Tim-Ryan O’Kane “The Monster’s Kiss”

Posted on September 8, 2011 by Chris

Tim-Ryan O’Kane is a self-taught pianist who attended the prestigious Alexander W. Dreyfoos School of the Arts in West Palm Beach, FL. Currently residing in Brooklyn, NY, O’Kane thinks of creating music as art. “It’s like a painter with a canvas. You get to create the sonic brushstrokes – just layer upon layer… To me, that’s the art of the thing.” Well, Tim-Ryan O’Kane has succeeded in creating a visionary artistic offering with his album The Monster’s Kiss. A concept album with a chilling storyline about a serial killer named Buddy Olson Rowley who kills a prostitute named Rachel, this electro pop alternative creation will enthrall and entertain.

The opening track, “Lullaby,” is a melodic piece with undertones of darkness. The lyrics are simple with the line And when you wake/You’ll be beautiful/So beautiful as you are repeating as the track reaches a crescendo of psychedelic guitar work that is reminiscent of early Pink Floyd. The sound quality is exceptionally well done and the composition is simple and alluring. The second track, “R.E.M. I: Running from the Swarm,” has a slow rhythm with traces of Alice In Chains abounding. O’Kane’s vocals are well delivered and his voice caresses the ears like liquid silk. The essence of this piece is disturbing, with the sound of flies buzzing and lyrics tainted with dementia. O’Kane adds an evil laugh into this piece that speaks volumes of dark secrets and hidden rooms. The instrumentation is performed with skill, particularly the blazing guitar solo and the tribal-esque drums.

“R.E.M. II: Teeth Fall Out” has more of an electronica vibe and the rhythm is smooth and flows gracefully. Excellent guitar work enhances this track and the sound quality is spectacular. The disturbing essence of the album continues in this song with lyrics that evoke vivid and disquieting imagery of teeth falling like rain. O’Kane’s lyric I reach for pearls in the drain/Try to put the back whence they came solidifies the image, and the sound of hideous screaming at the end of the track seals the deal. “R.E.M. III: Trying to Fly” has a slower tempo and elegant piano work coupled with electronic sound effects that give this piece a slightly industrial feel. O’Kane’s vocals are extraordinary as he hits the high notes effortlessly. This track can best be described as Nine Inch Nails meets Radiohead, which is quite the artistic endeavor to complete successfully as O’Kane has done.

“R.E.M. IV: Dis(re)membered” is perhaps the most intricate track on the album with regards to a variety of sounds and composition. The harmonies within this piece are professionally executed and the sound is ethereal and addictive. Each note is heard with perfect clarity and the layers are indeed painted as an artist would paint a canvas. Brushstroke upon brushstroke until the vision is formed. “R.E.M. V: Driving with a Stranger” is the album’s closing song and O’Kane wraps up his concept album with style. The rhythm of this song hints of a tribal vision with elements of electronica and alternative pop. In short, this piece encompasses each of O’Kane’s diverse talents into a six minute masterpiece of unrivaled artistic creativity. The vocal harmonizing is exquisite, the sound is divine and the powerful guitar work lends a sense of foreboding to this brilliant composition. With the concept album The Monster’s Kiss, Tim-Ryan O’Kane has indeed proved himself as a creative artist, painting music onto the canvas of our minds.

Review by Rhonda Readence
Rating: 4 stars (out of 5)

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Earamas “Rise of the Chimera”

Posted on September 6, 2011 by Chris

Gary Wayne Clark is an author and musician who has completed two literary works of art collectively titled The Devolution Chronicles, which inspired Clark to write the album Rise of the Chimera. This album is a sequel to Passage to Niburu, also inspired by The Devolution Chronicles. The sci-fi coupling of the novels and the albums makes for an excellent journey into the world of Zacary Ryker, a bounty hunter who is tracking his nemesis and stumbles into a world where evolution runs backwards.

Glen Dale Spreen, an arranger, producer and conductor whose most notable musical accomplishments consist of arranging several hit songs for Elvis Presley, assists Clark in the production of this epic album. With ethereal soundscapes, ambient storytelling, pulsating electronica and theatrical drama, fans of sci-fi and exceptional music will be in unbridled bliss. Rise of the Chimera is a musical and literary work of art with a clean, clear sound that is second to none.

