There is really only one thing that I like better than a rock song, and that is a folk song.  What I have been listening to the last couple weeks is an album by a man who calls himself noon.  Confused ?  That’s ok.  This title that the musician Anthony Giamichael has picked for himself is up for your interpretation, as are his songs, which are every bit rocking while infused with stories that could easily be called folk.

Well, whatever you call them, they pack a punch one second and then have you dancing the next, and sometimes both at the same time. They tell a story and almost demand that you think, not just listen to them but really slip into full meditation mode. All the while there is a lyric quality and style that is speaking, not just singing.  If I haven’t peaked your curiosity yet than maybe you should take a listen for yourself.

Broke and Beaten Down is the name of this record that has held residency in my CD player for the last couple of weeks and not to move anytime soon. This album contains nine songs, or ten songs if you can find the hidden track, that don’t easily give up or easily back down.  This is a solid album with some very serious themes. You will find songs that everyone can immediately relate to, songs that you can easily identify with, songs that revolve around life and love. These are the songs that make us bond with an album.

Man Called Noon also showcases his creativity in fictitious settings that create audible worlds for the listener, such as songs that deal with a killer and a brothers revenge (very cleverly split into two very different sounding tracks, the latter being an intense acoustic offering), a song about a father who is locked up in the pen for the rest of his living days, and other intense and thought provoking material. Man Called Noon definitely has a gift for writing and recording these songs in a fashion that really pulls the listener into the song and makes you open your ears and pay attention.

After listening to Broke and Beaten Down quite a few times, I decided to do a little research on the man who calls himself Noon. What I found surprised me in that our Noon “Anthony Giamichael” and I have something in common.  We are both from the same part of the country.  Though I moved to Los Angeles years ago, I still have always longed for home and I think I hear that in Noons voice.  I will be visiting later in the year around late June when Virginia is in its hottest and the humidity is scraping paint off the walls.  I will be bringing this cd with me on the trip to take my mind off of the heat and to help me remember how much I love it there.

Review by Kenn Deaton

admin Kenn Deaton, Reviews Broke and Beaten Down, Man Called Noon

Wow, this man can play. And he sure can write the instrumental music of high-end composers. The technical performance capabilities captured in this record are awesome. If you like Yes, ELP, King Crimson and other such legendary Brit art rock pioneers, you will like this record. Throw in Steely Dan, Incubus and Sting, too; A most impressive group of very respectable associations.

Maybe think John Mayer doing prog, sans the clear stance and focus of a sharply styled died-in-the-wool, gentle, sexy singer-songwriter type where songs and distinctive lead vocals rule the presentation. Mayer occasionally throws in superb subtle blues-based guitar savvy, while Michael Lee is not shy to liberally sprinkle sparkly guitar flash throughout his fancy work, and leaves plenty of room for his virtuoso studio drummer to shine.

Mr. Lee’s current lead vocals are more than competent, but for the most part, he does not quite reach the same level as the music. It’s lead vocal magic chemistry like Zeppelin or Tull, and a God-given pipes kind of thing.

Let’s take a word ride through each track:

1. “Land of Change”: starts off in a high tech feel jungle, with off-center drums and sparkly smooth echo-riff guitar, which continue throughout. Complex and sophisticated, this highly credible art prog rock pop piece sails with precise punctuation through expansive and azure cosmic skies and space even. Vocals are competent, though could notch up a few to better match the bigness of the music.

1. “Trust”: Again, the rhythm section keeps us off balance, grooving nicely somewhere in left field. Fancy breaks continue in the body, as with track-1, plus add a touch of King Crimsony guitar riff bits. Same vocal comment, too.

1. “Despite”: The rhythmic art prog guitar cement sets yet more firmly. One thing for sure: these are all highly accomplished musicians sure to impress other musicians. As for the general public, this heady material is likely beyond their reach. Got a Radiohead Zep kinda vibe going through some of this, but that’s not all.

1. “Tired”: Appropriately begins with a relatively settled down groove, albeit a less common 3-time count. Best vocal so far, mixed higher up and deserving of its more prominent focus here. A burnt out love song, this is definitely the most mass accessible offering thus far.

