Australia has given the music world AC/DC, Icehouse, Men At Work, Midnight Oil, Crowded House, and INXS amongst others. If there is any justice in the world, Victor Stranges will be amongst those great names in terms of recognition and accomplishment. Stranges’s 2009 album Hello Me To You is a piece of Pop/Rock near-perfection. There’s very little here that Stranges doesn’t do well; a striking accomplishment considering that the album is almost entirely written, produced, and performed by himself. The result of his efforts is a terrific musical showcase that maintains its consistency while never sounding dull or as if the songs are blending into one.

The first thing the average music listener will notice is that Stranges sounds very much like Elvis Costello; the vocal similarity is uncanny in particular. To say the music and lyrics is Costello-like is also warranted, but instead of being a sound-alike, Stranges is to Costello as Bob Seger is to Bruce Springsteen; there are similarities, but there are differences enough to where Stranges can settle into his own identity. Still, Costello is a good baseline for determining how much you’d enjoy Stranges’s music since he doesn’t reinvent Pop/Rock music in anyway here; he just takes his own music and plays the hell out of it.

The opening track, “Morning Star” really sets the mood with is organ-esque keyboards, doo-doo chorus, hand clapping and tight guitar solo. The lyrics are a cut above the average fare as well, “So let’s reverse this reckoning/’cause eternity is beckoning.” The slightly quirky title track is the best indicator of Stranges’s potential and ability as a musician. This song is firing on all cylinders; the crisp, rattling drums, the peppy pacing, and the infectious chorus that borders on non-sensical while being a witty comment on meeting someone who really overwhelms you. The song also throws in one of the best lines to be put down on record, “I thought you liked The Replacements/But Bon Jovi was what you meant…”

Stranges’s songs either tend to revolve around the guitar, or the piano. While the guitar tracks tend to be the more driving songs, the piano ones can be bouncy like, “When The Morning Comes”, or ballads like “Nineteen Years Ago.” The latter of these is the most emotional song of the 11 tracks here. The subject matter of loss, grief, and remembrance is highlighted by the use of mostly piano and voice with some bass and a few keyboard effects building up at the end. The imagery contained in lines like, “Sitting in the car with the radio/Crying to an AM Station/That song was my salvation…” is magnified exponentially by Stranges’s voice. Emotionally, the song hits with the weight of something like James Taylor’s “Fire And Rain”; the pain comes through so clearly as the song reminds us all that the weight of such losses…and the memories of what made someone so special, can remain through the years.

The one fault that befalls some of the songs is that they run for a bit longer than they should. “Not That Bad At All” and “You Can’t Buy Happiness” are good songs that make their point, but then continue to make it when it’s no longer really necessary. All things considered though, this is but a mild quibble amongst a multitude of strengths that the album as a whole exhibits. To the positive, little things like the upbeat “Tonight” that comes joyfully near the closing, and the great little guitar solo on “Restoration Blues” are like buried gems that when unearthed, make the album such a joy to listen to.

Hello Me To You is a fantastic outing in Pop/Rock that leaves little left to be desired once the final song comes to a close. Victor Stranges reveals himself to be quite multi-talented as well with his performance on all the instruments being solid too great. Though Stranges did receive some help from Matt Swanton, by and large, this is Stranges’s effort, and it’s a labor of love that radiates character and talent. Elvis Costello comparisons will still be inevitable, but there’s no doubt that Hello Me To You is one of the best examples of how enjoyable and well done Pop/Rock can be.

Reviewed By Heath Andrews

CD Review Writers, Heath Andrews Hello Me To You, Victor Stranges

Big Blue Spruce is a trio from Philly P.A. consisting of Paul Miller on guitar and vocals, Dan Park on drums and vocals, and Will Morieschi on bass and vocals, pleasantly surprised me with a sampler of their music. I call it a sampler because it only consisted of three songs.

I didn’t realize this when I first inserted the CD into the CD player in my car on Saturday when I was on my way to Fredericksburg to watch some high school basketball. I only mention this because, as it turns out this was some really amazing “road” music. Then all of a sudden the fourth tune on the record played and I thought to myself; this seems familiar.

The fourth track was, in reality, the first song repeating itself. This is how I realized there were only three songs on the record. Oh well.

However, the good news for Big Blue Spruce is I wanted to hear more. They achieved a goal that should be the goal of every recording artist. That goal is leaving the listener hungry for more. Mission accomplished. Now go forth and record more music!

