Are you one of those people that find traditional Christmas music a bore? Do you like something a little bit different when it comes to festive sounds? Well if you are one of those people, you’ll want to grab a copy of Musaphonic’s latest release, Yule Wonder, and at times you’ll be doing just that, wondering. Why, you ask? Well, I’ll tell you.

The album is very avant garde. At times is a very beautiful listen and at other times it’s a little bit strange, but that’s what makes this different.  You’ll be delighted by Churchwarden, Pheasant Dreams and Peppermint Suite among others.

The quirky songs are ones like Tinsel On My Stump which has a very Tom Waits air to it.  It is totally unexpected too, when surrounded by the other tracks on the album. which sound more like soundscapes that you’d hear on albums by Mannheim Steamroller, but that’s what sets this album apart from any other holiday fare. Of course, you might notice that this album is different just by flipping the disc over and looking at the titles. Titles like The Burial Of The Sardine,  Plaid Gravy and Xmas In The Mortuary are a definite sign of something a little off the norm, but before you dismiss this album as something too crazy, slip that disc into your CD player. Some of the most interesting tracks are the ones that have the oddest names, like The Ice Worm Festival,  The Night Of The Radishes and Wolf At The Door, the later of which I’m particularly fond of for the cricket-like sounds in the background and thunderclaps. Plaid Gravy bears mentioning again, because the lyrics alone will have you giggling and with the addition of the banjo just makes the listener go WOW! I swear I heard something about mustard and wieners in the lyrics! Those are two words I never thought to hear in a song holiday or otherwise.

For the most part, this album plays like the score to a 21^st century ballet, which I’d love to see. When it goes off that format, it can confuse the listener a bit, but for those willing to take a chance on holiday themed disc that’s not filled with Silent Night and White Christmas, this is definitely a disc worth trying, and because of its unique sound, it can be played throughout the year without getting you strange looks.

I applaud Musaphonic for filling a gap in holiday music genre, one that I’m not sure any of us were aware was there, but they did it and they did it well. Yule Wonder is an excellent CD for the holiday and one you can enjoy year round. There will be no wondering about how good it is after one listen. In fact the only thing that you will be wondering is why more people haven’t heard of Musaphonic before. This eclectic disc is definitely a must have album. Go to CD Baby and grab a copy now!

Reviewed By Andrea Guy 

Andrea Guy, Reviews Musaphonics, Yule Wonder

After reading the band bio on The Willing, I was expecting to hear some gritty old school classic rock, the kind that bad ass bikers like to drink beer to. And that sounded pretty good to me. I was looking forward to some bad ass music by some bad ass musicians.

So I popped that baby into my trusty Walkman and I was shockingly surprised to hear a calm and soothing melody that was the equivalent of having aloe rubbed onto a blistering sunburn. The album opens with the track “Sunrise” and it is not what I expected. I found myself listening to this piece over and over. It is only 1:22 in length, but it is a profound minute and 22 seconds.

“Sunrise” glides effortlessly into “Ultima Thule” and I am treated to an amazingly polished and professional sound. The Willing does an excellent job harmonizing on this piece and the vibe has a bit of a Pink Floyd feel to it, most particularly David Gilmour. The lyrics of “Ultima Thule” are clearly about the history of the band, and I know this because I read the bio, but I feel that I can relate to the lyrics as well because they can be applied to life in general. The song is very well written, the sound is nearly perfect, and I wait anxiously for the next track. Does it get even better?
Track three, “She’ll Be Running,” starts of with a guitar riff that reminds me of Tom Petty. This is where the resemblance ends though. This song is a love song that is brimming with confidence. It is not sappy, nor is it sad. It’s an upbeat little toe tapping number and I can envision this being played live with the crowd enthusiastically joining on the “Hey Hey Hey.”

“You Walk the Line” makes me think of an Irish Johnny Cash. I would dare say that this song is folk music done in modern day. I very much enjoy the simplicity of this piece with regards to instrumentation. This track clearly shows that The Willing has much talent and does not need to have many layers and distractions to make them sound good. Once again, the harmonizing is perfect and the sound is just stellar. This is a beautiful piece of music that could not possibly sound any better. Excellent musicianship, killer sound, and painfully haunting lyrics. Fantastically well done. This is one of the best songs I have ever heard. From anyone. Ever.

After the hauntingly beautiful “You Walk the Line,” I am wondering if The Willing can possibly top themselves and “Alexis You” is certainly not a disappointment. It has a different flair from anything I’ve heard on the album yet, and it has a slightly Spanish feel to it. This is a great dancing song and I would love to see it performed live.

“No Getting Away” is melodic and I get a better sense of what The Willing is capable of. Their talent is evident in this piece and I really like the rhythm, especially the change ups. They are smooth clean transitions. The guitar work on this track is excellent and the listener also gets a much better sense of the vocal range of the singer. This song is another perfect example of the culmination of what years of musical experience can do.