1. “Mystery of Life”: Brings in the first purely acoustic number. A soft and slow pop guitar/vocal, we may gently sway together in heartfelt questioning wonder, if so inclined. Some of the music strongly resembles Clapton’s “Tears in Heaven”, with a somewhat Elton-esque classical feel here and there, adding historic depth.

1. “Youth”: Is as close as it gets in this collection to a straight ahead rocker. It still comes from a technically elevated riff-based place, (as it appears can’t be helped by this crew). Not unlike something Christian rocker Steven Curtis Chapman might do. Some mighty fine guitar work that might be nice to hear more of, and passionately cut loose with even more abandon.

1. “In The Picture”: A slow and dreamy sad light pop ballad that ranks with “Tired” as another shot for the masses. Perhaps the most Mayer-esque piece here, though Stevie Wonder comes to mind for the pre-chorus, title and bridge sections.

1. “Distant Future”: Whoa – it seems we’re going country! But wait, no, it’s quickly turned back into a straight ahead easygoing light pop tune, again targeting commercial radio. No flash whatsoever here, just a light bounce ballad that softly shuffles. Nice acoustic twangin’ all around.

1. “Never Enough Time”: Enters back into riffland, but this time it’s got a far or middle east flavor, owing to the featured scale/mode. Actually, not all that much emphasis on riffing, except as a slightly busy textural background to the vocal. Halfway through, we’ve morphed into a title chant prelude to a highly scale structured rock guitar solo. Then back to the east, and return to rock riffin’. Another fine instrumental showcase.

1. “Face Forward” (Instrumental): begins in Bo Diddley fashion and features prominent piano. It nicely weaves a delicate melodic tapestry throughout what is, on this record, a jammish melody over relatively simple repeated chords. A ways in, theatrical guitar enters to build and further develop the melodic variations on the theme. Yani, Mannheim Steamroller and similar ilk, make room for more of your kind.

1. “That Day”: A slow waltz love song, with distinct Irish instrumental overtones. Round ’bout midpoint, we briefly go heavy prog again, then return to romantic pop flavor. As everything here, expertly competent, musically sophisticated, and very, very nice.

Review by Mike Ososki

admin Mike Ososki, Reviews Face Forward, Michael Lee

Husband and wife duo Adrienne and Dustin Cottrell, also known as Tortoise And Hair, hail from Marietta, Georgia and have been charming audiences in the Southeast United States for a decade now.  The Cottrells studied together at Florida State University.  Each are classically trained musicians with a shared love of some of the great singer/songwriters of Rock N Roll era (Leonard Cohen, Joni Mitchell, Bob Dylan, Gillian Welch, etc.)  Tortoise And Hair uses a distinctive sense of melody, witty and insightful lyrics, and their own special chemistry to open ears, minds and hearts on their self-produced debut album Front Row Seat.

Front Row Seat does display a certain distinct chemistry, but its duplicity is fetching.  For all the chemistry on the album, it really is more like listen to two distinct artists’ solo albums on shuffle.  Adrienne Cottrell leans more toward a folk or easy listening sound, relying on the deft imagery in the lyrics and her angelic voice to entrance a crowd.  Dustin Cottrell is a closet rock n roller.  He plays along well on the more folk-oriented material, but you can hear the enthusiasm in his guitar on the more rock and blues sounding songs.  When the Cottrells sing together, however, there is no doubt they are together, as their voices intertwine and blend as if caramelized together by the music.

Front Row Seat opens with “Traveling Song”, a paean to finding home in the midst of love no matter where you might be.  The arrangement is a sweet maritime Celtic ballad and Adrienne Cottrell pays epic tribute with her voice.  Dustin Cottrell takes over on “Faultline ‘09”, an edgy bit of urban folk with a touch of blues.  The song is as catchy as anything you might hear.  “Watching The World Fall Apart” is a mellow shell for a blend of voyeurism and schadenfreude that may be an indictment of financial collapse of 2008 and those who brought it about.  “Watching The World Fall Apart” is sublimely tuneful and holds a wealth of finely meted our bitterness in its grasp.

