To be perfectly honest I was quite ready to not like this record, but when I inserted the CD into the player, something else happened. I not just liked the record, I loved it. I’ve never considered myself much of a mainstream kind of guy, but I recognize talent when I hear it, and it is definitely here.

The Hendrickson’s set out to produce and finance this entire project without the backing of a major record label even though it sounds as if it were. Mr. Hendrickson jokes that the two major investors for their project were Mastercard and Visa.

Musically this duo is all over the place. Nine times out of ten, I’d say there is evidence of a severe identity crisis present on this recording. However, these songs are all so well written, so well produced, and most importantly, so well performed, it all works to come together to create something that sounds like it should all be together. Jeremy Hendrickson has somehow infused all these different genres; blues, jazz, modern country, rock, and pop to form some powerfully upbeat music that we can all enjoy. Mr. Hendrickson’s talent for writing and producing plays a huge role for the seemingly seamless flow of the songs from one genre to the next. This is truly an amazing accomplishment for a seasoned veteran let alone someone trying to break through.

I believe a major reason for their success in meeting their goal of creating such a broad project, was the fact they were able to entice a select group of musicians, arrangers, engineers, and vocalists who have worked with major recording artists such as Faith Hill, Rascal Flatts, John Mayer, Mary J. Blige, Josh Groban, Mariah Carey, Eric Clapton, and Chicago. The production values always present on these artist’s recordings is present in this work as well. It shines through and makes for an incredible listening experience. The choir arrangements, the string arrangements, etc. all help this to be a very successful compilation of songs that all of us can relate to and enjoy.

I really believe I could sit in a room with my parents whom are in their late 70’s and 80’s, my youngest son who is fifteen, and my two adult sons who are in their mid to late 20’s, and we would all agree there is something for each one of us on this record. That was Jeremy and Rebecca’s intention and they absolutely succeed here.

When I read their bio and saw that their songs were all upbeat and family oriented, I have to admit there was a gag reflex, but they very quickly won me over. They succeeded in creating a very upbeat sounding record and I believe, will appeal to an extremely broad audience.

Rebecca Hendrickson’s voice is powerful and able to crossover from genre to genre seamlessly. She can be soulful, she can be country, she can be bluesy, she can be jazzy, and she can even be rock ‘n roll without changing who she is. It’s a unique ability that few performers possess. Jeremy and Rebecca harmonize beautifully and compliment each other throughout the record. Jeremy sings solo on several cuts and has a great voice as well. This is a very talented duo that very pleasantly surprised this reviewer.

The only negative I could find to this album is the cover. In my opinion it does not give us a good representation of what is to be found on the CD. In fact, had I not already read their bio I would have thought it to be some kind of a down home blue-grass record. My mother always told me “you can’t judge a book by its cover”; but mom didn’t know about the recording industry. For some people it’s the cover that grabs us initially, especially when we are trying to break through. So, I’d say jazz up the cover some; make it more appealing to a younger demographic, make them pick it up and give it a listen.

All in all I believe this to be an amazing record with some major talent. After I finished listening to the record I wondered; why haven’t I heard of these guys before? I sincerely do expect to hear a lot more from Jeremy and Rebecca in the very near future.

Reviewed By Rod Ames

Reviews, Rod Ames Jeremy and Rebecca, What We Leave Behind

Spiritually based music always continues to amaze me. There are so many variations from the spiritual music world that come from virtually every known culture. You have eastern oriental, Hindi, Chennia, and Buddhist chants, just to name a few. You get the idea.

Then you come to western spiritual music as we have come to know it.

American music in general is pop, rock, country, folk, jazz, and blues. American music has a separate genre for “spiritual”, but it is primarily a one dimensional genre we know as gospel. Recently on the scene we have been introduced to Christian Rock and even some pretty hard rock or thrasher style of Christian music. Many nations do not allow anything but their particular style of music, so it’s somewhat refreshing to hear someone from this country with her eastern roots come forth with her slant on spirituality in the form of her very own unique style.