“Mary Anne’s On Fire” hits a little harder than any of the previous tracks. I’m getting a sense of the bad ass bikers that I mentioned above as I listen to this track. It’s intense and focused and a little gritty. I’m seeing the rock’n’roll side of this band and I like it. The drum beat is what carries this tune and the rest of the musicians flow seamlessly along, taking us on a ride of epic musical proportions. This song is bad ass. This is the classic hard hitting rock’n’roll that I was expecting when I first read about this band, and they do not disappoint.

If “Mary Anne’s On Fire” showed me the rocking side of The Willing, “Hold Me” shows the softer side. This classic ballad is exceedingly well done and it sounds fantastic. I love the singer’s voice in this track. He just hits it. And the guitar…… Oh, the guitar. It tugs ever so gently at the heart. What a beautiful song. This band is capable of just about anything, and “Hold Me” simply solidifies the fact that The Willing knows exactly what they’re doing and they do it amazingly well. Very nicely done.

“Only Love Can Change the World” has a bluesy rock feel and this is another song that would be great to see live. This is another dancing song. Definitely a foot tapping, finger snapping groove. This track has attitude. This track has balls. This track totally rocks and makes me want to strut when I walk. This track is also one more example of the sheer diversity and talent of The Willing. They continue to amaze me.

“Gone” tones it down a bit and it sounds like it’s another wonderful ballad. The piano in this piece is great and the power of this song is evident from the first few notes. The lyrics make me think and remember and feel something deep inside, something that has been dormant for some time. “Gone” is a sad song, but that’s what makes it so good. This is a true love song and the vocalist does an excellent job channeling so many deep feelings into words. The musicianship in this piece is extraordinary and each member of the band shines brightly.

The Willing picks it up a bit with “Queen of the City” and banishes away the sadness of “Gone.” This is another song with attitude and what I like to call “strut,” which is the feeling of being so damned COOL, just by listening to someone else’s coolness, if that makes any sense. “Queen of the City” has the signature The Willing sound, which is a little bit of everything musical. Once again, they show off their confidence, talent, and brass balls with this track. It doesn’t get much better than this.

“Surprise” is a harmonic, melodic treat for the ears AND the mind. The lyrics are very vivid and the imagery is phenomenal. I prefer to listen to this song with my eyes closed and simply let my mind wander to wherever The Willing takes it. It’s a very optimistic song with a positive vibe that makes me feel a sense of hope, not just for my OWN life, but for the rest of humanity as well. “Surprise” is an all around feel good song that leaves me with a rather large warm and fuzzy feeling for this band that will stick around for quite some time.

The closing track, “Evening,” ends the album the same way it began, with the calm and soothing melodies that feel like aloe on a sunburn. This is by far the most uplifting song on the entire album and it was the perfect choice to end it on. I am left with a feeling of peace and contentment, and that’s when I know I’ve just listened to something special.

The Willing has been making music for a long time, and they have mastered the art of creativity. “Unfinished Business” is the product of many years of experience, talent, and the undying love of music. This album clearly showcases the extraordinary talents of all members of the band and their accumulative efforts at putting forth one of the best sounding and most intricate albums I have heard in a long time. From the opening notes of “Sunrise” to the soft closing of “Evening,” The Willing have demonstrated that they have what so many bands strive for:  Diversity, attitude, an excellent sound, smoothness, and above all, the ability to please music aficionados near and far, from every walk of life. This band knows exactly what they’re doing and they do it well. Cheers.

Reviewed By Rhonda Readance

CD Review Writers, Reviews Rhonda Readence, The Willing

Holiday music comes in all flavors. There’s everything from Christmas on Death Row, which is the gangsta rap collection from a label where many on its roster actually did hard time, to God Rest Ye Merry Jazz Men, which is – as its title blatantly expresses – a selection of Christmas songs performed by esteemed jazz musicians. Dan Van Oss’ new CD, The Heart of Heaven ~ A Christmas Present ~, is a reverent Christmas album, for those curious about how to categorize it. Whereas rap and jazz takes on holiday music may well be considered sacrilegious by some, this same accusation can never be leveled at Van Oss; his music is, for the most part, as sacred as a church communion service.

     Musically, this release mainly leans toward orchestral pop, along with slight jazz colorings. For example, “Christmas Time Is Here” features organ, unobtrusive jazz drum fills, and a flugelhorn solo. Jazz is also the inspiration for “O Come, O Come, Emmanuel”, which includes a Coltrane-ish saxophone solo. But Van Oss’ focus is usually much more centered on historic hymns of the Christian church elsewhere. “Come, Thou Long-Expected Jesus” borrows the Celtic melody of “Come, Thou Fount of Every Blessing”, yet applies a lyric by Charles Wesley, an 18^th century leader of the Methodist movement.

