates seamless harmonies, as evident in the coda to the ballad “Count the Miles.”  Her voice accompanied by McNeal exudes the warmth of Sarah McLachlan but also bodes a more ripened sage-like quality.

Joining these two Brits on the album are Sydney jazz musicians Dave Ellis on bass and Lawrie Thompson on drums.  McNeal has put together a fabulous ensemble to showcase his works and the best part is that there are no spotlight stealers.  Everyone plays together adding their own nuances with mature musicianship finesse.  Adding flavor to the upbeat “Black Dog” on flute is Graham Jesse.  His neat little embellishments blend nicely in this early Chick Corea style number.  Jesse is heard again in “Star” along with trumpeter Peter Kartu.  While the timbre of Jesse’s instrument mixes well with Lewendon’s vocals, Kartu unfortunately sticks out.  Not to say that he does not play his part well, but the brass instrument draws too much attention to itself and may not be the best fit on this album.

In the title track, McNeal opens with a dramatic minor piano melody, closely followed by Thompson’s calm, pulsating entrance.  Lewendon shares the fore with the organ as the song progresses, modulating to a major key and crescendos to the powerful climax where Lewendon sings “I will get up and try again.”  McNeal should indeed keep trying his best to write more wonderful pieces of music and bringing together other stellar musicians to assist in his interpretations.  All My Good Intentions is better than good; it is excellent and highly recommended.

Reviewed By Kelly O’Neil

Kelly O'Neil, Reviews All My Good Intentions, Todd McNeal

Welcome Another Dimension of alternative romp.  Terracotta Pigeons has strummed a chord at the core of what made 90s rock so mesmerizing, fusing it with new frenetic style and creative exploration.  The music is seemingly constructed for the purpose of making whatever activity more intense, boundary dissolving bliss.  From paranoia to acceptance, inability morphs into the secret lessons of life disguised in front man (and drummer, that’s right) Steven Smith’s raw tripped out vocals.  The sound is so big; it is difficult to believe this is a studio album.  The roar of the bass and drums thunder like ten-thousand fans in a stadium roaring, making evident Terracotta’s experience with other great touring bands, this music is made to be turned up loud and shake the venue down to its very foundation.  This is one guy?  Surely not, it sounds like the real Terracotta Warriors are banging at the doors, fully armed in heavy Samurai chain mail, spears and katana, deceptively fast and overwhelmingly strong!

A reoccurring theme of breaking pop-culture reality screams through in gritty real scenario of lyrics.  The pounding music perfectly painting the scenes, like portraits of the homeless from Dostoevsky, nothing dumbed down or smoothed over, giving imagery that’s shaking to the core.  Inspiring for the courageous, perhaps intimidating or dangerous if one finds themselves caught up as one of Smith’s characters.  Metaphors are specific enough that they communicate a real empathy for the common person, yet loose enough that they are applicable to all walks of life. 

Terracotta has a familiar sort of grunge feel.  Nicely distorted guitar is met by warm bass throughout.  This forms a sort of musical playground for Smith’s vocals, which are quite versatile, if a bit nasal at times, are reminiscent of Scott Weiland from Stone Temple Pilots for a verse perhaps, as on Truth, then a coarse filter warps his voice and a quick rap more like Zach de la Rocha of Rage Against the Machine.  Still other times, all together, it feels like a more precise Alice in Chains.  Smith is forging his own style by combining so many classic alternative elements, yet still paying homage to the genre.  Sometimes intensity reaches to metal and industrial, never losing the fundamentals, yet with lead guitar solos and filters that always fall pleasantly on the ears, even when the intensity crescendos into beautiful musical destruction.  Bridge is one hell of a sick drum solo that deserves to intro an amazing song live, like the title track or possibly Lips are Burning played loud and insane.

The adaptability of Terracotta Pigeons seems fit for the world.  One must wonder how well the band performs live, as it seems virtuoso Smith has his hands full producing, if the band lives up to the studio sessions these shows must be incredible.  This is a sound we’re missing on American music media and I believe the Pacific Northwest especially would appreciate this sort of heavy yet clever vibe.  Another perhaps unlikely audience is perhaps Japan, as the J-rock scene at this time is really into alternative nostalgia with a new sound twist.  This ability to create musical fusion is getting lots of attention, and it is something the pigeons have down.  With the right energy and publicity, there are few places that Terracotta Pigeons will find their sense of music goes unappreciated.  I would be most interested to know what this would imply to the Chinese culture especially, and how the name would effect the cultural perception of the music.

