Who are Omega & The Aspirin, you might ask?  Well, besides the last letter of the Greek alphabet and a painkiller, they are a rather trippy electronic band from Davidsonville, Maryland.  Their debut album of the same name will get your body moving with thumping beats and fun bleeps, bloops and other techno wizardry.

The band is made up of three people known only as Cam, Cookie and Boz.  No last names here. This band is all about mystery.  The biggest mystery is where their name came from. There’s not an “Omega” or “Aspirin” in the band!  But that doesn’t matter–they deliver dance music that will keep you moving from dusk to dawn and maybe a little bit into the next morning as well.

The album opens with the peppy “Sweet As Sugar,” a perfect track to get your body moving, be it for dancing or exercise.  The sparse vocals are perhaps the only thing that detracts from the song.  They seem ghostly and don’t suit the mood of the music.

By the time the first song ends, you will be ready for something more, and the Hi-NRG “Jaffa” delivers, with a hard thumping beat that will leave you exhausted even if you aren’t dancing. This song was meant for a smoke-filled dance club.  The lush soundscape “Co-define” sweeps us up to the stars as Cam chants “Co-define.”  The rest of the vocals are reminiscent of synth pop greats Depeche Mode.

“Critical Mind” has an almost rock-like beat that might have you thinking of a song by The B-52’s, but once that initial beat is gone, so are all similarities to that Athens, GA band.  “Critical Mind” is a dark, aggressive-sounding song, plagued by the song title being repeated over and over.

The spoken word of  “We Must Arm” is annoyingly repetitious.  It samples from the famous speech made by Winston Churchill in 1938 “We Must Arm. Britain Must Arm. America Must Arm”.  Winston Churchill’s voice does give a dark, mysterious quality to the track, but the song is a trial to listen to. “Buttons” has a strange vocal as well.  At one point it almost sounds like a muddled Bill Cosby.  It mars an otherwise great, spaced-out sounding track.

“Envy Free Reaction” and “Carefully, Silently” are tracks that could well have been penned with a little help from Erasure’s Vince Clarke.  Envy has a very perky beat to it.  This is also one of the tracks where the vocal really works, even though most listeners would be hard-pressed to tell you what was being sung. Carefully is the album’s closing track and its placement on the album couldn’t be better.  It isn’t a throwaway last song on the album, but more a track that lets things wind down with grace.

In nine tracks, Omega and the Aspirin bring you full circle. They start out at a reasonable pace, get you sufficiently worked up and then let you down gently.  The album is definitely one that begs to be played start to finish in a rave-like setting.

So put on something shiny or sparkly and prepare to get your groove on, because when you listen to Omega and The Aspirin you’ll want to get up and dance, and you won’t want to stop until the last track has finished.

Review by Andrea Guy

Andrea Guy, Reviews Cameron Ailiff, Omega and the Aspirin

Wendy Waller is the type of person you’d expect to put out a good album. Wendy is a multi-instrumentalist who learned her craft at The New England Conservatory Of Music.  She’s also a vocal instructor who has taught at several universities, including UC Berkeley.  Traces of Grace, however, isn’t a good album–it is a great album!

Her latest offering, Traces of Grace, is nothing short of beautiful.  It comprises ten songs, some of which Wendy wrote and some covers.  Her style can best be described as folksy jazz with just a hint of country.

Some of the standout tracks on Traces of Grace are the covers, because of her extraordinary interpretations of classic songs such as Rod Argent’s “Time Of The Season.”  This particular tune has always had a strong sexual element, but when Wendy gives it her jazzed-up treatment, it takes sexy to a whole new level.  Her smoky vocals will leave listeners breathless.

The best cover, hands down, has to be “I’ve Got To Use My Imagination.”  Gladys Knight and the Pips made this song famous, and now Wendy is putting her own spin to it. Unlike the Pips’ version, Wendy slows it down. The lyrics pour from her mouth like a good whisky which leaves you a bit tipsy if you sample more than a glass. The only way you can describe her singing would be “smooth.”

Another beautifully-done song is her interpretation of the Smokey Robinson and The Miracles’ “I Like It Like That.”  The Miracles’ version is lively and smooth, but in Wendy’s hands the song takes on a more bluesy tone, and some of the notes she hits will blow your mind.

It would be wrong to ignore the songs that Wendy wrote for Traces of Grace. The album opener, “Get It Right” is a bluesy country number that may have some listeners thinking of Janis Joplin. The tune really rocks out and makes you want to move.  “Trace Of The Heart” is just the opposite.  It is a more laid-back song, with guitars that wail in sadness, which is perfect complement to a song about a lover who has gone.

