The On Fires don’t just play rock & roll; they are rock & roll! They have the style, they have the sound, and most of all they have the attitude. Need proof? Then give their album Betrayer a spin.

The Tracks…

Coming Home – This is a heart-racing, adrenaline pumping song. The On Fires prove that they live, breathe, and truly know rock! There is a definite 80’s punk edge to this song, and while it at times touches on a Beach Boy mixed with the B52’s rhythm, it never feels the slightest bit corny or campy.

Hangin’ with the Living – This track not only grabs you hook line and sinker, but it also has enough jam-packed charisma to turn any casual listener into a diehard fan! This is the kind of song that made the London Underground. With gritty vocals that soar, chunky deep base guitars that shake the walls, and enough attitude to match that of any of the top punk bands of the 70’s and 80’s, this song is rock in its most pure and refined state.

Precious Injury – The On Fires throw their first of many curve balls with this song, and to mix baseball metaphors, the result is a home run! The style is a definite change from the punk-rock first heard on Betrayer. Instead it takes on a more electro-rock vibe that sounds like Duran Duran with some bite. There is no denying that the sudden inclusion of synths is a bit jarring at first, but once the shock fades the truly phenomenal sound of this song begins to settle in. This is no doubt that this has to be this album’s leading single.

Melancholy Intro – This track is just an intro, but as far as intros go it serves its purpose quite well. It draws your interest and sets the mood for the next track. With a name like “Melancholy” it’s not hard to imagine what exactly that mood may be.

Melancholy – The curve balls keep on coming, and so to do the home runs. This song takes a step away from a fast paced rhythm driven style and instead goes for a more melodic reserved sound. The vocals make this track. They are astonishing. They’re sweet and soft spoken. It’s almost Queen meets John Lennon.

Without – This is just plain a moody and gritty rock song. Other than being about two minutes too long it’s outstanding. The guitar solo in particular is mind-blowing! Jimi Hendrix would be proud.

Arms Open – This is a dark sultry punk song. There isn’t a whole lot to it, but it’s definitely catchy and fits well with the overall eclectic tone of the album.

Sorry Now – This is the first song on the album that the gritty vocals don’t quite work. They go beyond gritty and verge on sour at times. It’s still a solid enough rock track, but it’s just not up to the standards set by the other tracks.

Nobody Wants – The On Fires know exactly how to create a really catchy punk-rock song, and this track proves it. Like “Arms Open” there isn’t a whole lot to it, but there’s certainly enough that you’ll find yourself still humming it a few days later.

Island – This track drops the synths and returns to the pure essence of punk captured at the beginning of Betrayer. The On Fires can effortlessly take on different styles, but this, punk at it’s most stripped, is where they truly seem most at home.

Hotel Room – This has to be one of the best tracks off of Betrayer. It stands apart from the rest. It’s incredibly catchy and has hooks made for radio. While it admittedly isn’t as rough and authentic as the other tracks, it has a pop-rock sound that has a broad appeal to people of all tastes.

Skeleton – To put it simply, this is a happy-go-lucky punk song. It’s laced with hooks and continues to unitize synth driven melodies.

Crook Plumbing – This track is an incredibly moody musical interlude that leads directly into the title track of “Betrayer.”

Betrayer – The song begins with some incredibly dark poetic vibes. This leads into a progressively melodic epic rock song. Like some earlier tracks, “Betrayer” seems to draw much of its influence from Queen. It’s very operatic in parts and honestly just plain rocks. It’s the perfect end to an amazing album.

The Verdict…

If you are looking for a great rock album that’s roots are firmly planted in an era of rock legends, then you have to check out Betrayer.  It draws its influences from some of rock’s greats, and adds a modern edge that keeps the tracks fresh and the adrenalin rushing. There is a reason that this band is called The On Fires. If you want to find out why, you have to experience it for yourself.

Review by Zack Daggy

Reviews, Zack Daggy Betrayer, The On Fires

Candy Rose knows how to draw you in. She knows how to create a beat that moves the heart and a rhythm that frees the soul. Her album A Rollercoaster Love will grab a hold of you and take you on a ride that you will never forget.