     Van Oss is most effective with music that is steeped in longstanding tradition. He’s not quite as compelling, however, on more contemporary offerings. “Blue Christmas” is soulfully moving when sung by Elvis Presley, but when Van Oss takes it at a slower pace and sings it ever so quietly, it just doesn’t have the King’s emotional impact. Being away from the one you love during the holidays can be immeasurably sad, it’s true. But you need not sing about this separation at a funeral pace, as is done here. “Christmas Time Is Here” is bright and sweet when sung by the Peanuts gang on that familiar Charlie Brown Christmas special, but Van Oss unfortunately drains much of the punch from this tune with his take. Far more successful is a cover of “Little Drummer Boy”, which packs the track with Eastern-sounding percussion. This transforms it from a Westernized pop song, into something those in The Holy Land might more readily recognize. However, there is also a spacey electronic part toward the middle of the track that makes this particularly section otherworldly – for lack of a better term. This is “Little Drummer Boy” as you’ve never heard it before, but Van Oss deserves big kudos for taking chances and experimenting with that which is overly familiar.

      There are other places where Van Oss takes a few smaller sonic leaps of faith, as well. On “Joy to The World”, for example, he wrote an entirely different melody. At first, it’s a bit uncomfortable to hear these well-known words sung to a completely foreign melody. But after a few listens, it begins to sound like it fits just nicely. Another admirable innovation is the cricket sound effects applied to “Away In A Manger”. This little touch goes a long way in setting the scene of Jesus’ birth.

     On the surface, Dan Van Oss’ The Heart of Heaven ~ A Christmas Present ~ is a relatively straightforward project. It’s only after closer inspection that one finds some of the many gifts this sneakily creative artist has hidden under his tree. And honestly, what is Christmas without a few unexpected surprises?

Reviewed By Dan MacIntosh

Dan MacIntosh, Reviews Dan Van Oss, The Heart of Heaven

Christmas music is something that has to done really differently to be interesting and attract attention, that said, Dan Van Oss will be doing that with his latest offering The Heart Of Heaven ~ A Christmas Present. It truly is beautiful present that he gives us, treating us to renditions of some of the best carols and some new songs that will soon become favorites.

He takes songs like Joy To The World and gives then a whole new sound. To some this may seem like a sacrilege but really it isn’t. Dan has given the songs a new twist, a different twist, a beautiful twist. Listen to the songs and love them. The different arrangements really are refreshing especially the sax on O Come O Come Emmanuel.  That one instrument takes the song out of the deep darkness that it usually lives in. Sure the haunting melody is still there, but the sax takes the song to a higher plane where things are just a little more joyful and expectant of the coming savior.

The tone of the album can best be described at New Age but I’d like to go a step further than that. The album has a very old world feel. Maybe some will call it Celtic or New Age, but when you listen to it in many places you can feel yourself being transported to Dickens England. The most modern sounding of the tracks is Little Drummer Boy which sounds very Middle Eastern while still managing to keep the integrity of the song.

This is an album of songs that focuses more on the spiritual part of Christmas than the Santa Claus, materialistic part of the season, and I think that’s what makes this album so special.  But there is something besides the songs that make the album so beautiful and that’s Dan Van Oss’ voice. It’s hard to pin point the exact reason his voice will move you, perhaps it’s the gentleness with which he sings or the music itself that brings out the beauty, but whatever it is, the songs and his voice will captivate you. Listening to The Heart Of Heaven can best be described as a religious experience. Why? Because it’s hard not to grasp the real meaning of Christmas after listening to this album.

The best thing about The Heart Of Heaven is that there isn’t a bad song on it. How can there be a bad Christmas song? But really, all of the songs chosen are done so beautifully that it’s hard to pick a favorite. Each one has its own special magic. Today I love Gloria and In The Lonely Midnight. Tomorrow it may be some other songs.

Anyone that longs for something different and beautiful for the holiday season should search this CD out. It’s the perfect addition to everyone’s holiday music collection and one you may even find yourself slipping back into your CD player long after the season has past, just because Dan’s voice is so hard to resist.

 Reviewed By Andrea Guy

Andrea Guy, Reviews Dan Van Oss, The Heart of Heaven

Sometimes you listen to an album from beginning to end, but when I put Peter Douskalis’ The Dance Of The Sea in my player, I had to play the last track first. Why? Because the last track is Come Together, one of my favorite songs by The Beatles, and curiosity made me want to experience that track first.  Peter’s interpretation stays true to the original while spicing it up just a tad, giving it added oomph, that’s needed when you remove the vocals from a track. After giving the album a full listen, I found it to be the perfect album closer.  Its more bluesy than the rest of the album and a whole lot more funky. It leaves the listener wondering what to expect next from Peter.