Ever-Forever-Never is a deep, complex delve into a brilliantly crafted studio project that rocks harder then anything out there on the airwaves. We desperately need Terracotta Pigeons ferocity in out wavering American alterna-rock music scene.  The multicultural mish-mash of the Northern Territory in Australia comes through in meaningful lyrics and soul felt instrumental.  Good things are happening Darwin.  Let’s hope it’s contagious. 

Reviewed By Julian Gorman

Julian Gorman, Reviews Ever Forever, Never, Terracotta Pigeons

It’s very rare that an album can expose so much talent an individual has whilst most of that said individual’s work is not upfront on the album. Todd McNeal is responsible for all the writing and composition of his 2007 album All My Good Intentions; a consistent recording of pleasant jazz-pop music. For the most part, McNeal employs a standard jazz trio  of piano, bass and drums with accompanying vocals. This formula varies at times with some songs being simply piano and voice while others adding flute and trumpet.

The core musicians here are McNeal himself on piano and keyboards and vocalist Emma Lewendon. Lewendon was recruited from a folk trio called Kai, and her background in folk adds a great element to the music. Lewendon has a fantastically elegant voice that soars through each song, but also arrests the listeners attention to each and every note she sings. McNeal’s piano accompaniment is perfect for the songs. For the two tracks (three counting the bonus) which feature just piano and vocals, he plays enough to set the melody but allows Lewendon’s voice to carry it. Similarly, in the trio format, McNeal forms the backbone and allows the music to intertwine itself into a cohesive unit.

Sydney jazz musicians Dave Ellis and Lawrie Thompson make up the rhythm section on bass and drums respectively. If anything defines the jazz sound of the album, it’s their backing. Ellis’s acoustic bass coupled with Thompson’s light working of the cymbals instantly evokes the image of three jazz musicians jamming away on stage in a dimly lit club. The impeccable production lets the rhythm be heard clearly underneath the melodic duo of McNeal and Lewendon, allowing the songs to benefit from becoming the sum of its parts.

Unfortunately, the album is dragged slightly down by McNeal’s musical direction. By placing himself in the field between jazz and pop, the album won’t completely satisfy fans of either genre. The soft jazz, which really is the basis of the album, can become a little monotonous around the middle of the album since the tempo is consistently slow around this part. The fastest this album gets is towards the tail end with “Ride The Waves”. The 3/4 time signature pushes the track forward in a way that really starts to showcase the musicianship of the rhythm section, the rest of the album; it feels more as if they’re just relegated to keeping conventional time in a pop sense.

Pop fans will likely balk at the heavy jazz influences like on “Bird With The Burning Wings.” The jazzy beat and airy vocals carry on for a little over five minutes, during which the narrative of the song seems to lose focus. The band gels just as well as they do on every other song, but there’s not enough drive to keep the song poppy. Tracks like “Black Dog” and “Star”, both with flute and trumpet on the latter, help add a little something different to the music but it would’ve been nice to hear more of them throughout.

The only other factor that brings the album down at times is McNeal’s lyrics. More in line with the jazz nature of the album the lyrics are more free from the confines of pop and have a wistful quality highlighted by Lewendon’s rich voice. But on a track like “Count The Miles” where it’s just Lewendon and McNeal, every word matters. Lryics like “So many miles away from here/if i walk without stopping for coffee/still it would take three years” and a seeming non-sequitir about “Santa and his reindeer…” don’t fit wit the song itself. But then Lewendon sings a line like, “And I get so lonely I could count the nights…that lead me to your door” and suddenly McNeal’s writing is heart wrenchingly beautiful.

The title track and its alternate version that closes the album also highlights this strength, “sometimes i can feel you in the silence/reaching out to gently touch my hand”. The imagery is simple but engrossing. “Magnificent Mistake” – “What is left after all is said and done?/Just a hollow space where these words were sung.” Sublime, absolutely sublime. “Black Dog” – “I’ll throw a stick your way and shout hey, hey.” Not so much. The scattershot beauty of the lyrics is frustrating.

All My Good Intentions has the problem of being good to the point of posing a tremendous, “What if?” What if this fantastic group went with a full out jazz format? What if they threw pop conventions to the wind, improvised, played off each other, and just went wild? Or, what if they went to pure pop, tightened up the structures, polished up the lyrics, and let Lewendon’s voice really be the focal point? What McNeal delivers is good, but there’s so much potential to be had here that it feels nearly criminal to hear them straddle the line between two genres. Still, for a pop-jazz hybrid recording, it probably doesn’t get a heck of a lot better than this.

