An artist that plays virtually every instrument on their record demonstrates more than just versatility and talent, but also an inexorable passion for crafting something perfect and singularly beautiful. Michael Lee’s Face Forward showcases the artist’s virtuosity, especially on piano and guitar. The artist’s smooth and heart aching vocals, are one part Richard Marx (sans the nasal whine), and one part George Michael (with the pout and crooning whisper).  At times, Michael also channels 70s soft rock and 90s metal into his repertoire.  Because of this convergence of influences, Michael’s songs span the genre spectrum.  The pop balladry of album closer “That Day” which gives a nod to Kelly Clarkson’s hit song “Breakaway,” and the feel-good country harmonies of “Distant Future,” (the highlight of the album) are sure to be crowd pleasers.

But don’t type-caste Mr. Lee as a country pop balladeer.  His arsenal of sound also includes shades of metal in those pop frames.  While tracks like “In The Picture” conjures up the ‘Smooth Sounds of The 70s’ a la Seals and Crofts, Michael’s pent-up (and perhaps, self-indulgent) thirst for dual harmony and guitar-driven rock a-la-Alice In Chains rears its head on “Never Enough Time.” It starts off with a hypnotic Middle Eastern guitar riff, and eventually builds up into a cacophonous mash of guitar power chords, charming the snake out of its basket.  This is a far cry from the country and pop quips prevalent throughout Face Forward.  To some listeners, these diversions may push the boundaries (and blur the album’s focus) of Face Forward a little too far.

As strongly as the musicianship and melodies stand out, the lyrics don’t always fulfill the promise made by the latter. At times, they border on cliché.  Songs like “That Day” hand out trite sayings like “All that is lost has become found. Don’t let it fade away.” In the bridge of “In The Picture,” the singer croons about losing his lover to another man: “I don’t want to lose. I don’t want to lose you.” Fortunately, the silky whisper of Michael’s voice, strikingly similar to George Michael’s, make the clichéd refrains forgivable.

Less memorable tracks on the album, like the hook-less “Despite,” the longest track on the album (clocking in at 6:23), has a mid-tempo drive and never quite takes off melodically. Even though it may not be radio ready, “Despite” does showcase Michael’s fortitude and willingness to take musical risks. It is filled with intricate guitar licks that draw musical lines on the same page as Rush’s Alex Lifeson. Michael, once again, demonstrates mastery of the axe.

At best, Face Forward is a showcase album, exploring Michael’s passion for writing guitar-driven jams and piano ballads.  The many faces of Face Forward may confound more than they pleasantly surprise.  Fans of 80’s heart throb Richard Marx, Shania Twain, and 70s AM soft rock will enjoy most of Face Forward’s slow-burners and sweet sounds.

Review by Michael Morgan

Michael Morgan, Reviews Face Forward, Michael Lee

DJ Salty Flavor’s latest album, Keeping It Salty, features a fusion of lo-fi, ambient, electronic dance and trance music. There are a few rap tirades that often feel like the DJ is trying too hard (”Help Wanted” Remix)  and one that is so in your face that contagion is greater than the dislike.(”Hot or Cold” Remix).  Success is greater with the lo-fi sleepy rhythms scattered throughout the  album.

The world of remixes is a vast one. So making memorable ones is an even greater challenge for a DJ. It’s a balance of the track that the DJ selects along with the amount of originality put into it. If it’s a very popular track to begin with and the remix does not live up to it, then the remix might be seen as a buzz-kill. On the otherr hand if the remix puts a new spin on a universally loved track then the reinvented song may be embraced by listeners. It’s a fine line that DJs must walk when selecting their remix “patients” (or in some cases, victims).

The first track (or “patient”) on the album, is a remix called “Undignified”. This cheesy euro-techno-polka romp has a  hooky chorus, goofy playful synth sounds and a piano interlude that adds a layer to the much needed single dimensioned song. The song reminds me of  the one (the name eludes me) they used to play at bar mitzvah and sweet sixteens. Like someone smashing something in your face, it’s slightly jarring, and a bit too much on the ears.

The second track “Blip Your Body” sets the lo-fi tone for the rest of the album. It starts off with a dusty beat and several measures into the song starts adding beeps and blips a la 80s video games.  Blip reminded me of  Canadian punk-techno duo Crystal Castles latest release which featured similar bleeps and vintage video game fare. The song goes off into some hopeful corners but never quite takes off.

