With soulful vocals, June Shellene impresses on her latest release, Wait ‘Til Midnight Ends.  No newcomer to the music scene, Shellene’s first album The Lost Art of Love won two achievement awards from Billboard Magazine. A powerful vocalist, Shellene satisfies the listener as she blends jazz, blues and soul on Wait ‘Til Midnight Ends.

Self-produced with bassist Jim Cox, this 13-track album combines delicate piano, fitting percussion and soulful saxophone features throughout. Despite the talented musical accompaniment, it is Shellene’s powerful vocals that leave the greatest impact. Her singing style blends well with the music, soaring at the perfect moment and fading to a whisper when she sees fit. Having been featured in David Mamet’s film, House of Games, and taught piano and voice at the Old Town School, pianist and singer-songwriter Shellene, continues to display her passion for music on her latest LP. Whether she’s singing about things she wishes life would present her on “Not Good Enough Blues” or belting out her emotions in between horn features on “We Won’t Let It Bring Us Down,” Shellene’s talent is undeniable.

Wait ‘Til Midnight Ends begins with the six-minute long title track. A glimpse of what’s to come on the remaining 12 songs, Shellene’s voice accentuates the piano, bowed bass and percussion accompaniment. The seductive “Craziest Game” brings to mind Rosemary Clooney’s infamous “Mambo Italiano.” With upbeat percussion and a European vibe that transports the listener back in time, it is a song easily enjoyed on repeat. This standout track combines accordion, bass and percussion alongside Shellene’s pitch-perfect singing.

Though the piano is the chief instrument heard on most of the album, additional saxophone and horn interludes add diversity. “Lincoln Avenue” showcases Shellene’s sultry singing style combined with soulful saxophone accompaniment while “We Won’t Let It Bring Us Down” switches gears with a slow story-like introduction with trumpet and clarinet features.

“Tattoo” is a refreshing change from previous songs on Wait ‘Til Midnight Ends. Not a complete escape from her jazz roots, the track embodies an intriguing rustic country vibe. While previous songs could easily be envisioned in a jazz club, “Tattoo” has a telling southern influence that brings to mind soul music championed in Memphis. Next, “Crazy Sue” further diversifies Shellene’s music. With beautiful cello accompaniment, the emotion-filled song tells the tale of a woman lost and alone. With soft piano and wavering cello, the slower music accentuates the story within the song.

A voice beyond compare, Shellene’s latest release embodies a timeless quality that brings to mind numerous jazz greats before her. Wait ‘Til Midnight Ends is an album that no doubt will stand the test of time. Continuously evoking emotion throughout each track, one can hear her passion for music on each song and only wonder at the power her next album will evoke.

Review by Annie Reuter

Annie Reuter, Reviews June Shellene, Wait 'til Midnight Ends

Whether it’s his distinctive guitar or alternating singing style, Idaho native Marcus Eaton impresses on latest release, As If You Had Wings. Reminiscent to fellow singer/songwriters John Mayer and Jason Mraz, what is most striking is how Eaton effortlessly switches from acoustic to electric guitar throughout the LP.

Before the credits on As If You Had Wings, Eaton writes, “This album was a great opportunity to rediscover what I could do with my guitar. Every background string sound, synth effect, color and ambient piece was created with guitar and effects pedals … Because of the distinctive nature of these sounds, I feel like this album represents me more than anything I have recorded to date.”

As a result, each track is refreshing and Eaton’s warm vocals accompanied with his intricate guitar playing and hopeful lyrics provide comfort. “Life In Reverse” kicks things off with light percussion and delicate guitar finger picking. A track about learning to live without regrets, as the song progresses Eaton seems to convince himself to live in the present. Just over five minutes long, with musical interludes and Eaton’s soaring vocals, the song gives the listener an adequate idea of what’s to come on As If You Had Wings.

“Dismantle the Machine” follows suit with little change vocally while “Eleven” switches gears with faster guitar strumming and a yearning in Eaton’s singing style. “Do you want to change the world? I do. I do./ As long as it’s with you,” he says.