What’s really amazing about this disc is the choice of songs and the age of the performer. Peter Douskalis is just twenty two, an age when you’d be thinking that an aspiring guitarist would be rocking and wailing with his instrument, but no, Peter is playing songs like My Favorite Things from The Sound Of Music.  Another interesting choice is The Girl From Ipanema. This is one of those songs that’s quietly lively. It gets your foot tapping and soon you are humming along with the soft strains of Peter’s guitar.

What I love about this CD is its ability to really draw you in. Acoustic guitar has the tendency to be relaxing and when you see the title The Dance Of The Sea,  a stunning track that is written by Peter, you know that this album is going to do just that, but it does more. Somehow Peter’s guitar reaches out and touches your soul. The music caresses you like a lover’s hand, and your troubles just seem to melt away. The title track is a particular favorite. Its got a light and airy feel to it. Its very upbeat. It gives you the sense that you should be frolicking in a field somewhere. Yes, frolicking.

When you want to take it down a notch or two there’s Whisper Not a more mellow track that has a bit of a bluesy feel to it. The two versions of  the Miles Davis classic, Blue in Green, are a must listen as well for their extreme beauty.

The Dance of The Sea is something different for the music lovers ears. Its an album of beautiful sounds some new and some familiar. Its an album to be treasured and savored and shared with other music loving friends. One listen and you’ll be entranced.  It is like a breath of fresh air.  I love this CD and I think you will too. The Dance of The Sea is a rare find an instrumental CD that keeps you coming back again and again. For that we should thank Peter. We should also thank him for creating an album that just may relieve the stresses of the workday better than any anti-depressant. So, Thank you Peter! Keep the great music coming!

Reviewed By Andrea Guy

Andrea Guy, Reviews Peter Douskalis, The Dance of The Sea

Talk about “cross-cultural”: a musician from Nicaragua living in France and singing a fusion of Jamaican reggae and Latin salsa in English and Spanish. Born as Carlos Wiltshire, the name he goes by comes not only from his country of origin, but in honor of the great Indian chief Nicarao Cai, considered to be the founder of Nicaragua. Interestingly, the Atlantic coast of the country, where Carlos is originally from, is a mecca for reggae music. However, as mentioned, his sound transcends the traditional boundaries of the genre and incorporates elements of salsa and Latin music with rock. This is no surprise as he names Santana as one of his biggest influences, along with Jimi Hendrix, and of course, Bob Marley. These just happen to be three of my biggest influences as well, so this album piqued my interest, and certainly didn’t disappoint.

The title of the album, “Militante” is rallying cry for the power of music and the freedom it brings. According to Carlos, “Militante” is a feeling in his heart and soul that he pours out to his audience: “it expresses the pain and problems of the world, but in the most joyous form possible”. It is inspired by the struggle for justice, solidarity, peace, and love in the world, a theme that is prevalent in reggae and Rastafarian culture. He sees music as a common denominator: “music will make dance the dictator, the rich, the poor, the Pope included. It is the language we need to understand each other.”

Music is indeed a universal medium. Although I don’t speak Spanish well enough to understand all the lyrics on “Militante”, the groove communicates in ways that need no translation. Carlos’ voice, which is rich and resonant, conveys a soulful quality you can feel, and as Bob Marley said, “who feels it, knows it.”  But let us not forget, as reflected by the name of the group, that this is indeed a family affair. Fifteen musicians make up the “Familia”, including bass, drums, percussion, keyboards, guitar, flute, vocals, and a full horn section, which provides the spice so necessary for salsa and world flavors. Although they may not be a family genetically, they are a family nonetheless, with many of them having toured together extensively throughout Europe over the years.

I thoroughly enjoyed this music, with its’ melting pot of rich cultural influences.  One impressive aspect was Carlos’ use of a particular reggae style where the vocals are spoken in a way that is somewhat similar to rap, yet more melodic. There is such power and conviction in his voice that one cannot help be moved by it even if the language is unfamiliar. Carlos metaphorically compares his music to a volcano: “first it sleeps, then wakes up, and finally explodes.”  It’s hard to sit still while listening to the grooves on “Militante” and I can only imagine how much harder it would be while hearing at a live performance. It is gratifying to know that in a time where much music that is currently popular has so little depth or substance, that people like Carlos De Nicaragua y Famila are out there shining their musical light to illuminate powerful messages of world peace, unity, and justice for all.

Reviewed By Michael Diamond

Michael Diamond, Reviews Carlos de Nicaragua y Familia, Militante

Northern Crowns are two young men, Richard Araiza and Clinton Van Arnam, who hail from Los Cruces, New Mexico. From the sound of their debut, a self-titled EP, they have been two very hard working young men.

 From the very first track, “Hideaway”, we are drawn in to the tune with a drum/cymbal intro that will grab hold of you from the very start. The tune is an extremely well crafted endeavor. Richard Araiza’s vocals are strong through out the record. On this particular track, he certainly exposes his range. The guitar rests just beneath the vocals and compliments the melody, creating a sonically pleasing sound, which raucously envelops the listener’s ears.  