The album begins with “Behind the Curtain,” a narrative piece that includes Clark introducing himself and giving listeners a brief summary of the story contained within the album. This short narration is accompanied by wonderful orchestration and otherworldly sound effects that will send shivers down the spine. The sound quality is absolutely divine and includes a Native American influence coupled effortlessly with visions of deep space travel and boundaries without limit.

The opening track morphs smoothly into “Hindenburg Has Landed” and this tale has officially gotten underway. With dramatic orchestration that brings to mind many legendary movies and gives listeners a sense of adventure, this elegant instrumental piece has all the ingredients of a classic, chill-inducing work of art. “Devolution – Rise of the Chimera” contains robotic sounding spoken words, lamenting and reflecting. This track goes from solemn and dark to upbeat and rocking without a hitch and the guitar work positively screams. With smooth transitions throughout, vivid imagery and eloquently spoken word, this piece draws listeners into the story and makes it impossible to turn back.

Rise of the Chimera continues with the dramatic “Two Degrees of Separation,” another instrumental piece rife with theatrical sound effects and an electronic sound that defies description. This flows gracefully into “Just Breathe,” a slower instrumental number that contains beautiful piano playing, delicate guitar work and haunting Native American flute playing. Bordering on spiritual, this creative visionary work will soothe, calm and relax while lending itself to the imagination.

“Ryker’s Revenge” continues the storyline of Zacary Ryker, the bounty hunter, and the sci-fi ethos of this piece is brilliant. The narration is concise, clear and engages the listener in the trials and tribulations of the main character. “Game On” is an energetic and decisive composition that seems to gear one up for battle. While there are no words, listeners with a good imagination will envision Ryker suiting up and heading out to slay his enemies. Dramatic orchestration throughout brings a feeling of danger and excitement. “NELI’S Sweet Irish Dreams” comes as a surprise after the daring “Game On”. This piece is slow and carries a romantic essence that is unexpected after the theatrical preceding track. With beautiful composition and elegant instrumentation, this song is nearly a lullaby, complete with the sounds of falling rain and crashing thunder.

“Dark Walk” is an enchanting track with eerie drums and exceptional guitar playing. Each song on Rise of the Chimera is produced with a quality that is beyond perfect, but the sound is exceptionally clear during this one. The sound effects are simply stunning. “Solace” will soothe even the most tortured of souls with its graceful melody, uplifting harmonies and the relaxing sound of ocean waves. This is best listened to with closed eyes and an open mind. “Caissons of Courage” is the epitome of Earamas, complete with a dramatic flair and powerful orchestration. The sound of a gunshot and ejecting shell in the middle of the song gives this piece a theatrical boost that lends itself perfectly to the building crescendo and gentle conclusion of this work.

“Unsweet Surrender” has an underlying sadness to it that will tug at the heart. It is impossible to listen to this song and not let the mind wander wistfully to happier times. Listeners will be enthralled by the haunting beauty and graceful elegance of this classic masterpiece. “A Warrior Has Fallen” continues in this vein with funeral-esque organ playing leading it off. The song then becomes another brilliant example of high energy electronica with exquisite bass playing and intricate drum work. Funeral music coupled with a tribal essence and ethereal space-like sound effects seem like they would not go together, but Earamas makes it work wonderfully.

Rise of the Chimera continues its intense journey with “Taunting Memories” which is another Earamas special, complete with excellent composition, powerful melodies and perfect sound production. This leads the way to “We Are Invincible,” a fast-paced track with exceptional sound effects and a rhythm that begs to be danced to. One of the few tracks on the album with lyrics/spoken word, this one will make listeners feel that anything is possible and other worlds are just around the next corner. This piece would make excellent fodder for a video game due to its intensity and unrivaled sound. The album closes with “The Multiverse Beyond” which is a narrative wrapping up the tale of Zacary Ryker. At the conclusion of this piece, and the album Rise of the Chimera, listeners will likely sit in awed silence, contemplating everything that has been heard.

Gary Wayne Clark and Glen Dale Spreen are brilliant composers and undisputed geniuses behind the controls of a sound board. Rise of the Chimera is powerful, haunting, beautiful and unique. The sound quality is astounding and this is an album that can be listened to many times, each time yielding some new and previously undiscovered treasure.