Ms. Ward has a very soft and pleasant singing voice that fits right in with her compilations. She has assembled some world class artists to play on her debut record that may garner her some well deserved attention. H. N. Bhaksar on violin contributes a degree of mystery and adds a sometimes classical touch, sometimes a jazz touch, but most often a very spiritual touch. Bhaksar is a renowned violinist and composer who has acquired the ability to play many variations of music with equal finesse. His addition to this record creates a unique fusion of western and eastern music.

Ms. Wards distinct style will undoubtedly be categorized as ‘New Age’ and that is probably okay with her. Her style is a very difficult one to categorize. In my opinion she blends together two very different worlds. East and West joins together to express her views on not only eastern spirituality, but eastern philosophy as well, applying it to today’s world, ultimately making it appealing to anyone who would like to give it a try.

In my opinion, Ms. Ward’s music’s uses are endless but the most important use, and I believe the use most important to the composer; is its potential in helping one to get in touch with their creator who ever he, she, or it is.

One of the reasons I love doing what I do is so I can learn more about music and discover new and interesting forms of music. Sometimes you have to wade through a cesspool to get to something rewarding. I have had to listen to a lot of music in my life, a lot of which is often unlistenable, but now I have been introduced to Hui Ward making my musical journey a very rewarding one. I find this compilation to not only be rewarding for the listener, but believe this is a work of art the artist should hold close to her, and continue to nurture.

Will Ms. Ward ever reach “platinum” status as far as the selling of records is concerned? Probably not, but when I listen to her, I for one, do not believe that to be one of her goals. There is, or at least should be an audience out there for her. I know one thing for certain; I would be in that audience.

This was a very compelling and difficult review to write. I’m not an expert on eastern music but Hui Ward has enlightened me and pushed me into going out on a limb to research and discover many different genres I was previously not privy too. What an excursion it was. Thank you Ms. Ward.

Reviewed By Rod Ames

Reviews, Rod Ames Hui Ward, The Way

 When I listen to a new artist, I insert the CD and will listen to it four to five times, maybe even six times. Sometimes it just takes that long to get into the groove of what the artist is trying to project. Not this time. Ms. Young’s songs are refreshing and all her own. The arrangements are all impeccably designed and come together to create a beautiful rendition of what was originally born in her head. Each track is carefully laid out to create a mosaic of songs about love, love lost, fantasy, tragedy , spirituality, and hope, all of which we as listeners, have felt at some point in our lives. She connects with us. This is a very successful debut recording by this young artist from Rhinebeck, NY.

The musicians she has recruited for this venture are all masters at their respective instruments. For instance on Bethany’s Garden, Mike Demicco’s guitar adds not just his talent for guitar but also compliments and adds a bluesy feel to the drama of the lyrics in the desperation of the protagonist’s search for the wild roses that bloom forever in Bethany’s Garden. That’s not all though. Rachel Handman on violin takes it to a higher level of drama and ties everything together. You can feel the desperation, the anguish, and the torture of what our hero has gone through on her journey with the wailing violin in the not so distant background. Ms. Young’s voice shows a lot of range and I don’t mean just in octaves. The manner in which she almost whispers the lyrics help us to want to find out what happens to our hero. I love a song that tells a good story and this one does that. We care about the character in this story and it’s the lyrics and the way they are delivered that enables that to happen. It all works.

The fifth track is a jewel called The Wire. It’s a little tune about leaving your comfort zone, what ever that happens to be, and walk The Wire. No safety nets, simply putting one foot in front of the other to accomplish what ever it is you are trying to accomplish.  No one is making her walk the wire; no one is pointing a gun to her head as she puts it in the song. She’s doing what she has to do. It’s another song about moving forward and not looking back, no matter what lies in the path ahead. It’s a song of hope and fear and overcoming said fear. Again, like in Bethany’s Garden, the song is beautifully arranged and produced. Mr. Demicco’s guitar is there in all of its glory and again gives the song a very bluesy feel to a song, ironically enough, about hope. On this particular tune Scott Petito’s talent on the Hammond organ only adds to the flavor of the song.

Finally, on Into the Wilderness, we get another message of hope but more on a spiritual plane than one from experience. I guess you’d say our experiences are extremely closely related to our spiritual growth. This song is about that.