Tracks

“Stop Talking” – With this track listeners are introduced to Candy Rose’s downright catchy deep base vibes. This is the type of electronica infused club mix that you would expect off of Madonna’s next album; incredibly well produced and Candy sounds like she’s a seasoned veteran that has been at this for years. It’s not just her voice that sells it.  It’s her attitude. Certain artist simply radiate with attitude, and Candy Rose is one of those artists.

“It’s You That I Love” – This track takes your typical candy-pop sound and infuses it with R&B. The result is a soulful twist on what could have been a cookie-cutter song. At times the chorus is a bit too repetitive, but the techno influenced highlights make up for it.

“So You Know” – A simple pop/R&B track with a deep bass mixed with an orchestral melody. It’s not quite as catchy as the other tracks on this album, but it showcases Candy’s rich melodic voice better than the others.

“Just Say You Love Me” – definitely the premier ballad of A Rollercoaster Love. It’s a song that initially doesn’t seem like much, but grows on you over time. Candy may be more in her groove with faster pop tracks, but there is no denying the power that resonates from her voice in slower tracks such as this. Her voice is simply mesmerizing.

“I Just Miss You” – Absolute whimsical pop. It’s a slow easygoing track that’s easy to get lost to. The music is impressive with its mellow yet exciting vibe, and again it’s Candy’s voice that makes this song smooth, sweet, and soulful beyond words. It should also be noted that this song (and pretty much every song off of this album) is extraordinarily well produced.  It has that well polished sound that you typically find on Grammy-winning albums.

“Patrick Stump” – This track takes on more of a pop/rock sound. It works for the most part, but the music has room to grow, as it seems outside of its comfort zone like a kitten trying to act like a tiger.

“Take Me As I Am” – Candy again explores the pop/rock genre with this track. The music is an improvement from “Patrick Stump,” but it still doesn’t come off sounding natural. It’s a pity because vocally and stylistically Candy nails it. With a few tweaks to music to give it a near Moby vibe this track could potentially storm the airwaves and climb the charts.

“Hooked On You” – This tracks title says it all. It hooks on you. Candy Rose is the queen of hooks. With this and every track off of this album she seems to hold the uncanny ability to create rifts, rhythms, and beats that hook onto you and never let go. This is a pop song that brings to meaning to catchy. It has deep rhythmic bass vibes just screaming for the clubs and pop hooks (pardon the pun) that demand that this song be elevated to single status… Now!

“You Are Everything” – It’s songs like this that Candy seems at most in her element. This track isn’t her best, but still it has a simple sublime quality that makes it work.

“Tell The World” – Acoustic elements mixed with a deep base is a risky stylistic bled, but this track pulls it off beautifully. The smooth dream-like quality of Candy’s voice pulls it together and makes it work. It’s no secret that Candy credits the king of pop Michael Jackson as one of her main influences, and while her voice doesn’t really sound like his, something stylistically about it is definitively MJ.

“Now I’m Gone” – Big surprise here, but this song is damn catchy. It’s not complicated. It simply delivers pop driven hooks with a hint of a hip-hop vibe.

The Verdict

Candy Rose is the queen of hooks. Her songs are incredibly catchy and her voice has the attitude and soul of a pop legend. Whether it’s the clubs, the airwaves, or your iPod, A Rollercoaster Love is guaranteed to take to you on a ride.

Review by Zack Daggy

Reviews, Zack Daggy A Rollercoaster Love, Candy Rose

There are few artists out there anymore that transcend. The type of artists that used to take you away from the mundane of the everyday, and deliver you into spaces of passion, emotion and soul. With the harmonies of their voice and the magic behind their music they wouldn’t just create songs; they created worlds. Mike Grutka has created such a world, and it’s called Ria.

The Tracks:

Top Of The World – This first track off of Ria introduces listeners to Mike Grutka’s gruff yet smooth voice. At times, particularly during this track, it sounds very much like Tom Petty fussed with R.E.M.’s Michael Stipe. It’s sweet with just a hint of a twang. The result is unique enough that  it acts as a crucial cornerstone for the entire album and could either make or breaks most tracks. Luckily Mike Grutka’s voice vastly makes most of the tracks on this album. With “Top of the World” in particular it turns a simple pop melody in the vein of The Beatles’ “Ob-La-Di, Ob-La-Da” into an alternative/folk track that would make Tom Petty & The Heartbreakers proud.