Every song on this EP is extremely well crafted and performed. When you listen to Northern Crowns, you will immediately be reminded of bands like My Chemical Romance or Panic at the Disco. Both bands are primarily vocal driven bands.

Northern Crowns is also driven by the expert vocalizations of Mr. Araiza. The songs are all extremely high-energy up-tempo compilations you will not be able to refrain from dancing too. You had just better be in some very good shape if you are actually contemplating getting up and grooving to Northern Crowns. They will absolutely wear you out!

The next track on the record is the violent “Man on the Phone”. A catchy rhythm guitar establishes the beat of the tune and lures Richard Araiza’s vibrant vocals in. This particular song was made into a video that can be viewed on their website. It’s an exciting song which tells the story of the primary character who happens to be obsessed by the “Man on the Phone”. It all ends violently. It’s a tune that takes risks and I like that in a tune.

I adore artists who take chances and Northern Crowns is not afraid to do that. There will definitely be comparisons to the bands mentioned previously in this review. That’s okay. Someone influences all bands. “The King” himself, Elvis Presley, influenced the Beatles. Therefore, no one should ever be insulted because another artist influenced them. Someone influences us all. That is just the way it i

I see this band going far if they can continue writing and performing the caliber of songs, they are currently writing and performing, but more importantly, keep taking risks. Keep writing ballsy material that transcends such a wide variety of emotions and topics. Do not be afraid to write songs like “Man on the Phone”. It is precisely topics like these that will separate Northern Crowns from those bands that have thus far influenced them.

Northern Crowns is not limited to the studio, where Mr. Araiza and Mr. Van Arnam are currently recording two more songs for this EP. As they said in their bio on their website, “We just booked the dates to go ahead and record two more songs at the same studio we recorded our EP (Radio Star Studios). We are going to record one original, and one cover (Dion’s “Runaround Sue”).” The two play every instrument, but also tour and have a band to back them up for live shows.

This is a very talented duo and I look forward to hearing a lot more from Northern Crowns in the future.

Reviewed By Rod Ames

Reviews, Scott Homewood Northern Crowns

While listening to The Other Side, the fine new album from emerging country singer/songwriter Eldon Johnson, I began to think back about what I found interesting about country music when I was younger and why I despise a lot of it now. Country music played a big part of my childhood and was the catalyst for some of the best times of my younger years. My parents were big fans of country, though I must say my dad was (and continues to be) very open to all sorts of music, something I admire and strive for myself. My mom was a little different and pretty much hated the “noise” of most rock and roll and thought the lyrics mostly nonsense but loved country music as most songs tended to be stories about life.     

For me, like most children, Saturdays were very special. Not only did they mean not having to wake up for school, but it also meant being able to spend time with my father. During the week my dad was pretty much a non-entity to me. Not that he wasn’t around, but I was a late-in-life child and my father was in his early forties by the time I was born. He had a decent job at the plant where he worked and he had been there for many years and was in his working prime. Consequently, whenever my father was offered the chance at working overtime hours, he took them as his pay was quite good for the time. Many nights he came home probably only an hour or so before my bedtime, then, by the time he cleaned up and ate, I was about to go to bed and begin yet another day of pretty much the same routine. But Saturdays were different. My dad and I would have lunch together, usually he would run to K-mart and buy us a couple of submarines from their deli and bring them home so we could eat and watch some college football. Later, he would drive me to the mall or do something else to hang out. Later in the evening, after dinner, we would sit on the couch and be able to watch TV together and talk. One of our favorite shows was Hee-Haw. For those who don’t remember, Hee Haw was a very corny syndicated country-music based variety show starring the legendary Buck Owens and super guitar picker Roy Clark. My dad and I seemed to get a huge kick not only from the grade-school level jokes, but also the music which was performed not only by Owens and Clark but some of the most important and popular country music stars of the day. While I liked rock music most, I enjoyed the show and country music in general through my dad’s affection for it. I learned much about the style and the history and the talent needed to perform great country music which would serve me well later on when I would reconsider the genre’s greatness after discovering bands like Uncle Tupelo, Blue Rodeo and The Jayhawks and put it in its rightful position of one of the most important American music forms ever created. There would be no rock and roll without country, okay? Hank Williams proved that. Let’s just get that straight.