One foot in front of the other, one day at a time

I can see the reason but there’s no rhyme.

No turning back from the journey, now that it’s begun

Oh God, what have I done?

Walking into the wilderness

No path ahead I can see

Walking into the wilderness

Trusting you to guide me.

I believe this to be a song about recovery. Recovery from what life throws at us and using our faith to carry us through these experiences. I’m not a very religious person, but this song did touch me spiritually. In that respect, it is probably my favorite tune on the record. I love the lyrics but mostly I love the simplicity of the words and Ms. Young’s delivery of them.  We are reeled into the song by a profound and jazzy Latin beat you can’t help but tap your foot too. Phil Russo adds his expert saxophone talent to this tune adding to the complexity of the arrangement. Of course Mr. Demicco is there with his guitar along with Mr. Petito on the Hammond, and Peter O’Brien on drums. This is a fine and carefully arranged tune and I was surprised, but adored the abrupt ending to it. It all fit.

Overall, I loved this record. There are nine additional songs on this record and if space would have allowed, I certainly would have reviewed them and given them all excellent remarks. However, the three I chose to write about here all stood out to me.  If I had to, I would compare Cathy Young to someone like Mary Chapin Carpenter or Nicolette Larson, but only if I absolutely had too. My belief is Cathy Young can stand on- her- own.

 Reviewed By Rod Ames

Reviews, Rod Ames Cathy Young, Days Like These

One thing I can say about Matt Goldberg and beRnee is they are every bit of what they say they are; a piano smashing geek band. The band consists of Matt Goldberg who writes, plays (and I assume smashes) the piano/vocals, Nicole Weepers on drums/percussion/vocals, and Iain Gillaney on bass/harmonica/hats.

They are different to say the least. They state in their bio they were influenced by artists such as Ben Folds, The Whitlams, Coldplay, Fiona Apple, and the Foo Fighters. I can certainly hear most of these influences, but don’t really get the Foo Fighters reference. There is a hint of rock in all of their songs but I’d say this band leans much further towards the pop side of things.

I found them to be extremely listenable, all though they are not a band I would pay to go see. If I’m in the right mood I may put this EP in the CD player with other CD’s to “mix it up a bit”. Are they talented? Absolutely! They can certainly write and play music and there is certainly an audience out there for them. I’m just not someone you would find in that audience. That’s not necessarily a bad thing. A 56 year old dude from Texas is probably not their target audience in the first place. However, if I was walking down the street and heard this band playing, they would certainly catch my attention, and I’d stop and give them a listen.

This record is not without merit. Matt Goldberg has a good voice that is perfectly suited for his songs. The accompaniment of Iane Gillaney on bass, and on at least one tune, harmonica, and Nicole Weeper’s background vocals help the songs along. I especially liked the support of a small string and brass trio consisting of a cello, violin, and trumpet on Miss Busybody. It adds to the dramatic subject matter of the song. As Mr. Goldberg stated in his bio – “Everybody knows people who don’t have the time of day for you. They say, “I’ll call you” or “Let’s catch up sometime” in passing, but they don’t really mean it. Where has the honesty gone?” The other side of this tune is when the individual does try to make contact with us, we tend to make excuses and run away from them.  Matt says maybe it’s just him, but I believe he’s probably right on target.  We can all be hypocritical from time to time. This is a song about honesty and hypocrisy and it works.

The last song on the EP is a simple tune called Roll On. I believe this is the most carefully crafted song on the recording. It’s a song about not being afraid to go out on a limb to tell someone how you feel about them and possibly being rejected. To quote Mr. Goldberg, “It’s that slither of hope that we grasp onto that keeps us going.” This is mostly an acoustic tune, again accompanied by a small string and brass trio consisting of Annabelle Drought on violin, Allye Sinclair on Cello, and Josh Koop on Trumpet. The trio, along with Mr. Goldberg’s expertise on the piano, and Nicole Weeper’s excellent background harmonies, give this song strength, and in my opinion, is an ingenious way to end the EP on a very strong note.