Reviewed by Rhonda Readence
Rating: 5 stars (out of 5)

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Earamas “Rise of the Chimera”

Posted on September 6, 2011 by Chris

Upon first listening to Rise Of The Chimera you may be bombarded with mixed feelings. The album’s futuristic overtones and suggestively space-aged lyrics are agreeably different, but there is something about them that make you want to continue listening. And by the time it’s over you’ll be glad you did. You don’t have to listen long at all to be able to tell how much effort the duo has put into writing and composing their songs. Each song takes you on a separate journey and tells a whole story of its own. But at the same time, each song adds to the previous one, creating one huge story by the time you are finished listening to the album.

Though the album is comprised predominantly of instrumental tracks, some tracks do include spoken word. In “Behind the Curtain” Gary Wayne Clark speaks of the end of the world and of the potential downfall of mankind in an intriguingly thoughtful way. As Clark invites us on a “journey into the unknown”, his voice fades, leaving nothing but the music. The second half of the song continues with sounds such as drums and water noises in a way that transports you into the river of the Amazon rainforest, as if you were floating downstream, continuously growing closer and closer to some sort of tribal séance.

“Devolution” is a change of pace from what was presented within the first two songs. “Devolution” begins with spoken word, but immediately jumps into a poppy melody with an electric guitar background. They chant, “Raise up your gun, our time has come, lay down your body and your soul . . . Press your attack and don’t look back, now devolution is complete.” “Caissons of Courage” catches you off guard at a little over a minute into the song when the music suddenly stops and all that is heard is heavy footsteps. As the footsteps stop, a gun is cocked. The gun is quickly fired, and the shell drops to the ground, leaving only the distinctive sound of metal hitting the floor to be heard. The song then picks up again with a mournful melody that slowly transforms itself into a more positive, optimistic tune.

“Nell’s Sweet Irish Dreams” is exactly what the title suggests. The song both begins and ends with the sound of a heavy storm, placing you in a rather tranquil, hypnotic state. The serenity continues as the song moseys along to the sound of old-timey Irish folk music. “We Are Invincible” begins as if it is going to be a heavy dubstep song. The beat soon takes on a more techno façade, however, and continues that way throughout the rest of the song. Like “Devolution,” this is another song with lyrics that meet somewhere between rapping, chanting, and singing.

What Clark and Spreen, the creators of Earamas, have done is created an odd, interesting type of music that is not heard very often. With such an eclectic mix of sounds, it is difficult not to be drawn into this album. While Rise Of The Chimera is certainly not your average album it is absolutely no less entertaining. This would be a great album to turn on and relax to after a hectic, stressful day, or an excellent album to turn on while you are falling asleep. The contemplative words are just enough to keep you on your toes, while the intricate, soothing melodies will allow you to relax.

Review by: Alec Cunningham
Rating: 4 stars (out of 5)

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Bushwood “Bushwood”

Posted on August 24, 2011 by Chris

It should come as no great surprise to anyone that Bushwood comes from the beach-adjacent Fort Lauderdale, Florida. Reggae, when it’s not indigenous Jamaican music, is usually found sprouting up somewhere close to where the ocean meets the sand.

Bushwood is a delightful three-piece act that keeps its sound authentic, yet also makes its lyrics relevant to the general (meaning non-Rastafarian) populace. For instance, the light-stepping “By the Water” (notice the ‘water’ in the title?) plays out a little like a mix between a Bob Marley love song, and Marvin Gaye’s “Sexual Healing.” They sing, “I wanna lay you down and kiss you by the water,” which shows that this song will never be confused with any back-to-Africa anthem. Instead, it’s a seduction song, where the tools at this lover’s disposal are the sun, the water and an irresistible groove.

The song “Summertime,” however, brings Third World to mind with its funky groove. It’s a little bit like “Try Jah Love” at the beginning, before it goes into a slower, dub groove. “We’re just waiting for the summertime,” its lyric begins. “Smoke that spliff with me,” goes one other section of the song, “before the summertime is over.” Later, the song goes into more of a hard rock, electric guitar groove thing, which brings one summertime in particular to mind – the Summer of Love.