Reviewed By Heath Andrews

Heath Andrews, Reviews All My Good Intentions, Todd McNeal

Oh, man. Terracotta Pigeons. Where do I even start? What words do I have lying in wait for my own personal use that can even remotely begin to describe this band? Amazing, hard rocking, and totally killer are simply words. They really aren’t giving me the same magic that I felt while listening to this trio of exceptionally skilled musicians and the music that was born of them.

The album “Ever-Forever-Never” is one of the most polished albums I have ever heard. I could not detect a single missed note, skipped beat, or other imperfection whatsoever. And for some reason, I have a feeling that seeing Terracotta Pigeons performing live would be just as stellar of a performance.

The opening track “Truth” gave me chills. That heavy guitar riff in the beginning is the perfect lead-in to the opening lyrics, which is where the chills come into play. Steve sounds eerily like Mike Patton of Faith No More fame, and there are not many people who can lay claim to THAT. But wait, there’s MORE! Steve is also able to channel Zack de la Rocha of Rage Against the Machine. It’s a combination that works well and provides us with a sound that is totally Terracotta Pigeons all the way. I had to listen to this song several times simply because I liked it so much. I had a hard time moving on to the next track because I was a little fearful that the rest of the album would not measure up to “Trust”.

I soon realized that I need not worry. Within the first few seconds of “Another Dimension” I understood that my worries were completely groundless and that Terracotta Pigeons have no intention of letting their listeners down. Steve is again giving us some de la Rocha in “Another Dimension” and it’s gritty and rough and it just rocks. Everything in this song comes together smoothly even though the song itself is hard. This is a tune that metal heads and rappers can listen to together and enjoy equally. Melodic, heavy, and based in the rap genre, Terracotta Pigeons pulls of this complex feat without a hitch.

Terracotta Pigeons tones it down a notch with “Lips are Burning,” and this piece shows us some more mastery in the Faith No More vein. The vocals are haunting and I especially like the echo effect that Terracotta Pigeons has going on here. I start to think that I’m hearing the soft side of Terracotta Pigeons, but they aren’t about to let it get TOO soft. As with all the tracks so far, there is that hard edge that keeps things from becoming an almost lullaby. The guitar absolutely screams, Steve hits us with some more heavy de la Rocha style rapping, and the drums keep pace through it all. “Lips are Burning” gives the listener a better perspective on the diversity of this band, and the melodic vibe of this tune balances well with the heavier aspects of it. Nicely done.

The title track, “Ever-Forever-Never”, is exactly what we’ve come to know and love about Terracotta Pigeons. Hard-hitting, balls to the wall rock with a twist – And not just the “Terracotta Twist,” as I’ve come to think of it, but a bonafide tongue twister as well. I tried singing along, and it’s a little rough getting all those evers forevers and nevers to roll smoothly off the tongue. Steve does it well though, and what I mean by the “Terracotta Twist” is the way they can groove and mesh just about any and every style of music into one song and still keep it smooth and melodic and hard core. This is something that most bands THINK they can do, and sadly, they try it but they can seldom make it work. However, Terracotta Pigeons proves to us that they have this particular “twist” mastered and this song clearly shows it.

“The Fall-outs” begins with an addictive bass line that swings right into the vocals, and in this song I can clearly hear the range of Steve’s vocal abilities and the strength behind that voice. This track has a bit of an industrial vibe to it, and I particularly enjoy the fact that there is so much going on, but none of it is overbearing, and likewise, none of it gets lost in the shuffle. This track is very well produced and engineered, especially since it seems like Terracotta Pigeons are using some effects with the vocals and the guitar work. While the music itself is totally Terracotta Pigeons, the band Muse comes to mind with the flawless sound of this song. Every note, each vibration, every millisecond of this song appears to have been gone over with a fine tooth comb and the results are extraordinary.

In keeping with the slightly industrial vibe of the previous track, “A Letter From Them” begins with some more industrial rockage, which makes for a smooth transition from one track to the next. While “A Letter From Them” can’t technically be qualified as industrial, it does have a vibe that is somewhat creepy, sort of eerie, and completely wonderful. This song blows me away. This is a new side of Terracotta Pigeons and I am once more shocked and astounded by the sheer breadth of the talent in this band. “A Letter From Them” is like nothing we’ve heard on this album, and Steve’s voice is barely recognizable from what we’ve come to know and love. It’s deeper, darker, and sexier than anything we’ve heard so far. The entire vibe of Terracotta Pigeons has changed in the span of one song, and this track certainly shows that they are indeed capable of anything. This is, by far, my favorite track as of yet, simply because I enjoy the feel of it and it does a great job of showcasing the diversity and the wide range of talent that this band has. This song is study in perfection.