Her voice soars on “Be My Baby,” a song with a heaping helping of blues.  This one sounds more than a little like Bonnie Raitt.

Traces of Grace is full of memorable tracks that will have you coming back to listen again, but none so much as “Folding.”  This song, above all others, really shows the world the strength of Wendy’s voice as well as her talent as a songwriter. “Folding” is more an adult contemporary love song, which alone sets it apart from the rest of an album that otherwise features plenty of blues and folksy-country-sounding tunes.

The album closes with “No More,” written by Toots Camarata and recorded by Billie Holliday in 1944.  Although it is hard to make comparisons between the two versions, it is safe to say that Wendy’s version is just as good as the original.

Traces of Grace is one of those rare gems–an album that can be played from start to finish without a bad song in sight. This is truly a must-listen for any music lover.

Review by Andrea Guy

Andrea Guy, Reviews Traces of Grace, Wendy Waller

Matthew Fogle has thrown his hat in the Christian rock arena after playing in the secular indie rock scene for eight years.  His latest offering is the EP Plea: 491 was recorded in November 2009 in Dark Horse Studios in Franklin, TN, and is a real rocker that is almost like a collage of the last thirty years in music.  The five tracks on the EP seem to touch many genres from classic rock to power pop and alternative.

Fogle sounds a bit like Dylan on the opener,  “God of Power and Might.“ Actually, he sounds like both of the Dylans, father and son. His voice takes on an eerie similarity to the elder Dylan while the music sounds like Jakob’s Wallflowers.  The song is a good mixture of modern and classic sounds with a spiritual message and is by far the strongest on the album. It is often said that song is making a joyful noise unto the Lord.  If that is the case, Matthew is doing that loud and clear.

The highlight of the album comes with the second track, “Come Back Source.”  It has a great riff and a catchy chorus that will have you singing along in no time. This song has the potential to crossover into the mainstream pop arena.   “Splashdown” is a wonderful song that speaks of baptism.  The opening line sets the tone as he sings “I feel the colors of the earth. Splashdown to waters of rebirth.”

The closing track is a ballad that will touch anyone’s heart. The lyrics are heartfelt and seem to be the most secular of the five tracks that make up Plea: 491. If you give the song a few listens, you will find that there is likely more to it.  When he sings “I’m Sorry I let you down. Crying in your final hour.” it is hard not to think of Judas’ betrayal and Peter’s denial of Christ.

This EP is a well-rounded taste of what Matthew Fogle has to offer his listeners.  He delivers songs that rock and ballads that make you think and possibly even strengthen your faith.  He does all of this with a healthy dose of guitar and some great drum beats. One of the best guitar solos can be found on the song “Garden Flame.”  It will have you head banging like Wayne and Garth.

Plea: 491 is fresh and enjoyable listen for any fan of Christian music.  Fogle’s ability of writing songs that appeal to the masses, while still bringing his message of faith can certainly gain him listeners. He manages to share his beliefs in a way that neither overwhelms the listener nor takes a backseat to the music.  Fogle’s music is what it is: solid Christian rock.

Review by Andrea Guy

Andrea Guy, Reviews Matthew Fogle, Plea:491

Isaboe is a mostly self-taught musician who has been writing songs since she was only fourteen years old. In December of 2008, she released her first album, Love Sun. She got her musical start at the tender age of five when her dad taught her paradiddles on his drum kit.  As she grew older, she discovered The Police and a love for drumming, which then led to her picking up her sister’s guitar.  Music soon became her favorite pastime.

The album was a long time coming.  She spent a lot of time dabbling in songwriting and playing in garage bands.  She finally started work on Love Sun in 2006 and after many re-writes, she has it ready for our ears.

The finished product is a mixture of pop and something close to new age.  In fact, at times Isaboe manages to sound a little like Elizabeth Fraser of The Cocteau Twins.  Most of the tracks on Love Sun have that dreamy sound that makes you want to chillax with an ice-cold drink on a beach somewhere.  It would best be described as progressive pop.  The arrangements make you think of bands like the Annie Haslam-fronted Renaissance.

The album opens with the poppy “Brightest Love,” a song with a great guitar hook and a very psychedelic sound.  Isaboe’s vocals are strong and the song has a way of catching the listener’s ear.  “Calling To You” sticks with the same psychedelic pop formula, in the manner of The Lightning Seeds or Modern English.