Not your average singer-songwriter, tracks like the stand-out “Dreams of Flying” and Caribbean-esque “Weightless” demonstrate Eaton’s versatility. Midway through “Dreams of Flying,” an electric guitar feature accompanies his soulful vocals, which recall Mraz’s “Make It Mine.”  This perhaps comes as no surprise as Eaton has shared the stage with Mraz as well as Mayer and Dave Matthews Band, no doubt taking influence from each artist.

“What’s the Difference” shows a new side of Eaton with deeper vocals and electric guitar that recalls Mayer. With faster paced guitar, leading up to an instrumental interlude mid-song, Eaton’s lyrics strike a chord. “You and me come from different places/Why can’t we just learn to embrace this?/Everyone deserves the freedom to pursue their dreams/What’s the difference if we all want the same things.”

What’s most enjoyable about As If You Had Wings is that the listener never fully knows what he will hear next. While Eaton’s ballads impress, it is on his more upbeat tracks that he truly stands out. “Over You” showcases a heavier rock sound for Eaton with aggressive vocals. The fast-paced track is an enjoyable transition and might have worked even better placed earlier on the LP.

On an album predominately structured around guitar accompaniment, it is fitting that closer “You Can’t Close Your Eyes” ends with a nearly two-minute guitar interlude. Another upbeat track, “Over You” and “You Can’t Close Your Eyes” end the album well. With such a solid release, one can only hope to hear much more from Marcus Eaton in the near future.

Review by Annie Reuter

Annie Reuter, Reviews As If You Had Wings, Marcus Eaton

Julie Geller impresses on her latest 11-track release, You’re With Me. Throughout the album, she combines her quirky and personal narratives with Psalms and Jewish prayers for a truly unique musical experience. While songs like album opener, “Insides Out” demonstrate her distinction as an artist, it is on the tracks where she sings in Hebrew that leaves the greatest impact.

Raised in Denver, Colorado, Geller has lived in Boston, San Diego and Israel. Throughout her travels and songwriting, she aims to bring love and healing to the world. As a result, her third album, which combines original folk and Jewish music, is empowering and refreshing. Whether she is singing in English or Hebrew, her passion for music is evident.

You’re With Me begins with the soulful “Insides Out.” An appropriate first track, Geller’s airy vocals and seductive musical accompaniment captivate the listener. A tale about embracing one’s awkwardness and finding courage to be oneself, Geller gets her point across with a slow rap-like singing style. Never overpowering or too preachy, “Insides Out” is refreshing and makes the listener wonder what the rest of the album will entail.

Next track, “Let It Be Love,” sounds reminiscent to a gospel choir with soft organs and piano heard in the background. Quite the transition from the rap-like first track, Geller’s diversity is evident throughout the entirety of You’re With Me. “Let It Be Love” follows suit with Geller singing Psalm 118, titled “Min Hametzar.” Strings and light percussion combined with her delicate vocals in Hebrew are a relaxed and welcomed change. It is on the tracks where she sings in Hebrew that she impresses most.  “Elokai” is another example. From the amidah, the daily silent prayer, Geller’s uplifting vocals strike a chord. The listener need not understand Hebrew to sense the power this prayer holds.

Title track, “You’re With Me” embodies delicate guitar finger picking and soft flute accompaniment. Throughout the ballad, Geller’s voice soars over the track well; never forced or overpowered. She quickly switches gears on the fun, fast-paced “Here We Go Again.” With striking clarinet interludes, and prompt pauses in the music, “Here We Go Again” is a fitting diversion from the more serious “Elokai.”

The relatable, “Driving” tells the tale of a woman who is uncertain of her path in life. A common theme throughout the album, Geller keeps the listener intrigued with vivid imagery and an edgy percussion beat. “Is this the life that I wanted to lead?” she asks in confusion.

While “Driving” ends without a concrete resolution, last track on You’re With Me, “Time to Fly” closes with more confidence. Upbeat with a piano interlude and an electric guitar fadeout, Geller sings with great emotion. “Cause I used to worry and think it all through/And struggle and ponder then one day I knew/That I know inside/I know/Like I know it is best, although it is daunting/To be who I am when it’s not who they’re wanting.”

You’re With Me is no doubt a strong release for Geller. However, if the listener is not aware of the Jewish prayers and psalms the initial reaction may be of surprise. While Geller’s strength lies within alternating between singing in Hebrew and English, it may be more suitable to compile a separate album solely with Jewish prayers as to not disrupt the flow on You’re With Me.