“Confessor” explores misplaced faith and the inherent need of even those who claim no faith to be absolved of their guilt.  The song is a passive-yet-powerful story about one lost soul who keeps running to another in times of doubt, only to return when his well of certainty runs out.  Adrienne Cottrell is out front on this one, a convincing and vaguely chilling story song that will stick with you.  “Big Picture” is self-explanatory, a song that attempts to put life’s little problems into perspective.  Dustin Cottrell takes the lead with extensive harmonies from Adrienne.  “Voice Of The Wind” is perhaps the most unusual track on the disc, built from a martial beat, an ethereal arrangement and a whirling collection of guitar riffs.  “No One Else In The World” recalls a simpler time and focuses on self-fulfillment.  It’s not a flashy tune but flat-out great songwriting.

“Forever Yours” is a powerful love song with perspective.  Adrienne Cottrell ruminates on the changes that life brings yet returns to the one constant in her life: love.  “Forever Yours” is likely to wind up on mix-tapes, dedication lines and any other method people can use to dedicate songs to one another.  “Lady Midnight” is far and away the best songwriting on the disc; a wonderfully poetic representation of the doubts that strike us all in the hours between dusk and dawn.  Adrienne Cottrell uses powerful imagery, vulnerability and an amazing voice to paint a picture that is many times greater than the sum of its parts.  The song and performance are utterly brilliant.  On “Limbo”, Tortoise And Hair explore the existential angst and self-doubt that accompany one of the many transitions from youth to adulthood.  Dustin Cottrell is out front this time in a tune that sounds a bit like mid-1970’s Billy Joel.  “For Once In My Life” has an easy piano/jazz feel.  It’s a song about escaping all of your bonds for a little while; just being able to be, and is probably a daydream most concoct from time to time.  Tortoise And Hair close with “Just Another Road”, a plain and plaintive closer that hides s quiet sense of hope that will grab you.

As a listener I was quickly drawn into the inner life of Tortoise And Hair.  Like many of the troubadours before them, this duo breaks down barriers with honesty, intelligence and wit, all wrapped in tremendous melodies and supple arrangements.  Front Row Seat does feel like two distinct artists at times, but even where this dichotomy exists, the sense of chemistry between the two never fades.  Adrienne Cottrell writes and interprets brilliantly, and Dustin Cottrell brings an edgy sense to the duo that seems initially out of place but quickly melds itself seamlessly into the sound.  Tortoise And Hair are a duo not to be missed.

Review by Wildy Haskell

admin Reviews, Wildy Haskell Front Row Seat, Tortoise and Hair

Good instrumental rock albums only get produced once-in-a-while. One of the most recent additions to that list of albums is Symmetry from Chris Manning, a musician who makes his home in Dallas, Texas. While the majority of Symmetry was created with the foundation of Chris Manning on guitar, Bryan Plemons on bass, and Jerome Howard on drums, the album sounds a lot more complex than having been created by only three musicians. For most of the tracks on the album, Manning created a layered effect on the songs by recording multiple parts for the guitar to fill out the sound. Nowhere is this more evident than on “Devil Dogs,” the first track of the album.

From the first measure of the song, the listener is exposed to Manning creating a three-part harmony using the guitar. Having established the style of the piece, two guitars remain in harmony for the majority of the piece while one is used as the “solo” instrument. This arrangement of the instruments remains until the last few moments of “Devil Dogs” when the harmony that began the song is brought back to close the song out. The song “Devil Dogs” is dedicated to the U.S. Marines, like Michael Manning, Chris’ son.

The album’s next track, “Purple Funk,” finds Chris Manning pushing the layering effect even further. Two guitars begin the song, creating a bed of harmonized guitar onto which Manning creates a “solo” part that adds to the melody of the song. A third guitar part is brought in to add even more texture to the piece. While too much of a good thing can kill a song, the layering effect used by Chris Manning helps to fill out the songs and does not overwhelm the listener.

For the most part, Symmetry was created as an instrumental album. The only song that features lyrics is “Strange Ways, “ written by Ace Frehley, the only song on the album that Manning did not have a hand in composing. On “Strange Ways” Sean Cloutier joins Manning to provide the words to the song. While the track isn’t the strongest song on the release, it does add a nice change of pace to the otherwise instrumental album.