The first song on this little sampler is a very mellow tune called “All Away”. It begins with a very cool jazzy intro that is sonically pleasing to the ear and is sure to get your foot tapping and your head nodding. The song pulls you in immediately and captivates you with they three part harmony. There is most definitely chemistry within this trio and when you listen to them it becomes quite obvious they were meant to sing and play music together. The arrangement itself is really quite simple but they manage to make it sound more complicated than it truly is. Will Moreschi wows us as with a very nice bass solo about half way through the tune.

Next on the record is “Show Your Face”. This tune is more about the vocals than anything else. “Oh my God/Show your face/take control of this faith/Sorry It’s not what you wanted/I don’t know what you believe/Your trust is the door that you open for me/maybe I should believe/Oh my God/Show your face”. Again a very simple song in arrangements but they accomplish making it seem more complex, driving the song with some very strong vocals.

Lastly, and my favorite song on the record is “When It Dies”. You have the rhythm guitar leading the way then all three chime in with their three part harmony that goes so well with the song. They slow it down a bit on this track which enables them to create a jamming little tune I liked a lot. Of the three songs showcased here, this one is driven primarily by the bands ability to harmonize and please the sense of hearing with their arrangement of the vocals. The first thought I had when I heard this trio harmonize together was POCO or maybe Crosby, Stills, Nash, and Young. They really are that good. Those references can not be ignored. Finally Mr. Miller ties it all together with a fine guitar solo that really shines a spotlight on his talent as a guitar player.

Mr. Miller on guitar and Mr. Moreschi on the bass guitar do a fine job and have moments where they showcase their talents on their respected instruments.  Mr. Park binds them all together on drums. As mentioned previously when I talked about the vocals they reminded me of some great vocally driven bands but sonically I was reminded of the Atlanta Rhythm Section. They have that mellow, kind of laid back rock ‘n roll sound to them. Only it’s all updated to their very own era with their very own touch.

This sampler seems to be expertly showcased in its production values produced by Dan Park. All it needs is more; as in more material. Perhaps they have it, but if they do, they need to throw down some more tracks. In my opinion, this neat little trio needs to get busy writing more songs for us to enjoy.  They’re certainly off to a good start.

Reviewed By Rod Ames

CD Review Writers, Rod Ames Big Blue Spruce, The Seed

Lisa Hugo’s third album, It’s Time, brings this Australian native’s lively voice to a wider international audience.  Lisa began her musical career at age eight, playing piano in her first solo performance that was heard by 400 people. That’s a remarkable feat for even a seasoned artist trying to bring their music to listeners.

Though she could have turned to classical piano, Lisa discovered that she had a voice that audiences perhaps enjoyed more than her playing and so was trained at the Australian College of Entertainers, where her three octave range was cultivated. This launched her into television, theater, and film, and made her a draw at high-end hotels in her country. In 1994, she headlined her own show on cruise ships and then recorded her first CD of her own songs called, Don’t Let Go, a year later.

During the latter half of the 1990s, Lisa played 5-star hotels in the grand cities of Europe and Istanbul Turkey. When she settled in Hamburg, Germany, she recorded her second album, Natural, and played regularly in her solo act as well as with a band she formed called the Urban Pop Ensemble.  In 2004, Lisa moved to Belgium where she taught voice and gigged with a new band called Lushlive. Janos Bruneel (bass), Pieter Vandergooten (drums), and Dirk van der Linde (guitar and Hammond organ) offered the instrumental support she wanted that complemented Lisa’s piano work and her voice. They provide the restrained backdrop for Lisa’s new album, It’s Time, which was recorded in Belgium. Today, Lisa is based in Dubai, UAE, where she is writing new music and coaching young voices, as well as gigging in the region and back in Europe.

It’s Time is an 11-song album, composed of Lisa’s songs and three covers. Her rendering of the Stevie Wonder tune, “Blame It on the Sun,” is delicious. Her voice against her piano touches and Dirk’s contemplative acoustic guitar is exquisite. She also turns the rocking Joe Cocker’s hit, “The Letter,” into a torch song. The band’s backup is tight and hits more of a jazz note. It’s tasty. But it is the Eva Cassidy tune “Time Is a Healer” that shows Lisa’s range in style. Here she takes on the soul singer style and does it with a grace that even Aretha Franklin would smile at.