Denver (Spinning Around) – Deserves to be the one that makes Mike Grutka a household name. It’s not a song of breakout moments, but it doesn’t need them. With catchy hooks that sink in deep and a rhythm similar to R.E.M.’s hit “Shiny Happy People,” this song has single written all over it.

Sunshine – With this track Grutka explores a more 80’s synth sound. While this exploration of sound seems to work with its ethereal qualities, it doesn’t quite fit his style like the alternative genre tracks. Still, he presents some incredibly haunting vocals on this track that are worth hearing again and again.

Standing Beside Me – This track has a bit of a rough start, but once it finds it’s footing it’s a solid song with smooth feel-good vibes that again seems to draw from the early days of R.E.M.’s career. It’s not a particularly exciting track, but it does continue the general joyous mood felt throughout Ria.

Come With Me – Mike seems to effortlessly flow between the more alternative/folk stylings of bands like The Jayhawks and the ethereal elegancy of The Verve. The ease of which he can switch between the two is impressive to say the least. “Come With Me” in particular touches on the more sublime side of The Verve. It’s a very dreamy song that almost feels like a modern day lullaby, only this song won’t be putting you to sleep anytime soon.

The Sea – In essence this track feels like a progression of “Come With Me.” The guitar is simply amazing. It’s orchestral by nature but has a pop/rock flair. It should be noted that throughout this album the instrumentals consistently deliver rich soundscapes that effortlessly establish the mood of each song, though with this song in particular the music is simply mind-blowing. It reaches far beyond the ear and touches the soul.

Goodbye – With this track Mike Grutka’s voice takes on a more John Lennon quality, which is fitting since the melody is very similar to Lennon’s “Mother.” It’s a slow song though, that is perhaps a bit too slow. The music is superb and vocals are spot on for this type of song, but about halfway through this six minute track it begins to grow tiring. Perhaps if the song were shorter it would have worked better.

Actress – With sweet music box melodies, you can’t help but smile while listening to this track. Mike Grutka is a master of setting mood, especially uplifting ones. This track just proves that. It’s a song of innocence, charm and nostalgia.

Everything – Repetitive style becomes a bit too repetitive with this track. It is catchy, but verges on annoying at times. Mood wise it succeeds in that the song feels very rushed and on-the-go. That mood just doesn’t translate well for the listener.

Same Thing – This track touches on Mike Grutka’s alternative/folk roots, but keeps the 80’s synths of other tracks. The synths probably should have been more reserved if not completely left out though. They over power the song and lessen what could have been a really great alternative track. Sometimes less is more.

Sleep Of Dreams (Angels) – This track looses the 80’s ethereal vibe and returns Mike Grutka to the alternative genre. Unfortunately this track isn’t very exciting. Granted, it’s meant to be moody, but there just isn’t the same “it” factor here as other tracks like “Top Of The World” and “The Sea.”

Lifetime (Ria) – There is definitely an early 90’s vibe to this track. Again, it’s very much in the vein of The Verve. It’s a simple moody song that unlike “Sleep Of Dreams” has an “it factor.” It’s that vibe that transcends a song from being just another track and makes it an experiences. This track and many others off of Ria transcend.

The Verdict:

Ria is an album of hits and misses, but when one of its tracks is a hit it becomes much more than just a song–it transcends. These are the songs that paint soundscapes of jubilee. They reach beyond the earbud and became something tangible. The become something that stays with you. There my may be misses on this album, but Ria is a hit.

Review by Zack Daggy

Reviews, Zack Daggy Mike Grutka, Ria

Charley Hinchliffe’s self-titled album is full of soulful vocals and many interweaved styles. At times it taps into a southern gospel vibe, and at others it takes on a deeply rooted blues sound. One track in particular even tackles reggae. Hinchliffe presents himself as a Jack-of-all-trades artist with this album, but in the process does he spread himself too thin?

The Tracks…

So Come On – This track introduces listeners to Charley Hinchliffe’s organ driven melodies. Most of the time the organ enriches his songs with a southern gospel vibe. With this track though the organ is instead combined with a harmonica and chunky guitar rifts to produce a honky tonk sound that seems to be heavily influenced by George Thorogood. Traditionally the vocals for a track like this tend to be deep and gruff, but Hinchliffe’s voice is more a mid-range with a bit of a rasp to it. It’s not a perfect match to the melody, and the female fronted backup vocals seem to only highlight this, but it does seem to work in a rough-around-the-edges kind of way.