But it took me a while to figure it out, unlike Johnson – who sings like he has always known he wanted to pursue a career in country music. For me, it took many years spent meandering around blues purism and Top-40 pop with side roads into New Wave and Old Soul, before I began to recognize the pure country sound in bands like Uncle Tupelo and singers like Ricky Scaggs and Rodney Crowell and how artists like these differed from what was usually played on country radio. Sure Crowell and Skaggs scored some hits for a time, but soon they were pretty much kicked off the airwaves. I always assumed it was because they had too much talent. The poor bands like Tupelo and their offshoots and co-conspirators never had a chance. To admit liking punk music and rock as much as country and then combining them was only allowed for one artist: Garth Brooks, and then he was sort of the pabulum fed to people who wanted to think he was special. One maverick was all Nashville would allow, yet he wasn’t as much a maverick as one who knew how to market the concept. Brooks played it as safe as any Diffie or Lawrence with “rock-and-roll” styled concerts which were choreographed right down to the last bead of sweat. From listening to this CD, you can tell Johnson actually feels it. He may not have all the pieces exactly in place, but you can tell he’s not faking or playing along. He may or may not make the impact Brooks has, but he’s not playing to the crowd. What you hear is Johnson, one hundred percent. 

The first song, 35, is a quiet acoustic-guitar-based song which Johnson manages to sing quite well. The song serves as a perfect introduction for the album (and for Johnson as an artist) as it shows Johnson has a great voice, probably much better for the country idiom than for rock, let’s say, but really just a solid voice that is showcased very well by Johnson’s co-producer Darin Karnes. I could definitely hear this song, or at least, his voice, on my local country station singing his songs. It’s a very solid track and well-written, which is to say, very heartfelt without getting overly sappy or maudlin. The second song Gonna Pull Up My Roots is a much more rocking tune, though when I say rocking, I mean rocking in a country way. Great production again, and I’ll quit saying that for each song as it’s becoming obvious now that the production is top notch. This stuff really sounds radio ready and it bodes well for Johnson as he’s probably got one of the best vocal showcases he would ever get for being an indie artist. He’s gone all out to get the right sound. The song is catchy as hell, and Johnson seems like he’s having fun singing this song about taking a chance and moving on to better things in life by changing his surroundings and his old habits. Great stuff and a song I would recommend as a single to radio if I were a part of Johnson’s team. The next song, The Other Side, is a more bluesy song, beginning with just acoustic guitar and Johnson’s voice but then the band kicks in and it starts getting good. Not as good as the other two songs, mind you, and this is the weakest of the three, but still not bad at all, in my opinion. Coming up next is Ride and it’s another solid country rocker in a mid-tempo vein with a solid chorus. Great driving song and a song which I am pretty sure would be popular if radio were to take a chance on it. Hot guitar licks on this one. Right after an applause-filled buffer track (one of several buffer tracks Johnson uses to set up his songs) comes Tennessee Star, a more bluesy rocker with some slide guitar and sounding reminiscent of ol’ Bocephus, though not so much in the vocals as in the sound of the track and the swagger with which Johnson sings. The slower, more acoustic-based Eye To Eye comes next, and is one of those country guy singing about his kid (or himself as a kid) songs which is sentimental and is written purely for a hit towards the women market who love this kind of softie stuff. I don’t particularly care for this type of song, but Johnson sounds as good as any I’ve heard doing one and the song holds up so who am I to judge? Maybe it’ll hit for him. The next song, Back Side of The Storm, is a very slow acoustic style song which I am assuming from the title and lyrics are really about a break-up or at least, rocky relationship stuff, written in an allegory of a vicious storm. Not bad, but now there have been several slower-type songs in a row and the mood of the record is starting to drag. Hopefully the next song will have some pep to it. Well, 6-Foot Blues is not a real fast one, but a decent country-style Bocephus-kind -of-blues song which is made to sound as if you are listening to the song on an old scratchy 78 until the second verse kicks in and hi-fidelity is back. Great gimmick, but something that most likely would not work on radio, though for an album is a neat little trick and the song revisits the trick at the very end. The song Stay is next and is kind of slow, just guitar, mandolin and Johnson’s voice for the most part, keeping it simple – which has worked for this album so far so why change it now? Great stuff, though the constant run of slow material is giving my ears a little bit of sameness-fatigue. Come Back To Me is up next, another slow-burner about lost love. While I like what he does here, I am now wishing Johnson had someone a little more savvy sequence the album a little better and maybe asked him to record another rocker or two to offset the slower stuff. I do respect Johnson doing this on his own though, and realize he probably didn’t have anyone helping him with this aspect. This is still a very fine album, but at this point I find myself realizing I would skip a lot of these songs in order to play a few more fast ones. Ah, cool! Solitaire is the next one and it throttles up the heebie-jeebies a little bit and shows Johnson still has some energy left in him. Good song!  Tightrope, the next song, is even faster! Written in the vein of a positive message song about chasing your dream and doing your best and all that. Decent song with a great chorus. Again, radio tune! Good guitar work that sounds something like what U2’s Edge would play if he were a country guitarist instead of a rock guitar god. Interesting hearing U2-style riffs in a country context. Notcher Man is up next, sounding a bit like a comedy love song with that classic Nashville chorus punch line. The Pieces of Me returns to the slower stuff, a quiet country song….the last song Time After Time is a version of the classic Cyndi Lauper song and the only cover on this CD. Decent country version which makes me wonder why the song hasn’t been recorded before by a country artist. Great tune for radio – mostly acoustic the way Johnson does it, which pretty much matches Laupers’ version as well. Good stuff, and although the album dragged in the middle, I am impressed with Johnson’s talent.