Hearing only those songs, some critics might just write off Lisa Hugo as a great technician of other people’s music. Though she adds her own touches to these tunes, it is certainly her own songs that show Lisa’s true talent.  She writes of relationships and inner discovery that anyone, man or woman, could understand. Her initial track, “With You I Can Be Me,” sets a tone of freedom in a relationship—and perhaps an attitude about life—that pervades the entire album. And it isn’t just about her. Lisa’s song, “Lovin’ You,” is about clearly about the object of her love having freedom and the intensity of her love.   She continues that unconditional love in “Oh, My Baby” and “I’m Gonna Miss You.” These songs could be about a lover or a child. That’s clearly the case in “Butterfly,” which echoes an intense parental love while underlining the need for freedom to grow and become. “Find Myself,” like the initial track, echoes the power of a relationship to foster growth and change.

Lisa puts another spin on this quest for freedom and personal growth in “Please Try to Understand.” It’s a poignant plea for understanding between two people when one grows faster than the other. It is a tender song with just bass and cymbals in back of Lisa’s lovely voice.

The album closes with “Strong at Heart,” an encouraging story about perseverance.

It’s Time presents upbeat tunes and thoughtful songs that uphold love and foster personal growth and discovery. It is most definitely an album for the twenty-first century that speaks to lovers and parents and women, in particular, though the songs will find appeal across gender, geography, and musical genre. Lisa’s voice delivers every nuance and the members of her band make sure what she has to say is underlined but not overshadowed by the power of their own talent.

Reviewed By Janie Franz

CD Review Writers, Janie Franz It's Time, Lisa Hugo

Rob Paparozzi’s title and cover art for his new album, Etruscan Soul, may lead a few listeners astray, especially those unfamiliar with his work, as I was when I first slipped the CD out of its jewel case and into my player. What came out of my speakers was old-school blues, thumping rock, and some great soul—and all done expertly, right up there with the legends Paparozzi was covering. I decided then that I needed to do a little digging as I listened to track after track of some of the finest blues harmonica work and rock/soul singing I’ve heard in a long time.

Paparozzi has been plying his harmonica chops and voice for the past four decades. He’s played with a whole host of musical greats across a wide range of genres. He’s done rock work with Cyndi Lauper and Bruce Springsteen and taken on the pop arena with Culture Club,Whitney Houston, and Roberta Flack.  Then, he’s moved into blues with  B.B. King and Dr. John, and then got into Irish music with  James Galway and added his licks to singer/songwriters Carole King and Randy Newman. Paparozzi has ventured into jazz realms and even into country areas where he appeared with Dolly Parton and George Jones on late night talk shows.

He’s been touring with the Original Blues Brothers Band and been singing with Blood Sweat and Tears since 2005.  When he’s back home in the Jersey/New York area, he gigs with his own band, The Hudson River Rats, some of whom support him on Etruscan Soul. Those very talented musicians  playing here are Ed Alstrom (Hammond organ), John Korba (piano),  Bernard “Pretty” Purdie (drums), George Naha (electric guitar), Chris Eminizer (tenor sax), and Bailey Gee (bass).

Paparozzi’s musical talents have also graced Broadway in SRO shows such as Big River and The Will Rogers Follies. He’s also done work with two films, Flirting With Disaster and Ride, and even some TV programs, including the Bill Cosby Show, CBS Early Show, Conan O’Brien, and David Letterman’s Late Show.  I suddenly realized that I probably heard him playing on commercials for Scotch 3M BLUE tape, KFC, Pizza Hut, Maxwell House, Wendy’s, Lincoln Mercury, Stouffers, Dodge, Ford, Coke, Pepsi, Dominos, and Tylenol.

As I read the liner notes and discovered more about Paparozzi and this album, it came as no surprise then that fellow Hudson River Rats band mate John Korba decided to produce Etruscan Soul. Korba, used to tour with Hall & Oates and currently is gigging with John Waite and Phoebe Snow, as well as playing in his own band. Korba, like Paparozzi, has been around the block and has played with or recorded with many A-list artists, including Todd Rundgren, Carly Simon, and Chuck Berry. Korba also has been the Associate Conductor of several Broadway shows, such as Rent, Civil War, and the  Rocky Horror Show. In addition, he has a solo CD out called No Turning Back that was released in 1993.

Another Hudson River Rats band mate, guitarist George Naha, has gigged or recorded just about with everybody it seems. He’s done work with Bill Doggett, Livingston Taylor, Duck Dunn, Mick Fleetwood, Roy Orbison, Melissa Manchester, Bernadette Peters, Willie Dixon, Wilson Pickett, Junior Walker, and Sam & Dave.  He has some serious connections that appreciate his killer chops.