Two of my favorite tracks were “Mr Blister,” and “Why (Remix)”.  These stand out because of the detailed treatments the DJ gives them.  Blister starts off with a lone hypnotic drumbeat, morphing into a cacophonic stupor of trumpet synths. The natural flow of changes fall into place like Venga blocks.  “Why” begins with a booming fuzzy guitar and pounding beat. It has unassuming orchestral flourishes and a simple melody. The bass synths lined throughout the song add a strong backdrop. Why is definitely a good party song.

Apart from the lo-fi and techno, Salty Flavor peppers up things with some rap remixes. “Hot or Cold (Remix) ” fuses hip hop and techno together making for a soupy club remix. The repetition of the line “Are ya hot. Are ya cold” was a bit irritating after awhile. Once the raps kick in DJ Salty Flavor peppers the song with clavicle-sounding percussive missives. Then by the time, the second rapper chimes in, his claps steer the song through some dance-run threads. What makes the chorus tolerable towards the end of the song is the DJ’s cool and sneaky changes. He mixes it up and makes it interesting.

“Supernova (remix)” was another one of those memorable songs. The hypnosis of the piano intro, elusive beats hidden behind silence and dodging the piano lines. The layers of synths inject more shade into the remix. Atmospheric, dramatic and spiritual, this remix had hints of optimism towards the end as the piano lifted the rest of the song to a humble conclusion. It reminded me of some of Moby’s piano electronic works, especially from his Play album.

I can recommend this album to those of you into lo-fi and funky electronic music, but would not recommend it as much for its hip-hop rap dimensions. Lovers of LCD Soundsystem might be turned off by the lack of punk-ness but those into Moby may enjoy DJ Salty’s flair for detail and ambient changes.

Reviewed By Mike Morgan

Michael Morgan, Reviews DJ Salty, Keeping It Salty

Who says there is anything wrong with a good ‘ole fashion love song? Love is the center of every great pop song. It makes us cry, smile, dance and uncover things about ourselves hidden beneath the surface.  Oftentimes we need to spend time alone in isolation in order to dig deep inside ourselves to discover such love and beauty. Such is the case for alt-rock country artist, Shane Lamb, who spent many a waking hour by himself uncovering territory in his musical craft to bring us his latest work of art. The poignantly titled LP Disengage talks of love, hope and loss: all of the things embodied in the American spirit.  Shane’s story-telling and sweet Jackson Browne-like vocal pair well with the rocky guitars and brass backdrops scattered throughout Disengage. The alt-rock sounds reminded me of an old 90s favorite record Tomorrow The Green Grass by alt-rock country crooners, The Jayhawks. It was the first kind of contemporary country music that was accessible to someone like myself, who is not a big fan of country. The rock rhythms, laidback feel and relevant songwriting made the music matter to me more than any Garth Brooks tune I had drank a Bud to in college. Shane’s youthful croon and edgy country sound make this relevant and refreshing to me as a non-fan of traditional country music.

“Free,” the opening track, is one of the strongest with pop promise, and hence, one of the more accessible.  The hook also comes quickly in this song.  The guitars have a southern alt-country twang painting rollicking lines, along with the sax and rest of the bluesy brass swagger.   Its uplifting melody and rolling lyrics remind me of Neil Young’s folk rock a la After the Gold Rush, but with a more contemporary sound.   The fast romp of “Someday” remind you that it’s not a simple country pop song. Its sense of immediacy urges you on, especially during the chorus:  “Someday I’ll get to the point when there are no mistakes. Just choices and chances we take as we try to find a way.”.

But it’s the haunting beauty and uneasy directness of  the title track that makes this good album a great one. The lyrical and vocal depth had my “Neil Young bells” ringing once again. The track showcases Shane at his vocal peak on the album. The airy and shadowy pitch of the verses along with the howling choruses show a range unmatched by the rest of the album. Shane’s influences (Neil Young, Ryan Adams, Bob Dylan) are not worn on his sleeves, but in his heart. Indeed, this is where artistry should be sheltered.   “On My Mind” is balanced by its originality and simple melody with lyric worn (this time) right on the sleeve. The slow lovemaking tempo and country flavor makes this the kind of love song marriage proposals are made of!  The sweet lyrical simplicity of loving someone for who they are in “I Would” pours out so effortlessly, combined with the sinuous rock progressions pulling Shane’s voice down from a smooth whisper to a mountain climbing cry.  Once again, the characteristic country guitars and song dynamics synchronize with grace and elevated hope.