         I’ll tell you, this is a very good album and one which deserves some love from country radio and country music fans as it has enviable production values and Johnson has a great voice. Though it isn’t the old-style country I tend to like best, it’s as credible as whatever is going around Nashville these days. Though I often don’t like what I hear on country radio, I continue to listen for something that gives me the rush of what I felt when watching those legends when I was young and occasionally something hits me square in the solar plexus and reminds me of the true talent and originality I used to hear. I would be lying if I said Johnson fits that mold completely. He’s not arrived at a total identity yet, if that makes sense, and he will need some refining as he finds himself over the next few years. But the voice is definitely there and the songwriting is close. The true test will come when Johnson decides to do what he needs to do to differentiate himself from the pack. Then we’ll see what he really has. Right now, he’s walking the line, as Johnny Cash would say. He walks it good. But can he make his own line as the best have done in the past?

 Reviewed By Scott Homewood

Reviews, Scott Homewood Eldon Johnson, The Other Side

While listening to Eric Kearns’ new album, I was sort of reminded of Las Vegas, the city of glitz and glamour, and the places where fortunes are made and lost on an hourly basis. If you’ve ever been in a casino there, you know about those lounges off to the sides of the main gambling rooms where you can take a breather to count what’s left of your money or cry about the money you’ve lost. Every casino has one, and there’s always an entertainer there, singing the songs of yesteryear and trying to make people forget about how much money they’ve just lost. I was lucky enough to go to Vegas a few years ago when the Vegas power-brokers were just starting to abandon their ideas about Vegas being this great family destination. In fact, it was just about the time that “What Happens In Vegas Stays In Vegas” started to take hold as a catchphrase to commemorate the fact that sin was back in and family values had been told to go back to wherever they came from as they were no longer welcome in Vegas. Not sure why they wanted to become some sort of Disneyland anyway. Vegas is inherently designed for adults. The city’s casinos are open all night long, the entertainment can be okay for kids but is primarily focused on adults and Kearns is the perfect example. More an impersonator than an artist, Kearns’ act is to sing the songs of legendary singers while impersonating their voices and singing styles. Think Rich Little singing Frank Sinatra and you get the idea of what Kearns is doing. I mean, let’s face it, there ain’t gonna be any White Stripes or My Morning Jacket songs on this CD, okay?

Kearns himself is a mystery to me as I do not know much about his musical background. From this album, it is plain to hear he would be perfect for Vegas. His look and his sound are geared towards an older demographic and his choice of cover songs on this record range from Tommy Edwards to Rod Stewart. Not exactly artists the kids are listening to, for sure, though middle-aged adults are sure to be familiar with most of the artists Kearns impersonates and their songs, which is fine except for the fact I am sort of puzzled by this CD project as I will mention below.

Kearns first has go at singer Tommy Edwards and covers Edward’s hit It’s All In The Game which must be a favorite with Kearns as I doubt few remember Edwards or his hit. It is probably the most inspired choice of this set, which means it’s all downhill from here folks, in many ways. I must say the music is top notch and the production is near flawless, with a great string arrangement and guitar work to die for. Kearns notes do say he uses professionally made backing tracks which may mean they are not made under his purview, but they still sound good so I am willing to overlook that aspect. Next up for Kearns is Neil Diamond and Diamond’s early 80’s hit Love On The Rocks. Decent Diamond impersonation, though a little histrionic in spots. Bobby Vinton is next on Kearns’ hit list and I Love How You Love Me may have been Vinton’s biggest hit but only those over fifty will remember the name, or those who frequent Vegas lounges where Kearns and his ilk likely ply their trade. It may be a good impersonation – I’m not sure as it has been many years since I’ve heard Vinton – but my grandfather gives it the thumbs up so I can live with it. Kearns’ next target is Perry Como and Como’s hit And I Love You So, and once again, he may be doing a great job as it somewhat sounds like Perry Como, but since it’s been many, many years since anyone has heard Como, so who knows for sure? Next is Kearns’ impersonation of Johnny Mathis doing Chances Are, His impersonation of Mathis off a little as Kearns can’t quite capture Mathis’ distinctive vibrato and sometimes overdoes it. Mathis’ vocal quaver was actually very subtle and most impersonators, like the “artists” who do caricatures at Myrtle Beach, accentuate the distinctive features of whom they impersonate instead of being more understated about their work which means the impersonation comes off as sort of clumsy or ham-handed here. One of my personal favorites gets Kearns’ treatment next – Rod Stewart – as Kearns turns in a version of Stewart’s version of Van Morrison’s Have I Told You Lately. Wow, this impersonation wouldn’t fool anyone. Stewart is just too distinctive and Kearns’ sings the song as if an English gentleman were trying to cover Stewart at a karaoke party. Not sure if Kearns’ object of this project is trying to be laugh out loud funny, but he is here. Kearn next attempts Barry Manilow’s Looks Like We Made It next and his version sounds like a Bronx kid trying to sing the song while serenading someone under a street lamp. Never knew Manilow had a New York accent! Louis Armstrong’s A Kiss To Build A Dream On is next and surprisingly, Kearns is not bad here although it sometimes sounds like one of Jim Henson’s Muppets trying out the song on Sesame Street somewhere. Okay, Kearns is an imitator and impressionist so you know he had a version of Elvis Presley just waiting to show up. Kearns attempts Presley’s Can’t Help Falling In Love and it’s not bad but doesn’t sound anything like Presley, but more like Pat Boone trying to imitate Presley. The last (and probably least) of Kearns’ singing impressions is on Paul McCartney’s Maybe I’m Amazed where he takes one of the Fab Four’s songs and gives a performance no better than three on a scale of one to ten. If Kearns goal was to just sing the song as himself, he would’ve got a six or seven. The fact he’s trying to imitate McCartney and sounds very little like him makes me give the performance a ranking of third from the bottom.