“Pins and Needles” takes us back into the world of Terracotta Pigeons that is more familiar to us, and it hits hard after the melodic “A Letter From Them.” There is a very definite punk vibe to this song and it’s definitely a mosh pit tune. I love the take no prisoners attitude of this band, and the more I hear, the better it sounds. Dare I say I might hear a touch of Axl Rose in this song? I think so. From Mike Patton to Zack de la Rocha to a bit of Axl Rose. My god. “Pins and Needles” is so heavy and fast and it simply just fucking ROCKS… And it’s a short song, so of course, it will require repeated listens. This song is HOT. To be in the mosh pit while Terracotta Pigeons plays this live would be a great honor, and to actually walk out of the mosh pit relatively intact would be an even greater honor.

“Bridge” is a controlled cacophony of drums… and yes, the drummer certainly knows his sticks, doesn’t he? Good GOD, man. What a fantastic treat that was. I would like to hear ALL of the instruments do solos, but that was pretty damned cool. Indeed, the drums do sometimes tend to get overlooked within the music, and it heartens me to know that Terracotta Pigeons wants to make sure that we’re not overlooking ANYTHING vital. Nice display of musicianship here. Well done.

The final track of the album is called “Jungle Muse” and I can almost see Flea from the Red Hot Chili Peppers jamming the bass on this one. Once the vocals kick in, I am again reminded of Muse with a vague dash of the band Placebo. This song has quite an intense feel to it and it comes straight at us, aiming for the jugular. Terracotta Pigeons ends this album in style, and just as I was thinking that I’d like to hear another solo, here comes the guitar in “Jungle Muse” to rock me out. This was a great way to end the album and it leaves the listener wanting more.

Terracotta Pigeons is a band who knows what they’re doing and this review can’t even begin to describe the quality and diversity of this band. I meant every word I wrote here, ten times over, but in my humble opinion, the only way to get a clear feel for this band is to listen to the music and take it all in, each and every perfect note. Trying to put music like this into mere words is very difficult because there are so few words that can be used to describe it. And while those words are fitting, there really aren’t enough of them.

Cheers, mates – from Cleveland, Ohio USA to Darwin, Northern Territory Australia – What a great album.

Reviewed By Rhonda Readence

Reviews, Rhonda Readence Ever Forever Never, Terracota Pigeons

I like to review albums before I know anything about the artist.  I like to have a fresh approach with wide open ears so I never check out any kind of bio before my first listening of an album, and I try not to check out the album cover artwork either. In most cases, the only idea of what I can expect is by the name of the artist… Here we have Terracotta Pigeons. Hmmm… No idea what this could possibly sound like, but I do love surprises and as soon as I pressed play on Terracotta Pigeons new album, Ever Forever Never, I got a big surprise.  My initial reaction was being knocked in the head with a brick; only this brick was a big fat distorted bass line.  Next I hear some crunching guitar, a little feedback for good measure, and then one of the catchiest rhythms that I have heard all year comes in.  A steady head banger of a rhythm, and then the chorus kicks in and it’s on! My adrenaline is fully charged and ready to go now. This first track is an excellent intro, but can the rest of the album hold up to its standards?

Terracotta Pigeons push many musical boundaries within the rock genre and from the very first note; I can all ready tell that they are sincere. I am blasted by a certain honesty that is too much faked in modern music. As I listen to the album I realize that they are also very serious and that they are not here to fuck around. This is some truly head banging material.  Song after song, it never lets down.  Crunching rhythms followed by pounding bass lines wrapped up in juicy guitar solos just pushing through enough to let the vocals take total control and steer the songs straight into your subconscious.  This is music that works on you before you even know it. This is the power of rock and I know what you’re thinking.  If I’ve heard one rock band, than I’ve heard them all.  That may be true, but this is no mere rock band.  From funk undertones to punk attitude, smooth choruses, acoustic guitars, thought provoking lyrics, backing vocals.  This is an album that has it all and comes through shining, despite its somber mood at some moments. 

Ok, now it’s time to research the band a little.  Where exactly are they coming from with this album?

A few minutes into reading into Terracotta Pigeons website and I can’t believe what I have just seen.  This project is only one person?  Steven Smith?  He is the madman behind all of this?  What a shock!  Steven is credited with all instrumentation and production tasks in his studio, amusingly named Muscle Mother Ship.

Now I can see why Ever Forever Never sounds so focused, but I had no idea that it was only one person behind the creation of these tunes.  For touring, Steven grabs a couple of his friends to fulfill a three piece to hit the road. Maybe Terracotta Pigeons will be hitting your town soon.  By the sound of Ever Forever Never, they hit hard. With no remorse!