Disengage embodies the kind of rock that embraces all of the things great about American folk rock music: love, freedom and the hunger for something else. I highly recommend this album for those who are obsessed with Tom Petty, The Jayhawks, Wilco and Neil Young. This album will not let you down!

Reviewed By Michael Morgan

Michael Morgan, Reviews Disengage, Shane Lamb

Hearing Shyama with virgin ears, four words came to mind: outer-space-folk-cowboy.  Perhaps it’s the poetry-laced pictures he paints with his words combined with the smooth bass croak (hear the refrain ‘my Lordy lord, my Lordy lord’) on one of the stronger tracks and album opener “Against the Grain” of his voice reminiscent of Iggy Pop. But then as you transcend further into the 12 track record, Nine Moons Walking, you hear the other side of his vocal range breaching tenor. Who is this outer space existential cowboy-philosopher anyway?

Shyama, whose real name is Alfred Lawrence, did stints in groups; Acoustic Black and then Incast, starting back in the early nineties, playing what is described as goth punk around local pubs in the Melbourne, Australia area.   Growing tired of this scene and with the death of Kurt Cobain, Mr. Lawrence had an epiphany and rid of all his worldly possessions; effectively setting himself free, homeless, and then institutionalized in the process. Eventually, he found a place for himself in society and began writing his own journey through his music.  Hence, his concept album, Nine Moons Walking.   

To say that Nine Moons Walking “ain’t no party music, ain’t no foolin around” (to borrow a phrase), would be an understatement. It really is meant for solo consumption. The pensive instrumentals like “Tomorrow’s Yesterday” carry with them a lonesome feeling, a personal quest for God. “Valley of Death” carries this quest further into the record. The domesticity of “Menial Man” tries to find meaning and solace in the banality of life with its country/folk saddled guitars and repetitive backbeat and refrain: “let’s give a hand to the menial man cos he does the jobs that no one else can.”

A high point in this 12-track quest is “Chemical Arrest.” Its timing and mood in the record reminds me of  Pink Floyd’s “The Wall” when Pink awakens in his apartment and starts thrashing his worldly goods around his apartment; a restless stare into the face of Mortality. Another burst of sunshine book-ended by instrumental interludes “Goodness,Passion,Ignorance parts 1 and 2″ is “Sonic Aura” with its melodic optimism and crystalline acoustic whims. “Inertia” is Shyama’s folk rap on politics, religion, discrimination and the like: “Ignorance is bliss until it gets to this.” 

There is a new age sound that I find particularly appealing about Shyama’s music. It’s definitely the combination of classical instruments; use of what sounds like harpischord on tracks like “Goodness, Passion and Ignorance” Parts 1 and 2, along with his crystalline electro-acoustic rings that are prevalent throughout the record. The introspective bent to the songs also gives the record a psychedelic feel. There aren’t really any pop gems to mine on this record. In many ways, Nine Moons Walking is almost too eclectic in terms of its sonic originality and twisty instrumental interludes to be considered for pop airplay, but this should not distract the weary and curious listener looking for original work, soothing sounds with new age edges and psychedlic rings.        

Reviewed By Michael Morgan

Michael Morgan, Reviews Nine Moons Walking, Shyama

The debut album by brothers Ryan and John Hughes titled The Illness Project takes you to another place. Whether you’re on a long ride home or taking a nap lazing around, this album’s lovely-crafted experimental-acoustic-pop will do the soul good.  The ambient tempos layered with electronic sounds and acoustic pop textures make the record one to listen to many times to hear each layer and pick up previously missed interludes. The combo of Ryan’s prominent vocals along with John’s backing drumbeats and samples, at times waltz together and other times brush shoulders. The latter gives the record an experimental vibe adding to its intrigue and appeal.

“Softer“ digresses into an experimental acoustic ride with a hypnotic and harmonizing refrain: If I could I would trade my life for a softer heart. Another mid to up-tempo track to watch out for is “Something Bigger “ showcasing Ryan’s vocals which have the sincere textures of a John Mayer when he whispers, and the yearning croon of a Rob Thomas when his vocals dig into cries.  “Tuscany“, a dreamy ballad about loneliness, breaks up the experimental nature of the album. The beautiful arrangement of Ryan’s vocals and the piano and organ lines simply work to their advantage.  “Among the Birch“, has some memorable pop qualities with its minor progressions. The second half of the song includes harmonies which bring the song to a solemn crescendo, eventually dying in a wallop of drumbeats, but somehow the song’s pop leanings are deterred by the lack of a hook.  One of the highlights on the album for me was “1.24.”  This ballad showcases the singer’s voice with a lone acoustic guitar and his dominant vocal.

