On her debut release, I’ve Been Waiting, Boston-based singer/songwriter Lauren Bateman sings of love, heartache, anger, redemption and loss. While her moving tales are relatable, the lack of diversity in her vocals from track to track makes it difficult for listeners to truly pay attention. Each song blends into the next with little variation vocally to keep one intrigued.

However, all is not lost. Bateman crafts passionate lyrics many can identify with. Tracks like “Guardian Angel” strike a chord to all who have lost a loved one while “Civil Again” represents the desire most couples have after a bad breakup – for everything to go back to how it once was.

Title track, “I’ve Been Waiting,” kicks off the 10-track album with slow guitar strumming before Bateman enters. With raspy vocals reminiscent to that of Melissa Etheridge, Bateman sings of finding her way. Described as, “a lost soul finding all they have been waiting for in love,” the song is an appropriate introduction for listeners. “I thought I would never be saved/I thought my heart would always feel this way/Always lost and alone/Always looking for the way home,” she sings. With the overlying theme of one’s search for love, “I’ve Been Waiting” begins the listener’s journey.

“I don’t want to be without your beautiful face/And I don’t want to be without the memory of your sweetest grace/And I won’t let a day go by without letting you know/These feelings only grow,” Bateman sings on next track, “Beautiful Face.” With light percussion and vocals, the song demonstrates a stripped down approach. Easily pictured being played at an intimate venue or coffee house, Bateman has a friendly appeal.

Third song, “Civil Again” switches gears from the butterflies-in-the-stomach excitement of new love to the heartache and questioning of what went wrong at the end of a relationship. Singing of the awkward encounter with a past love, you can feel the sadness and longing for normalcy in Bateman’s vocals.

One of the stronger tracks musically on I’ve Been Waiting, “Everything’s Okay,” is an edgier lament of Bateman seemingly trying to convince herself that “Everything is going to be okay.” With angst-filled electric guitar accompaniment and haunting timpani features, it is the music that stands out the most. It is curious how Bateman’s voice remains so constant though. Starting out with a slow whisper, she eventually picks up her singing style, but never reaches the same intensity as the music.

A song written for her aunt that passed away from pancreatic cancer last year, “Guardian Angel” is by far the strongest track musically and vocally. With chilling string accompaniment and emotion-fueled vocals, it is on this song that Bateman truly shines. Obviously a touching tribute to her aunt, the listener can feel the impact and loss Bateman suffered. Again, a slight crescendo or dip within her vocals could have made the song even more powerful.

Ending I’ve Been Waiting with “Happy Ever After” and “Burning Bridge,” Bateman seems to have found herself. While still in search for love, she appears closer to discovering her own happiness. A long journey, I’ve Been Waiting is a dive into her innermost emotions and dreams while proving to be therapeutic. A strong debut release, with added variation vocally, I’ve Been Waiting could have made more of an impact.

Review by Annie Reuter

Annie Reuter, Reviews I've Been Waiting, Lauren Bateman

“Songwriting is turning the heart inside out and letting the world hear its meditations. If a song is truly authentic it is a Christ event, a giving of your life for the benefit of those who have ears to hear,” singer-songwriter Rick L. James said.

This quote alone describes James’ music best. An international recording artist, guitarist, studio musician, songwriter, worship leader, ordained minister and tenured youth pastor, he has traveled throughout the US and Africa providing hope and healing to those in need. Having performed his music on radio stations, TV programs, churches, and coffee houses, James’ biggest gig was at Church of the Nazarene General Assembly in Orlando, Florida, where he performed for over 10,000 people.

It is perhaps no surprise then, that James began singing at the age of five when traveling with his family of Evangelists. Having learned guitar at 15, by the time he was 17 he was performing at Nashville’s renowned Ryman Auditorium and working as an assistant guitar teacher in the Doc Stone School of Music in Dickson, Tennessee. Many songs and worship services later, James is back with his latest release, A Little Lower Than the Angels.