During “Paradise,” Bushwood channels a little of The Police, who as you may recall, was also a trio. There’s just something beautiful about the economy of a small band. Every instrumental element is essential. Each note is necessary. The unit must always stay tight, and never get sloppy. Bushwood lives up to these tough small package standards.

While reggae is the most utilized style applied during this self-titled album, Bushwood breaks away from its loping grooves for the acoustic jam rock tune “Drop the Anchor.” Once again, it is a beach-related song, with warm water and burning marijuana included in the mix. However, the song comes off like a cross between old Steve Miller Band and contemporary Zac Brown Band. It’s a welcome change of pace. It also reveals that, no matter what style of music this group plays, the subject matter remains the same – the beach.

Bushwood seemingly makes every effort to avoid the harsh real world with its music. For all we know, life is truly a beach. The song “Paradise” – at least for Bushwood – describes every day, everywhere. However, “In Control” finds the band contrasting its beach experiences with the troubling stress of living. Then on “Open up Your Eyes,” the lyric speaks about struggles with a girl that’s left a guy, where the man can’t understand why this breakup has happened. Sadly, while the beach may wash your troubles out with the tide, it can’t keep a man and woman together – no matter how good the vibrations it gives off. Even so, the song itself is a fine, funky workout with wonderful stop-and-start percussion, as well as rocking electric guitar.

Bands like Rome With Sublime and The Dirty Heads prove that there is an active contemporary interest in organic American reggae. As Bushwood reveals, this music has become a big part of beach culture. One might even make the case that reggae has nearly replaced such beach-oriented styles as surf music, as the unofficial coastal music. Without question, Bushwood knows what it’s doing when it lays down a reggae groove. Granted, this trio has a tendency to view the world through rose-colored glasses. Nevertheless, the view from the shoreline can be amazingly rosy at times. If you’re really serious about reggae music, you’ll dig deeper into the spiritual/political music that was most popularized by Bob Marley, but continues to live on with his offspring as well as many other world music artists. However, if you only want it for its feel good factor, look no further than Bushwood.

Review By: Dan MacIntosh
Rating: 3.5 Stars (out of 5)

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Tyberium “No Strings Attached”

Posted on August 12, 2011 by Chris

Electronic music, and the technology that accompanies it, has come a long way since the early American and European composers began experimenting with tape loops and sound manipulation.  Today, with a wide variety of powerful tools available to them, sound technicians and composers can take any sound, any sample, and weaver it into a totally new sound and timbre.  One of these new breed of composers, that has had success with taking one sound and using it to create myriad other sounds and emulate other instruments at the same time, is Tyberium. The composer’s stage name, Tyberium, was inspired by his love of the video game series Command and Conquer, as a play on words with the mysterious element tiberium which is featured in the game itself.

Tiberiium’s first album, No Strings Attached, features 11 tracks that were inspired by some of his favorite guitarists such as Steve Vai, Joe Satriani and Paul GIlbert. Not being a guitarist himself, Tyberium used DAW, a Digital Audio Workstation to compose the music on a keyboard, then manipulate the sounds and bring them all together to form each track.  Not the most conventional way to compose and record instrumental guitar-sounding music, but one that works very well in this instance and just might inspire other electronic composers to explore these possibilities further in their writing and recording.

The album features mostly instrumental tracks, such as the expertly composed “Careless Winter,” which brings to mind both Steve Vai and David Gilmour’s guitar tone, as well as a piano section that hints at Pink Floyd’s “Allan’s Psychedelic Breakfast,” if only slightly. Other instrumental tracks are more harmonic based, such as the hard-driving groove and guitar work of “Clash of the Chords.”  As the title suggests, this track is largely based on a series of chords that Tyberium lets ring out, followed by an arpeggiated single-line run that floats over top of the distorted layers beneath.  This track is definitely one of the biggest highlights of the record, deep layers of melody and harmony interacting perfectly to build and build until the climax of the piece is reached.

Though 10 of the 11 songs on the record are completely instrumental, “Area 51” features samples of Star Trek characters in different dialogues with each other.  Used to give the song a “space theme,” the samples are woven seamlessly into the music, not sounded jagged or forced whatsoever.  In fact, they sound very natural and add to the piece, raising the level of interest and layering different textures at the same time.

