While listening to this new CD by guitarist/singer-songwriter Marcus Eaton, I recalled a debate often had amongst music fans.  Why is the sound and style of Christian music so easily identifiable as Christian music?  While never really understanding what the negative aspect of that connotation was, after listening to a decent amount of Christian music I knew what they were talking about.  Whenever coming across something intended to be “Christian rock” it was always easy to tell the music was geared to Christians and, surprisingly, often way before any telling lyric was heard.   Something in the production, maybe the sound of the guitar or the drums, seemed to always seem very rock “lite.”  It’s as if the balls were left out of the music, as if the producers and musicians wanted to create some real rock but felt if they did the negative aspects of secular hard rock would be thrust on the listener.

When listening to Eaton’s new CD, you can throw any and all of those issues out of the window and enjoy the music purely for what it is: great rock and roll covering many sub-genres and shades. For one thing, Eaton has not stated anywhere on the album or in the press accompanying it that he is (or wants to be known as) a “Christian” artist. Still, it doesn’t take a genius to discern that Eaton is a spiritual man.  The music is contemporary in every respect and is meaningful and heartfelt most of the time, yet rocking when it needs to be and always enthralling and interesting.  It’s obvious Eaton knows how to craft a great album, and as well he should, since he’s been a professional for a long time.  Signed by a division of MCA/Universal in 2002, Eaton and his band made his hometown of Pocatello, Idaho, proud and have been recording prolifically ever since.

“Life In Reverse,” the first song, opens up the album with a driving beat and a great immediacy.  It’s a great choice to begin the CD as the beat and intense acoustic guitar give a resounding announcement of Eaton’s poignant but upbeat lyrics.  Great drumming on the track as well by Kevin Rogers, who adds a lot to the song during the ride-out where his furious tom work brings the song to a higher level of intensity.  The next song “Dismantle The Machine” has a slower groove, but the rhythm section keeps the song intense with Rogers’ furious drumming and Garrett Sayers’ exceptional bass work.  Eaton’s guitar work on both of these cuts is captivating and makes one wonder why he hasn’t been featured more prominently in those guitar magazines you see in every grocery store.  The song itself reminds me of something by The Police if they would had come up to prominence in the past five years or so.  Not lyrically, per se, as Eaton’s lyrics have a decidedly Christian/spiritual bent to them, but the music especially, as Eaton’s band seems as accomplished on their chosen axes as Sting and company were on theirs.  At the end of the song the band adeptly morphs into a Rush-type sound.

“Eleven” is next and finds Eaton and crew in ballad mode, with a dreamy, ethereal sound featured on the song.  As great of a guitarist as Eaton is (and he’s a monster), his vocal work is equally as good and he has a very commercial, radio-ready style.  Eaton’s production of the album is top-notch, as well, showing him to be quite adept in the studio as this release has up-to-the-second production, some of the finest work I’ve heard done by someone not on a major label.

The Police-isms come back on the next song, “What’s The Difference”, as the song starts with a slick reggae beat reminiscent of the Police song “Roxanne” and has that band’s way with dynamics and tempo changes.  The next cut, “Dreams of Flying”, has a totally different sound, which is a groovy, almost jam-bandy drive.  Eaton’s vocals give it a Maroon 5/John Mayer feel while the music is slick pop on the verses and a Dave Matthews feel on the chorus.  Eaton’s deft acoustic work opens up the next song, “Weightless”, and the tempo combined with the guitar, lyrics, and production are a perfect match for the song’s title.  Eaton has created the perfect musical bed for his song, a rare occurrence of musical synergy which can be called nothing less than inspired.

Next, “Black Pearl” begins with Eaton’s intense vocals upfront as if he is singing directly to the listener.  The rest of the band comes in on the chorus and then fades as the second verse begins, executing an excellent arrangement by their use of dynamics to draw the listener deep into the song.  This would seem the logical choice for a single, as the song is very accessible and the spiritual imagery in the lyrics is masked.

“Who You Are” comes next and has a slight Latino flavor to the rhythm and the guitar work, which borders on the flamenco, and sounds like one of the songs Santana would feature on his latest albums.  Eaton burns the guitar on this cut, proving he is an exceptional player who knows how to use it properly.  Eaton’s guitar rages on the intro to “Over You”, giving the song some of the hard rock oomph I have been waiting for since the album began, and finishes the album with the same unleashed passion on “You Can’t Close Your Eyes.”

While As if You Had Wings is likely geared to listeners who would appreciate a Christian world view, the musicianship is top notch and can be enjoyed for its own sake.  Guitar freaks and fans of modern rock are sure to enjoy this album as it features great vocal work, excellent band performances and Eaton’s frighteningly skillful guitar playing throughout.  All that, plus production work that is top-notch spells a set of songs accessible to anyone, anywhere, anytime.

Review by Scott Homewood

Reviews, Scott Homewood As If You Had Wings, Marcus Eaton

Right off the bat, one look at the liner notes for this release tells the story of an interesting dichotomy to this album, the debut from the band Shady Cats.  Though there’s no mistaking that guitarist/multi-instrumentalist/singer/songwriter Grady Crumpler is the de facto leader of the band, on certain songs he almost seems like a guest artist on his own band’s album.   Take for example the guest lead vocal from the esteemed popster Don Dixon, of the ’70’s pop/rock band Arrogance and the early ’80’s MTV hit Praying Mantis.  How often have you heard of a band calling in a better vocalist than the leader to take the helm on a song?  I can’t speak for every album ever released but one would guess never.   It’s almost an unspoken rule never to show up the regular singer as he’s the one the band’s gotta live and die with from song to song and gig to gig.  However,  it happens here with Dixon.  A singer by the name of Phil Spence takes a lead vocal on the album as well.  Not sure if he’s a “name” vocalist of not, but he sings better than both Crumpler and Dixon.