Let It Go – Don’t let “So Come On” fool you. Charley Hinchliffe and his backup vocalist can harmonize beautifully. “Let It Go” is proof of that. The vocals are light and catchy with hooks throughout. At times they take on a cheerful tone reminiscent to The Corrs, but with a country/pop flair. The music is guitar and organ driven with some amazing breakout moments from both instruments. The guitar instrumentals in particular really stand out. The almost have an arena rock sound about them.

Weeks Turn To Days – This track delves into the more mellow side of Charley Hinchliffe. It begins with an incredibly smooth jazz instrumental to rival Kenny G. This is then complimented by the sublime vocals of Hinchliffe and his backup singer. The rasp of his voice and the sweetness of hers complete each other. The result is a beautifully simple song that plucks at the heartstrings.

Complicated – Where “Weeks Turn To Days” worked for its soft and simplistic style, it falls sort here. The vocals and instrumentals are solid, but they never seem to build toward anything. It’s the same tone throughout. This results in hooks that instead being catchy feel a bit repetitive. Hinchliffe usually seems in his element with lighter songs like this, but not here. It just doesn’t quite work.

Fly – This track has a near dream-like quality to it. This is perhaps due to the John Mayer “Heart of Life” vibe presented from the guitar driven instrumentals. The vocals on this track don’t quite jell like they do on some the others, but they’re still good. In fact, at times during this song Hinchliffe’s voice sounds a little like John Lennon.

Golden High – The one thing consist with every track off of this album is that the instrumentals are always impressive. “Golden High” is no exception. With deeply rich mandolin instrumentals, the best way to describe this track is that it’s folk/blues with an Asian flair. The more bluesy tracks like this seem to be where Hinchliffe’s voice truly shines. His voice is smooth yet has soulful grit that fits perfectly with this style.

Lost In Space – Continuing the mix of genres, Hinchliffe takes on reggae with this track. Though Hinchliffe began his music career in a reggae band, the style just doesn’t fit him. The music is spot on but his voice simply doesn’t fit. In parts it even sounds sour. Hinchliffe is capable of incredible things, just not in this genre.

Slowly – Again, the music for this track is impressive, especially when it comes to the blues guitar. The vocals are equally impressive too with their silk-like smoothness. The only problem is that quite frankly it’s boring. It falls into a lot of the same problems as “Complicated.” There’s nothing wrong with the vocals or music–it’s song structure. Sure there’s an amazing guitar solo featured in this song, but for the most part it just doesn’t go anywhere.

Our Love – This track merges two of Hinchliffe’s strongest music styles–smooth jazz and southern gospel. The result is possibly one of the best instrumentals off of this album. Like “Fly” and “So Come On” the vocals are rough, but they work.

I Feel So Happy – This is absolutely the best track off of Charley Hinchliffe’s self-titled album! It features the album’s best vocals, instrumentals and melody. The backup vocals in particular make this track. Again they hearken back to a harmony very similar to The Corrs. The song itself is moody with strong guitar rifts, soulful organ music and hooks that keep building all the way through the song. A radio-edit needs to be made for this track. It’s ready to storm the airwaves.

The Verdict…

Charley Hinchliffe’s self-titled album is full of promise, but there are some definite misses within. The constant shifting of styles comes off less like someone that’s a Jack-of-all-trades and more like someone that can’t decide on a genre of music. The genres that seem to fit Hinchliffe best are smooth jazz, southern gospel and light blues-rock. There’s no doubt that he’s versatile, but the other genres just don’t fit his style. If he can stick with a constant style that fits him and work on song structure, he has the makings of a great artist. Until then he’s still quite good.

Review by Zack Daggy

Reviews, Zack Daggy Charley Hinchcliffe

“Iskala” by Universal You is a moody alt-rock track that entrances the mind and echoes through the soul. It’s the type of song that college radio craves and the mainstream needs – the type of song that matters.

“Iskala” is a unique cover of an original song made popular by Russian artist Zemfira. Universal You began playing their interpretation of this song during their live shows, and it almost immediately became a hit with their fans. It’s no wonder why.