Along with the harder rockin’ moments, Tyberium also brings his softer side to the forefront with tracks such as “Lullaby.”  Here, the acoustic guitar and piano sounds are featured on softly woven melodies that are comingled with electronic sounds throughout the song.  Though one doesn’t always associate instrumental guitar music with a lullaby such as this, it is just this kind of slower, more melodic song that adds just the right amount of contrast to this album.

Tyberium hits the nail on the head with No Strings Attached, which is a well written, creatively interpreted collection of 11 instrumental tracks that will appeal to fans of instrumental guitar and electronic music alike.  Though none of it was composed on an actual guitar, it is very difficult to tell the difference.  The technology at composer’s fingertips these days is truly incredible, and No Strings Attached is an example of what these programs can do in the hands of a master technician.

Review by Matthew Warnock
Rating:   4 stars (out of 5)

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John Gaar “Brighter Side Of Maybe”

Posted on August 12, 2011 by Chris

When you have been on the road for some 30 years, and you have played with countless musicians and bands from Louisiana to California and back and you have played every genre from Americana to R&B to Zydeco, it would be difficult to say your musical influences were not varied enough.

John Gaar is the musician in question and he has released his second album entitled Brighter Side Of Maybe, a collection of 10 original songs brought to life by Gaar and keyboardist and producer Ron D’Argenio, who worked with Gaar on his first project, the 2004 release Bittersweet Success.

Gaar put together a fine group of musicians for his latest project including; bassist Mark Harris, drummer/percussionist Cody Banks, vocalists Malford Milligan, Michael Cross, Ginger Leigh with Warren Hood & Brian Standerfer creating the strings.  Together they take Gaar’s compositions and turn them into solid, musical treats.

Three songs stand out on Brighter Side Of Maybe. The opening track “It Is What It Is,” comes at you with full-force Southern-infused rock and roll.  Containing a catchy chorus and multiple guitar lines by Gaar layered over one another with a solid rhythm base built by Harris and Banks.  Throughout the album, this duo provides the rich soil upon which Gaar’s instrumentation and vocals blossom.

A softer side of John Gaar is shown in “Angel Flew Away,” a rock ballad with an anthem feel to it.  Gaar’s vocals are urgent throughout and he hits his sweet spot.  The song showcases Gaar’s storytelling skills in a country-rock setting; “…Today you are living, but in a blink that all ends.  Living life so precious, but tomorrow never begins.  The Angels are smiling; he’s made the journey home to stay.  Should have had a lifetime to say all the things we wanted to say.  But the Angel flew away.” Combined with the overlaying of Gaar’s multiple guitars, an ethereal sound to match the subject matter is created.

“Between The Lines,” is the third standout on Brighter Side Of Maybe. This one features the talented keyboard playing of D’Argenio and the solid drumming of Banks, with a strong chorus line: “So many questions, so many whys. Searching for answers between the lines.”  Gaar takes full advantage of his vocalists and builds strong harmony runs.  This is the song on the album that could be an AOR break out for Gaar.  The guitars dueling, a chorus of voices, and pounding drums builds the song to a crescendo, and in the middle of it all a soft almost angelic piano line.
The one miss, in terms of being so far away from the other songs, is “Sooner Or Later,” which is more Alice In Chains than Atlanta Rhythm Section.

Definitely check out “The First Step,” which shows off a taste of the jazziness found in NOLA while surrounding it with straight ahead guitar-flavored rock and roll.  The combination works as Gaar moves from a Rick Derringer style guitar solo and flows seamlessly back into a jazz-funk inspired tempo.

Other notables on the album include the title song, an upbeat pop-rock number with a heavy layered B-3 underneath it all and “Shoulda Been A Good Day,” which begins with Gaar on acoustic guitar and transitions into a full wall of sound ballad complete with strings adding another dimension to Gaar’s story-telling.

Gaar is a talented songwriter, guitarist and vocalist and on his second release he is ready to show the music world those talents and the music world should give him its ear.