Reviewed B Kenn Deaton

Kenn Deaton, Reviews Ever Forever Never, Terracotta Pigeons

Formed in Rio de Janeiro in 2007, the acoustic duo Rice ‘n’ Beans offers a contemporary twist on British folk rock of a half century ago. Their self-titled debut album serves up a full plate of original tunes that deal with anti-war messages, social consciousness-raising tunes, and relationship songs. Mark Archer and Peter Napthine, both skilled guitarists, also switch vocal leads with the other singing back up. One of them also adds color to some of the tunes with a touch of harmonica.

The album’s press touts the range of material as folk, rock, blues, and pop music of the US and the UK. Frankly, I was expecting more of a blues album, especially with a title that evokes New Orleans and Delta blues.  What I heard, though, was much more folk-rock and pop with some toe-dipping into blues that should have been full out plunges into those deep waters. The musicians have technical skills to attack something of that nature—even British Mick Jagger and his fellow Stones bandmates fully embraced this genre. Rice ‘n’ Beans does pull off some very solid guitar solos and consistently offers an instrumental footing for the rest of the work, especially in “Walk Silently.”

Some of the best work on the album is rooted solidly in British folk. “Blinking of an Eye,” for example, has touches of early Donovan, as does “Not A Lot Else,” a bittersweet track, which seems to sustain that Donovan feel throughout the entire track. “Walk to the Rhythm,” interestingly, adds harmonica to add a little spice to the British folk feel.  And “Grow Into Your Love” is a nice guitar/vocal tune that is enhanced by the guitar solo work in the middle. 

Vocally, Archer and Napthine are strong singers, but they have very different vocal styles. One is very definitely British and the other sounds more American. Their blend, though, is spot on—something that is often very difficult to achieve outside of blood kin who sing together—hence all of those brothers and sisters singing groups of the 40s and 50s.

I was especially enamored by “Lie Awake” because of its moody atmosphere and the haunting vocal delivery.  Then there’s “Someone Left Behind,” which melds American folk with its British counterpart.  Archer and Napthine trade verses on this one, with both gelling into a delightful harmony on the chorus.

Though I am a child of the folk experience in America in the 60s and 70s, I thought I’d never suggest that an artist should put more production into an album. However, in this case, I think that the addition of other musicians, especially a bass player or even a hand drums player, would kick this album up a notch. The guitar work on some of the tracks is thin, especially the two initial cuts and for most of the last one, which is mostly strumming. However on other cuts, the guitar work is a very exciting collaboration between the two skilled musicians, especially on “Shuffling On (Burned Out).” 

Lyrically, the duo produces some tightly written tunes. A lot of their messages, however, seem to get lost in their smooth delivery, which tends to lull listeners into a good mood instead of perking up their ears to pay extra attention to the words. That is especially true on their last cut, “Weather the Storm,” which urges a personal commitment to save humanity and to join with others making that same commitment. Like the first two cuts, the guitar work here is basic, purely supportive for the song, and is highly reminiscent to the social consciousness and anti-war songs that came out of the Hootenanny era. Those made statements, but they could also get lost in the midst of so many others singing protest songs. Today, with the sophistication of music listeners, I’m afraid much of what Rice ‘n’ Beans is trying to convey will not be heard or understood because of the retro effect of their music.

It is my hope that they will continue to write and play live concerts, perhaps adding a couple of extra musicians to support what they do.

Reviewed By Janie Franz

Janie Franz, Reviews Rice 'N' Beans

Immediately upon receiving the album, “The Sad Thing Is, We Like It Here”, I had a good vibe. With a title like that, the music’s GOTTA be good, right? And indeed, as soon as I hit the play button on my old but trusty Walkman, I was treated to a catchy rhythm that grabbed my attention with the very first notes. Melodic guitar work, strong on the piano, and then the singer introduces us to the band Shaimus. His voice makes me think of the singer from Coldplay and the beginning track has a poppy beat that gets my foot tapping. I enjoy the lyrics of the opening track as well. “Do you know what’s right or do you just believe?” That is a great line and “Interview” is an excellent song to open this album with. It leaves me anxious to hear more.

“Turn the Other Way” is another snappy little number with a beat that makes me want bounce as I walk. I enjoy this song very much and Shaimus does a fantastic job showcasing their talents, most particularly the vocals and the diverse playing methods the band members utilize in this track. There is a little bit of everything in this song and it flows well. The transitions are smooth and seamless and the production of this piece is exceptional.