Lead singer Gulzhan’s soulful voice immediately draws you in and her ease of switching between English and Russian lyrics keeps you captivated. Vocally, Gulzhan is in the same league as Madonna, Natalie Merchant and The Cranberries’ Dolores O’Riordan, but with a bit more of a sultry vibe. She has the kind of voice that you could listen to all day. It’s classy yet seductive, champagne for the ears.

Guitarists Paul and Mark create a unique melody that blends together pop/rock with hints of a folk and metal influence. Some guitar rifts in particular are strikingly similar to those of Love Spit Love’s version of “How Soon Is Now?”– the theme to the WB series Charmed. It verges on psychedelic while staying grounded in the alt-rock genre. Whether it’s intentionally left over from the original or their own doing, Paul and Mark do an astonishing job of establishing a deeply rooted Russian rock sound throughout the song.

Universal You’s cover of “Iskala” acts as a perfect introduction to the band. With gripping vocals and guitar driven hooks, this band has the makings for greatness. Though “Iskala” may not fit the current mainstream radio mould, it’s the type of track the will continually recruit legions of loyal fans.

www.universalyou.co.uk

Review by Zack Daggy

Reviews, Zack Daggy Iskala, Paul Finnie

Love Callin’ is an album about raw emotion and how we are all slaves to its unyielding will. Be it love, anger, or addiction, we have all felt it at one time or another, but Shady Cats knows how to make you feel it for the very first time again and again. The album comprises mainly of tracks of the pop/rock genre, but flirts often with country, southern rock and soul. On the surface this may seem a bit manic, but Shady Cats weaves these styles flawlessly into a tapestry that is a unique experience rich with life’s universal tales.

The first track on the album is its namesake, “Love Callin’.” Immediately this song draws you in with its soft-spoken melody and 60’s era hooks. This 60’s vibe is a reoccurring influence felt throughout the album. Vocally, lead singer Grady Crumpler is a bit reminiscent of Rob Thomas, particularly with this track. His voice has a southern quality that demands attention and a harmony that hits every note with ease. When combined with Shady Cats’s solid lyrics of how love can turn you life upside down, “Love Callin’” gives the perfect introduction to this album.

The second track, “Lost Myself,” sounds like the Beach Boys with a southern edge. The song is about losing yourself to anger, the denial of it and eventual acceptance. The track is extremely well produced. With soul plucking rhythms, this is the kind of song you’ll find yourself humming days later.

“She Kisses Me With Her Eyes” has single written all over it. It’s the Beatles jamming with New Found Glory while Roy Orbison acts as their muse. The lyrics tell a story that has been told in song throughout the ages. It’s a tale of longing, love at first sight, and that head-over-feet feeling that a complete stranger can give you without speaking a single word. Everyone has experienced this euphoric feeling at some point in his or her life, that’s why this song isn’t just a potential single, it’s a potential chart-topping hit!

“In The Moment” is a bit disappointing. It’s not bad, but it just doesn’t hold up to the quality of the rest of the album. Throughout the song the chorus builds but never delivers. Maybe it’s supposed to come off rough, but in the end it simply comes off as sloppy.

“You Got A Way” has some of the best guitar riffs off of Love Callin’. The best way to describe it is that it sounds like Clearance Clearwater Revival with a psychedelic twist. The lyrics cover a lot of the same ground as “She Kisses Me With Her Eyes.” It’s about how someone can have an unbelievable affect on you without ever even knowing your name.

“Lines” marks the point in Love Callin’ where Shady Cats begins experimenting with various genres of music–in this cases country. The change in genre is a bit jarring at first, but over all it works. It’s a country song about a life on the road and on drugs. While this theme is usually reserved for rock, Shady Cats makes it work.

With “I Want Independence,” Shady Cats ventures into a heavier form of rock. The change fits the tone of the lyrics perfectly as they touch on feelings of being smothered and trapped. This is a song about the burning desire to break free, and the near hard rock edge of this song swiftly delivers that feeling of a beast that craves to be unleashed.

Shady Cats sings the gospel of love with “Take Me.” It’s an extraordinarily soulful track about a longing for days gone by, and begging your girl to take you back. This track has the absolute best vocals off of Love Callin’, and should be the second main single released off this album–“She Kisses Me With Her Eyes” being the first.