When you reach “Future World,” the tone of the album shifts.  The songs slow down and take on a more ambient feel.  The vocals are still lush, but one song can easily be interchanged for another.  The title track is probably the best of the more ambient-sounding tracks.  It is a love song sung from a higher plane.  The song’s message is reminiscent of the love songs of Flower Power era.

“Golden Year” is a song of reflections that brings us back to a more upbeat sound again.  “Revelation” gives a glimpse of some of Isaboe’s philosophies of life. It is a mellow track with haunting vocals that will leave you pondering what she’s singing about.

The best song on Love Sun comes just as the album is about to wrap up.  Isaboe gives us a taste of musical perfection with “Home.”  The vocals are ethereal and the lyrics show just how powerful Isaboe’s songwriting can be.  The album’s closer, “For All Our Days,” is a fitting closer to the album.  It is another dreamy ambient track with just a hint of guitars to keep it from sounding too bland.

Isaboe has a definite talent for songwriting and her voice provides a blissful listening experience. When she keeps the songs sounding more poppy she does well, but when she lets things drift into that ambient aura the originality of the music disappears.  Still, this is a solid debut by a songwriter that the world definitely deserves to hear more of.  There aren’t many songwriters out there who can express emotion quite as well as Isaboe, and that is what sets her apart.

Review by Andrea Guy

Andrea Guy, Reviews Isaboe L'Mondt, Love Sun

If you break out of your comfort zone once this year to listen to a new artist, let that new artist be Earl. J. Rivard.  It will only take one track for him to grab you and pull you into his world.  His voice is full of passion. This is a man who could sing the phone book and people would stop and listen.

When you listen to Underground Railroad, you get to experience the full range of his vocal talents.  Earl sings songs from many genres—folk, blues, and pop, to name but a few.  It is impossible to pick a standout track on Underground Railroad, as each track is so impressive that comparing them somehow seems wrong.

“Lady Sweet Lady” shows Earl singing a Celtic-sounding folk song.  The acoustic guitar and flute arrangements on this song are particularly beautiful.  When you listen to this song, you’ll feel like you’re listening to a ballad from days of old, when actually the song is one of Earl’s original compositions.  In fact, all the songs on Underground Railroad are written by Earl, his father, or the two of them together.  It doesn’t take long to realize that these two men are excellent songwriters.  Still, songs are nothing without a voice to sing them, and with Earl J. doing the honors these songs are taken to a whole new level of beauty.

Earl’s voice is so deep and soulful that it is hard not to be moved by it, especially when he’s singing songs of love.  “Yours Eternally” has a vocal that is reminiscent of Josh Groban.  Earl’s voice soars as he conveys the song’s romantic message.

Turning the tables is “Sometimes Love,” a song that deals with the cooling embers of love that once burned brightly.  The lyrics are a haunting reflection of how delicate love is, and how easily it can be shattered and broken if not tended to properly.  When Earl sings, “Lovers need to understand, that to keep the love they’ve planned, they must learn the raging blaze to tame. For a fire can cool within the hearth or blow up in a burst of sparks,” that delicacy becomes apparent.

One of the strongest songs on the album is the title track, “Underground Railroad.”  Written by Earl Jr. and Earl J. Rivard III, the song is about laws that separate a child from their mother because if born in the United States, they are citizens but their mothers are not and are often sent back to their native lands.  The song manages to convey all the right emotions: anger, disgust, and sadness.  It starts with a preface that may offend some listeners, but the truth really shouldn’t offend.

The bluesy rocker “This Time Around” shows a more playful side to Earl’s music.  This song has an infectious beat that calls out to everyone to get up and move.  It is the least serious of the thirteen tracks that make up Underground Railroad, and it really showcases Earl’s versatility as a songwriter as well as a performer.

When you listen to “Unfinished Songs,” you instantly feel like you’re listening to a lighthearted pop tune, but give it another listen, and really listen. When you do, you’ll hear a song about the struggles of having something to say, but not being able to find the voice or words to complete the thought. The song is made even more poignant when you reach the abrupt ending.

With Underground Railroad, the world can see the many facets of Earl’s talent.  You will hear the voice that will instantly capture your heart with its power and emotion.  You’ll discover the songwriting ability that will impress even the harshest critics. This is one voice and one album that must be heard!

