The Bill Phipps Jazz Ensemble makes jazz that is saturated in a cool, ‘60s vibe. Led by Phipps on tenor saxophone, this 10-song collection swings at a steady pace with lots of improvisation and a whole lot of soul.

The outfit also includes Radam Schwartz at the hearty Hammond B3. Alfred Patterson exhibits a notable presence on trombone, particularly during “Mjade 2”, a song he wrote. The way Patterson and Schwartz trade off licks during this particular track is nothing short of thrilling. Otis Brown, Jr., on drums, rounds out the instrumental section of the Bill Phipps Jazz Ensemble.

Ah, but there’s more than just instrumental music going on here. In a few places, Phipps’ sound is accented by the lovely singing of Maura Tier. In each case, Tier takes on a tried ‘n true tune. She opens the disc by singing “Summertime”, that great old George Gershwin ode to the hot weather months. Later, she rollicks her way through Louis Jordan’s hip-ly asked question, “Is You Is Or Is You Ain’t My Baby”. Somehow, this title has always sounded like something Yogi Berra might propose. But in Tier’s hands, it swings gently, and with pleasure.

There’s also one more singer here; Lady Laranah Phipps. She joins the party for the tropical “Kitts Kalypso”. Although it’s only 3:57 long, it’s nevertheless a wacky little break from this otherwise American jazz-centric project. And while Otis Brown, Jr. keeps the groove going at an unhurried island pace, Bill Phipps still finds more than enough space to stretch out with fine solo saxophone work. The drummer even gets a little love with his own solo toward the track’s end.

Phipps composed the majority of these tracks. With the exception of Tier’s vocal selections, as well as Patterson’s two contributions and one traditional tune (“Moscow Mile”), Phipps was the set’s main composer. There are also many varying lengths to these songs. For instance, the act’s take on “Summertime” is over and done in 3:21, whereas “The Point Beyond”, which closes out the disc, stretches out to 10:54.

Much of the time, there is fast-paced musical interplay among these musicians. However, “Obama’s Delight”, more than likely an ode to our first black president, takes it nice and easy as a warm ballad. On it, Phipps can be heard blowing thoughtful musical lines over Schwartz’s soothing, but insistent, organ bed. It’s hard to think of such a beautiful piece of music as political. Instead, it simply comes off as an instrumental tribute to the man and his accomplishments, no matter his political party or policies.

At the risk of offending Kenny G fans, which is really no risk at all, the music Phipps makes is real jazz. People can argue about what brand of jazz is best until the cows come home, but we can all be objective about the differences between creative jazz, and mere instrumental pop. For instance, acts that play the same melody over and over again atop a funk bass/drum groove are performing a pop tune-sans-singer, and not jazz. Granted, much of that repetitious music is pleasing to the ear, but it’s still not jazz. On the other hand, you don’t have to listen too long to Phipps And Friends to notice how hard these players are working at finding new wrinkles in older tunes, such as this disc’s Gershwin inclusion, and spontaneity among its many newer creations. While it may not be the most complete definition of jazz, the search for pleasantly unexpected notes and rhythms is a large part of jazz’s appeal. Without a doubt, the Bill Phipps Jazz Ensemble pushes hard at the exploratory boundaries with this latest effort.

Review by Dan MacIntosh

admin Dan MacIntosh, Reviews Bill Phipps Jazz Ensemble, Phipps & Friends

A Crack in Time and the Break of Dawn.  That’s a rather romantic and intriguing name for a band.  The name alludes to mysterious and mystical melodies and vibrant, colorful soundscapes.  The band states on the back cover of the CD that this is “a musical and artistic expedition reaching out for the ever-present, everlasting Now.”

In keeping with this philosophy, A Crack in Time and the Break of Dawn begins their three-song album Remedy with an 18-minute track that is the equivalent of entering an altered state of consciousness.  The longer one listens to it, the deeper one gets taken.  The first track begins with a surfer-esque guitar riff that sets the tone for the surreal and spontaneous jam session that is about to commence.  The track is long, occasionally monotonous, and the singer’s voice leaves something to be desired as he is frequently off-key and sometimes sounds shrill.  These issues aside, the instrumentation is well done and the overall vibe of the first track is one of spectral elegance.

Track two is slow to begin and one may wonder if it will ever start.  There is nearly 4 minutes of not much of anything happening and the listener may become restless while waiting for this track to get underway.  Close to the four-minute mark the song picks up, such as it is, with some vocalization that one is hesitant to call lyrics.  They are not words, per se, at least in the usual sense, and the vocalization is mediocre at best.  Again the singer seems to be performing in his own key and his voice cracks and peters out at unexpected moments.  This 24-minute piece is rife with reverb and has a bit of a schizophrenic and otherworldly sensation to it that is not exactly comforting or harmonious.