The band itself sounds like a tight unit, and it should be. Together since the late ’90’s after meeting at a private party in which a Crumpler solo set was the entertainment, the band once was named Grady Crumpler and Last Call before selecting their current moniker and began recording this record back in 2001. Calling in several skilled producers to helm the boards including Chapel Hill NC legend John Plymale, Crumpler gives the impression that this album has been an ongoing effort with many starts and stops.  Even so, you aren’t able to tell from listening, which is a definite sign Crumpler hired the right producers for the job.

The first song, “Love Callin’”, sounds like a male version of Rosanne Cash’s old hit “Seven Year Ache” in that it combines rock, country, and a four-on-the-floor dance beat together to come up with a pure pop confection that transcends genres.  Crumpler’s vocals are very solid here and this is a great start for the record as it gets everything going at a fast clip with a great song that sure sounds as if it belongs on radio.  The next song, “Lost Myself”, has a solid roots feel and is a bit more rock-oriented than the first cut, with Crumpler’s plantive vocals and Ennio Morricone-sounding guitar lines.  There is a pattern here: Crumpler’s songs have a ton of hooks and are relatively short, sticking with a philosophy of getting in, making an impact and getting out so the listener wants more.

“She Kisses Me With Her Eyes” comes next and Crumpler and the band turn the guitars and the tempo loose and hit the song like a floorboarded Ferrari hits the street.  It features a great pseudo-metal guitar solo from Crumpler who manages to keep it short-and-sweet.  The following song, “In The Moment”, is the anomaly in the rock world I have referred to earlier.  Here the lead singer takes a back seat to let someone else sing.  However, when someone of the caliber of Don Dixon shows up, it’s warranted, though I am surprised the esteemed Dixon did not also choose to play bass.  The song is produced by Chapel Hill vet Plymale and Dixon sounds ten years younger with a lot of the gruffness removed from his voice in favor of a smooth, youthful sounding rock vocal performance.  The band is as tight as ever on this track.

For the next song, “You Got A Way”, the band is reduced to a power trio for this slightly jazzier number until the solid wall of rock guitars kick in at the start of the chorus and the song becomes a full-throttle stomper.  “Lines” is the next song and features a guest appearance by Gladhand Wes Lachot playing the B-3 on a great roots rock song reminiscent of Eric Ambel or Duane Jarvis’ best work.  “Lines” is another catchy song that ought to be a decent sized country hit.

“I Want Independence” takes the proceedings a little to the left as the song is almost metal, making it the odd one out.  Then again, it’s not bad, so if nothing else, it shows the band as very versatile.  While Crumpler’s vocals don’t scream metal, he does a serviceable job that may have sounded better with a different producer and better production values.  “Take Me” comes next and is a blazing riff rocker that sounds like early Tom Petty right down to the swirling organ.  Here again, a guest vocal from Phil Spence has him sounding like he belongs in the spot.  There is nothing wrong with Crumpler’s vocals so far, but Spence has a better voice and presence than Crumpler on this harder-edged rock song.

Following is the much-mellower “All The Way”.  This is a great “come-down” song after the rock of the previous cut.  The song has a great synth hook, also played by Crumpler, and sounds like something out of the late-’70’s with a danceable beat tailor-made for The Hustle.  The next song is “Till The Rain Comes” and shows Crumpler handling all instruments except bass and drums. The vocals are decidedly better on this Plymale-produced cut, and the song has a nice summery hook to it.  This would be a great song for the radio about, say, late April.  The final song, “Desperation”, starts with dirge-like piano by Darren Mitchell and slowly starts to get more bombastic with the drums, bass, and some heavy guitar hitting at the start of the second verse as well as some sweet layered background vocals.  A little bit of Led Zep’s piano from “All of My Love” is heard at the end of the song.

Though Love Callin’ is a bit lo-fi, the production is as top-notch as one could expect.  The use of three producers does not detract from this album as Crumpler and Shady Cats have managed to hone their own country-tinged pub-rock sound.  While some songs have obviously big, sing-along hooks, Crumpler has the knack of also penning songs that subtly lull you until the hook works its way into your brain.  As his songwriting matures another notch or two, he should become a real force in the music world.  Between now and then, I will be listening to this album quite often.

Review by Scott Homewood

Reviews, Scott Homewood Love Callin', Shady Cats

Rarely do artists come along with fully-formed personalities, having boundless talent, their own sound, and a complete vision of who they are, what they want to do, and how to present their talent to their target audience. An artist like Prince comes to mind in this respect, and though there has to be others, his is the obvious name one would recall as embodying this type of artist. While Michael Lee does not have the hard funk sound Prince has long since settled into, Lee does compare to Prince in many ways. For one, Lee seems to have a vision for his sound. Mixing jazz, progressive rock, and pop rock the same way Prince mixes soul and rock, Lee is able to take his influences, add his own sensibilities, and come up with something unique yet still recognizable. While not groundbreaking, Lee’s talents are quite formidable and his mastery of stringed instruments of all types and well as keyboards and percussion show him to be a musical prodigy capable of doing anything he wants in the music world. Also like Prince, Lee has found his own sound, most likely due to being a self-taught musician.

A jazzy-sounding and very liquid drum pattern and a deep popping bass open up the first song, “Land of Change”, before guitar and Lee’s voice join. The guitar playing calls to mind Eric Johnson’s and Lee’s bass work is very up front while the drummer almost plays a constant solo though the time is kept quite nicely. There is almost the same opening for “Trust”, though the guitar plays some great arpeggios and Lee’s vocals add an immediacy to the song that a long introduction doesn’t usually suggest. This song is the opposite of the first, with more rock in the mix, and putting the jazz elements to the backseat.  The middle part of the song almost goes into a Rush-like sequence with the interplay of guitar bass and drums. Vocally, Lee is a little thin but that may be the production as he can more than hold a tune.  Still, he doesn’t seem to have much of a vocal presence, almost sounding like a wan version of John Mayer.