Starting off A Little Lower Than the Angels strongly with in-your-face percussion, James grabs the listener’s attention right away. Best described as contemporary Christian rock music with hints of country and Americana woven throughout, James offers much to his listeners without sounding too preachy.

“Who am I that you are  mine to love me/When you know I’m as sinful as I seem/I can’t wash blood off of my fingers/So you love to make me clean…I’m amazed that I’m the one you love,” James sings on the title track. One of the more energetic on his 10-song release, James’ catchy songwriting leaves an impression on the listener.

Second track, “(If You’re Not Gonna) Move This Mountain” begins with gritty guitar and equally fit percussion. Singing of hardship, James questions his life and asks for advice. “How in the world did I get here/How in the world do I leave/The promised land is straight ahead and just beyond my grasp/I’m trapped between the mountain and the sea,” he sings. A song many can relate to, James asks God, “If you’re not going to move this mountain can you help me across to the other side?” With solid finger picking, background vocals and percussion accentuating the song, the album is off to a strong start.

Based in Springfield, Ohio, his songs are all-encompassing to worship services and believers everywhere. While ballads like “You Are There With Me” can be easily heard in services, tracks like “We Lost the G” are comical and tongue-in-cheek, offering much versatility.

A humorous tale of a sign that read “All singers welcome” before the G blows away and eventually reads “All siners welcome,” James offers something new to his listeners. A more Americana roots-esque track, “We Lost the G” is an enjoyable, light hearted song. While the static heard throughout the song is a bit distracting, it offers an older record-like quality to the performance.

“Few things give me the joy and fulfillment that playing music and singing to the Lord does. To me, music is a form of prayer.” With the goal to offer a quality music program while being a servant to the needs of his audience, James does just that on A Little Lower Than the Angels. Ending with two acoustic tracks, he reminds listeners what they are put on this earth for. It’s not every day a musician can do that.

Review by Annie Reuter

Annie Reuter, Reviews A Little Lower Than the Angels, Rick James

Honey V’s is led by indie duo Vicky Reardon and Lili McGovern. Alternating vocals and guitar throughout In the Garden & Dancing, the band sings of life, love and motherhood. An extremely personal release, Reardon and McGovern talk about everything from the frustrations they feel as mothers on “Don’t Ever Change” to body image on the comical “Big Ample.”

No stranger to the music industry, McGovern has been releasing solo work for years. Funding the album themselves, honey V’s recorded and produced three songs on their debut release in McGovern’s home studio. Both writers and mothers, McGovern and Reardon wanted to have fun while taking care of their families. As a result, the duo continues to perform locally and sporadically when they can.

“We’re all about passion and love expressed vibrantly and vivaciously by two voluptuous, voracious, visionary women,” McGovern said.

Both met while performing with the Derry Aires (Tin Pan Alley & a capella) in Alaska. Comedic songs were the basis of their repertoire, but as a writer it’s one of the toughest genres to tackle. Perhaps it is no surprise then, that many of the tracks on the album embody a distinct sense of satire. One song in particular, “Big Ample,” has charted at the top of the comedy category on Ourstage.com for a month. “I hate my butt, my belly my hips and my thighs/My nose is too big and my shoulders too wide/But there’s one part of me that I don’t detest/I just love my big ample eyelashes,” honey V’s jest.

The listener can sense the passion and excitement for music McGovern and Reardon have throughout the 12 tracks on In the Garden & Dancing. A very organic sounding release, both women’s voices blend well together with the accompanying music.

In their biography, McGovern and Reardon cite their muses as being Calliope, Goddess of Eloquence and Epic Poetry, and Athena, Goddess of Heroic Endeavor and Wisdom. Second track, “Athena” is a testament to her powerful inspiration.

“I was young when I realized how strong I was/I made boys cry just because/I made tomboys look like beauty queens/I was obscene!/I am not weak, I’m Athena/I am not weak, I am strong/
I am not weak, I’m Athena/Mount Olympus is where I belong,” honey V’s sing over light percussion.