Review by Annie Reuter

Annie Reuter, Reviews Julie Geller, You're With Me

Billy Schafer wrote and recorded his first song at the age of seven on two cassette players. Years later, the Texas born and bred singer-songwriter has released his debut album, First to Believe. An impressive introduction to the music scene, throughout the seven tracks the listener gets a sense of Schafer as a songwriter. With songs of love lost, blossoming relationships and realized dreams, the album strikes a chord.

Though somewhat new to the industry, Schafer recently won “Best Song Award” in a West Coast Songwriters competition and even sang the national anthem at Wrigley Field in Chicago. While his sound is radio friendly, it is perhaps no surprise then that he landed a feature spot on “My Tune TV,” a Bay Area program that showcases up-and-coming artists.

First track, “Wondering” begins with light guitar strumming and Schafer’s warm and wavering vocals. His emotion-filled lyrics tell a story of lost love and the curiosity one feels in wondering where their former lover might be. With soaring string accompaniment and light percussion, the song ends unresolved and the listener can only assume the conclusion.

“My Mona Lisa (The One)” is a beautiful ballad of love that is sure to be the wedding song for many couples. With light strings in the background of his whispered vocals, Schafer’s singing style brings to mind that of Joshua Radin. Throughout the track, the lyrics are descriptive and detailed and the listener is taken on a journey.

“In your eyes I can spend all day/And come the night, right here I will stay/‘Cause in this modern gallery where beauty runs skins deep/Oh, my Mona Lisa, you’re a stunning masterpiece,” he sings.

Standout track, “Valeska,” quickly transitions from the first two tracks on First to Believe. The upbeat song transports the listener to another place as he soon realizes Schafer’s diversity. Slightly reminiscent to Jason Mraz, Schafer raps in Portuguese accompanied by seductive Caribbean beats. With slow percussion throughout the start of track, the chorus picks up the beat and it is easy to picture the lovers in the song dancing the night away in Salvador.

Next track, “First to Believe” slows down from the energetic “Valeska” and begins with a much deeper sound for Schafer. After a few bars, strings enter and the combined percussion and light guitar strumming crescendos perfectly with Schafer’s emotion-filled vocals.

Lead-off song, “The Dream Is Alive” was one of 12 songs chosen by record label Acoustic Fuel for a compilation dedicated to music with an empowering message. Additionally, the track was featured in short film “The California Triple.”

“The dream is alive/Even if I never arrive,” Schafer sings. Not knowing what lies ahead, he remains optimistic. “Wheels spin/Believing in/The road ahead,” he continues.

First to Believe ends with the laid-back “Because You’re Mine.” With a soothing vibe and relaxed vocals, Schafer hypnotizes the listener. An album complete with radio friendly tracks reminiscent to that of Joshua Radin and Jason Mraz, Billy Schafer remains an artist to watch.

Review by Annie Reuter

Annie Reuter, Reviews Billy Schafer, First to Believe

After years of performing in choirs, including the award-winning Oakland Interfaith Gospel Choir, Janet Lee Myatt retired to focus on her family. She couldn’t give up music forever, though. Nearly a decade later, Myatt is back with the release of her latest seven-song EP.

A versatile collection, it is evident that Myatt has experience singing many genres. She was first introduced to jazz in college when she joined the exclusive 12-person Cal Jazz Choir. Later, she gained experience within gospel and rock when performing post college. Throughout the EP, she mixes folk, country, blues and jazz effortlessly. However, it is when Myatt dips into country that she finds her strongest voice. Perhaps then, it is no coincidence that Myatt traveled to Nashville to work with producer Jerry Cupit (Dolly Parton, Tim McGraw, George Jones).

Within each song, Myatt tells tales of striving for perfection (“A Perfect Way to Go”), questioning preconceived beliefs (“Fear”), and looking back on one’s life on the spiritual “In the Stillness.” While the album is mostly filled with ballads, when Myatt segues to upbeat tracks, she impresses and quickly captures the listener’s attention.