Though Kearns does have a decent amount of talent for mimicry and a decent voice, as I am supposed to review this as an album project, I must say that I am disappointed in both concept and execution. Can Kearns actually think the public wants this sort of pale imitation passed off to them as some sort of commodity on which they actually have to spend their hard-earned money? I mean are not recordings by the artists Kearns imitates not widely available? Am I somehow supposed to like Rod Stewart so much that I would rather be more interested in someone else doing the song like him instead of purchasing an album with my supposed hero Rod Stewart doing the very same song? It’s a weird idea to say the least. And the ironic thing is that if Kearns were to just pick some of these songs and cover them in his own voice, it would be a viable project. I get that there’s a place in the entertainment biz for someone who can sing just good enough to copy a bunch of stylists and it’s usually to entertain a bunch of old people who are satisfied with facsimiles of the favorites of their youth but this, this is just a sad exercise in ego. Kearns may be great at what he does, but what Kearns does is not translatable to an album project, It is undoubtedly best for the stage where people can experience of the show and try to guess which artists Kearns will impersonate next etc. Though interesting to listen to once, I would never think of giving this a second listen. This seems to be more viable as something to give to prospective employers and people interested in booking them than to the public at large.

Reviewed By Scott Homewood

Reviews, Scott Homewood Eric Kearns, Voices of Legends

Most people who think of smooth jazz these days are going to think of Kenny G. Well, now they a new name to think of, and that’s Osaru, who has created a magnificent album of smooth jazz that will chill you out on the hottest of days and take you below zero when the temperatures are cool.

Home With The Keys is Osaru’s second album and its aptly titled too. Listen to the solo sax on these tracks. Those beautiful sounds are made with the keyboards, a breath controller and a wind controller. That’s impressive to say the least.

The songs have a very low tempo, lets take it to the bedroom type of vibe. Each track seems to speak to you in an intimate manner. I call this album an instrumental album, but there are vocals, but when the tracks use the voice its more as an instrument creating a unique sound then it is singing to a lyric particularly in songs like Pretty Lady one of the more mid-tempo tracks,  where those vocals give the song an almost tribal sound and yet later the same song closes the album with a totally different feel to it with the Slow Jam Version, which gives the song more of a romantic, turn the lights down low and snuggle closer feel.

Home is probably the track that moves me the most.  There’s something about the groove that gets the hips swaying. Its one of the lower tracks but the music really compels the body to move. Its like the music reaches out and asks you to dance and you have no choice but to accept. How could you resist? The sax solos give new meaning to the word sexy. The sax grooves on in Downtown which can best be described as a Saturday night song. I love songs that create an image in my head, and this album is full of them. When I listen to Downtown, I can see Pittsburgh on a rainy Saturday night with people hustling about to get to the theaters, clubs and bars. A song that can make you visualize, especially one without lyrics, is something spectacular. The music is telling its story and that’s a hard thing to do. Kudos to Osaru for filling an album with songs like that, as well as songs that make your body want to move.

So slip Home With The Keys into your CD player, grab a glass of wine, or better yet, a whole bottle, turn on the music, close your eyes and relax and let the music take you wherever it leads you. Osaru’s latest album is the perfect way to chill out after a long day or any day for that matter.  Home With The Keys is an album that fans of smooth jazz will be thrilled to add to their collections. Osaru has brought something special to his listeners ears and all we can do is say thank you for the beautiful music, which we’ll be playing for years to come.

Reviewed By Andrea Guy

Andrea Guy, Reviews Home With The Keys, Osaru