The next song, “Despite”, opens with some great guitar lines and interplay of bass and drums before the vocals come in. A bit of Colin Blunstone is detected in Lee’s breathy vocals, though the song is jazzier than the Zombies ever got. This cut sounds as if the baroque was taken from the Zombies and more jazz were added which makes for an interesting song, probably the most interesting one yet. The keyboards and drums handle the chores on the opening to “Tired”, while Lee’s voice sounds like the title, probably by design. There is more of a ballad feel on this cut, though with the busy drumming and guitar/keyboard interaction the tune sounds “up” even though it is likely about a breakup. Some gently finger picked guitar opens up the next ballad “Mystery of Life”, with Lee picking and singing like a cross between Pierce Pettis and Blunstone. It is on these slower songs where Lee’s vocals shine the most. Suddenly, his voice is up front and the texture perfectly complements the music. A string section may have enhanced this song a little bit, but it is still powerful on its’ own.

A rocker is next, “Youth”, and the guitar enters and growls before evolving into a Satriani-sounding lead part. Great guitar and vocal work from Lee who has his voice mixed just about where it should be for it to be most effective. Lee’s bass work is impressive as well with some great intricate conversation between the bass and the other instruments. “In The Picture” has Lee doing his Blunstone impression again. It’s uncanny how the two sound so alike.  It’s a great vocal sound for ballads though and Lee does well with it, adding a poppy element that makes it a strong candidate for radio play. Acoustic country-style finger picking opens “Distant Future”, and some minor percussion and tasty mandolin carries the song.

“Never Enough Time” starts out with snaky Latin-tinged runs on the electric.  The vocals and sound of the song seem very ’60’s influenced, not with an overt psychedelia, but more so with the phrasing which seems to borrow a little from Robert Plant.  Lee gets a bit Metal with the guitar towards the end, adding some lines of which Metallica would be fond.

The next song, “Face Forward”, is an instrumental that begins with stately piano and African percussion before the drums and bass begin to kick in. The piano seems to be the lead instrument to this song, as opposed to the guitar, which had set the pace previously. As you would expect by now, Lee shows quite a bit of piano talent. The last song, “That Day”, is a pian0-based ballad, though with an added proggy/jazzy oomph taking it through to the finish.

What I take away from this album, besides the songs and the playing, is the emphasis placed on the arrangements. This is something most one-man band type acts give short shrift while being satisfied with just banging out some raggedy blues. Not Lee, who obviously spent much time crafting every note and nuance. While for some it may seem that the careful placement of every note and nuance would take away the lively spontaneity that most music thrives on, it allows Lee to craft perfectly-formed musical jewels that shine with a brightness few artists can achieve. It doesn’t take long to hear that Lee’s talent is quite rare and extraordinary. From one listen, you will be able to tell Lee has his own sound, and a wonderful debut with Face Forward.

Review by Scott Homewood

Reviews, Scott Homewood Face Forward, Michael Lee

Though I know very little about the band itself, the imagery Man Called Noon uses in their name is very interesting to me. That it comes off sounding something like a reference to character in a Clint Eastwood spaghetti western almost makes sense as the band’s music has the defiant air of rebellion about it that I like while retaining a coolness which is sure to draw people to their music. I am guessing the title may refer to the picture on the CD of a down and out man playing guitar in an alley, While it seems to have little to do with the music, there are undercurrents in every song regarding the struggles of the everyman to succeed in life, in love and to find happiness while still retaining a healthy self-image and not succumbing to the temptations and problems life throws at you. As someone like Bruce Springsteen sings of the life of the everyman so do the musicians behind Man Called Noon, albeit in their own way. Led by Tony Giamichael (lead vocals, guitar) and Brian Sonnek, (lead guitar, background vocals) the band boasts a solid one-man rhythm section in producer/engineer Mike Burns (drums/bass). The trio is bolstered by Katie Dingle who adds some atmospheric cello to a couple of tracks.

The first song Burn and Grow is a great pop-rocker in the vein of a slightly more polished Replacements or a scuffed-up Fountains of Wayne.  Sonnek and Giamichael manage to get some great bristling guitar sounds and producer Burns is able to conjure really just a great sound overall with Giamichael’s vocals sounding just the right amount of rough. It is a very radio-friendly sound and although the production is a tad ragged, it fits with the working-class rock motif the band seems to be cultivating. Not to mention it has a wonderfully catchy singalong chorus too. This song is above-average power pop with some decent guitar crunch and is just a great opening song for the album. The next song Dance Off has a similar start and sound, all guitar crunch and pounding drums. The song is a little moodier and a little less catchy, but it still has a decent hook to it. Sonnek has a great solo on this one, less rowdy than the first song, but still with a great grip to it. The third song Living My Obsession is another crunchy rocker in a Replacements mode, with a maximum of rock and roll heart and a minimum of bluster, much to the band’s credit. Lyrics so far on the album aren’t that impressive, but not horrible by any means. They are simple enough so that once you learn them you can concentrate on playing air guitar during all the riffs and crunchy chords, but are not obtrusive or bad enough to ruin enjoyment of the song. The drumming by Burns is the same: simple and effective. The following song Saturday opens with what sounds like the riff from the middle of Guns and Roses’ Sweet Child o’ Mine only twisted a little. The vocals come in and Giamichael sounds a little tired on this one, and trying to hit a higher note on the end of eaxh phrase that his voice really isn’t able to hit correctly. Guitar work is again very good – just the right amount of skill and just enough Neil Young-style noise. Burns is again pounding away mercilessly, showing himself to be the glue holding the band together. In a little change-up, furious acoustic guitar strumming begins the next song, Dying For My Passion, which seems to be the band’s take on folk music. Other than some mournful harmonica work, the rest of the band never shows. The band comes back on the song Cotton, and comes back seemingly seeking vengeance. The song starts very loud and rowdy though it quiets down on the first verse a little where it’s all about the vocals and rhythm guitar. The next verse kicks in and the lead guitar and drums come in looking for blood. And, no, you may be wondering by now if the band plays metal. Not quite -just extremely hard rock like a Southern post-Nirvana AC/DC. Broken Man is next and starts out with some acoustic strumming in a country style close to what I’d imagine a post-punk Jimmie Rodgers would sound like today. One of my favorite songs on the CD, The Lonesome Gods, is next and features Katie Dingle’s cello lines echoing the lead guitar lines for a great effect. A very ambitiously arranged track compared to the others here, which are more straight-up rockers where this song balances rock with a bit of a baroque touch as well. Some Thin Lizzy-like dual guitar lines at the end of the song add yet another dimension. The last song is called Another Ghost and has a My Morning Jacket-type feel to the vocals. Not only does it start off with some great acoustic strumming that reminds one of the Stones’ Street Fighting Man but it finishes up the album with a powerful flurry just like that classic.