Despite being compared to Stevie Nicks, Bonnie Raitt and Lucinda Williams over the years, it is evident that Myatt has a unique voice that is all her own. She can belt out fast-paced jazz songs with as equal precision to ballads.

Myatt kicks off the EP with jazzy and energetic track, “Fear.” A song about questioning life, unfortunately at times Myatt’s lyrics get lost behind the powerful music. Next track, “(When I’m In) My Right Mind Again” is a soft ballad with fitting piano and keyboard accompaniment, never overpowering her vocals.

“She’s So Insane” switches gears and Myatt is instantly transformed from a jazz singer into a country songstress. Complete with harmonica and banjo accompaniment, Myatt’s voice reflects that of up-and-coming country artists Laura Bell Bundy and Kellie Pickler. With a certain edginess that hasn’t been heard on previous tracks, it is on “She’s So Insane” that Myatt truly shines. More upbeat tracks like this could have only strengthened this release.

The slower “Feels Like Thunder” follows suit and breaks up the high energy that was heard on “She’s So Insane.” While I’m sure “Feels Like Thunder” is a strong track by itself, after the intensity that was “She’s So Insane,” the listener quickly loses interest.

All is not lost, though. The piano-driven “A Perfect Way to Go” introduces a more soulful side of Myatt while “Don’t Tell Me What To Do” embodies an edgier, electronic rock vibe.

After glimpses of jazz, country and rock, the listener is introduced to the folk-infused “A Perfect Way To Go.” A tale of a woman who is unhappy with her life, juggling numerous tasks with the ultimate goal of perfection, Myatt strikes a chord.

“Stop trying to be so perfect/Because that’s a perfect way to go … She’s always so eager to please/She’s falling apart at the seams/She keeps her dreams locked deep down inside/She’s disappearing from the sight,” she sings.

Overall, Janet Lee Myatt’s EP is a strong release with the help of reputable producers, engineers and musicians. However, on a whole the EP lacks cohesive flow as Myatt jumps from one genre to the next. While she portrays her versatility, listeners aren’t able to latch onto her as one artist. Is she a jazz musician, country or folk? While it is evident she showcases much talent, it is her upbeat songs that leave the most lasting impression.

Review by Annie Reuter

Annie Reuter, Reviews Janet Lee Myatt

Earl J Rivard’s voice mesmerizes on his latest release, Underground Railroad.  The 13-track album exemplifies Rivard’s prowess for singing. Bearing resemblance to Josh Groban, Rivard sings with intense passion, captivating the listener wholeheartedly.

Rivard hasn’t had an easy life. Struck by a drunk driver when he was an infant, he was left blind and partially paralyzed. However, these obstacles never hindered his pursuit of music. His motivation to learn to play guitar led Rivard to reclaim sensitivity and strength in his injured limb, ultimately giving him a sophisticated guitar style.

Well known for his live performances, Rivard can be found playing around the Bay Area as a solo artist as well as with backing musicians. Combining his soulful singing style with guitar, piano and percussion, Rivard offers much diversity. Whether it’s his gospel-esque vocals or his beautiful bilingual tracks, he is one artist to watch.

Beginning the album almost as a PSA announcement, Rivard says, “Warning: The following song will offend some ears. Skip it, if you must. The real obscenity is the United States government breaking up families as a matter of policy.” Soon after, a chant in Spanish segues into guitar accompaniment and Rivard’s gospel like vocals. A tale of a mother torn from her son during the 1800s, Rivard’s passionate singing style helps get across some of the atrocities that went on in the United States’ past while making it relatable and relevant to us today.

The impassioned opening track quickly switches gears to a slow and romantic ballad of love. “Till I Met You” is a beautiful tale accompanied by soaring piano and string features. “With lips of fragrant fire/You stir my love’s desire/And I just never knew/How sweet love was/Till I met you”, Rivard sings. A simple song, the listener feels the emotion within the moving lyrics and fitting vocals provided by Rivard. The light piano and strings are a welcomed supplement to Rivard’s angelic and soothing voice.

While the majority of Underground Railroad is ballads of love and loss, “The Sun Finally Rose” is a more upbeat track. Demonstrating his ability to sing faster-paced songs, he is successful in getting the song’s energy adequately across to the listener. With a huge buildup towards the end of the track, the crescendo impresses.