If the Beatles were French they may have recorded a song like “All The Way.” It’s a moody laid back song that swims with a 60’s era influence. The track can be a bit boring, but it’s perfect relaxing on the beach music.

With “Till The Rain Comes” Shady Cats returns to their own sound. It’s songs like this that Shady Cats seems the most comfortable in their skin. It just feels like the melody comes easy to them. Lyrically the song is simple. It’s about a rain that washes away the dirt that builds over a lifetime. Smell the symbolism?

The last track off of Love Callin’ is “Desperation.” It’s a piano rock balled that certainty acts as a show stopping number. The vocals are haunting. The piano sets an intimate tone. The bang of the drums acts as a pulse, racing the heart of the story along. It’s about life. It’s about trying to stay afloat during the turmoil of life and how futile it can be, especially when you don’t realize what’s really going on around you. The story that this song spins is deep, gripping and powerful. Shady Cats definitely saved the best for last.

Love Callin’ is a testament to human nature’s more impulsive aspects. It’s delivered through smooth melodies, strong vocals and impressive arrangements. While the genres explored are many, it the pop/rock tracks with a 60’s era influence that allow Shady Cats to truly shine. It’s not a perfect album, but it’s damn close.

Review by Zack Daggy

Reviews, Zack Daggy Love Callin', Shady Cats

Michael Lee’s Face Forward is an album made for fans of melodic alternative rock. Its tracks are driven by Michael’s strong vocals and the band’s moody rhythms. The sound is a bit similar to that of the Goo Goo Dolls at times, with more soul. Lyrically, Michael’s songs are deep. They cover the traditional subject matter of life and love, as well as the standards of the genre, longing and angst.

The music behind Michael Lee is impressive to say the least. At times it clearly pays homage to great alternative rock bands like Incubus, Hoobastank and Audio Slave, while at other times it’s reserved, simplistic, and perfectly complements the singer/songwriter elements that Michael can project. “Mystery Of Life” is the perfect example of this. With “Mystery Of Life” it’s simply Michael, a guitar and nothing else. It’s this stripped down approach that allows Michael’s voice to shine and lyrics to stand on their own. The lyrics are those of longing and being lost in life; justwhat you’d expect from the genre. This isn’t a song whose hooks that will keep it playing on the airwaves, but it is destined to be a fan favorite.

On the opposite end of the spectrum, the title track is purely instrumental. It’s mostly a piano and drum driven track, but make no mistake that the guitar, especially toward the end, elevates the piece to being much more than a bonus instrumental afterthought. It firmly ties together the overall aesthetic of the album.  On a side note, Michael Lee needs to write the score to a movie. There is something very cinematic about “Face Forward,” as well as the track “Never Enough Time.”

“Never Enough Time” is one of Face Forward’s standout tracks. It is incredibly cinematic, and sounds like something that would be featured in one of Robert Rodriguez’s films. It is a moody song infused with both Western and Middle Eastern vibes. While subdued at first, the vocals take on a gritty Audio Slave tone by the end and the music seems to capture some of the trance/rock qualities of Incubus.

While fans of melodic alternative rock will enjoy Face Forward, it may not be for everyone. Tracks like “Despite” and “Youth” are solid enough, but they are long. The former clocks in just shy of six and a half minutes. Also, the melodic sound falls into a trap that is common for the genre. At times it can be boring. Each track stands well on it’s own, but when listening to the album it becomes repetitive until the last half.

You won’t find tracks here that sound like anything on the Billboard charts, but that’s not a bad thing. Michael Lee is original. He stands apart. He sounds like what an indie artist is supposed to sound like. He sounds like nothing you’ve heard before.

Review by Zack Daggy

Reviews, Zack Daggy Face Forward, Michael Lee

Man Called Noon’s Album Broke and Beaten Down is utterly fantastic! With astonishing guitar driven tracks and heavily hook-laden melodies, this is an album not to miss and a band not to forget.

The Band:

Man Called Noon is Tony Giamichael (Rhythm Guitar/Lead Vocals), Mike Burns (Bass/Drums), Brian Sonnek (Lead Guitar/Harmonies), Zach Finch (Live Drums) and Katie Dingle (Cello/Harmonies).  Together they make a sound that can only be described as the combination of all my favorite bands.  It seems like every time I listen to Broke and Beaten Down the band reminds me of another one of my favorites.