After several listens one wonders where the album’s namesake Illness Project came from. Perhaps it is derived from the record’s introspective journey of emotions.  As great as these guys can play and sing, the introspection of the record never really made me quite connect with the music and lyrics.  As beautiful as Ryan’s voice might be, the artist is so wound up in his own emotions, as if stuck looking at himself in a mirror of pain. This mirror is never reflected back to the listener so that we can empathize. 

Sometimes music doesn’t need lyrics to stand on its own. Songs on this album carry very strong melodic qualities.  At times, it seems as if the arrangements really carried the songs throughout the entire album, and lyrics were sprinkled afterthoughts.   I could imagine many of these songs being soundtracks to character’s lives on nighttime television shows like The O.C., or Gossip Girl.  (Perhaps having these songs as soundtracks would fill in that missing layer of empathy that the listener craves?)

If their debut album is any indication, the Hughes brothers should be able to take their gorgeous arrangements and electronic artistry to that next level and add more lyrical conviction around their introspective sensibilities. If you’re a fan of MatchBox 20’s pop ballads, you’ll enjoy this one minus the experimental interludes prevalent throughout the album.

 Reviewed By Michael Morgan

Michael Morgan, Reviews John Hughes, Ryan Hughes, The Illness Project

To say that chi-town-born rapper Primo The Cinematic is of the Kanye West Chicago hip hop-scene ilk would just be plain wrong.  Primo’s ambitious double-CD debut, Contemporary Classic is a nod to the golden era of rap when it was less about appealing to the mainstream and more about survival and the search for identity through eclectic sampling, experimental sounds and stream of consciousness witticisms (of which Primo has plenty).  A more accurate ancestry for Primo would be Erik B. and Rakim, or Run DMC.  His rhymes are autobiographical collages, looking both inward and out at the world around him, but always through his own lens.

Contemporary Classic plays out like a sequential series of movie scenes; where the opener is entitled “The Invitation,” and the players in this collage of songs remind the listener towards the end of the first volume that there is more to come with “To Be Continued…”  The songs, for the most part, contain jazz piano riffs and sometimes a saxophone or a trumpet lick sample, while Primo goes to work with his word-smithing wit.  Songs like “Just Breezin’” with its 70s R&B samplings are reminiscent of Will Smith’s “Getting Jiggy With It,” and stand out as radio-play potentials with its 70s lounge-funk back-beat and care-free groove, accompanied by Primo’s quick-rap poetry: ‘Coastin over oceans and everlastin sky. Like time, I’m just passin by’.  Unlike many rappers who tend to “eat” their lyrics up while they are rapping, simultaneously losing the listeners (who only then have the beats to latch onto), Primo goes to great lengths to enunciate his words so listeners can get it.  Another standout track is “Sum Ol’ Slick Sh*t,” a 4-minute song about the rapper and his posse, conveying his unique persona as an artist unlike those other rappers: ‘I’ll make sure you remember me. I’m everything you kids you wish to pretend to be’.

Although Primo’s debut has many bright spots, there were times when some of the songs could have used some bridges to break up the monotony of the raps.  On Vol. II, the song “Swagger,” had such a strong blues feel to it that at times, you were hoping for it to diverge into some blues-riffed bridge.  Adding these touches could have helped break some of the tempo-monotony throughout the album. 

For such an ambitious effort, Primo had more than a little help from his “musical family” known as The Embassy Click.  He feels that since the golden era of rap, between the mid-80s and early 90s when rap and hip-hop was still untainted by mainstream commercialism; somewhere along the way, “the love and respect of the art has been lost.”  Contemporary Classic attempts and suceeds to recapture that golden era through lyrical wit and rootsy-record-scratchin rap that your parents grew up on.

Reviewed By Michael Morgan

Michael Morgan, Reviews Primo Brooks, Primo The Cinematic

Based on these songs it is clear that she is first and foremost a composer whose passion for writing and orchestrating music exceeds her ability to sing and write lyrics.…Go With The Flow showcases Heather Edwards many faces and allows listeners to see how an artist can stretch their creativity across the musical spectrum in one full swoop. Not an easy task but kudos to Heather for a best effort!