The only non-English tracks, “Magdalena” and “Vuélvete” at first seem peculiar on the album. While most listeners may not fully understand what is being sung, Rivard’s ability to transcend the emotion throughout his vocals in each song never falls short. While “Magdalena” offers a solid guitar interlude, “Vuélvete” slows things down, once again showcasing Rivard’s versatility and ability when singing in multiple languages.

“Lady, Sweet Lady” begins with soft acoustic guitar finger picking and at first sounds like it could be a hymn sung in church. With additional flute and keyboard accompaniment, the instruments provide light background music allowing his voice to shine.  “Yours Eternally” closes the album before the radio edit of “Underground Railroad.” A beautiful ballad professing lifelong love, Rivard sings, “I want to meet you down the aisle/I wonder if the sight of you in white/Would make me smile or make me cry/I want to love you till I die”. With string and piano arrangements combined with Rivard’s beautiful vocals, “Yours Eternally” leaves the greatest impact.

Whether he’s singing at notable venues throughout San Francisco, jazz clubs in Oakland or on his latest release, Underground Railroad, Earl J Rivard is an inspiration to music lovers everywhere. A child blinded and paralyzed who turned to music; Rivard’s tale is nothing short of a success story. His latest release showcases his passion and love for life while his vocals leave the listener in awe. One can only imagine what witnessing Rivard live is like, however listeners garner an adequate idea throughout his latest release, Underground Railroad.

Review by Annie Reuter

Annie Reuter, Reviews Earl J. Rivard, Underground Railroad

With the roots of Shady Cats dating back to 1997, the band has seen many changes since its inception. From playing at local pub, One More Time to perfecting several demos, Shady Cats have just released their debut album, Love Callin’.

Taking an unorthodox approach to producing typical pop rock albums, the band decided to use multiple producers to showcase the songs rather than the sound of a band. Definitely a unique decision, this choice leaves a lack of consistency throughout Love Callin’. While the heavier rock tracks are impressive, the slower ballads quickly lose the listener’s interest.

Not all is lost, however. Despite an inconsistent album, Shady Cats’ debut release provides an accurate portrayal of the bands strength: rock music.  When the softer ballads lose appeal, it is the high energy tracks that peak interest. Songs like “I Want Independence” and “She Kisses Me with Her Eyes” provide killer guitar riffs and lively vocals.

The album starts off with title track, “Love Callin.’” With light percussion and guitar accompaniment, frontman Grady Crumpler enters. A tale of trying to keep romance alive, Crumpler sings, “Although we may be torn and frayed/There ain’t nothing I would trade for what we’ve had”.

“Love Callin’” is just an introduction to the album, which describes one of the many stages within a relationship. Whether it’s initial attraction to a woman at a bar on “She Kisses Me with Her Eyes” or the desire to be free on “I Want Independence,” the LP takes the listener on a journey. Sadly, as the album moves from track to track we quickly realize not all couples have a happy ending. On “Desperation” a woman finds out her husband of 10 years has been cheating. In life, nothing is certain and Shady Cats make this realization a reality at the somber end of their release.

Beginning with gritty electric guitar on “She Kisses Me with her Eyes,” Shady Cats grab the listener’s attention wholeheartedly.  “I’m standing across the room from her/She looks like a goddess touched down to Earth/She floats across the floor, yeah, she’s a star/She lights up everybody at the bar/She sets heavenly bodies in my skies/She kisses me with her eyes”, Crumpler sings.

“In The Moment” sounds like a Don Henley song and showcases guest vocals from producer Don Dixon (R.E.M., The Smithereens). With a slow and seductive start, the song can be easily pictured being featured in an 80s film.

The stand out track on Love Callin’ is “I Want Independence.” With solid electric guitar and deep vocals reminiscent to that of Dave Grohl of the Foo Fighters, Shady Cats prove they are a rock band contender. Clocking in at nearly two minutes, “I Want Independence” provides high energy that never wavers. With gritty guitar and riffs throughout, the heavy bass and percussion beat mixed in with Crumpler’s dark vocals, Shady Cats impresses. More tracks like this could only provide the band more recognition.