Just when I thought I had Shaimus pegged, here comes “All the Good Ways” that starts off with a haunting guitar melody that I wasn’t expecting. This is a softer song that once more brings to mind Coldplay, but is clearly Shaimus through and through. There is some screaming guitar work in this track and it’s a rather positive and optimistic tune that makes me feel good. The more of this album that I hear, the more convinced I am becoming that this band is on the brink of breaking into mainstream music and becoming a household name. “All the Good Ways” should clearly be their first single.

“Tie You Down” picks up the pace again and this track does a great job highlighting the musical talent of this band. The vocals are great, indeed, but this piece allows the listener to truly understand just how talented the musicians in Shaimus are. As in “Turn the Other Way”, there is much happening in this track and I am treated to several different genres in one song. The band does a phenomenal job blending all of the different layers and sounds of “Tie You Down” into a masterpiece of musical genius that is guaranteed to please even the pickiest of listeners.

A tropical guitar lick and some nice piano work begin the next song, “Heads or Tails”, and it has a definite reggae feel to it. This melodic and soothing tune shows a side of Shaimus that I have not experienced yet, and I am once again astounded by the plethora of styles that this band is capable of. “Heads or Tails” showcases the vocal talent of the singer and I enjoy his voice very much in this piece. The placement of this song on the album is a good choice as well. It comes at the halfway point, and the listener is intrigued by the mellow reggae-esque feel of this tune and begins to wonder what other sort of tricks Shaimus has up their sleeves.

”Don’t Want the Story” is heavier than the previous track, yet just as melodic with a beat that grooves and stellar musicianship. The lyrics are especially good too, and I am becoming more and more enamored with the singer’s voice. This track really gives the listener a nice solid dose of what the singer can do, and the backing vocals are nicely done as well. As with all the preceding tracks on the album, “Don’t Want the Story” is exceedingly well engineered and produced and the sound is very clear and crisp.

“Let Go” is a welcome change, and again, I must say the placement of the songs on the album is well thought out. The melancholy piano notes at the beginning of this song certainly move something inside me. The rest of the instruments come into play as this track unfolds, but I can still hear the piano clearly, which enforces the fact that the production of this album is beyond professional quality. The piano is essential to this piece, and Shaimus does a wonderful job of not making it too obvious, and likewise, not making it sound muddy beneath the other layers. “Let Go” also has some rather deep lyrics and I hope the listeners don’t get so caught up in the song itself that they overlook the lyrics, because that would be a shame. This song is my personal favorite so far and Shaimus has yet to let me down. “Let Go” is haunting and deep, and I think I might be falling in love with these guys.

Shaimus gave us their soft side in the previous track, and now they give us their gritty side in “Like a Fool.” There is a jazzy, bluesy vibe to this one, and I can picture people dancing around a very large ballroom as Shaimus plays on into the wee hours of the night. The singer gives us his all in this track and the musicianship is beyond anything I’ve heard as of yet. Everyone is in synch, there is not one missed note or beat, and the singer gives us balls to the wall wailing while still maintaining his signature melodic style. “Like a Fool” is quite possibly the most intricate track on the album, and Shaimus does it well. Nice.

“While We’re Young” takes it down a notch and it begins with soft tones and quiet vocals. The guitar in this piece is addictive and we hear the catch phrase “The sad thing is we like it here.” This is a slow song that is somewhat sad and I get a sense of mourning while listening to this one, but Shaimus isn’t about to let us cry in our beer. There is still an upbeat rhythm that brings us out of our reverie and keeps us from going too deep inside ourselves. Shaimus does a great job harmonizing during this song and even though it may be a rather sad and melancholy song, I begin to feel energized and optimistic towards the end, which is extremely well done. Shaimus is preparing to bid us a fond adieu, and they are sending us on our way with accolades.

The final song of the album is called “Stuck Around” and Shaimus is not about to send us on our way without giving us one more stellar performance. The hand clapping and piano is a nice way to kick this one off, and “Stuck Around” has a bit of a retro vibe to it that makes me want to swirl around in a poodle skirt and saddle shoes. The guitar completely rocks, the vocals are great, and the song is polished and well done. I, too, wish Shaimus could stick around.

The album “The Sad Thing Is, We Like It Here” was a pleasure for me to listen to and I don’t see anything sad about being here with Shaimus. The band took me on one hell of a ride through several different musical genres and a wide range of diverse talent. Their sound is original, the musicians are obviously quite talented, and the singer’s voice will forever be with me. Not only are the songs themselves amazing, but the overall sound quality of the album is exceptional. The production and engineering was clearly done by someone who is very talented and who knows how to make great music sound even better. I am looking forward to more fantastic albums from Shaimus, and I would be absolutely delighted to see them perform live. I am quite confident that they sound just as great live as they do in the studio, and if the band ever tours in my neck of the woods, you can rest assured that I will be there, front and center. Cheers.