“Waiting,” the second-to-last song, is the track that sticks out the most on the album. When the rest of the tracks feature both a full band as well as dramatic production values, “Waiting” is two-part harmony played without much in the way of production. The simplistic approach on the song gives the chance to hear the talent of Manning as he plays his guitar in a very intimate setting with just a two-part harmony and some bass guitar in the background.

On Symmetry’s last track, “Dallas City Limits”, Manning changes directions, as well as musicians, joined by Chris Cloutier on additional guitars, Mike Price on bass, and Chad Crutchfield on drums. The quartet laid down a track of hard-hitting instrumental heavy metal. While Bryan Plemons and Jerome Howard are talented musicians and help to fill out the sound on each song that they perform, Manning, Cloutier, Price, and Crutchfield sound like a band.

It takes a lot of talent to be able to play the guitar well, and even more talent to compose an entire album of instrumental rock music. When that album demands repeated listening, you know you have something special.

Review by Matheson Kamin

admin Matheson Kamin, Reviews Chris Manning, Symmetry

JD Shultz is a multi-instrumentalist residing in Los Angeles and has had a long history with independent funk & funk/punk rock bands ever since he was a teenager.  His new album is titled Vision Days on the Life Ride and on this new album, JD has slightly strayed away from his funk & punk roots to bring us a record that is full of rock and electronic bliss.  JD is also credited as having written, recorded, produced and performed everything on every track (except a little vocal help from Mirage on the opening track “Floor on Fire”).

As soon as I turn on and tune in to Vision Days on the Life Ride, I immediately feel myself rise and lift out of my chair.  Psychedelic & ambient beats swirl around my head and then smooth vocals come in to deliver the first verse. “Here we are, gonna take a chance. Time of your life is fading fast.”  The electro beats have definitely got me hooked and then the chorus hits. An instrumental bridge follows and that’s when some funky baselines kick in.  What a ride!  So many different influences and genres are explored.  I wonder what the other Vision Days look like?

A half an hour later and I am happy to report that they look great. I have floated back down to the sitting position in my chair and I’m ready to tell you all about the vision days that I experienced on the life ride. There is so much going on in these songs, ambience, keys, guitars (even some acoustic), synth beats, and vocals. All of this extremely catchy, and extremely well mixed!  The production on this album is stellar.  I am listening with headphones and I get 360 degrees of full sound.  I really love a mix that makes you part of the music.  I think that is the future of music, making it a little more physical, and that’s what Vision Days on the Life Ride is bringing us.  Something that pleasantly surprised me about this album are little parts here and there that break into a world music styling along with sitars and hollow world influenced beats.  I wouldn’t call this an experimental album, but I love to see artists incorporate less popular genres into rock and electronic music stylings.  Another pleasant surprise is the dance-ability.  Despite multiple genres being portrayed, I think that this is most definitely a rock record, but the electronic tones and structures of this album stand out and make me want to move.  The beats per minute are calling my ears and making the rest of my body groove.  This is what makes a great album.

Vision Days on the Life Ride is a nice trip for you to take.  When you get back, you can thank me… and of course, JD.

Review by Kenn Deaton

admin Kenn Deaton, Reviews Human Brother, Vision Days for the Life Ride

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

admin Reviews, Zack Daggy Face Forward, Michael Lee

Self-taught musicians are more often than not much more creative than the ones who have had diligent guidance from music teachers, vocal coaches, and the like.  Self-taught musicians tend to think outside the box and create music based solely on their emotions, instincts and life-long influences.  Michael Lee is a prime example of this.

Lee’s music comes from the heart and it is clear that he is the master of his domain.  With influences such as Incubus, Jeff Buckley and Sting, Michael Lee has created an album rife with emotion, creativity and originality.

Face Forward opens with “Land of Change” and it is a softly melodic way to introduce the world to Lee’s music.  There is a heavy Incubus influence to this track and Lee’s voice is uncannily similar to that of Brandon Boyd’s.  The production is flawless and the sound is crystal clear.  Each note rings out wonderfully.  With a slightly spectral vibe to this piece, it is easy to envision vibrant colors swirling across a shining white landscape.  “Land of Change” sets the pace for a melodic journey into Michael Lee’s world.