However, there is also a rather addictive quality to this song.  It is impossible to stop listening and the guitar work is slightly reminiscent of the guitar work in Roger Waters’ song “Amused to Death.”  The drummer appears to be going through a test of endurance as the song marches forth and he tirelessly keeps the rhythm.  The basis of a jam session is to play and record in the now, and A Crack in Time and the Break of Dawn is doing precisely that.  The chaotic feel to track two and the seemingly inconsistent patterns is the result of this.  While it may not be the most pleasing or harmonious music, the listener must respect the fact that the music is improvised and spontaneous and this adds to the charm and mystery of it.

The final track is a whole different experience from the preceding two tracks.  There is a tribal essence to this piece that is savage and melodic at the same time.  The rhythm tends to emulate the sound of a train, especially as the song picks up speed.  While listening to this, one may get the vision of people dancing a secret dance, a ritualistic rite of passage that not many understand.  The closing track is by far the most intricate and pleasing of all the tracks, and at roughly 9 minutes, it’s unfortunately the shortest.  The build-up is fantastic and the climatic peak is orgasmic.  While listening to the final song, one now gets a much better understanding of the talent that this band possesses and a clearer grasp of what improvisational music is all about.

After listening to Remedy through once, the listener may be a bit confused and may sit silently pondering what has just been heard, not quite understanding the concept of what A Crack in Time and the Break of Dawn is trying to accomplish.  A second listen-through better solidifies the artistic experience of this album and the listener may now be more open to the unique and original way that this collective perceives music.  By the time the listener gives it a third go around, all bets are off and the music itself has become oddly addictive.  The sheer idea of improvisational music is unique and rarely done, most especially the way A Crack in Time and the Break of Dawn does it.  The music itself may not be all that fantastic, but the idea behind the music is mind blowing.  It may take people a minute to fully grasp it, but once it clicks, there is no turning back.

Review by Rhonda Readence

admin Reviews, Rhonda Readence A Crack in Time and the Break of Dawn, Remedy

On the back cover of Remedy, the first CD in the series of discs that have been planned for the musical collective known as A Crack in Time and the Break of Dawn, there is a question that the band wants you to consider. To condense and paraphrase the question, they ask: If you take away the conscious past and the conscious future, what will be left? “The ever-present Now”. It is in “the ever-present Now” where A Crack in Time and the Break of Dawn exists.

This collective of rotating musicians under the guidance of Helge Corneliussen creates their music to be experienced as it happens and once it ends, the collective moves on to the next musical setting. Born from a 48-hour long improvisational festival in Norway, the group of musicians have gathered together from time to time to create music on the spot and record the results to release later. The resulting recordings have been produced to create totally unique CDs of music. The band recently put out the initial album entitled Remedy.

Checking out the packaging of the collective’s debut, there is an absolute lack of information: Whether the collective considers itself one entity so that no one person should be singled out, or if there was a lack of accounting for which member was on stage at what point, no musician is given credit for playing on the release.

On a related subject, A Crack in Time and the Break of Dawn also decided to be very non-decisive about naming their musical creations: No song is actually given a title, they are simply known by the number of the track they end up being in the tracking of each disc. As Remedy has three tracks, the songs are Track 01, Track 02, and Track 03.

Since the recordings of songs by A Crack in Time and the Break of Dawn will ultimately end up being released over the course of five CDs, perhaps the collective decided to start the series off with the songs that were deliberately light and slow; at least, that’s the way it comes across listening.

With the three songs that make up Remedy, the chosen music is quite laid back and over-simplistic. When the collective makes the claim that they have a rock style to their songs, these songs are very experimental with a lot of avante garde feel to them. One might ask where the rock influence is.

Each selection on the album encompasses the entire length of the improvisation. Had the group decided to allow the songs to be played out and then gone back and edited them to a stronger section of the piece to begin the composition, that would have made the release more interesting. Tighter production should have been considered.

Although stronger songs could have been chosen, the songs that are present on the album are very indicative of improvisation. The easy-going nature of the music tells you that the musicians let the music take them wherever they would eventually end up. It takes talent to completely improvise music on stage and the musicians who make up A Crack in Time and the Break of Dawn do not disappoint musically. Now, if only the song selections can be stronger for the rest of the upcoming releases, the musical collective can make a name for itself.

Review by Matheson Kamin

admin Matheson Kamin, Reviews A Crack in Time and the Break of Dawn, Remedy

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