As Korba and Paparozzi began putting this album together, they brought in some killer backup singers, a horn section, and a ton of guest artists to fill in on drums, guitars, and bass. But one special guest’s appearance alone is worth buying this album (though, I guarantee blues and rock artists will not be disappointed with Etruscan Soul). Phoebe Snow adds her pipes to Delbert McClinton’s lyrics on  “Monkey Around,” producing quite a tasty repartee with Paparozzi.

Though Paparozzi says he’s written a few songs throughout his career, he consciously chose to his own arrangements of some his favorite songs. Etruscan Soul then is a buffet of fine tunes done up with Paparozzi’s blues tough. His renderings of Allen Toussaint’s “I’m Gone” and Quincy Jones’ “In the Heat of the Night” are stellar, ripe with all of the passion and soul these songs intended. Ed Alstrom’s organ is intense on “In the Heat of the Night.” Very tasty, indeed.

I did find Paparozzi’s tinkering with Stephen Stills’ “Love the One Your With” interesting. The work moves all around the original melody, but it still comes out as a very fine rock/jazz tune.

Then there are his vocals on the Elton John-Bernie Taupin favorite, “Border Song,” which offers a fresh look at this material that adds an emotional depth to the song. And the backup work Vanessa Thomas and Antonique Smith do here is outstanding!  The harmonica additions, though thoughtful and musically correct, are an addition that I felt, as someone who grew up on this Elton John-Bernie Taupin gem, to be intrusive.

To give Paparozzi credit, though, he is experimenting with trying to merge some of the pop sounds of the harmonica (that for me solidify into the kitsch of the Harmonicats who were more novelty act than  serious musicians to me) with rock, blues, and soul. Sometimes it works—and, well, sometimes it doesn’t. Paparozzi tips his hat overtly to the Harmonicats’ 1947 best seller,  “Peg of My Heart,” when he slips in a short track, done up much like these players, as an intro to the Steely Dan blockbuster “Peg.” It works because it’s a separate track, yet the track comes very unexpectedly unless you read the liner notes.

Yet, Paparozzi returns to another pop harmonica rendering in “Body and Soul” It works but I did prefer the next track, Keb Mo’s “Keep It Simple,” which he delivers with style and wit.

Moreover, Paparozzi’s harp work on the Cream tune “Strange Brew” produces a bluesy grunt that makes this tune shine. Normally, it’s the guitar whine (coming from Eric Clapton) that highlights this song, but Paparozzi’s harmonica with his addition of throat and cheek sounds turns it into a very unique and very tasty rendering.

Then Paparozzi goes naked on Randy Newman’s “I Think It’s Going to Rain Today.” It is pure Newman, recorded simply with just Paparozzi’s vocals and piano. Sweet!

For me, though, I thoroughly enjoyed Paparozzi’s blues harp and his gutsy singing that permeate the album. His versions of Sting’s “She’s Too Good for Me,” the R&B tune “Let Them Talk,” and blues tune “Love and Peace” allow Paparozzi’s voice to shine through and the harp is just there for that underline that is needed.

All told, Etruscan Soul may have come from Paparozzi’s own northern Italian roots but is solidly ground in American blues and rock and roll. Very highly recommended.

Reviewed by Janie Franz

Janie Franz, Reviews Estruscan Soul, Rob Paparozzi

Willow Brocke’s Driving Into Winter is a song that you must hear now. It is the perfect song to listen to when you are cuddling up to your significant other on a cold night. Willow’s vocals are smooth and lush, very reminiscent of Basia.

The lyrics beautifully illustrate travel in a snow storm and somehow make it seem like a sexy thing instead of the incredible frustrating and often terrifying experience that it actually is. I think many of us have driven in bad winter weather, so that the full meaning of the lyrics “Up ahead tail-lights glow red And so I follow. Common sense said: Stay in bed.”

This is probably the song that everyone should play when they are “Driving Into Winter.” The song is so soothing that the insanity of driving on a snow covered icy road might just be diminished a few notches. I know I’m going to be putting this song on a CD for my winter travels, because I’ll want Brooke’s  beautiful voice keeping me from the road rage, and even if I’m not driving, I’ll want to listen to this song to get the beautiful imagery of snow covered roads outside and a world that just might stop turning long enough to enjoy this lovely song.