Review by: Vinny “Bond” Marini
Rating:  4 Stars (out of 5)

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John Gaar “Brighter Side Of Maybe”

Posted on August 12, 2011 by Chris

John Gaar picked up a guitar at the age of thirteen, and rumor has it he’s yet to put it down. Gaar turned down a music scholarship at the age of eighteen to go on the road and has never looked back. Along the way he’s recorded or performed with the likes of Burton Gaar, Red Archibald, Chubby Carrier, Rockin’ Sydney, Michael Cross and Malford Milligan. Gaar has moved back and forth between his roots in the south and the San Francisco Bay area over the years, ultimately settling down (for now) in Austin, Texas. There he has quietly become a prominent songwriting force with his blend of blues, rock, folk, Americana and jazz. Gaar’s latest effort, Brighter Side Of Maybe, shows off his distinctive songwriting style and sound.

Brighter Side Of Maybe opens with “It Is What It Is”, a catchy and vibrant blues/rocker featuring stylish guitar work and a distinctive pop sensibility. Gaar’s working class voice is the perfect balm here; solid with just a hint of gruffness underneath. “Sooner Or Later” is a dark blues/rocker steeped in fatalism and richly recursive guitar licks. Gaar builds the sound with stark vocal harmonies in minor triads to create an intriguingly bleak sonic palette. Gaar works in a bit of country into the blues/rock milieu on “Angel Flew Away”, a melancholy ballad with subtly significant guitar work. Gaar approaches a perfect moment here, transcending sound and style to imprint on your mind a song you’ll return to again and again.

A Robert Cray influence shows its head on the catchy pop/blues of “Still In Love With You”. The arrangement is as tight as a wire; the musicians pushing the bar and each other throughout. Gaar responds on vocals, digging into the melody line with a fierceness that surprises. A bit of repetition might distract you from how well-constructed “Ain’t No Hill For A Stepper” really is. Gaar has built the song around a dynamic blues/rock guitar, buttressing it with distinctive vocal harmonies. You’ll have a hard time shaking this tune once the album is done playing. Gaar changes tempo and tone with “Between The Lines”, an introspective and melancholy soul searching ballad. This is a solid tune, but it does seem a little out of place on Brighter Side Of Maybe.

“The First Step” is a straight-up blues/rocker that sets the musical ship to rights again, and paves the way for “Brighter Side Of Maybe”; a glass half-full rocker full of oomph and good humor. This is sure to be a fan favorite in concert, and seems a likely candidate to get picked up in the licensing world. Gaar winds things down with two ballads that end up over-staying their welcome. Clocking in at 6:17, the woeful ballad “Shoulda Been A Good Day” is just too blue for too long, zapping the momentum out of Brighter Side Of Maybe. Ditto “Let Me Show You”, which clocks in at a herculean 5:50. The latter is an emotionally overwrought ballad buoyed by an outstanding arrangement and instrumentation, but which will challenge the stamina and good cheer of listeners by not knowing when to call it a night.

John Gaar makes a distinctive impression with Brighter Side Of Maybe, displaying a fiery guitar style and memorable voice against the backdrop of well-written and occasionally stellar songwriting. In fact, Gaar approaches brilliance across the first eight songs on Brighter Side Of Maybe, but surrenders the flow of the album of two solid but ill-fitting songs of melancholy at the close. Brighter Side Of Maybe remains essential, however, for showing it’s still possible to write and record an album of viable, original and fresh blues/rock album that bows to influences without giving itself over completely to the sound of others. John Gaar will make you believe once again in blues and rock n roll.

Review By: Wildy Haskell
Rating: 4 Stars (Out of 5)

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Sweet Deliverance “You’re My Rock”

Posted on August 11, 2011 by Chris

Sweet Deliverance has been doing what they do for a long time: spreading the gospel of Jesus Christ using a cappella music.

For the uninitiated, a cappella is Italian for in the manor of the church or in the manner of the chapel. It is music without instrumental sound. In modern usage, a cappella often refers to an all-vocal group performance of any style, including barbershop, doo-wop, and modern pop/rock. Today, a cappella also includes sample/loop “vocal only” productions by producers like Jimmy Spice Curry, Teddy Riley, Wyclef Jean, Mike Tompkins, and others.