Man called Noon have created a very impressive CD here and one that should garner them quite a bit of attention. While not perfect by any means (who is?), the band has managed to take their strong points and use them to disarm and disguise their weaknesses almost completely. The lyrics may be simplistic and sometimes banal, but thanks to some catchy choruses, who cares? The same guitar tone is featured in many of the songs, but so what? It’s crunchy as hell, very up-to-date sonically and the melodies make you forget about the sameness very quickly as you’re going to be too busy playing air guitar to notice. Hey, if you’re going to pick a favorite guitar sound to use on your album, it’s at least a savvy move to pick a good one, which Man Called Noon certainly has. This is definitely a band to watch anmd if they keep improving, five or so years down the line I can see this band headlining some big shows.

Review by Scott Homewood

Reviews, Scott Homewood Broke and Beaten Down, Man Called Noon

For many years, from the late ’70’s to the mid ’90’s at least, bands and artists seemed to be constantly trying to outdo each other as to how much money they could spend recording and producing an album.  What started comparatively modestly with the then-huge bands like Pink Floyd and Fleetwood Mac later spiraled out of control as bloated act after act tried to spend as much as they could adding whatever gee-gaws to their latest disaster-piece.  Now, I am not talking about indie acts, but mostly music released on the big labels at the time.  Also, note that this endless spiraling of costs conspicuously coincided with the best money-making years of the music business and was a game played with artists as the labels wanted their artists to spend as much as they could so more could be recouped before any of these misguided artists got paid. Eventually, this spending proved their undoing as the business now sits, wasted and spent, headed towards certain extinction as the power of the Net has put business in the hands of the musician finally. Enter artist Robert Valente, who seemingly prefers his music bare-bones and raw, which makes sense right now with the music business in its huge sort of insanely terrible flux. Not that Valente seems to care a whit about the “music business” per se; this is music from an artist who sounds as if he recorded his album on his back porch.  This is not a bad thing, I guess, just a very interesting and often unsettling one, in the way of the music being immediate and down home, not in a “bad-quality” sort of way.

A raggedy-sounding down home country tune starts the album off, a song called “Gospel Man.”  Production is not really there and the band seems to speed up and slow down a little more than they should.  Nothing wrong with some country blues with a dash of folk but I guess I am thinking it shouldn’t be quite this ragged, at least not if they want airplay.  The Grateful Dead is gratefully dead, after all, and that sound is pretty passe.  Pretty infectious and fresh, though, I gotta say.  The next song “True Again” starts in a bluesy, Canned Heat sort of way and the vocals remind one of Heat as well as Valente’s voice is high and keening. Some great fiddle breaks on this song though, giving it a real good country flavor. The third song “You Don’t Know” is a rockabilly stomper with more emphasis on country than rock due to a plethora of ringing acoustic guitar. This song sounds the most “solid” of the three so far and the closest thing to a song that could get airplay, even though the production is not what you would call “radio ready”.  “The Answer” is next, and is more folk than the others up to this point, and has a old-style mid-’60’s folk-boom feel to it. Sounds like an old song, which is saying something about Valente’s songwriting abilities; great songwriting here, at least for that style.  The next song is “Love Has A Way” and again is quite folk-y, but has tinges of the Byrds in the delivery, though much more traditional than most of their stuff and with female harmony accompaniment on the vocals. “Country Singer” comes next, and pretty much covers the style in the title. Valente has a good voice for old-style country and sounds at home in the style, though I am wondering how good this album would have sounded with T-Bone Burnett or Eric Ambel producing.  “Alive”, the title song, is next and has the same ragged feel as the first couple of songs.  While it sounds good in context, it has a sound almost as if these songs are unfinished and maybe the arrangements have yet to be fully worked out, as if these are demos.  Fiddle does a great job on this song and adds depth to the band and album overall.  “This Old World” is next and starts out folk-y, with guitar and piano and voice.  It’s an interesting song, with a very old-timey feel going.  Valente and crew have a great “old-country” sound down as the music sounds as if it is being played in the early 1900’s.  “In Your Mind” starts with some somber piano before voice and acoustic guitar join the proceedings.  Valente’s plaintive, keening tenor works best on this song, adding a gravitas and a little certain something the other songs seemed to lack.  The harmonies by the female singer are spot-on as well.  Great song.  The next song is called “Candy” and is sort of a throwaway compared to the seemingly more serious themes elsewhere on this CD.  Last song is “Take My Heart”, a cross between a hymn and a lullabye and a fitting way to end this curious CD. The CD seems “out of time”, recorded with new methods and equipment but displaying a sensibility as old as a redwood.

Though I think I “get” what Valente is doing, I feel his allegiance to his bare bones recording method may be Valente’s undoing as far as widespread acceptance. He indeed may feel the sound he is going for, a real old-fashioned, rustic Southern gothic take on country music, sounds best recorded in the style of old blues and country records from the ’30’s and ’40’s, but by doing so he will no doubt minimize his audience into some sort of niche contingent.  That said, I admire Valente for finding a viable framework for his songs that is not the flavor of the month and having the bravery to see it through. There is something to be said for finding and using the path less traveled and I am sure his almost “outsider” art will find its’ share of fans as the word gets out about his music. Who knows, while Valente is not on the path that usually leads to great monetary success, in time he may end up becoming an artist whose work is appreciated for its substance and not its popularity.  Though a lot of popular musicians would no doubt prefer the latter, the more cognizant of artist always ends up appreciating the former much, much more.