Identity, it’s what performance artists strive for in the creation and delivery of their work. The sound and style of music and the message that the artist is conveying are all wrapped up into a package for the listener. On Heather Edward’s latest release, Go With The Flow, we discover the artist’s multiple dimensions: A) She is a composer. B) She is a singer/songwriter. And C) She is a musician. Heather shines at A and C and glimmers at B.  The deluge of sound and song from Go With The Flow demonstrates her as a jack-of-all-trades.

With each track on this record, you construct an answer to the question of just exactly who is Heather Edwards. Based on these songs it is clear that she is first and foremost a composer whose passion for writing and orchestrating music exceeds her ability to sing and write lyrics. When she does try these latter endeavors she doesn’t come close to what she can create at the piano and direct in a composition as a whole. On the song “You,” the lyrics are somewhat cliché – “You, you are my bliss and I love when you kiss me all over.”  It’s a love song with a cool beat and rock sound. The tune is driven by the guitar and synthesis, enhancing the song’s unremarkable quality.  The song abruptly ends and could’ve used a bridge to redeem itself. Other songs on the record which demonstrate Heather Edwards the singer/songwriter are the title track “Go With the Flow” whose hip-hop beats and violin flourishes are engaging in addition to the added touches of samples (the “chu-chu” sample was fairly catchy).  “Won my boyfriend on eBay” was a head-scratcher. I didn’t quite get it. Maybe it’s because I’m a guy (or just a twit).  Is it a statement about how technology rules our lives so much so that we can even find love for a fee through websites online (perhaps)?  Even though the topic and lyrics were somewhat clever, I didn’t think the song itself stood up on its own.  Then there is the existential “Song about Nothing.” The melody on this song is quite beautiful and simple but the words have little to be desired. It seems like the writer couldn’t think of anything to say so slapped some words together. It doesn’t really work for me. I would’ve left the song without lyrics and kept it at that. The flow of guitars and piano work well enough on their own. Perhaps the hippest song with lyrics was “I’ve Decided”. Easily the most pop radio-ready track on the album, the song’s frank lyrics and in-your-face quality strike me as both appealing and funky.  Heather’s voice on this track reminds me of Suzanne Vega’s voice because of its fragile and honest tone; it both comforts and soothes. The beat and rhythms are familiar, reminiscent of that Swedish pop song “The Sign” (Ace of Base) minus the bubblegum optimism and naïveté. The Middle Eastern sounding synthesizers really worked well in the song giving it exotic tinges. Although I found the lyrics a bit too preachy in parts, particularly the bridge of the song “feeling and healing it’s all about believing…communicate illuminate take control of your fate…”

The tracks that lacked lyrics on the album were the stronger ones overall. This is where the artists’ composing and arranging talents shone through. Many of these songs I could envision on movie soundtracks.  “Lavender Blues” could easily pass as a backdrop for a sequence of scenes in a romantic movie where two characters are rediscovering the lives they once had, walking together on the beach, hand in hand while the wind pushes them toward the sands…the scene shifts to a bedroom where they make passionate love together. The music conjures up all of this without words and a simple arrangement of piano progressions. “Flash of Red (Here Comes Mother)” is another perfect composition for the big screen or made-for-TV movie. The magic and energetic sonic lines accompanied by the piano has a feel-good kind of pounding to it. This is the kind of music of which racing scenes are made! 

The many dimensions of Heather Edwards pierce through Go With The Flow: singer/songwriter, composer and musician. This works in the artists favor but in some ways is what keeps this album from really being a great one. With the musical oscillations from songs with lyrics to instrumental interludes, I felt like I was being tossed left and right throughout the album. The album is really a collage of the artist’s talents, but this disrupts the natural flow of material in the album. One way to address this disjointedness would be to divide the album up into two parts: Side one is pop songs and side two as instrumental works. Go With The Flow showcases Heather Edward’s many faces and allows listeners to see how an artist can stretch their creativity across the musical spectrum in one full swoop. Not an easy task but kudos to Heather for a best effort!