“I love writing powerful songs with a rock and country influence,” Reardon said. The listener can easily hear this throughout In the Garden & Dancing. “What This Town Needs” is a moving country ballad of love.

“Every woman needs a look that makes her cheeks turn red/Every neck wants to be kissed/Fingers need a lover to trace up and down/Even I want a love so strong I can’t resist…You crossed the room, while they all just stared/Your tender kiss made them all aware/And it was magic/That I could have this/Hell, what I need is you,” honey V sing emotionally. With light guitar strumming embodying the feeling of the song, Reardon’s soprano soars with fitting harmony from McGovern.

Stand-out song, “Valentine” is a stripped down acoustic track that showcase McGovern and Reardon’s voices best. An impeccable piece, the light guitar and percussion accompaniment never overshadow the vocals and instead, accentuate each artist’s voice.

Full of emotion and unique storylines, honey V’s latest release separates them from the pack. Whether it’s their comical lyrics, stripped down acoustic tracks or vocal harmonies, the duo manages to keep the listener’s attention. While music may not be their full time focus, their passion is evident throughout In the Garden & Dancing.

Review by Annie Reuter

Annie Reuter, Reviews Honey V's, In the Garden and Dancing

Not everyone has a near death experience and is given a second chance. However, this is the case for California-based singer-songwriter Justin James. After an encounter with a tiger shark left him bleeding to death on a South American beach, multiple blood transfusions and hundreds of stitches later, James found himself bedridden for a long year of recovery. Lucky to be alive, but understandably frustrated, an acoustic guitar gifted to him by his grandmother helped revive James’ longing for life, surf and music.

Definitely a life changing event, the encounter refocused his outlook on life. “It’s crazy to digest,” he writes on his Web site. “That’s why I spend my life now chasing what I love the most: traveling, surfing and playing music.”

Listeners can hear this passion on his latest release, Perfect Sometimes. Produced by Andrew Williams (Five for Fighting) and Mikal Blue (Colbie Callait, One Republic), Perfect Sometimes is a stand out release that one can find himself listening to for hours on repeat. While his easy-going and effortless singing style begs comparisons to that of Jack Johnson, Jason Mraz and fellow California songstress Colbie Caillat, his music has been making a distinct impact on its own. Hit single, “California” earned James a “Best Male Vocalist” nod at the 2007 Los Angeles Music Awards which eventually brought him to Japan, where it peaked at number 5 on the Top 40 chart.

The laid-back title track, “Perfect Sometimes,” kicks off the 11-song release. Featuring ukulele legend Jake Shimabukuro, the listener is taken on a journey with James’ accompanying soothing vocals. While his delicate guitar picking is reminiscent to Jack Johnson, it is his vivid lyrical description that transforms the listener to a tropical island complete with an orange tree, sun and sand. Not always an easy feat for a singer, the listener can actually picture himself at the beach – feet in the sand and the ocean waves reverberating in his ears.

What is perhaps most striking of the album is that James’ voice is so relaxing and comforting, making it easy for one to get lost in the music. Singing of love, hope and heartache, his stories are moving and relatable while each track segues effortlessly into the next.

On “Deeper Waters” James sings of a former love and not wanting to see her “with another man.” Trying to find solace, James sings, “Just remember how our story starts/Even when the lights are dark/Even when we’re worlds apart/Even when you’re falling hard/ There’s deeper waters/Even when you’re feeling lost/And the rain is falling soft/Even when you’re hanging on/There’s deeper waters.” With light piano, percussion and James’ poignant vocals this is just one of the many stand out ballads featured on Perfect Sometimes.

“Missed Again” picks up speed after “Deeper Waters.” His lyrics are incredibly honest, the listener easily feeling the emotion throughout the track. With more upbeat guitar accompaniment and percussion, it’s easy to picture James in a concert setting.