Review written by Scott Homewood

Reviews, Scott Homewood Alive, Robert Valente

After opening the package containing this CD, I immediately flashed back to my youth. Besides being a music freak (and not just any sort of music freak – I was a blues snob. Didn’t listen to anything but blues music of the ’50’s and ’60’s for about five years) I also was a huge comic book fan. The various titles featuring the superhero Batman were my favorites. I think I was into Batman the most because he didn’t have any super-powers and seemed to accomplish everything by the use of his wits and the physical prowess he had honed himself. Later, I realized he was a lot like a musician in this way. Creating viable songs, intricate arrangements etc. takes an immense innate musical aptitude and becoming a master of your chosen instrument requires a physical prowess most people cannot achieve. Why I immediately thought of comic books upon checking out this CD is that Hawk and Dove was the title of a controversial comic book in the ’60’s featuring two characters that were the total opposite of each other. One a dominant, emotional hero who solved problems with physicality and one more passive, who sought to use his wits to solve problems. While I am not sure if the dynamic between Elijah Miller and John Kleber has any comparisons with their comic book namesakes, the two do have an interesting sound together and Miller’s emotional lyrics and often-whispered vocals run counterpoint to Kleber’s in-your-face guitar work.  

First song on this EP is called Furious Armies and has a very good sound with above-average production values here though the song is bereft of hooks and depends more on the somber mood and plodding beat to carry it forward. Miller and Kleber manage to conjure quite a racket here, and create quite an interesting mood along with drummer Dave Butler. The next song is called Stain and the vocals have a Jack White-type quality while the song itself is decidedly folk-based and has a waltz tempo. Rachel Lyon’s violin plays a big part on this song, lending it an authentic, almost “antique” quality which adds to the depth of the song. The third song is titled Boy On The Moon and is quite quiet with just some guitar strumming and almost whispered vocals until some guitar squall and some sweetly-played violin join in to give some bolster to the song. Drums soon come in with a decent funky beat to finish fleshing the song out. Nice build as the song culminates in guitar feedback-o-rama and singer yelling his guts out. Cool. The last song, Muscle Breaks, is recorded live but sounds not so much different sonically than the others. Starts with mournful violin sounds and guitar with some strained vocals. Ends with a great flurry of sound. Great stuff.

I am very impressed with Hawk and Dove and although over the past few years we have seen a ton of duo acts starting with the White Stripes and continuing on almost to infinity, this is an act which is offering something different to the instead of the usual primal blues song playlist foisted upon the public by most of these two-person combos. What you get with Hawk and Dove is a more rustic-sounding country/folk thing which, although still rootsy, does not fall into the clichéd area most of these acts tend to reside. While the band still needs to work on its sound a little and build upon what they have done here, I do hear a freshness missing in a lot of acts today – not just with the two person format, but with a lot of new music as a whole. Hawk and Dove bring something new and fresh to the table and I am hoping they continue to hone their sound as I am very interested to hear what they do next.

 Reviewed By Scott Homewood

CD Review Writers, Scott Homewood Hawk and Dove, Rocking Chair

Though I think the name of the band is very interesting and catchy, let me tell you right off the bat as a high school student who happened to excel at mathematics that mathematics is NOT sexy. What IS sexy about this band is the concept behind what they are trying to do. Instead of the same roots rock hoodoo most two person groups attempt, Sexy Mathematics aims straight for your feet – your heart, too, but mostly the feet. In fact, since the band is called Sexy Mathematics, let me throw two numbers at you: a nice sexy 8 and a curvy 0. Why those two sexy digits? Because those two hot numbers represent the two most important aspects of Sexy Mathematics’ sound. You see, their sound is just about locked into the synthpop sounds of the ’80’s. Yet, they don’t manage to slavishly copy groups of that time. They merely let it influence their sound. Sure, you know where they cut their musical teeth, but the duo ably adds nuances and manages to flesh out their sound so that you can be sure this is no slavish copy, but something totally new that sounds refreshingly familiar at the same time.

The first song A Novel Romance is interesting computer-pop which starts out almost as techno but then becomes some rock and roll/computer-music hybrid that’s at once arresting and enchanting. Though not really my cup of tea overall, I found it impossible to stop listening, mostly because I didn’t know what was going to come next. Very compelling song, and while the chorus seems hooky, overall kind of clunky for radio but a very innovative effort, nonetheless. The next song Who Knows could be by the Cars if the Cars had been influenced by 80’s synthpop instead of influencing it. Very poppy and more hooky than the first song, with a decent amount of guitar riffing that could be beefed up and improved by some better production values, which seem locked into the early ’80’s. Third song Transmissions starts off thin but gets beefed up by the first chorus with some compressed guitars and some funky synth breaks. Marc Bolan crossed with Depeche Mode. When Isometrics Collide a romantic synth ballad witgh some ballsy guitar that would fit into the movie Sixteen Candles if it were just being made today, unfortunately it’s not and the sound is a little retro for what’s going today pop-music wise. Song goes on seemingly forever too or does it just feel that way?  Up next is The Void and it is a pure dance-floor rave-up with guitars blazing and tempo racing. Great snarling pop and would’ve made the radio for sure back in good old ‘82.  The last song on this EP is called Set Up! and sounds almost like early metal but becomes Cramps-like soon enough, though not with that band’s frenetic pace. More metallic here but with enough dance elements to make it exciting. Very interesting song I can see making a big splash on radio.

While neither dance music, math-rock, nor techno make a big splash on my list of music genre preferences, I have to say I like what I am hearing on this CD. Though not much here could be called totally original, the way Sexy Mathematics manages to combine several genres and craft the result into a fresh sound is quite interesting and often innovative, if not totally unique. The only problem I see is the band having what could be perceived as a retro gimmick. While a lot of ’80’s music has become “retro-chic” among young people today with many bands appropriating those sounds, I fear that by following a similar path Sexy Mathematics may find themselves becoming more of an act with a shtick ala Southern Culture On The Skids or Brian Setzer who are seemingly more appreciated for their look and attention to period detail than they are with their actual musical talent or the statement they make through their songs. I guess time will tell the story but as I wait, I will listen to Sexy Mathematics new CD and hope they soon make another.