“Trust” and “Despite” also feature Incubus-influenced melodies with Lee’s own unique flair.  Both tracks are expertly produced and engineered and Lee’s vocals, especially in “Trust,” showcase his extraordinary range and strength.  Brandon Boyd may need to take heed, as he is about to be surpassed in the music circuit.

“Tired” seems to be more Lee’s own style, starting with beautiful piano work that might make the Piano Man Billy Joel himself jealous.  This track is hauntingly harmonious and exceptionally well-crafted.  “Tired” takes the album in a slightly different direction and the lyrics are tinged with sadness, despite the uplifting melodies of Lee’s flawless piano work.  His vocals are taken to new heights in this piece – something that is wholly his own.

The album continues on in this vein with “Mystery of Life,” which slows down the pace significantly.  Working the acoustic guitar with skills that rival those of Jeff Buckley, Michael Lee croons out this melancholy ballad effortlessly and then rolls smoothly into “Youth.”  The transition between these two very different songs is excellent.  Lee doesn’t miss a beat and the listener is not shoved rudely from the slow-paced “Mystery of Life” into the faster tempo of “Youth.”  This is a perfect example of ideal song placement on an album and superior engineering.

The opening rhythms of “In the Picture” have a vague and barely perceptible Blue Oyster Cult feel to it, specifically the song “I Love the Night”, and Lee again proves that his vocal abilities far surpass those of more prominent artists.  Letting himself flow with the mellow groove of this track, Lee soothes his own tortured soul, and by proxy, all of ours.

“Distant Future” changes it up with a catchy, almost Western American guitar riff that is upbeat and bouncy.  The lyrics make it clear that this is a love song, and a beautiful one at that.  There is a minimal amount of instrumentation in this song, which makes it simple and easy to listen to.  It is patently clear that Michael Lee can hold his own without a ton of effects and overdubs.  Michael Lee and a guitar sound just perfect.

“Never Enough Time” brings forth a side of Lee that was not made evident before now.  The guitar work and the rhythm of this track again bring to mind Incubus, but there is a touch of something darker and more sinister here, perhaps even sensual.  The band TOOL comes to mind, and this is wholly unexpected but undeniable all the same.  “Never Enough Time” is unlike anything on the album thus far and it takes Michael Lee to a different plane of musical genius.  The rhythm is seductive, his guitar work is heavier, and his vocals are grittier and more powerful than any of the previous tracks.

The title track, “Face Forward,” is an instrumental work and it encompasses everything that Michael Lee is trying to accomplish.  It is a masterful piece of musical genius that shows, without any doubt whatsoever, what a talented and gifted artist he is.  Self-taught and self-contained, Lee plays all the instruments on all his tracks.  While the listener may know this from the beginning, it doesn’t really hit home until listening to “Face Forward.”  The piano work is impeccable, the guitar positively screams, and the overall feeling of this piece is one of awe and inspiration.  This track is comparable to something that Pink Floyd would be happy to call their own.  In fact, this track is comparable to something that anyone would be happy to call his own, but it is Michael Lee’s all the way.  “Fast Forward” embodies everything that Michael Lee stands for.  It is pure melodic perfection, brimming with talent and emotion.

The closing track, “That Day,” continues with Lee astounding his listeners once more with his stellar piano playing.  He graces us one last time with his heartfelt vocals and his unusual and unique way of provoking emotions that have been lying dormant and forgotten in the hearts of his listeners for quite some time.

Michael Lee is an extraordinary artist with the skills, talent, and power to make his music a basic tool of survival not only to himself, but to anyone who is fortunate enough to be graced by the beauty, honesty, and creativity that his music brings forth.  Face Forward is not merely a good album.  It is the very essence of life itself.

Review by Rhonda Readence

admin Reviews, Rhonda Readence Face Forward, Michael Lee

Progressive rock is a very difficult genre of music to work in for musicians.  The very nature of “prog rock” is that it progresses in form, arrangement, meter, etc. as it continues along.  In order to accomplish this, an artist needs to have the musical knowledge and ability to write and perform this kind of material with enough style and instrumental flourish to keep the listener engaged. Even on a lyrical level, progressive rock is usually on a different plain of existence.  Notable progressive rock groups such as Genesis, Yes, and King Crimson often wrote unique, abstract lyrics that could be delved into and explored as much as the music itself could.  Pop music tends to be the antithesis of these things but not in any kind of negative way.  Pop is more often than not, punchy, direct, linear, catchy, and more formulaic. The marriage of these two genres is not an easy task; yet Michael Lee attempts to do it on much of his 2009 album, Face Forward.