Review by Andrea Guy

Andrea Guy, Reviews Earl J. Rivard, Underground Railroad

Starfire is a band that sounds like it belongs on a classic rock station.  Bands such as Foreigner and Journey provide the inspiration for Starfire. Eye Of The Storm is chock full of piano ballads and rockers that take the listener back to the days where big was all the rage, from shoulder pads to hair. Everything about this album screams 80s, from the sweeping keyboards to the vocals.

Listening to this album is bound to bring back memories for anyone who considers themselves a child of the 80s, but for those looking for something fresh and different, this album could fall flat.  Listeners who long for the Reagan years , however, will take delight in this album.

“No One But You” has great synths and a strong beat.  It is a great dance-pop love song that makes your feet want to move.  It’s a shame that those positives occasionally drown out Dairenn Lombard’s vocals, because the lyrics are worth hearing.

Dairenn has a talent for writing love songs. Songs like “Waiting” and “Thinking About You” highlight the beauty of the lyrics, as well as Dairenn’s piano playing.  Songs like this are the reason why you’ll remember Eye Of The Storm.

The high point of the album is the fun, super-dance pop tune “Genie.” This track has a very new-wave vibe.  Think early ABC.  It is definitely a song that begs you to get up and dance.  The lyrics are playful and fun and, if you listen really closely, a little risqué!  “I’d be your genie, in a bottle.  Just rub me, and watch me come.”  Conservative listeners may raise an eyebrow at that line, if they stop dancing long enough to pay attention.  The album could have used a few more tracks as fun as this one.  “Genie” is the most radio-friendly track on Eye Of The Storm, and it has the makings of a Top 40 hit.

The only time Starfire doesn’t quite ring true is when they try to rock out.  Songs like “Open” lack the heart and soul that the ballads on Eye Of The Storm have.  It lacks originality.  If you’ve heard a song by Foreigner or Journey, this song won’t catch your attention at all.

The title track feels like it goes on forever.  It’s an epic tune, clocking in at nearly nine minutes, and as an instrumental track it feels too long.  The melody is a bit too repetitious for it to be really enjoyable.  It’s certainly not a good album closer.

On a whole, the album is mostly consistent, focusing on the strengths of the power ballads that Dairenn handles beautifully.  It is only when they deviate from that type of song that the music becomes a little lackluster.

Power ballads and dance pop tunes seem to be the recipe for success for Starfire.  If they stick with that formula, they will definitely be a force to reckon with.  Dairenn Lombard certainly has the songwriting ability to take this band far. Now, if only the band could move away from that 80s sound.

Review by Andrea Guy

Andrea Guy, Reviews Eye of the Storm, Starfire

Robin And The Giant is the perfect band for the family.  Their album, Winds Of Change, is a compilation of songs from their past recordings and is a great introduction to the band.  After hearing these twenty-one songs, it’s easy to believe that they have an appeal that stretches across all ages.

The duo of Robin MacBlane (Robin) and Larry Whitler (The Giant) have been performing together since 1987, amassing a string of albums together prior to this compilation’s release.  Larry has released several albums as a solo artist, as well as those with Robin.  The songs are reminiscent of Peter, Paul and Mary.  They have a very folksy feel and a certain childlike innocence, which is why these songs can really cross the ages.  Robin and the Giant don’t sing down at children.  They just sing simple, pretty, and often-funny folk songs that both young and old can enjoy.

The lightly-reggae-tinged “In The Caribbean” tells a story of falling in love in Jamaica.  The song has a slow beat and vocals that conjure up images of white-sand beaches and crystal-clear water.  It also has a little bit of light humor that keeps the song from crossing over into a more grown-up sound.  If it’s smiles you are looking for, Robin And The Giant will deliver those to your ears with songs like “A Hamster Poops” and “Doggy Dog World.”   Little ones will particularly love “A Hamster Poops.”  What child would not break into a grin when someone sings about poop?

There’s a lot of hope to be found in “Aim High, Sweetie Pie.”  This is a song that reminds us that our dreams are always within our reach, as Larry eloquently sings — “And every day they could see those dreams grow. With a vow they would never let go. It’s a great big world, and an even bigger sky, so aim high sweetie pie.” The heroine in this song never forgets that, and she helps those around her achieve their dreams, too.  Would that all people could be that way.