Reviewed By Rhonda Readence

Reviews, Rhonda Readence Shaimus, The Sad Thing Is, We Like It Here

The world of R&B is full to the brim with singers that equate riffs with emotion.  As a result, vocalists run lines as if they’re running a marathon, fulfilling the necessary attitude quota with mandatory head rolls, prerequisite finger wags and, should the need arise, just a hint of side eye.  Within the first five minutes of listening to Jennifer Lang’s latest album, 3 O’ Clock Saturday, you’ll notice something significant: no riffing and running, just straight singing.  It also helps to know something about what you’re singing about and it’s clear that sister Lang knows a thing or two about having loved and lost. 

There have been many crossover artists that have come out of the church and been able to make a big splash as pop, rock, soul or R&B singers (Aretha Franklin and Whitney Houston being immediate examples).  Jennifer Lang could be another one of those artists, but as beautiful in tone as her voice is, it conveys more sweetness than grit.  Considering that a majority of the album’s songs deal with losing the game of love, the pain and sorrow that comes part and parcel with such experiences is not always convincing. 

Take “I Don’t Understand” as exhibit A, where she confronts her significant other on their past discretions.  Even while she’s singing “Say goodbye, ‘cause this is the last time,” you can’t help but get the feeling that this scenario will reoccur.  The fact that “I Don’t Understand” is followed up with “You Said” (as in “You said you’d always love me”) only reinforces that belief.  This is not to say that she absolutely has to sound like she’s about to slash some man’s tires, but evidence of a breaking point is slow in revealing itself.  

Nevertheless, Ms. Lang is capable of becoming one with the words on the page.  Credit is due in part to producer and multi-instrumentalist Cloyd Willis Jr. for crafting effective musical beds for Jennifer’s voice to rest upon.  “Hi” taps into the sweetness of her vocals, revealing her playful side.  “Falling In Love” is the best of these themed selections, as she dusts herself off over a shuffling drum beat accented with acoustic guitar and occasional horns.  “Betcha Thought” is one of the strongest offerings overall, set up beautifully with a warbling bass line from Willis and punchy flute and sax riffs that bounce under Jennifer’s strong delivery on the chorus.  “Hey Love” gets hypnotic with an airy, spacey instrumental and vocals that elude to the butterflies in your stomach when love is brand new. 

However, love is far from the only subject out there, so it’s good to hear her take the motivational route on “Keep Your Head Up,” which brings the album to its logical conclusion and steps into the spiritual realm.   “I Don’t Know When It’s Coming” is faith that you can feel.  In time, Jennifer Lang’s ability to express real pain and anger through her music may not be as strong as the promises of God she stands upon, but it will increase in conviction.

Reviewed By Jason Randall Smith

Jason Randall Smith, Reviews 3 O'Clock Saturday, Jennifer Lang

Raised singing in church, Jennifer Lang’s introduction to music and performing started at eight-years-old. A member of her church and high school choir, Lang’s sophomore release, 3 O’Clock Saturday, is a stellar album of heartfelt and soulful music. It is no question that music is her passion.

“What excites me most about music is simple: The sound…music is in the ocean. It’s in your heart beat. It’s in your spirit. Even a guy who can’t carry a tune in a bucket is moved by music,” Lang said.

While comparisons to Jennifer Hudson abound, Lang proves her continued versatility. Whether it’s tracks about heart wrenching relationships such as “I Don’t Understand” or gospel filled album closer, “I Don’t Know When It’s Coming,” Lang keeps the listener intrigued. 

3 O’Clock Saturday begins quickly with intro, “Jenny’s Groove.” An upbeat track with electric beats and soulful vocals, “Jenny’s Groove” is one of the more lively tracks on the album. Segueing into the optimistic “Fairy Tales,” Lang introduces romance to the listener before her world seemingly crashes.

Throughout the 14-track album, Lang takes the listener on a journey. From the fantasy of “Fairy Tales” and “You’re All I Ever Wanted” to the heartbreak of “I Don’t Understand” and “You Said,” describing an unfaithful lover, the listener witnesses the ups and downs of a relationship.

A solid release, at times the musical accompaniment overpowers Lang’s soulful vocals, “Hi” is one example. The interludes are distracting from Lang’s vocals on this track. Unfortunately for listeners, her sultry singing is masked over the beat of the music.