The guitar rifts alone are mind-blowing. It’s The Who mixed with The Foo Fighters, Audioslave and Weezer. Fantastic!

Vocally, Man Called Noon is reminds me at times of Blink-182 and some of The White Stripes latest work.  It’s gritty, catchy and fits the band’s style perfectly.

The Tracks:

Burn And Grow – Off the bat I picked up a 90’s alt rock vibe with this track.  It has great hooks and awesome guitar rifts.  Overall it a great introduction to Man Called Noon but the tracks ahead keep getting better and better.

Dance Off – While this song sounds like it’s influenced by Nirvana (especially the rhythm), something about it has a British rock quality.  It just has a rawness that makes it sound real.  I’m willing to bet this song sounds awesome live.

Living My Obsession – For me, this is the first potential single off of Broke and Beaten Down.  It’s just an awesome pop/rock song.

Saturday – This is my favorite track off of Broke and Beaten Down.  It absolutely has to be the main single off this album.  With this track Man Called Noon blends Oasis’s slick pop oriented hooks and Red Hot Chili Poppers’ untamed rock style.

Dying For My Passion – This song chances up the tone of the album.  Put simply, it’s acoustic goodness.  With Dave Matthews-like vibes, this track is easily one of my favorites.  Not only does it show off the versatility of Man Called Noon, but it also teases how amazing it would be if they released an all-acoustic album.

Cotton – With chunky guitar rifts and a Weezer-like melody, this is another just plain awesome track.

Broken Man – This track is acoustic goodness yet again, but this time with a bit more grit.  I love the pop/rock style of Man Called Noon, but man can they cover folk/rock.

The Lonesome Gods – Dark Vibes.  Very cool.

Another Ghost… – The last official track off of Broke and Beaten Down is a light-hearted pop/folk track.  Keep listening once it ends because there is a fantastic bonus track at the end.

The Verdict:

Man Called Noon is an amazingly versatile band that covers rock, pop, folk and everything in between.  They may sound like all my favorite bands, but they are definitely original. If you’re looking for an album that has a bit of everything, then definitely check out Broke and Beaten Down!

Review by Zack Daggy

Reviews, Zack Daggy Broke and Beaten Down, Man Called Noon

Gabe Hizer is a storyteller through and through. With bluesy grit and soaring falsettos, Gabe’s album Persistence Of Memory spins soulful tales of life, love and everything in between. It’s an album from the heart and for the heart.

The Artist:

Long Island born Tennessee based Gabe Hizer is definitely a prodigy of 70’s rock. Think James Taylor with a hint of The Eagles. It’s smooth rock for the soul. It’s the kind of rock that stays with you. Gabe’s mind-blowing falsetto paints dreamscape of life in motion. It’s easy to get lost in his voice. Still, there’s a fair amount of grit to Gabe’s style–vocally and instrumentally. I imagine this is due to his experience with the Gabe Hizer Blues Band. The infusion of a blues influence adds a rich quality to Gabe’s music and powerful lyrics. He’s not just singing about life–he’s singing about a life lived. There’s a major difference between the two, but unfortunately few artists seem to get that. Gabe Hizer gets it.

The Album:

Memory – Memory is a brilliant introduction to Gabe’s style. It’s a haunting melody with equally haunting lyrics. Its smooth subtle rhythm resonates with an Eagles influence.

Forever – This is the first track off of Persistence Of Memory that’s Gabe’s falsetto really shines. His soaring vocals establish a romantic mood effortlessly.

Time To Say Goodbye – The opening and closing rain sound effects add some cinematic flair to this track but honestly I could of done without them. It’s nothing major–and really it’s more of a personal preference, but I think this song is strong enough to stand on it own without the added frill. The extra effect just kind of breaks the album’s organic flow. The track itself is fantastic though. Gabe’s bluesy grit begins to show in this track. It’s not prominent, but it’s definitely just beneath the surface.

The Ballad Of Joey and The Bottle Of Booze – I love this song. It’s a simple hook-laden song that is just toe-tapping fun. I could almost picture this track being on the soundtrack to O’ Brother, Where Art Thou. It’s southern folk mixed with blue grass and a hint of Bob Dylan.