The songs aren’t all light fare, though.  The song “Mr. Freeman’s Roses” is just a bit on the sad side.  The song is about an elderly woman who is living in an assisted living facility, with, as the song says, “lots of grandmas doing lots of grandma things.”  Perhaps a child won’t pick up as quickly on the melancholy subject matter of the song, but all the grown-up listeners will.  The song is particularly bittersweet for anyone that knows someone who has had to move from their home for health reasons.  The song paints a lovely picture of an older woman who loved her garden and loved her husband who passed away.

“Heloise O’Lantern” is another tune that isn’t all too happy.   Heloise is Jack O’Lantern’s sister, whom nobody knows because she sits in the middle of the cornucopia on Thanksgiving.  But, on a happier note, she’s content to let her brother Jack shine.  This is probably the most memorable holiday tune that most people will be fortunate enough to hear.

Robin And The Giant create beautiful folk music for the family.  Winds Of Change is a wonderful compilation to introduce you to their music.  No matter what your age, one of these songs will touch your heart and possibly even open your mind.

Review by Andrea Guy

Andrea Guy, Reviews Robin And The Giant, Winds Of Change

If you are listening to Jenny Franck for the first time, be prepared to be wowed by a great voice and some killer guitar riffs.  Jenny isn’t your typical girl singer or girl rocker. There’s no little girl voice here, and definitely no screaming vocals.  In fact, what you’ve got is a mixture of the vocal prowess of Ann Wilson from Heart with the guitars of the grunge era to make it interesting.

In four tracks, you get to experience just a taste of Jenny, and if you like girl rockers, that taste will leave you wanting more. Jenny handles the guitars along with Mike Orr (bass) and Steve Matthews (drums). Together the three of them have created rock music that real people can identify with.

It is hard not to be drawn to Jenny’s cover of “Heart Shaped Box.”  When an emerging artist chooses to cover such a well-known song, it has to draw some interest.  Jenny slows the track down at the chorus and adds her own deep, husky vocals to the tune, and the result will stun you with its beauty.  Jenny stripped down Nirvana’s song and delivers it to her audience with simplicity.  It has a more haunting air to it now.

There can be no doubt that Jenny has been influenced by many of the grunge artists of the 90s and that influence comes across loud and clear on tracks like “Best In Me,” as well as her Nirvana cover.  “Best In Me” is a very dark, almost brooding listen.  When she sings, “I never show the best in me,” you can almost feel her frustration.  The guy she wants to notice her doesn’t and, all in all, life just isn’t being kind–and that results in her not putting her best out there.

“I See You” is probably the most upbeat of the four tracks, with a steady guitar rhythm that sticks in your mind and gets your body moving.  This song that has real energy, and it shares that energy with the listener. It probably should come with a warning label: Beware, listening to this song too long may cause you to body surf through a crowd.

Jenny isn’t all about rock.  She has a softer side as well, and she shows it off on “Fragile.”   This particular song drifts more into the pop spectrum, with a jangling guitar to accompany Jenny’s dreamy vocals.  She handles this slower number just as well as the rockers, and it leaves you with a desire for more like it.

If these four songs are any indication of what’s to come, Jenny Franck has a promising career ahead of her. With her strong voice and the girl grunge sound that’s really more than just grunge, Jenny is sure to catch the ear of many listeners. This EP is definitely a teaser, and once you’ve heard it you will be eagerly waiting for whatever Jenny might be recording next.

Review by Andrea Guy

Andrea Guy, Reviews Jenny Franck

The Shady Cats can produce only one word from their listeners, and that’s “Wow!”  There’s no ifs, ands, or buts about it, this band is a classic rock fan’s idea of heaven.  A little bit of all the greats from the 60s and 70s show up throughout Love Callin’.  It’s got psychedelic melodies and power pop guitars, and lyrics that will have you singing along in no time.

Love Callin’ is the album you want to grab on a sunny day when you are about to get in the car with a group of friends.  It’s also the album you grab when the rain is pouring down and you need a pick-me-up. This is an album that instantly perks you up.  It’s good-time music.  The title track is fast-paced with jangling guitars and a vocal that sounds like Rob Thomas and the boys from Fountains Of Wayne got together and had a love child that everyone is cooing over. The lyrics are what really grab you.  “Wine warms my heart, but it don’t warm our sheets.  It can’t cuddle me, but it helps me sleep” is one of those lines — and as soon as you hear it, you are grinning because it’s true.

“Take Me” has a country rock feel, with some blazing guitars and a touch of a twang.  It’s songs like this that show the versatility of vocalist Grady Crumpler.  Remember that name, because Grady is going to be a name that you won’t want to forget.  After one listen, you are going to want to tell all your friends about how great The Shady Cats are — and when you do that, you’ll want to remember that Grady is the lead singer.