I suppose what I like the most about Matt Goldberg and beRnee is they write about every day things, simple things, really, that most of us just tend to blow off. Matt Goldberg likes to capture these things in words and music and bring a good solid amount of drama to them, not in just his lyrics, but also in the cast of musicians he has assembled to play these songs with him, and they do it quite well. He’s also one hell of a piano player; as we like to say here in Texas, “he can sure pound them ivories!”

Reviewed By Rod Ames

Reviews, Rod Ames Bernee Journey, Late Night Show

The crickets are chirping. You can hear the rolling thunder and hounds barking in the distance. Then, all of sudden, you hear someone running, their feet hitting the dirt hard. At this point we are led into the tune with dobro and its sliding licks. It’s official; we have been introduced to A Place to Hide, the very first track on Terry Penney’s new record, Town That Time Forgot (Bulldog Records).

The song is what Folk or Americana genres are supposed to be about. There is a story involved, and you must pay attention to the lyrics. This is a trait missing in most mainstream music today. Penney captures this from the very first few lyrics – I’m Bones and loneliness, I been gone so long/Locked up in a prison cell for someone else’s wrong. Then in the chorus – So turn around girl it’s me standing ‘neath your back door light. You can hear the desperation in the song. He’s running away from the law but can’t stay away from the one person who believes in his innocence, which is sure to result in his capture or worse. He mentions prison, apple pie, and even Hank Williams. The song is right on target and doesn’t miss a beat.

The very next tune is the title cut, Town That Time Forgot. Terry Penney intones how things once were but connects it directly to today’s world – Where a dollar and the dirt roads stretch for miles/and the stars have yet to fall from the sky. I’m almost certain that folks in the larger metropolitan areas don’t even look up to see the stars anymore. They’ve all been swallowed up but the big city lights; and hell, you can’t even find anything at the “Dollar Store” for a dollar anymore. Penney takes us to a place where you can still see the stars and dirt roads are still in existence. It’s a song of great nostalgia and has a texture to it we don’t get to experience very much anymore.

The Fifth track on the record is Benny Brown. It’s a progressive bluegrass tune and is one of the best tracks on the record. It tells the story of a young man going off to fight in WWI, the war to end all wars, and as so many of these songs do; it ends in tragedy. It’s a song of valor and pays tribute to our heroes who have been sent off to war to fight and pay with there lives, the ultimate sacrifice. The arrangement is very traditional and complete with banjo, mandolin, and fiddle.

The final cut is Plan B. It’s a simple little tune, cut from a more traditional country vein. Everything about this song is simple, which is precisely why I loved it so much. The lyrics are something we all can probably relate with to some degree – I lay it all down and walk through the gate/Another twelve hours punched at a job that I hate/I drive away into the night, just another day in my life. The chorus raps it all up into a nice neat little package – Hey, Lord throw me a line/I’m sinking down her can’t you see?/The preacher says hold fast boy this is God’s plan/No offence Lord, But I’d love to see Plan B. Certainly, these are thoughts we have all had at on time. I know I have. But it’s also about his faith. No matter how bad things get, he never gives up on his God, he just wants to know if there is another plan. It captures the true essence of the working class hero.

Mr. Penney is accompanied on the record by Glenn Simmons on acoustic, electric guitars, and background vocals. Glenn Parsons plays bass.  Dean Stairs plays the piano, organ, acoustic guitar and bass. Fab Tranzer plays the mandolin and dobro.  Jody Hale is on the fiddle, mandolin and banjo, and Tommy Detamore plays the pedal steel.

This is a top notch recording produced by Terry Penney. He wrote or co-wrote all of the tunes. The production values were consistently professional through out the record resulting in a very rich, listening experience.

 I suspect we will be hearing much from this great young artist in the very near future. I will certainly have my ear close to the earth listening for him, because that is where music such as Terry Penney’s comes from. It seems to grow up to us from the rich dark soil that lies underneath our feet, and connects with us in a very natural, earthy way.

Reviewed By Rod Ames

Reviews, Rod Ames Terry Penney, Time That Town Forgot