Sweet Deliverance has perfected their vocal craft since the late 70′s. Starting out as a southern gospel style quartet, the group has transitioned from four members to seven, singing a wide variety of a cappella music styles. Today members include Bob Allsup, Kevin Percival, Gary Ferguson, Ken McAlpin, Stephen Morgan, David Morgan, and Russ Wooten. You’re My Rock is their tenth album, and the group, along with Jim Hawthrone, produced, mixed and mastered the album at Spirit Wind Studios in Hayward, CA. Featuring mainly original music by Bob Allsup and Kevin Percival, it is a joyous affair showcasing what the human voice and good production are capable of accomplishing. Of course, precise harmonies are the bedrock of this whole project.

The funky “You’re My Rock” opens the proceedings. A waterfall vocal effect is nothing short of heart catching. The entire track is anchored by Bob Allsup’s steady, booming bass vocal that keeps the rhythm, while recreating a very realistic bass guitar sound. “I Just Want To Celebrate” and the original “I Need You” are powered in much the same way with the latter taking a more jazz like twist in the manner of The Manhattan Transfer.

The quieter side is represented fully here with “The God Of Hope and Love,” “The Only Way,” and the “Amazing Love Medley,” which combines Walt Harrah’s ‘Think About His Love,’ Russell Fragar’s ‘Show Me Your Ways’ and Billy James Foote’s ‘Amazing Love’ (You are My King). All the songs are peaceful, creative, and soul warming.

Very personal and most evangelical is “Broken Heart.” Gary Ferguson’s lead vocal swells over this more traditional harmony and lyric; this is a heart cry of praise and thanks saying only the Lord can heal this broken spirit. “I will lift my hands and praise the name of Jesus / I will lift my hands and praise His holy name / I will lift my hands and praise the name of Jesus / Only you alone can heal this broken heart.”

With “The Only Way,” Bob Allsup and Kevin Percival tell a story about someone who had searched and tried many ideologies, but only Jesus worked for them. “Never had someone I confided in / Couldn’t find a trusting soul, couldn’t find a friend / I don’t mind if He’s gotta be the only one / I’m gonna put my trust in God’s only Son / Jesus He’s the only way / With Jesus everything’s okay / He is Jesus now I got to say / Jesus is the only way.”

“The Only Way” could have been a rather repetitive song, if not for Kevin Percival’s lead voice and Sweet Deliverance’s bouncy vocal exercise that brightens the song and adds a much needed change in presentation.

“Thank You,” a song by Bob Allsup, is a standout track on You’re My Rock.  Melodically similar to “Hushabye,” “Wendy” and “Don’t Worry Baby” by The Beach Boys, it features Kevin Percival’s twisting falsetto vocal that adds a doo-wop, oldies feel.  The song is very radio friendly and as comfortable as an old friend.

Lyrically the entire album never strays far from offering praise and thanks to the Lord, but avoids a clichéd feel by switching genres and rhythms.

Over the years, members of Sweet Deliverance have changed but the musical tradition and praise to the Lord has not. Sincere contemporary Christian a cappella with rock and a soul is what you will find on You’re My Rock.

Review by Bob Felberg
Rating: 5 stars (out of 5)

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Sweet Deliverance “You’re My Rock”

Posted on August 11, 2011 by Chris

You may be wondering whom Sweet Deliverance is: they are a Northern California based 7-member all male a cappella group with 10 albums under their belt and the newest being You’re My Rock. The album was jointly produced by Jim Hawthorne and Sweet Deliverance. It was recorded, mixed and mastered by Jim Hawthorne at Spirit Wind Studios (Hayward, CA). Since the recording of the album, two previous members have rejoined and one new member has been added: Russ Wooten (Formerly with Sweet Deliverance mid 90s through early 2000s) Ken McAlpin (Formerly of Acapella, then Sweet Deliverance) Stephen Morgan (David Morgan’s younger brother).

Sweet Deliverance delivers to us raw heartfelt vocals, beautiful lyrics and perfect harmonies for the most part, but “I Just Want to Celebrate” is a more rock dancey number than we have heard from them before and the production adds a nifty twist to it.

The multitude of vocal talent of Sweet Deliverance is interesting and different, yet at the same time, the vocals come across as inspiring. “It’s Alright” is a very doo-wop sounding track that seems kind out of place, but also fitting. “God of Hope and Love” takes a more reflective style, a beautiful ballad that lends itself perfectly into tracks like “The Only Way” and “We Sing Holy,” which are standout tracks in themselves, yet they are still simple and spiritual.