Reviewed By Andrea Guy

Andrea Guy, Reviews Driving Into Winter, Willow Brocke

Deep in 70’s classic rock territory is where Mr. Stranges hangs his musical hat—not a bad thing at all, IMHO, as oh-so very, very much great and influential music was put forth at that special time in our sonic pop-rock history. The richly creative tradition well deserves to continue inspiring all contemporary artists so inclined.

Masterfully accomplished rock/pop vocals are the focus here, set in and set off by a most solid rhythm section, replete with delightfully toned crunchy classic rock guitars. Beds and touches of organ, a sprinkling of bells, some lush orchestra, and other complementary additions are then placed in most all the appropriate places. Enviable engineering and insightful production skills are evident everywhere.

A guess will now be hazarded: Victor, do you sometimes tire of what I’m thinking is an all too frequent comparison to, yes… Elvis Costello? For, based on this record, this appears to be your inevitable destiny. As fantastic as much of your basic material, honed talent, and performance execution unarguably is, this single aspect might be considered the most unfortunate. Why? Because we already have Elvis Costello. We now want to musically know who YOU are. My recommendation is that you do everything in your power to not sound like the aforementioned, and strive to find your own unique expression, more unlike any other. Enough said on that, with all following making no further comment of the similarity.

Let’s take a brief word ride through each track:

1. Songs with adventurous pop chord progressions like “Morning Star” always catch my ear. Gentle surprises and flowing key changes set in an easy bop-along soft rock beat propel us forward beautifully. When these elements are expertly combined with catchy melodies and instrumentation captured in well-executed production, you can’t ask for much more. This song qualifies on all counts—well done!

1. As the title track, “Hello You To Me,” is another winner. With less techno-synth focus, we groove along the lines of Gary Numan’s “Cars.” Stellar classic rock vocal harmonies soar up the chorus, providing the high resolve payoff with which most great songs reward listeners come chorus time. Again, it’s a hit!

1. It would be nice to start our days in the happy feeling spirit evoked by “When the Morning Comes.” The instrumental guitar hook/chorus simply shines with light-n-bouncy joy, dancing to greet the new day. After a bit of more questionable flit in a doubting darkness, positive lyrics of welcome encouragement and commitment flood in like the sun.

1. As befits the title, “Memories” hearkens us back into a slow love song stylized upon the 50’s torch songs. But in fine Stranges’ style, a few choice subtle, quirky and creative twists are added at strategic spots to maintain interest.

1. Now the tempo slows down yet further. “Not That Bad at All” continues to demonstrate general songwriting savvy, lead vocal valor, and production prowess. While not a showcase standout, at 6+ minutes, its gentle empathy suits the record’s midpoint.

1. “Restoration Blues” takes a helpful stroll down a little more odd of a road. Ripe with biblical references, if the playing and praying is speaking for the correct “One True God,” the introspective wisdom is welcome, and reflects a near universal internal dialog found within each soul of humanity..

1. Continuing in overt religious vein, “Is There Someone to Thank for All of This?” makes direct reference to Luke 16:19-31, wherein a rich man’s afterlife is suffering in hell, while Lazarus, who suffered on earth, now enjoys comfort. In answer to the song’s question, the rich man need only thank himself. Interesting choice of a song theme. The fear-based warning of irredeemable judgment here is scary “as hell.” Set in a lilty rhythmic pop frame, once again, the songwriting, performance and production make it work.

1. It is not the opening chord to Imagine. Rather, “Nineteen Years Ago” is basically a piano/vocal pop ballad, flowing, poignant and personal. The superb vocal performance, set in a deft and graceful piano accompaniment, peaks nicely in a string-laden crescendo finale.

1. For all its exuberant and energetic (Elvis-like—oops rocking out, “Tonight” somehow falls a bit short on the amount of emotional engagement to which I believe it aspires. Nevertheless, particularly in a live setting, it will likely get everyone up dancing.

1. “The Colour of Your Street is Gold” feels sort of like a circus gospel waltz, with bits of secret agent and mystery. As with every other tune on this record, its overall musical competence is assured, though the total presentation is likely just over the top too quirky for most mainstreamers.