Reviewed by Scott Homewood

CD Review Writers, Scott Homewood Integration, Sexy Mathematics

Northern Crowns are two young men, Richard Araiza and Clinton Van Arnam, who hail from Los Cruces, New Mexico. From the sound of their debut, a self-titled EP, they have been two very hard working young men.

 From the very first track, “Hideaway”, we are drawn in to the tune with a drum/cymbal intro that will grab hold of you from the very start. The tune is an extremely well crafted endeavor. Richard Araiza’s vocals are strong through out the record. On this particular track, he certainly exposes his range. The guitar rests just beneath the vocals and compliments the melody, creating a sonically pleasing sound, which raucously envelops the listener’s ears.  

Every song on this EP is extremely well crafted and performed. When you listen to Northern Crowns, you will immediately be reminded of bands like My Chemical Romance or Panic at the Disco. Both bands are primarily vocal driven bands.

Northern Crowns is also driven by the expert vocalizations of Mr. Araiza. The songs are all extremely high-energy up-tempo compilations you will not be able to refrain from dancing too. You had just better be in some very good shape if you are actually contemplating getting up and grooving to Northern Crowns. They will absolutely wear you out!

The next track on the record is the violent “Man on the Phone”. A catchy rhythm guitar establishes the beat of the tune and lures Richard Araiza’s vibrant vocals in. This particular song was made into a video that can be viewed on their website. It’s an exciting song which tells the story of the primary character who happens to be obsessed by the “Man on the Phone”. It all ends violently. It’s a tune that takes risks and I like that in a tune.

I adore artists who take chances and Northern Crowns is not afraid to do that. There will definitely be comparisons to the bands mentioned previously in this review. That’s okay. Someone influences all bands. “The King” himself, Elvis Presley, influenced the Beatles. Therefore, no one should ever be insulted because another artist influenced them. Someone influences us all. That is just the way it i

I see this band going far if they can continue writing and performing the caliber of songs, they are currently writing and performing, but more importantly, keep taking risks. Keep writing ballsy material that transcends such a wide variety of emotions and topics. Do not be afraid to write songs like “Man on the Phone”. It is precisely topics like these that will separate Northern Crowns from those bands that have thus far influenced them.

Northern Crowns is not limited to the studio, where Mr. Araiza and Mr. Van Arnam are currently recording two more songs for this EP. As they said in their bio on their website, “We just booked the dates to go ahead and record two more songs at the same studio we recorded our EP (Radio Star Studios). We are going to record one original, and one cover (Dion’s “Runaround Sue”).” The two play every instrument, but also tour and have a band to back them up for live shows.

This is a very talented duo and I look forward to hearing a lot more from Northern Crowns in the future.

Reviewed By Rod Ames

Reviews, Scott Homewood Northern Crowns

While listening to The Other Side, the fine new album from emerging country singer/songwriter Eldon Johnson, I began to think back about what I found interesting about country music when I was younger and why I despise a lot of it now. Country music played a big part of my childhood and was the catalyst for some of the best times of my younger years. My parents were big fans of country, though I must say my dad was (and continues to be) very open to all sorts of music, something I admire and strive for myself. My mom was a little different and pretty much hated the “noise” of most rock and roll and thought the lyrics mostly nonsense but loved country music as most songs tended to be stories about life.     

For me, like most children, Saturdays were very special. Not only did they mean not having to wake up for school, but it also meant being able to spend time with my father. During the week my dad was pretty much a non-entity to me. Not that he wasn’t around, but I was a late-in-life child and my father was in his early forties by the time I was born. He had a decent job at the plant where he worked and he had been there for many years and was in his working prime. Consequently, whenever my father was offered the chance at working overtime hours, he took them as his pay was quite good for the time. Many nights he came home probably only an hour or so before my bedtime, then, by the time he cleaned up and ate, I was about to go to bed and begin yet another day of pretty much the same routine. But Saturdays were different. My dad and I would have lunch together, usually he would run to K-mart and buy us a couple of submarines from their deli and bring them home so we could eat and watch some college football. Later, he would drive me to the mall or do something else to hang out. Later in the evening, after dinner, we would sit on the couch and be able to watch TV together and talk. One of our favorite shows was Hee-Haw. For those who don’t remember, Hee Haw was a very corny syndicated country-music based variety show starring the legendary Buck Owens and super guitar picker Roy Clark. My dad and I seemed to get a huge kick not only from the grade-school level jokes, but also the music which was performed not only by Owens and Clark but some of the most important and popular country music stars of the day. While I liked rock music most, I enjoyed the show and country music in general through my dad’s affection for it. I learned much about the style and the history and the talent needed to perform great country music which would serve me well later on when I would reconsider the genre’s greatness after discovering bands like Uncle Tupelo, Blue Rodeo and The Jayhawks and put it in its rightful position of one of the most important American music forms ever created. There would be no rock and roll without country, okay? Hank Williams proved that. Let’s just get that straight.

But it took me a while to figure it out, unlike Johnson – who sings like he has always known he wanted to pursue a career in country music. For me, it took many years spent meandering around blues purism and Top-40 pop with side roads into New Wave and Old Soul, before I began to recognize the pure country sound in bands like Uncle Tupelo and singers like Ricky Scaggs and Rodney Crowell and how artists like these differed from what was usually played on country radio. Sure Crowell and Skaggs scored some hits for a time, but soon they were pretty much kicked off the airwaves. I always assumed it was because they had too much talent. The poor bands like Tupelo and their offshoots and co-conspirators never had a chance. To admit liking punk music and rock as much as country and then combining them was only allowed for one artist: Garth Brooks, and then he was sort of the pabulum fed to people who wanted to think he was special. One maverick was all Nashville would allow, yet he wasn’t as much a maverick as one who knew how to market the concept. Brooks played it as safe as any Diffie or Lawrence with “rock-and-roll” styled concerts which were choreographed right down to the last bead of sweat. From listening to this CD, you can tell Johnson actually feels it. He may not have all the pieces exactly in place, but you can tell he’s not faking or playing along. He may or may not make the impact Brooks has, but he’s not playing to the crowd. What you hear is Johnson, one hundred percent. 