Sweet Deliverance seems to know how to sing songs that are intimate and true of what God instills in us. The beautiful track “Thank You” is sung with charm and integrity and is the one song that really touched my heart and took me to a wonderful place of worship.

Close your eyes and imagine walking into church, the Spirit milling about, then a few minutes later your ears perk-up to take in the music for a moment, the voices coming together to create a suitable backdrop for worship. The power of the music, blending of the singing and blessings, give to us the beauty of the world and of joy in living. The music’s spirit flies far beyond the varying specifics of the a cappella group and their audiences’ religious persuasions, touching all listeners’ hearts with freedom and joy.

Then you are questioning yourself, what did I just feel? Oh yes, gentle, flowing music that truly moves my soul. A feeling you can only get from such powerful Spirit stirring vibes. Sweet Deliverance’s new release You’re My Rock is about letting the Spiritual energy flow through each vocal note and into the hearts of the listener. It will be interesting to see the journey this album takes as they present it around the globe.

Overall, it delivers amazing songs of Grace that are full of space for the Spirit of God to move within us. In the end, it is about letting people know they are not alone. You’re My Rock concludes with a truly God blessed amazing love 3-song melody. Finally, the rest of this album captures what Sweet Deliverance is trying to instill in those that hear them sing, a refreshing optimism.

Review by Arizzona – Unashamed Faith Cafe (radio program) – http://unashamedfaithcafe.com
Rating: 4 stars (out of 5)

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Sweet Deliverance “You’re My Rock”

Posted on August 11, 2011 by Chris

Sweet Deliverance is the Rockapella of the Christian music world. You’re My Rock is the band’s tenth album.  One listen and it is apparent that this group has something more than just great vocal talent.  They have a special ability to bring a message of faith through music without making the message seem trite.

Sweet Deliverance has been on the scene since the 1970s, and it is easy to understand their longevity.  The album shows their passion for both music and God.  You’re My Rock consists of ten songs that hope to bring their listeners closer to God.  The songs run the gamut from fun to serious, expressing the love of God in each.

The singers’ voices blend in harmony in such a way that you have to listen. The music they make is a mixture of gospel and contemporary Christian.  But there is a bit of a surprise in this batch of Christian songs.  For example, Sweet Deliverance offers up the classic Rare Earth song “I Just Want To Celebrate.”  The cover is done so well that it is difficult to distinguish it from the original.

The title track is a perfect example of how a cappella music should sound.  The vocals are so good that you can’t tell that there are no instruments being used to create the beat.  “It’s Alright” is another perfect a cappella tune.  The harmonies and lead vocal blend beautifully.  The beat is infectious.  It is a song that dares the listener not to be moved to dance.

Sweet Deliverance also makes their faith-based music appealing to the masses.  Songs like “Thank You” are a good fit for any audience.  But that’s not what they are about.  Sweet Deliverance is bringing a message of faith with their music.  “We Sing Holy” is in keeping with the Biblical prescription to “make a joyful noise unto the Lord.”  Sweet Deliverance aren’t making anything that really can be described as noise, but it is joyful and the song has a beat and melody that will make you want to sing along.

Sweet Deliverance has a special talent of bringing their faith-based music to a wide audience. No matter what your religious affiliation, when you listen to these seven men sing, you will feel good.

You’re My Rock closes with a medley of slow songs.  The three songs included in this medley are “Amazing Love,” “Think About His Love,” and “Show Me His Ways.” It is hard to believe that this is a medley, as the transition between the songs is so effortless.

The ballad, “Broken Heart” isn’t about a love gone wrong.  It illustrates a person coming to God from tough times.  The harmonies keep this song somber but also peaceful.

All of the songs on You’re My Rock are uplifting but it is the songs like “God Of Hope And Love” that show the listener what this group is all about.  The lyrics are a perfect morning prayer:  “As I open up my eyes, Lord / You put a smile upon my face / And the toils of life the day before / I know You have erased.”

The songs are testament to the group’s spiritual life, with eight of the ten songs on this album written by the band.

These are the kind of songs that most people wish they heard at Sunday services.  If any album can make you feel closer to God, this album is it.  If you are looking for an album of wonderful Christian music, this is the album to add to your collection.

Review by Andrea Guy
Rating:  4 stars (out of 5)

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