Reviewed By Michael Morgan

Michael Morgan, Reviews Go With The Flow, Heather Edwards

Hip hop and rap have come a long way since their early days, emerging and converging as mainstream genres. The duo of Lazaros (Laz) and Mark-uz MidKnyte;  known as Dead Poets, hailing from South Bronx, NY, ‘birthplace of rap’, represent this convergence well. Their 15-song album Starving Artist has a song scape ranging from the sociopolitical to the lighthearted and personal. The distinctive rap styles of both artists come through on songs like “On the Grind.” Knyte’s baritone cuts through smoothly, while Laz’s tenor jabs rap punches.  The duo is at their best when collaborating with other artists. The album really takes off on tracks with J-Rock on “Tickled Pink,” Sadie on “Uncomplicated,” and L’Monte and Denae on “Irresistible.”  In some ways, this album is really two separate LPs– one with DP-centric raps, spreading their messages about the harsh realities of urban life and hardship, while the other is more lighthearted artistic collaborations.

Starving Artist starts off somberly with the funereal experience of “Resurrection,” a social and political commentary on America asking questions about freedom with snippets of political voices making it seem more like a eulogy for our country, stuck in the depths of war and economic struggles. The chill of the church organs adds to the social and religious undertones, not reassuring the listener that ‘we’re out of the clear.’  In many ways the title is foretelling of the hope that we all want when all seems lost. This hope is looming until the final track called “Dying”, which answers our biggest fear — there IS no more need to fear.   “Dying”, a bonus track like a few others on the album, ends Starving Artist the same way the album begins — funereal, in-your-face and somber, but, more like an affirmation to the resurrection. The mid-tempo swagger of “Dying” and its hypnotic incantations of  “and I’m ready to go to go oh” suggest Dead Poets acknowledgment of The Circle of Life and The Circle of Truth. 

While the album starts off with stark reminders of a murky destiny, Starving Artist’s album-titled song takes us into DP’s urban truth-telling world and forces us to take a hard and harsh look at it: “you can’t break the truth of a true starving artist.” While the subject-matter is intense, the punchy raps and like-able piano backdrops are easy to follow and don’t get munged up with the lyrics, giving the song some real pop potential.  “Tickled Pink” is another off-the-cuff radio contender with J-Rock’s charismatic, flirtatious reggae hooks “hey girl, tell me what you like.”  “Uncomplicated” starts off like Des’ree’s “Ya Gotta Be”, with soft string elegance. The acoustic guitar steers the song’s rhythm and Sadie’s soulful cries (reminiscent of Lauryn Hill’s stripped, raw vocal) added an easy-listening variation to the album that I found refreshing and interesting.  “Irresistible’s” pouty refrain and infectious beat sampling pulsates like a gentle jackhammer on the eardrums and would make for a great dance-party addition. These collaborations demonstrate the breadth of Dead Poet’s hip-hop range; unafraid to show their lighthearted side and dabble in other genres, but never straying too far from their rap roots.  After several listens, I found many of the songs growing on me and new dynamics in most of the songs to hook into.

Reviewed By Michael Morgan

Michael Morgan, Reviews Dead Poests, Starving Artist

WakeUp enumerates in rap and rhyme the harsh realities of the world, but not for the sake of pathos; it still comes back to manifest destiny of the self but this time through the lens of the world around us; whether that world is one of love and harmony or that of hatred and destruction.

Michael Morgan, Reviews Damon Curtis, The Awaken Project, Wakeup

EPs are always such a glorious thing. They usually are released by emerging artists and are filled with an artist’s best material. It gives the listener a great sense of what they are about. It also sets the bar for a band whose already-salivating early adopters are left drooling for the first full release. Such is the case for a band like Australian indie trio, Bernee. According to lead singer and mastermind behind the band, Matt Goldberg, the band has a pot of approximately sixty songs to choose from. The six songs selected for Bernee’s 

late night show best embody the band’s piano-driven pop sprinkled with shiny vocal harmonies throughout. With a story behind each work, it makes the songs even more interesting. The opener “Where Do You Want To Go Today?” reminds me of the many great pop songs of Ben Folds like “Fired,” from 2001’s classic Rockin The Suburbs

On the flip side, I would’ve liked to have seen more vocal harmonies carried throughout the EP since Goldberg’s tenor is not as strong as the songs are. Maybe, even share some of the vocal duties. Perhaps even more duets within the songs. This would’ve added that sparkle that the songs are missing. But don’t let that detract you from enjoying the joyous, rollicking piano interludes, the sweet sincerity of Goldberg’s vocal chops and wonderfully clean arrangements.

Bernee means business on their first outing, and brings with it a sense of humor and genuine emotion. A good first outing for both early fans, and hopefully a springboard for more to come.

Reviewed By Michael Morgan

Michael Morgan, Reviews Bernie Journey, Late Night Show