Songs like “You Don’t Know Me” talk of long distance love, which tends to be a theme throughout Perfect Sometimes. “Know that I’ve been gone for so long/But you can never get left behind/Far from you but you’re in my heart/You will be through in time/Find some trust/Let’s hope that you believed in us/You think you know it all/I need you to believe in me,” he sings.

“Moonlight” switches gears and sounds like a classic song that could have been sung by the older greats like Frank Sinatra or Dean Martin. A more mature feel, James sings, “Surrender to moonlight tonight/Your eyes tempt me gently to your side.” With soaring string accompaniment, “Moonlight” is one of the album’s hidden gems.

One of the last tracks on Perfect Sometimes, James sings, “All I want to be is forever free/Running with the wind,” on “Running With the Wind.” Singing in a deeper voice than heard on previous tracks, the emotional ballad proves James’ staying power. Such a versatile release, Perfect Sometimes is sure to bring the California surfer plenty of years catching waves on the music scene.

Review written by Annie Reuter

Annie Reuter, Reviews Justin James, Perfect Sometimes

Sexy Mathematics are indie rock at its finest. With guitar fuzz galore and high intensity percussion accompaniment throughout their debut six-song EP, Integration, Sexy Mathematics are well on their way. While some tracks embody more of an electronic vibe easily pictured playing at clubs, others are straight up solid rock tracks that I can only hope to experience live in concert.

After spending years crafting indie pop melodies in his basement, Chris Daviduik decided it was time to record his best material at a studio. The resulting masterpiece that is Integration, he describes as “a blend of piercing guitars and orchestrated synthesizers with alternative rocking drum and bass lines driving the songs to completion.” I couldn’t agree more. Based out of Saskatoon, Saskatchewan, Canada, the band consists of Chris Daviduik on guitar/vocals, Liz Syrnick on synthesizer/backup vocals, Dylan Smith on drums and Brandon Mellish on bass.

“A Novel Romance” kicks things off on Integration with plenty of guitar and percussion textures blending well with Chris Daviduik’s vocals. He sings softly at first, before a gritty guitar interlude envelops the track. At three and a half minutes long, the song is a glimpse into the rest of the EP and a solid portrayal of Sexy Mathematics’ talent.

Having spent years crafting each song to perfection, Sexy Mathematics’ debut EP demonstrates countless hours of hard work and perfection. With an EP this strong, one can only wonder what their next release will bring. “Who Knows” segues effortlessly after “A Novel Romance.” A guitar heavy track, it is the singer that is in the background on this song. “I don’t think this love is what we had in mind or resolved/Changing is young and over-rated,” Daviduik sings. The guitar riffs quickly capture the listener’s attention wholeheartedly while the musical accompaniment remains at the forefront of this track instead of the singer. Not always in the best interest for a band, but it works well on “Who Knows.”

“When Isometrics Collide” is as close to a psychedelic experience as one can have listening to music. Heavy in synthesizer, Daviduik sings, “Start seeing your life as the best thing to happen to me or anyone else alive,” among plenty of guitar fuzz. “When Isometrics Collide” leaves the listener begging for more. Just over halfway through the EP, the song presents an ethereal quality with Daviduik’s seductive singing style and accompanying music.

“The Void” and “Set Up!” close Integration strong and with incredibly high intensity. One of the more upbeat and gritty tracks on the EP, Daviduik’s singing style throughout “Set Up!” brings slight resemblance to that of The Clash. The song powers through from the guitar entrance to the fade out of the song, leaving listeners wanting more.  An accurate portrayal of an up-and-coming indie rock band, Integration promises great things for Canada’s Sexy Mathematics.

Review written by Annie Reuter

Annie Reuter, Reviews Integration, Sexy Mathematics

From the very first guitar riff on Cooper Cobra, the listener quickly realizes this isn’t your typical debut EP. Full of energy, Lily Sparks’ lead vocalist Niamh has a certain rocker quality that peaks interest. Accompanied by Nikki 7 and KG* on guitars and vocals and Mick Fumento on drums, the sound rounds out well and the five-song release leaves the listener begging for more. While Lily Sparks have been compared to Siouxsie and the Banshees, the band’s talent and versatility is undeniable. Blending 80s rock and killer guitar interludes for a truly unique experience, Lily Sparks is one band to watch.