1. An unusual choice to finish out this collection, “You Can’t Buy Happiness” takes us down into the slow lane again, this time often with a distinctly bluesy vibe, then soft and soothing praise chorus, and finally plenty of relatively unusual effects-laden parts, approaching weird. As in life, one often doesn’t know where one may go… 

Reviewed By Mike Ososki

Mike Ososki, Reviews Hello Me To You, Victor Stranges

Saxophonist Charley Langer has assembled a fantastic group of accomplished musicians for his debut album Never the Same.  This is not the typical jazz compilation of artists but rather an awesome blend of classic rock, peppered with jazz with a hint of classical.  Langer himself has a Masters Degree in Saxophone Performance from the University of Southern California where he studied under classical saxophonist Douglas Masek.  On the flip side, Langer currently is the arranger and wind section leader for Sacramento-based Steely Dan tribute band Steelin’ Dan.  To help combine and perfect the best possible mixture of rock and jazz, drummer Ron Wikso, who has shared the stage with numerous rock legends, produced the album.

In the title track Langer plays alto and exhibits a well-controlled medium-fast vibrato at the end of his phrases.  His bright, polished sound soars nicely over the rhythm section and his solos are crisp and not too busy.  Every note is well articulated and defined yet rounded off giving a sense of aural smoothness.  Langer switches to soprano in “Epifania” and blends extremely well with the tenor saxophone and brass.  This trio of wind instruments expertly plays every trill precisely as one.  Unlike the thin tone of Kenny G, Langer embodies a fuller sound on the soprano.  Additionally, he utilizes the full range of the instrument instead of simply sitting on the high notes.  Switching back to alto for “Once in a Lifetime” Langer this time blends nicely with the keyboards who crescendo on long tones underneath the saxophone melody, then burst out with fun little fills at the end of phrases.  Renowned salsa bandleader Michito Sanchez adds to the energy with his esteemed percussion skills.

Another prominent musician on Never the Same is guitarist Kurt Griffey.  Like Wikso, he boasts an impressive resume of rock gigs and adds a unique flavor to Langer’s songs that definitely make this jazz album stand out from the typical smooth Weather Channel tunes.  “Remember When” opens with the electric guitar and like a flower unfurling its petals, the song slowly gains momentum before it reaches its stride where Griffey and Langer share a pleasant conversation.  Griffey then expounds into a slightly overdriven solo that is dripping with sophisticated coolness.  Like Langer, his tone is clear, expertly controlled and never obnoxious.   In “City Lights” both musicians get a little more adventurous with their respective solos.  Langer displays a formidable solo, wailing out the high notes underneath Wally Minko on the Hammond organ.  Griffey’s solo is equally as awesome as he gets more tastefully raunchy than previously heard.  True musicians of course have to be adept at different styles as is evident in the following track “Gray Skies.”  This melancholy ballad displays soul-bearing musicianship, with Griffey’s playing this time oozing with sincerity as he solos with minimal effects.

The only song on the album not penned by Langer is the closer “Espressivo.”  Not to detract from anyone’s fine playing, but the blend does not seem to work as well in this tune.  Minko this time is on the piano, where he opens the number with a full minute of quiet, incidental music before the rest of the band joins in.  Langer is on soprano again, but it inadvertently tends to draw attention to itself, not due to Langer’s playing, but due to the overall mellow timbre of the rest of the musicians.  Mark Morris on guitar plays relaxed arpeggiated solos under the piano and Ed McGlaughlin on bass gets to solo – which he does a fine job at – but the soprano saxophone flourishes simply seem out of place with the rest of the song.  It is not until the coda that an aural blend finally seems to have been established with Langer playing dreamy repetitive long tones, but this mood is unfortunately interrupted by the noodling and trilling in the fade out.

Overall though, Never the Same is an excellent album and a real treat for listeners who crave something new and exciting from the same old same old “smooth jazz” genre.  Langer has made some excellent friends who will hopefully continue to collaborate and churn out more fabulous music.

Reviewed By Kelly O’Neil

Kelly O'Neil, Reviews Charley Langer, Never The Same

Want to Want To is a totally one-man project, being written, performed, produced, engineered, and recorded by Adrian Heath in his home studio. Heath has handled the project with precision. The album is well-balanced, allowing the instrumentation to underscore the feel and meaning of his lyrics and his voice, which carries the work well.

Review

English-born, newly transplanted Australian singer/songwriter Adrian Heath has launched a fine solo album, Want to Want To. The nine-song album is totally self-produced. All songs are written, engineered, and produced by Heath in his home studio. He also plays all of the instruments, except drums and percussion for which Jon Howell does most of the duties. There are a guest musicians and backup singers. Through it all is Heath’s pure rock/pop vocals and his lyrics. It is an ambitious undertaking, but Heath has handled the project with precision. This is no overproduced or under-produced CD. It is well-balanced, allowing the instrumentation just to underscore the feel and meaning of his lyrics and his voice, which carries the work well.