“Take Me” follows suit with energetic rock and lively vocals while “All the Way” has a more laid back, almost Caribbean feel. At first, this change comes across surprising, but exemplifies Shady Cats’ willingness to step out of their comfort zone and try something new. “All the Way” doesn’t showcase the band’s talent as well as the harder rock numbers and at times, the vocalist falls flat.

Six-minute track “Desperation” ends the album on a sad note. A woman finds her husband has been cheating. A darker piano-driven song, Crumpler sings, “Put away the clothes and under his socks see a letter addressed to a P.O. box/It’s a credit card you did not know he had/The bill shows candy, champagne, lingerie,  a hotel room a few miles away/On nights when he said he was working late/Ten years of trust just vaporized, don’t know what’s true or what is lies/The plans you had, never to be realized/How can he look you in the eyes?”.

Taking the listener on a complete journey from the initial attraction at a bar, to 10 years of a relationship ending with mistrust and heartache, Shady Cats provide a telling record. Since they went a different route using multiple producers in the making of the record, as a result some tracks are stronger than others. While their ballads show maturity and longing, it is their rock songs that leave the greatest impact. A few more rock numbers and the album would have regained the flow that lacked within the mix of ballads.

Review by Annie Reuter

Annie Reuter, Reviews Love Callin', Shady Cats

Four-piece Chicago-based band, Halfwaynorth offers three strong rock tracks on their EP, Ghost Shuffle. Self taught and recorded in their home studio, the band describes themselves as “face-melting rock ‘n’ roll.” While this statement is debatable, Halfwaynorth do present radio friendly pop-rock, bringing to mind bands like the Wallflowers and even early Beatles with their vocals and rock sensibility. Though just three tracks, Ghost Shuffle, is a taste of what’s to come from the Chicago band.

Their bio confidently states, “We are the sister-wife of Travis, Wilco, and the Wallflowers – all devoted to our loving husband, Rock ‘n’ Roll.” Take the quote as you will, Halfwaynorth aren’t too far off point. While at certain moments their EP recalls early Wallflowers, it is certain that their songs do provide “enough of a cerebral twist to annoy Top-40 junkies,” as mentioned in their EPK.

“Back to the Uhh” kicks the EP off with gritty electric guitar and percussion beats. Despite the song’s peculiar title, Halfwaynorth sings of wanting to “stand for something” and going back to their roots. While the electric guitar interlude switches gears for 30 seconds or so, the musical accompaniment offers little to no variation throughout the two-and-a-half minute track. At times, front man Jason Abraham’s vocals fall stagnant and repetitive. Not the strongest track to start out Ghost Shuffle; perhaps if placed in the middle of the EP the listener would be more forgiving.

Next track, “I Call Your Name” showcases a darker sound for the band despite the energetic guitar interlude. With heavier bass beats and deeper vocals by Abraham, one would never imagine the song as a love anthem. “Do you understand that I’ll do anything for us and the truth/I’d crawl to you in white, hot sand/I’d fall for you just to hold your hand” he sings. Sounding like an entirely different band, Halfwaynorth impress on “I Call Your Name.” The musical accompaniment fits well with Abraham’s vocals, never overpowering or losing intensity.

“Powerlines” is a softer track and the listener soon realizes the powerful emotion displayed throughout the song from the slow opening of the electric guitar feature. With striking musical resemblance to the Beatles’ 1965 single, “Nowhere Man,” Abraham sings with passion. “All my life I’m making up for wasted time/I’m writing us outside the lines/And I wanted to walk through fire/Embrace in the pouring rain/Intertwine in the wind we’ve confided/To hug the ground where our hearts lay.”

A nice transition from previous tracks, Halfwaynorth proves their versatility and willingness to try something new. While “Back to the Uhh” and “I Call Your Name” seemed to try too hard to fit into the rock and radio friendly format, “Powerlines” sounds more authentic to the listener. Where “Back to the Uhh” lost the listener with its predictability, “I Call Your Name” and “Powerlines” offer something refreshing and new. An impressive release for a band that prides themselves in DIY home studio recording, one can only wonder what a full length album for Halfwaynorth would sound like.

Review by Annie Reuter

Annie Reuter, Reviews Ghost Shuffle, halfwaynorth

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