Together just a year and a half, Lily Sparks have gone from playing acoustic shows in bars to playing the main stage at New York’s prestige venue Webster Hall – no small feat for a  new band. The music industry has taken notice too, as Lily Sparks have won the East Coast Finals of the Emergenza Festival beating several hundred bands in the competition. After winning, the band performed at the Taubertal Music Festival in Germany where Niamh won Best Vocalist.

Hard to believe, Niamh grew up in Ireland singing traditional Irish songs. Classically trained in voice and piano, she went on to perform in choral groups and played lead roles in musical theater. These experiences no doubt trained her as frontwoman of Lily Sparks.

First track, “Stars” is catchy and bound to stick in the listener’s head long after the last chord is played. “Starlight on the open road and I may not ever come home/Now I don’t care just what they’re saying/’Cause I’m not about to change my ways/I’m living it up ‘til my dying day/Stars, guitars, muscle cars make me happy,” Niamh sings with fitting electric guitar accompaniment. A perfect way to start the album, Lily Sparks drags the listener in right away.

“Let Go” switches gears and is more of a rock ballad than the high intensity showcased on “Stars.” Niamh alternates from rocker scream to delicate croon. “Is there a place that I could show you/I could show you, you don’t know/There are things I wanna show you if you only would let go” she sings seductively.

Cooper Cobra ends with “The Girls,” a slower ballad and a New York anthem many can relate to, regardless of the city you’re from. It’s the end of the week and time to relax, grab a drink with friends, and catch up with the girls “on everything from hair to men.” Extremely descriptive, the listener gets a sense of the familiarity and love the singer has for New York City. With a bit of a twang in her vocals, Niamh professes the comfort and adoration of a musician’s life in the city that never sleeps. “Glad to be at the end of the week/Now I can spend some time with my city/New York City,” Niamh belts.

At just five songs, Cooper Cobra impresses. With so much to offer listeners, one can only expect big things from Lily Sparks in the future. Each track ranges between three to four minutes, never overextending its welcome. Throughout Cooper Cobra, Lily Sparks proves they have what it takes to successfully perform up-tempo, high energy tracks as well as softer, chilling ballads. As each track closes, the listener never quite knows what will be played next, but can be certain he won’t be disappointed.

Reviewed By Annie Reuter

Annie Reuter, Reviews Cooper Cobra, Lily Sparks

Jennifer Haley’s debut release is an album of carefully crafted, emotionally filled ballads of love, loss and life. Whether she’s singing about a girl’s first crush or the end of a relationship, Haley leaves an impact on the listener. Wearing her heart on her sleeve when talking of love and heartbreak, each song is relatable, an aspiration most songwriters only dream of. In fact, while many of the tracks are piano based, it’s not hard to imagine these songs gaining radio attention or being featured at poignant moments on hit TV dramas.

Music seems to run in the Haley household, as her father sang in a Gospel quartet. Perhaps it is not too surprising then, that the Arkansas native got her start singing in church with her brothers and sisters at an early age. Of performing with her siblings, Haley has said, “We were sort of a Jackson Five. Sort of …except we were white, sang only Gospel music, and our largest audience was about 200 people.”

Haley moved to Nashville after graduating college with $700 in her savings. A few years and a completed album later, the singer-songwriter is well on her way. Like many of her inspirations,  Tori Amos, Carole King, Faith Hill, Mary Chapin Carpenter, Haley’s powerful voice delivers her message, but it is the lyrics behind the song that leave the greatest impact on the listener. A solid debut, only wonders what the future will bring for Jennifer Haley.

Beginning the album with “Swing” the listener soon realizes the stellar musicianship put forth on Haley’s release. With moving string features and light percussion, the musical accompaniment fits Haley’s soft vocals effortlessly. The music decrescendos, at the perfect spot, continuously allowing her voice to soar at the appropriate measures.