The best thing Lee does throughout the record’s eleven tracks is create remarkable arrangements that are more rich and textured than most conventional rock or pop songs could ever try to be.  Even more notable is that he largely accomplishes this by himself.  With the exception of drums (played by Will Gates) and some organs and synthesizers (played by Christopher Lever) on two tracks, Lee is responsible for virtually every sound on the album.  Fortunately, unlike other multi-instrumentalists, Lee doesn’t pick up an instrument that he doesn’t play well.  The guitar tracks in particular are where Lee really shines, from the acoustic picking on “Mystery of Life”, to the riff-rocking on “Never Enough Time”, and the chiming rhythm of “Land of Change” which also features a great bass line.

One performance issue that affects Lee at times is his voice.  By no means is his voice bad, but there’s two traits to it that negatively impact the album.  First, Lee’s pronunciation of some words, and at times whole verses, is muddled and slurred.  Parts of the song “Trust” are very difficult to understand, including how he sings the word “trust” itself.  The second issue is Lee’s tackling of the lead and overdubbed harmony vocals.  His upper register is stronger than his lower, which occasionally makes his harmonies better sung than the leads.  Other times Lee’s vocals sound so similar that the harmonies are ineffective. Compare the backing vocals on “Land of Change” to those on “Distant Future” sung by Martin Drabik.  The latter song’s stronger contrast in the two voices provides a more dynamic sound that emphasizes the song’s poignant lyrics more.

On the subject of lyrics, this is where Face Forward has the most difficulty.  As previously mentioned, effective progressive rock has a combination of strong musical and lyrical arrangements.  For much of the album, the music is at a rock/prog hybrid level while the lyrics are firmly rooted in pop/rock. “Land of Change” has a lyric that is an unfortunate cliché and slightly preachy call for change that isn’t delivered with the same vigor the music is.  The same criticism is easily applied to “Youth” where the lyric tries to convey the frustration of the younger generation in the world but it just doesn’t quite capture it.  The point of view that Lee writes from comes across as more of a teenage stereotype than an actual teen’s thought process, and it doesn’t match up with the tense musical atmosphere Lee wonderfully lays down.

The second half of the album remedies this mostly by steering more towards traditional rock.  ”In the Picture” provides a great perspective on the frustration caused by another man infringing on the narrator’s relationship with his loved one.  The previously mentioned “Distant Future” is another fantastic lyric with the striking line “but you didn’t know I was a troubled soul, waiting for direction”.  On both of these songs the acoustic base for the song and vivid imagery of the lyrics form great musical pieces and in completely different tones. “In the Picture” is bleak and slightly angry while “Distant Future” is hopeful and borderline plucky.  The greatest combination of Lee’s efforts is “Never Enough Time” which captures the progressive elements, rock influences and dark musical tone and pits them against an equally dark lyric.  Though Lee doesn’t really reach this peak elsewhere on the album, this song is evidence enough of his talent and potential.

Overall, Face Forward is too ambitious for it’s own good; “Youth” is over long without actually being progressive, the blazing guitar solo on “Despite” seems somewhat out of place, and the instrumental title track is a little superfluous.  Still, these songs feature breathtaking arrangements and glimpses into great potential.  As mentioned before, trying to wed pop/rock and progressive rock is not an easy task.  Later-day Genesis tried it and at times completely abandoned the prog rock side, Asia tried it and were considered laughable by many critics, Yes tried it and were called sell outs.  At best, Michael Lee has crafted an imperfect album with great moments and at worst he’s in highly noteworthy company.  Either way, that’s not bad at all for someone as young and fresh in his career as he is.

Review by Heath Andrews

admin Heath Andrews, Reviews Face Forward, Michael Lee

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

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

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

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

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

Review by Michael Morgan

admin Michael Morgan, Reviews Face Forward, Michael Lee

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

admin Reviews, Scott Homewood Face Forward, Michael Lee