The first song, 35, is a quiet acoustic-guitar-based song which Johnson manages to sing quite well. The song serves as a perfect introduction for the album (and for Johnson as an artist) as it shows Johnson has a great voice, probably much better for the country idiom than for rock, let’s say, but really just a solid voice that is showcased very well by Johnson’s co-producer Darin Karnes. I could definitely hear this song, or at least, his voice, on my local country station singing his songs. It’s a very solid track and well-written, which is to say, very heartfelt without getting overly sappy or maudlin. The second song Gonna Pull Up My Roots is a much more rocking tune, though when I say rocking, I mean rocking in a country way. Great production again, and I’ll quit saying that for each song as it’s becoming obvious now that the production is top notch. This stuff really sounds radio ready and it bodes well for Johnson as he’s probably got one of the best vocal showcases he would ever get for being an indie artist. He’s gone all out to get the right sound. The song is catchy as hell, and Johnson seems like he’s having fun singing this song about taking a chance and moving on to better things in life by changing his surroundings and his old habits. Great stuff and a song I would recommend as a single to radio if I were a part of Johnson’s team. The next song, The Other Side, is a more bluesy song, beginning with just acoustic guitar and Johnson’s voice but then the band kicks in and it starts getting good. Not as good as the other two songs, mind you, and this is the weakest of the three, but still not bad at all, in my opinion. Coming up next is Ride and it’s another solid country rocker in a mid-tempo vein with a solid chorus. Great driving song and a song which I am pretty sure would be popular if radio were to take a chance on it. Hot guitar licks on this one. Right after an applause-filled buffer track (one of several buffer tracks Johnson uses to set up his songs) comes Tennessee Star, a more bluesy rocker with some slide guitar and sounding reminiscent of ol’ Bocephus, though not so much in the vocals as in the sound of the track and the swagger with which Johnson sings. The slower, more acoustic-based Eye To Eye comes next, and is one of those country guy singing about his kid (or himself as a kid) songs which is sentimental and is written purely for a hit towards the women market who love this kind of softie stuff. I don’t particularly care for this type of song, but Johnson sounds as good as any I’ve heard doing one and the song holds up so who am I to judge? Maybe it’ll hit for him. The next song, Back Side of The Storm, is a very slow acoustic style song which I am assuming from the title and lyrics are really about a break-up or at least, rocky relationship stuff, written in an allegory of a vicious storm. Not bad, but now there have been several slower-type songs in a row and the mood of the record is starting to drag. Hopefully the next song will have some pep to it. Well, 6-Foot Blues is not a real fast one, but a decent country-style Bocephus-kind -of-blues song which is made to sound as if you are listening to the song on an old scratchy 78 until the second verse kicks in and hi-fidelity is back. Great gimmick, but something that most likely would not work on radio, though for an album is a neat little trick and the song revisits the trick at the very end. The song Stay is next and is kind of slow, just guitar, mandolin and Johnson’s voice for the most part, keeping it simple – which has worked for this album so far so why change it now? Great stuff, though the constant run of slow material is giving my ears a little bit of sameness-fatigue. Come Back To Me is up next, another slow-burner about lost love. While I like what he does here, I am now wishing Johnson had someone a little more savvy sequence the album a little better and maybe asked him to record another rocker or two to offset the slower stuff. I do respect Johnson doing this on his own though, and realize he probably didn’t have anyone helping him with this aspect. This is still a very fine album, but at this point I find myself realizing I would skip a lot of these songs in order to play a few more fast ones. Ah, cool! Solitaire is the next one and it throttles up the heebie-jeebies a little bit and shows Johnson still has some energy left in him. Good song!  Tightrope, the next song, is even faster! Written in the vein of a positive message song about chasing your dream and doing your best and all that. Decent song with a great chorus. Again, radio tune! Good guitar work that sounds something like what U2’s Edge would play if he were a country guitarist instead of a rock guitar god. Interesting hearing U2-style riffs in a country context. Notcher Man is up next, sounding a bit like a comedy love song with that classic Nashville chorus punch line. The Pieces of Me returns to the slower stuff, a quiet country song….the last song Time After Time is a version of the classic Cyndi Lauper song and the only cover on this CD. Decent country version which makes me wonder why the song hasn’t been recorded before by a country artist. Great tune for radio – mostly acoustic the way Johnson does it, which pretty much matches Laupers’ version as well. Good stuff, and although the album dragged in the middle, I am impressed with Johnson’s talent.

         I’ll tell you, this is a very good album and one which deserves some love from country radio and country music fans as it has enviable production values and Johnson has a great voice. Though it isn’t the old-style country I tend to like best, it’s as credible as whatever is going around Nashville these days. Though I often don’t like what I hear on country radio, I continue to listen for something that gives me the rush of what I felt when watching those legends when I was young and occasionally something hits me square in the solar plexus and reminds me of the true talent and originality I used to hear. I would be lying if I said Johnson fits that mold completely. He’s not arrived at a total identity yet, if that makes sense, and he will need some refining as he finds himself over the next few years. But the voice is definitely there and the songwriting is close. The true test will come when Johnson decides to do what he needs to do to differentiate himself from the pack. Then we’ll see what he really has. Right now, he’s walking the line, as Johnny Cash would say. He walks it good. But can he make his own line as the best have done in the past?