“Bring It Out of Me,” the first single off the album, has a pop-country vibe to it with Haley’s angelic vocals. The listener can easily feel the heartache within the song. “I never meant those words/though they passed through my lips/I want to be all that you deserve/Honey you bring it out of me.” The slow guitar finger picking helps soothe the lyrics throughout the song.

An edgier track, on “You’re My Weakness” Haley belts, “You are my weakness/I just lose my strength/No resistance/you break right through me/and I keep falling, falling again/Here I am helpless.” Despite her apparent “weakness,” Haley has a certain confidence throughout the song and it is on this track that she truly shines. While the music crescendos well into her singing, the passion she sings with is immeasurable.

Many of the tracks on Haley’s release have a distinctly familiar vibe. “Follow Me Home” begs reference to the soft singing of Faith Hill while the piano-infused “Today” is a beautiful ballad showcasing Haley’s vocals well.

“In the Light of Day” is a heartbreaking tale of a man who leaves his love. “In the light of day/After all of the lies and the tears in my eyes/Does she look the same baby do you feel the same/In the light of day.” With haunting strings and percussion accompaniment, the listener pictures the end of an unfulfilling relationship.

Overall, the 12-track album is a remarkably cohesive release and one that begs continuous attention. A true singer-songwriter, Haley transforms each song into a moving tale that touches the listener. Whether she’s asking a lover not to give up on her in one of her emotive ballads or asserting her independence, Haley entices her listener with a memorable story. And after all, that is the sign of a true singer-songwriter.

Reviewed By Annie Reuter

Annie Reuter, Reviews Jennifer Haley

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviewed By Annie Reuter

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

The Cuts You Said Were Good is a 12-track album filled with emotion and dark tales of poverty, addiction and lost youth. While the accompanying music is stronger than the vocals, it is Newman’s rustic folk sensibility that comes across throughout the album. Mixing strong percussion with guitar, piano, string and horn parts, the album varies from a jazz feel to, at times a punk sound on tracks like the edgier “Skinniest People.”

After moving to San Diego with his family while in his teens, Newman soon picked up guitar. In college he majored in music and honed his guitar and piano composition skills. Eventually deciding not to pursue music as a career, Newman instead entered the catering field while continuing songwriting as a hobby.

Releasing his debut album, The Cuts You Said Were Good, in June, Newman enlisted the help of session players, a producer and engineer after perfecting many of the track’s sounds and instrumental features himself. The collective work results in numerous somber tales. A mother addicted to drugs whose husband soon abandons her and child, death of teenage lovers due to drunk driving and evidently, unsatisfied lives encompass the album. From his strong vibrato to almost spoken word segments interwoven within his ever changing and brusque vocals, Newman switches gears rather unexpectedly from track to track.   

His Web site states The Cuts You Said Were Good is, “the culmination of music crafted in available moments discovered in a hectic life.” This can easily be seen by first track, “Face First.” Beginning softly with piano, Newman sings “Girls who tan in winter/Boys who never grow up/That’s not me, that’s not you.” Right away, the listener realizes this isn’t your typical album release. The Cuts You Said Were Good talks of societal problems, many times beginning within one’s own family.

Full of angst-ridden lyrics, the first few songs are difficult to relate to. Whether he’s lamenting about drug abuse on “Such An Ugly Girl” by singing, “Do another line boy/Kiss the world goodbye” or hinting at failed families in “Skinniest People” one can’t help but wonder the origin of the lyrics. On “Skinniest People,” Newman sings, “I see you’re going back to China/The skinniest people I’ve ever met” before belting in punk-rock screams, “Here your name sounds really strange.” One can only insinuate what he may be really saying and hope it’s not the case. 