One of the tracks that really stands out on Love Callin’, and there are many, is “In The Moment,” which features Don Dixon on vocals.  Don’s produced albums for bands such as R.E.M. and The Smithereens. This track takes its vibe from The Smithereens’ new wave/classic pop sound.

“Til The Rain Comes” is eerily like another, more famous song about rain.  The chorus will fool you into thinking John Lennon is singing.  But this song is much more upbeat than The Beatles’ “Rain,” and both songs have very different messages.  “Til The Rain Comes” is more about how the rain cools you and revives you from the heat of the day, whereas The Beatles’ “Rain” deals more with the way society seems to hide when things aren’t cheery and bright.

“She Kisses Me With Her Eyes” is a great example of power pop at its finest.  It has one of the best guitar riffs on the album and chorus invites you to sing along.  It is a fast-paced listen that is best played at top volume, preferably from a car stereo.

They don’t ignore ballads either. “All The Way” is a Hollies-esque tune, with slow vocals that put you in a dream-like state and a beat that will get your body swaying.

Love Callin’ is an album that you’ll play once because you are intrigued about the band, but you’ll play it again and again because you have fallen in love with it.

Review by Andrea Guy

Andrea Guy, Reviews Love Callin', Shady Cats

The Panache Orchestra can best be described as being a band that makes music that is hard to describe.  Most music fits into a certain genre, but with The Panache Orchestra, that is not the case.  They are neither classical nor pop, but more a bit of both with touches of new age and chamber music added to mix for good measure.  After one listen to 10 Strings genre no longer matters.  The elegant simplicity of the acoustic guitar and violin will blow you away.

10 Strings is the band’s first commercial release in ten years.  The album is aptly titled as it features only the six strings from the guitar and the four strings from the violin.  It is truly amazing that most of the twenty tracks featured on this dual disc were recorded in only one take.  The way the music of the guitar and violin blend is stunning, and the two instruments share the stage with grace.  Neither instrument takes center stage, but rather they melt together to create a sound that is unlike anything else out there.

The two discs that make up 10 Strings show off the versatility of the two musicians, Brenda K (violin) and Chi Saito (guitar). The two met in a sushi bar in 1998 after both had decided to get out of music.  It was love at first sight for them, and the two soon began to work together.   This is literally a case of the old cliché of two people making beautiful music together and 10 Strings is a perfect example of that.

The first of the two discs is more classical in nature.   As the first few chords of   “Awakening” begin to play, it is easy to just let your eyes close and allow the music to carry you on its soothing journey.  Each subsequent track carries on in a similar vein and by the end of the first disc the music has worked its magic.

These songs really allow Brenda’s talent as a violinist to shine through, without eclipsing Chi’s guitar work.  When her bow touches the strings, they seem to sing out a song all their own.  “Coronado Bridge” is a particular highlight.  At times the tune has an almost Latin feel to it and then midway through, the tone shifts and the mood of the song seems suddenly sad.

It is often difficult to believe that the music presented on 10 Strings is made by just two instruments.  The melodies are so deep and rich that it can easily convince the ear that there is a full orchestra backing them.

The second disc of 10 Strings shows off the band’s pop sensibilities.  This disc is almost like a roller coaster ride of moods and musical styles.   It starts with the first track, “Pegasus,” which is much more spirited than any of the songs on disc one.  There is a particular point at the end of this piece where Brenda makes the violin sound like the Pegasus letting out a resounding neigh.  It is startling and yet amusing to hear the instrument take on that animal characteristic.

Songs like “T’z Blues” and “Give Me Another Kiss” show off the duo’s versatility.  These tracks take them into a more country and folksy area. The latter of the two tracks has a melody that will get toes tapping.

The duo easily shifts the mood with “I Will Say I Love You Again.”  Gone is the upbeat tempo of the last two songs and in its place is a tune that is almost melancholy.

10 Strings is an eye-opening album for music lovers that don’t believe classical and pop music can be as one.  Brenda K and Chi have created music that will appeal to lovers of both types of music.  It may not be easy to pinpoint a genre in which their music fits, but that is what really sets them apart from other artists.  The Panache Orchestra truly is something different and special, and in an industry where those two things don’t happen that often, they are a welcome change.

Review by Andrea Guy

Andrea Guy, Reviews 10 strings, The Panache Orchestra