The initial track, “Old Guitar,” sets the mood for the rest of the album. The bouncy but laid-back feel of this love song is enhanced by Kyrie Miskin’s trombone, which adds more whimsy. This is characteristic of Heath’s willingness to craft instrumentation on a track that enhances a song, rather than gets in the songwriter’s way. That isn’t necessarily a quality most songwriters  have who produce their own work. Too often the lyrics are muddied by every bell and whistle in their musical toy box. 

That kind of editing is most notable in the thoughtful “Sail On” that follows. It has crisp acoustic guitar fingerwork, well-placed drum beats used sparingly, a droning harmonica, and Heath’s own voice overdubbed as backup.

Heath works his magic again on “Live Life,” a song that encourages living in the moment, making the most of our time here. It is a pensive tune that is brightened by the backup vocals of Heath’s 9-year-old daughter, India, and eventually turns into an anthem of hope. It’s placement, as is “Old Guitar” as the first cut, is well thought out. Track 3 is usually the place most producers put their title cut (here Heath moves it to the fourth slot.) and this serves this song well, revealing that Heath is less about ego and more about what he is trying to achieve with this album.

The title cut, “Want to Want to (David Helfgott’s Smile)” boasts a theremin in the background. (That’s an instrument I haven’t heard since my son’s band Zen Mothers recorded and toured with one—or I watched an on sci-fi B movie.) It isn’t overwhelming, just a touch of this otherworldly sound, that doesn’t detract from Heath’s instrumentation and his lyrical allusion’s to pianist David Helfgott and the challenges of truth in this upbeat tune.

“Whirlpool,” which may be the most atmospheric of the lot, is a jazz-based track with Pete Timmerman’s brush and stick work on drums, Dave Blennerhassett’s moody bass, and Richard Jansson’s touch of flute that complement Heath’s guitars, his dual vocals, and his trumpet.

“Sun Don’t Shine,” though similarly thoughtful, boasts some lovely guitar fingerwork that, once again, just supports the lyrics and makes the track sparkle.

Then Heath turns to the mystically in “Marian,” a song about an encounter with a South Asian seer in Thailand. His treatment of overdubbed vocals and other vocal enhancements have created a sound drama on this track that allows the listener to grasp who says what—plus it adds another texture to the piece. This song is an echo back to Heath’s years of traveling the world, even playing at the Dali Lama’s Summer Palace in Lhasa, Tibet.

But “Half Light” is more of a standard singer/songwriter arrangement, but with Health’s special touch. Jon Howell’s drums lay the foundation for this song as Heath layers tastes of Martin Hailey’s electric guitar and Kyrie Miskin’s trombone with his own harmonica work and vocals. He also adds the lovely voice of Gemma Deacon, blending well with his own.

Want to Want To concludes with “Like a Storm” that is a naked cut with just Heath’s voice and guitar, allowing his simple words to carry a deeper spiritual message. There is the hint of something like a synthesizer or a violin underneath the track in places that just adds fullness. Neither instrument is listed on the liner notes, but since Heath began on piano as a child, it wouldn’t surprise me to find he’d added synth to the mix.

Want to Want To is an exceptionally fine debut solo CD for Adrian Heath. The instrumentation and production is superb, but what makes this album so special is Heath’s lyrical voice and his songs. The lyrics are solidly written, but allow enough poetry to seep in to make them ripe with deeper meanings. I look forward to much more from Adrian Heath.

Reviewed By Janie Franz

Janie Franz, Reviews Adrian Heath, Want To Want

With a mix of tongue twisters, lullabies and happy songs, Bryant Oden’s Songdrops bring something every child and parent can enjoy. While first track, “The Duck Song” has amassed over four million views on YouTube, additional songs on the album are sure to do the same. His debut to recording, Oden’s 30-track album showcases his versatility. While most songs are between one-two minutes, Songdrops is great for children with short attention spans and parents will never tire of hitting that repeat button.

Growing up in Oklahoma, singer-songwriter Oden started writing songs as a kid. While some were funny, others were straight from his heart. “None of them were very good. But that process of being in a creative mood and writing a funny song, and also of walking in the woods and having a real heart song come to me, that has never really gone away,” Oden said.