“Everybody’s Gone” begins with moving violin before Newman whispers, “Welfared and displaced/We’re ripped apart in three states/Run and hide/Start a new life.” Possibly autobiographical, Newman’s family fled housing projects, bill collectors, and bad decisions when he was a teenager. Portraying the most emotive vocals, there are no surprises vocally or musically on this track. More ballads like this could have only helped The Cuts You Said Were Good. Nothing in this track is forced and it flows best on the album.

Another track which can be interpreted many ways, depending on the listener, is “It’s Never Getting Better.” A bit edgier than “Everybody’s Gone” with electric guitar and rough vocals, Newman sings, “Your life isn’t over/If you don’t survive/Your time isn’t over/You won’t be left behind/An attitude, no gratitude/Then your parents die/Your time’s nearly over/So decide between/Living on your knees/Or working for the things you need.”

Overall, The Cuts You Said Were Good lacks a cohesive flow to keep the listener intrigued. While it is Newman’s debut release, at times it sounds more like an album of continuous venting then an album of songs. However, it is undeniable that there is much talent here. The musical accompaniment is strong and the slower tracks featuring Newman’s softer vocals stand out best. As a result, more tracks like “Everybody’s Gone” would have left more of an impact on the listener.

Reviewed By Annie Reuter

Annie Reuter, Reviews Greg Newman, The Cuts You Said Were Good

With airy and, at times edgy vocals, combined with soft piano and guitar infused tracks, American born, German transplant Kim Nixon impresses on her debut release, Crooked Lines. Leaving an impact on the listener, she brings to mind comparisons to the angelic vocals of Meiko and Priscilla Ahn with a touch of angst-ridden Alanis Morissette on some songs. All the while, it is evident that Nixon has poured her heart and soul into Crooked Lines. Recording the album with the help of Thomas Glatzer from Twelve Strings, Germany’s notable acoustic guitar act, Crooked Lines is a solid first release for the singer-songwriter.

While the album starts off slow at first listen, when paying close attention to the accompanying lyrics there is much more than meets the eye. “You make things new/Give me hope I can’t ignore/Where there was none before/You make things right/Take my crumbled up designs/Straight with broken lines,” Nixon sings on the title track of the album.

Next song, “When Your Heart’s Not In It,” is a track that tells the story of uncertainty towards the end of a relationship. “What can you do when your hearts not in it?” she sings somberly. Fitting guitar finger picking accompanies her heartfelt vocals while she continues lamenting, “I don’t want to make excuses or be the one who always screws it up.” A bit unexpected, “When Your Heart’s Not In It” segues into the French track, “Une Nuit.” While the song is portrayed beautifully by Nixon’s vocals, the track doesn’t flow with the accompanying album tracks throughout Crooked Lines.

Standout track “Yesterday” infuses more rugged vocals from Nixon with fitting guitar strumming. With an upbeat jazzy vibe, the song diversifies the album and intrigues the listener. While Nixon’s bio references the ever-present variety within her music, including country, jazz, pop and folk, it isn’t until “Yesterday” that the listener can fully see and experience this. Nixon explains, “As long as it’s fun to sing and serves the song well, I’ll do it.” As a result, “Yesterday” proves to be a fun number.

Ending with solid track “I Want You,” Nixon continues to prove her talent. Accompanied by light string and percussion throughout, Nixon sings “You’re all I want/I want you alone/No one has a hold on my life like you do/I am captivated/Fascinated by the fact that you love me too/And I want you.”

Whether she’s questioning the uncertainty of a relationship in “You Know I Do” or lamenting on old love, the listener can hear Nixon’s emotion throughout each track. Mainly an album of ballads, the few livelier tracks like “Yesterday” and the country-esque “Rose” add much needed variety on Crooked Lines. While Nixon’s vocals are enjoyable, track after track of ballads tends to become soporific without slight adjustments. A few livelier numbers in the beginning of the album could have made her debut release stronger. All in all, Nixon’s storytelling accompanied by the moving and relatable lyrics of her songs touches the listener. And, after all, isn’t that the job of a singer-songwriter?  

Reviewed By Annie R

Annie Reuter, Reviews Crooked Lines, Kim Nixon