Lesson – This is a solid track that really showcases Gabe’s vocal range. The man has pipes. Moreover the guitar instrumentals in this track are incredible. This track has probably my favorite melody off of Persistence Of Memory.

Under Western Skies – Lyrically, this is one of the best songs on this album. It about life in motion and how truly fleeting time is. Again, Gabe Hizer doesn’t sing about life. He sings about a life lived.

Falling Down – Gabe’s falsetto is truly amazing. This isn’t my favorite track, but it really shows what he is capable of.

Searchin’ Outside For My Soul – This is a straight up blues track, and Gabe pulls it off beautifully. Between the harmonica, rhythm guitar and Gabe’s soulful vocals it’s hard not to get drawn in.

I Will Be There For You – The guitar is impressive on this track, but overall it just doesn’t stand out like the rest.

Some Things Never Change – This is a song about the darker side of aging. While the lyrics are sad, they are heartfelt and twinkle with nostalgia. I can’t stress enough what an amazing songwriter Gabe is.

Let Me Fall On You – If Persistence Of Memory has a single, this is it. It has all of Gabe’s best elements. It’s the perfect blend of blues influence and folk ballad. Gabe’s falsetto is at its best, and adding in the organ is just plain awesome.

Paris Café – All I can say is that when Gabe Hizer tells a story, you’re there.

The Verdict:

Gabe Hizer is an amazing singer with an incredible vocal range. His powerful lyrics put him in the same league as some of the best songwriters. The bluesy folk vibes of Persistence Of Memory may not be for everyone, but if you’re a fan of James Taylor or The Eagles, then definitely check out this album!

Review by Zack Daggy

Reviews, Zack Daggy Gabe Hizer, Persistence of Memory

Cooper Cobra by Lily Sparks is proof positive that classic rock albums are still being made and that it doesn’t take years to mature into a classic. When you have it, you have it–and Lily Sparks has it!

The band…

Lily Sparks makes up Niamh (Lead Vocals), KG (Guitar & Vocals), Nikki 7 (Guitar & Vocals) and Mick (Drums). Lead singer Niamh (Pronounced “neev”) is an Irish born classically trained vocalist, and it shows. About halfway through Cooper Cobra I fell madly in love with her voice. Niamh’s voice has the soaring melodic tempo of Heart’s Ann Wilson and the gritty soul of Janis Joplin. Some of the band’s punk-like vibes, especially in the track “Stars” I suspect is due largely to Guitarist KG, who learned to play in a punk-rock band. The punk influence gives the band an extra edge that cranks things up to eleven and allows Nikki 7 and Mick to amp it up to twelve, thirteen and well beyond.

The tracks…

“Stars,” the first track off of Cooper Cobra isn’t the deepest track lyrically, but who the hell cares? It rocks! Stars is all about the kind of rock that you jam out to and just let everything go. I have never been to one of Lily Sparks live shows, but this song makes me want to book a flight to New York just so I can hear them in person.

“Let Go” is a sultry little rock song that leads you into temptation and makes you feel good for all the wrong reasons. Again, Niamh’s vocals are stunning in this track, but more over major kudos go to the guitar rifts that are sinister yet extraordinarily sexy.

This may sound a bit out there, but the track “Walk Away” reminds me a lot of Meatloaf’s “Paradise By The Dashboard Light.” Maybe it’s because both tracks are melody driven rock ballads about young love. Whatever the reason, this is one of my favorite tracks off of Cooper Cobra. Still…

 “Where Are We Today” is my favorite song on this album! I mentioned earlier that I fell madly in love with Niamh’s voice–this was the track where it happened. This girl has some pipes on her! I compared her to the likes of Ann Wilson and Janis Joplin, but in my opinion she blows them away! She very seriously could be one of the best female rock singers of our time.

The last song on Cooper Cobra is “The Girls.” This track is the perfect end to an amazing album. It’s soft folk-rock vibes just shows how versatile this band really is. Stunning. Simply stunning.

The verdict…

 Lily Sparks’s Cooper Cobra is by far one of the best rock albums that I’ve come across. With incredible vocals and a classic rock feel, this is an album for anyone that likes great music. Buy this album!

Reviews, Zack Daggy Cooper Cobra, Lily Sparks