Music has always been more of a pastime for Oden than a career, however after countless suggestions by family and friends to record a CD of his children’s songs, the fall of 2008 saw this project come to fruition. “After hearing someone say again I should record my kid songs, I just decided to go for it. I thought I would record maybe eight or nine songs. Six months later I’ve recorded over 30, most of them newer songs that came to me once I started recording. So this has become a much bigger project than I had expected!”

Oden uploaded some tunes to YouTube this past January. Since then, his YouTube channel has surpassed two million views. Eventually, “The Duck Song” was animated, receiving over one million views within the first month. The tale within “The Duck Song” is of an annoying duck who walks up to a lemonade stand asking for grapes. Eventually, the man takes him to the store to buy him grapes to which the duck tries one, and decides he’d rather have lemonade.

Second track off the album, “I Got a Pea” is reaching similar success. With slight vocal resemblance to that of Kermit the Frog, the light percussion and electronic beat are sure to keep the kids attentive. Segueing nicely into “Lazy Saturday Afternoon,” the album turns quickly into that of a lullaby on title track, “Songdrops.” With soft guitar finger picking, whistling and a flute feature, I can easily imagine the track accompanying a parent putting their child to sleep.

There are many hidden gems throughout Songdrops. “Love Is” is one example. A beautiful piano based track featuring young vocals, I can’t help but think of it being reminiscent to that of a Christmas song. One of the more mature sounding tracks on Songdrops, parents can easily enjoy as well.

Ballads and lullabies aside, Songdrops offers many fun tongue twisters. Classics such as “Peter Piper” can be found throughout the 30-song album as well as the original “I Sneezed a Sneeze.” Whether it’s familiarizing a new genre of music like jazz on “Barry the Bear” or introducing a unique new instrument on “The Ukulele Song,” Oden opens the world of music to kids.

Additionally, tracks including “One Little Thing” teach children to help each other. “Is there one little thing I can do today/To make this world a better place/One little thing is the perfect start/For me to do my part/One little, two little, three little things/What a difference we can bring/With everybody pitching in/Lets begin,” Oden sings on the track, which is just over one minute long. Throughout Songdrops, Oden is making a difference and instilling important lessons along the way, something every parent can be grateful for.

Reviewed By Andrea Guy

Andrea Guy, Reviews Bryant Olden, Songdrops

Formed May 1, 2008 in Mesa, AZ, Lyra The Harp is Torrie Moore (vocals, bass), Ryan Carter (drums), and Sean Eaklor (guitar). These three grew up listening to such greats as Led Zeppelin, Pink Floyd and Earth Wind and Fire. It definitely shows.

If you’re a fan of Korn, Foo Fighters or Linkin Park, then you are definitely going to dig Lyra The Harp. Perhaps the band that they most put me in mind of is Hoobastank. Both bands are capable of delivering no-holds-barred straight up rock while still staying true to melody. “Numbers” is a perfect example of this. It opens with some incredibly chunky guitar rifts and then transitions into melodic yet raw vocals. The end result is moody, grungy and most of all fantastic!

Lyra The Harp’s style is absolutely rooted in rock, but I can also hear some progressive rock mixed with a slight reggae vibe as well.  It’s not a full-blown Bob Marley type of reggae, but instead more in the vein of 311. The track “Standing On Saturn’s Rings” (my favorite track off of Collideoscope) is an excellent example of this. The reggae vibe isn’t overpowering, but it’s definitely there. I could easily picture a song like this being a track on 311’s album Transistor.

I’m not a fan of long songs. Call it impatience, call it what you will, but they just aren’t my cup of tea. Don’t get me wrong, I love bands like Iron Maiden to death, but to this day I still can’t listen all the way through their longer songs. Collideoscope features two longer songs–Numbers and Standing On Saturn’s Rings. I went into these songs immediately thinking uh-oh, but was pleasantly surprised! I actually really dig these tracks and continue to listen to them over and over again. Their length doesn’t bother me at all. In fact, these two tracks are a couple of my favorites off of Collideoscope.

Over all Collideoscope is really a great album. I’ve mentioned that I have some favorite tracks off this album, but honestly every single track is amazing. “Frequency” is a track ready for the charts. “Collideoscope” is an instant crowd pleaser. “Bermuda” is made to be featured in film and TV. This isn’t your typical album with one or two good tracks surrounded by fluff. Lyra The Harp has created a fully conceptualized and fully fleshed out real album. So if you are sick of Guitar Hero wannabes, then check out Lyra The Harp’s Collideoscope to hear what a real band sounds like!

Reviewed By Zack Daggy

Reviews, Zack Daggy Collideoscope, Lyra The Harp