On “Take Me There,” a slow drum beat is heard in the distance while Lang sings, “I want to go to that place in your heart/Where nothing can tear us apart/You’re the love story that I dream/That was written just for me.” Mid-song she continues, “Every time I see your face/Every time I feel your embrace/There is something I can’t deny/The butterflies they don’t lie”

“Ya Keep Sayin’” switches things up from the R&B feel of previous tracks on 3 O’Clock Saturday. With obvious jazz influence, the song showcases Lang’s talented vocals with a light tap of cymbals, horn features and continuous percussion beats. Just over two minutes, the track is long enough to make an impact without leaving the listener wondering.

Emotional “I Don’t Understand” is a tale of saying goodbye to one who does you wrong. “You cheated on me,” Lang sings with passion. Portraying appropriate angst and confusion with the horn feature and bass beat throughout track, she continues, “I don’t understand that you lie/Sure don’t understand why I cry/I don’t understand saying goodbyes/’Cause this is the last time”

“You Said” continues the wrath of “I Don’t Understand.” An edgy track with a heavy percussion Lang sings, “You said you’d always love me/You said you’d always care/You said you’d always love me/But now you’re not there.”

 A slower ballad, “Falling In Love” switches gears once again. The anger is gone and it’s time for the woman in the story to get over a relationship’s end. “I know that it’s going to take some time/To get you out of my mind/But I’ll be strong and I’ll go on/Somehow I will learn from this.”

On “Betcha Thought,” Lang’s voice blends well with the musical accompaniment, so well if fact, the listener forget she’s even signing. “Hey Love” is a soulful R&B infused track that complement’s Lang’s vocals well as the music takes a backseat to her singing. Finally a song with a happier ending than previous tracks, the album starts to come full circle. Ending with gospel track “I Don’t Know When It’s Coming,” it is refreshing to hear spoken word interwoven within the song.

With her angelic and soulful vocals, Jennifer Lang is well on her way. While at times the music overpowers her vocals, 3 O’Clock Saturday is an album that begs to be listened to on repeat. Whether she’s lamenting failed relationships or singing gospel tracks, Lang gets her emotion across. I’d be interested to listen to her sing sans musical accompaniment.

Reviewed By Annie Reuter

Annie Reuter, Reviews 3 O'Clock Saturd, Jennifer Lang

Imagine you’re in your mid-to-late thirties with a preschooler at your side and an impending work day breathing down your neck.  After fighting your way through your day as best you can, you arrive home to find a package inside your front door.  You open it up to find a CD from an artist you’ve never heard of before until that moment.  Imagine that, after the preschooler has been put to bed, you decide to make the album you’ve received a part of your wind down routine.  You begin to listen as you wash the dishes and prepare yourself for tomorrow’s daily grind.  Your ears take notice to the fact that the singer’s lyrics read like a list of breakup chronicles and you wonder to yourself if love is the only subject worth talking about anymore in song. 

Soon after that, however, it dawns on you that you are not the audience that this album was made for.  You take a step back to think things through objectively and ask yourself the following question:  Can you see a crowd of teenage girls knowing every word to these songs and singing along at the top of their lungs at a live show?  The answer comes back a resounding YES.

U.K. based singer/songwriter Candy Rose is going for broke with her debut album, A Rollercoaster Love, penning most of the songs on her own as well as producing and financing the release herself.  She describes herself as “camera shy,” so you won’t find one photo of her in the CD booklet, nor are there any snapshots found on her MySpace or Facebook pages.  A risky move, given that image is damn near everything in the music industry.  (FACT:  The first video aired on MTV was “Video Killed The Radio Star” by The Buggles.  You’re kidding yourself if you think that’s a coincidence.)  However, at the end of the day, image will only get you so far.  Sonically speaking, this album embraces pop music in all its forms, from dance music for the clubs to post-punk rocking out.

“Stop Talking” gets the album started on a high octane note as Candy lets her unfaithful boo know that it’s over.  Don’t be surprised if you see remix support from the dance community in the next few months.  “It’s You That I Love” seems like the perfect choice for a single.  Just shy of three minutes with a catchy chorus and sampled percussion as a drum loop, Ms. Rose reminisces on love shared and the combination’s a slam dunk.  Citing Fall Out Boy as an inspiration, she sets one song aside to let the guitars rip and sing the praises of “Patrick Stump.”  Outside of that, look towards the acoustic-led lament of “I Just Miss You” and the revelation expressed in “Tell The World” for engaging song arrangements.  Hopefully the combination of social media and the Internet will work to Candy Rose’s advantage.  May the artist and audience meet halfway and continue to build from there…

Reviewed By Jason Randall Smith

Jason Randall Smith, Reviews A Rollercoaster Love, Candy Rose