 Reviewed By Scott Homewood

Reviews, Scott Homewood Eldon Johnson, The Other Side

While listening to Eric Kearns’ new album, I was sort of reminded of Las Vegas, the city of glitz and glamour, and the places where fortunes are made and lost on an hourly basis. If you’ve ever been in a casino there, you know about those lounges off to the sides of the main gambling rooms where you can take a breather to count what’s left of your money or cry about the money you’ve lost. Every casino has one, and there’s always an entertainer there, singing the songs of yesteryear and trying to make people forget about how much money they’ve just lost. I was lucky enough to go to Vegas a few years ago when the Vegas power-brokers were just starting to abandon their ideas about Vegas being this great family destination. In fact, it was just about the time that “What Happens In Vegas Stays In Vegas” started to take hold as a catchphrase to commemorate the fact that sin was back in and family values had been told to go back to wherever they came from as they were no longer welcome in Vegas. Not sure why they wanted to become some sort of Disneyland anyway. Vegas is inherently designed for adults. The city’s casinos are open all night long, the entertainment can be okay for kids but is primarily focused on adults and Kearns is the perfect example. More an impersonator than an artist, Kearns’ act is to sing the songs of legendary singers while impersonating their voices and singing styles. Think Rich Little singing Frank Sinatra and you get the idea of what Kearns is doing. I mean, let’s face it, there ain’t gonna be any White Stripes or My Morning Jacket songs on this CD, okay?

Kearns himself is a mystery to me as I do not know much about his musical background. From this album, it is plain to hear he would be perfect for Vegas. His look and his sound are geared towards an older demographic and his choice of cover songs on this record range from Tommy Edwards to Rod Stewart. Not exactly artists the kids are listening to, for sure, though middle-aged adults are sure to be familiar with most of the artists Kearns impersonates and their songs, which is fine except for the fact I am sort of puzzled by this CD project as I will mention below.

Kearns first has go at singer Tommy Edwards and covers Edward’s hit It’s All In The Game which must be a favorite with Kearns as I doubt few remember Edwards or his hit. It is probably the most inspired choice of this set, which means it’s all downhill from here folks, in many ways. I must say the music is top notch and the production is near flawless, with a great string arrangement and guitar work to die for. Kearns notes do say he uses professionally made backing tracks which may mean they are not made under his purview, but they still sound good so I am willing to overlook that aspect. Next up for Kearns is Neil Diamond and Diamond’s early 80’s hit Love On The Rocks. Decent Diamond impersonation, though a little histrionic in spots. Bobby Vinton is next on Kearns’ hit list and I Love How You Love Me may have been Vinton’s biggest hit but only those over fifty will remember the name, or those who frequent Vegas lounges where Kearns and his ilk likely ply their trade. It may be a good impersonation – I’m not sure as it has been many years since I’ve heard Vinton – but my grandfather gives it the thumbs up so I can live with it. Kearns’ next target is Perry Como and Como’s hit And I Love You So, and once again, he may be doing a great job as it somewhat sounds like Perry Como, but since it’s been many, many years since anyone has heard Como, so who knows for sure? Next is Kearns’ impersonation of Johnny Mathis doing Chances Are, His impersonation of Mathis off a little as Kearns can’t quite capture Mathis’ distinctive vibrato and sometimes overdoes it. Mathis’ vocal quaver was actually very subtle and most impersonators, like the “artists” who do caricatures at Myrtle Beach, accentuate the distinctive features of whom they impersonate instead of being more understated about their work which means the impersonation comes off as sort of clumsy or ham-handed here. One of my personal favorites gets Kearns’ treatment next – Rod Stewart – as Kearns turns in a version of Stewart’s version of Van Morrison’s Have I Told You Lately. Wow, this impersonation wouldn’t fool anyone. Stewart is just too distinctive and Kearns’ sings the song as if an English gentleman were trying to cover Stewart at a karaoke party. Not sure if Kearns’ object of this project is trying to be laugh out loud funny, but he is here. Kearn next attempts Barry Manilow’s Looks Like We Made It next and his version sounds like a Bronx kid trying to sing the song while serenading someone under a street lamp. Never knew Manilow had a New York accent! Louis Armstrong’s A Kiss To Build A Dream On is next and surprisingly, Kearns is not bad here although it sometimes sounds like one of Jim Henson’s Muppets trying out the song on Sesame Street somewhere. Okay, Kearns is an imitator and impressionist so you know he had a version of Elvis Presley just waiting to show up. Kearns attempts Presley’s Can’t Help Falling In Love and it’s not bad but doesn’t sound anything like Presley, but more like Pat Boone trying to imitate Presley. The last (and probably least) of Kearns’ singing impressions is on Paul McCartney’s Maybe I’m Amazed where he takes one of the Fab Four’s songs and gives a performance no better than three on a scale of one to ten. If Kearns goal was to just sing the song as himself, he would’ve got a six or seven. The fact he’s trying to imitate McCartney and sounds very little like him makes me give the performance a ranking of third from the bottom.

Though Kearns does have a decent amount of talent for mimicry and a decent voice, as I am supposed to review this as an album project, I must say that I am disappointed in both concept and execution. Can Kearns actually think the public wants this sort of pale imitation passed off to them as some sort of commodity on which they actually have to spend their hard-earned money? I mean are not recordings by the artists Kearns imitates not widely available? Am I somehow supposed to like Rod Stewart so much that I would rather be more interested in someone else doing the song like him instead of purchasing an album with my supposed hero Rod Stewart doing the very same song? It’s a weird idea to say the least. And the ironic thing is that if Kearns were to just pick some of these songs and cover them in his own voice, it would be a viable project. I get that there’s a place in the entertainment biz for someone who can sing just good enough to copy a bunch of stylists and it’s usually to entertain a bunch of old people who are satisfied with facsimiles of the favorites of their youth but this, this is just a sad exercise in ego. Kearns may be great at what he does, but what Kearns does is not translatable to an album project, It is undoubtedly best for the stage where people can experience of the show and try to guess which artists Kearns will impersonate next etc. Though interesting to listen to once, I would never think of giving this a second listen. This seems to be more viable as something to give to prospective employers and people interested in booking them than to the public at large.

Reviewed By Scott Homewood

Reviews, Scott Homewood Eric Kearns, Voices of Legends