CD Review: Lorraine Klaasen's 'Nouvelle Journee'

Lorraine Klaasen
Nouvelle Journee
Justin Time Records

Hailing from South Africa, Lorraine Klaasen releases a new album of South African music, aptly-titled, Nouvelle Journee. The vibrant album artwork is only the beginning. The music is equally vibrant and rich in musical textures, harmonies, and instrumental arrangements. Lorraine's commanding vocal tone is melodic. The instrumentation is nothing short of amazing, as the accordion, bass, guitars, percussion, piano, and organ provide a slew of catchy arrangements. The rippling guitars on "Ke Tshepile Bafatsi," showcase Latin and Congolese influences. The R&B influences are not forgotten either, as "Home Sweet Home" conjures up images of Southern blues, gospel, and jazz. Though, upbeat music is Lorraine's specialty. Nouvelle Journee is a very classic, and contemporary album that touches the human spirit with a legendary and unforgettable voice. ~ Matthew Forss    

Single Review: Rene Lopez' "Restless"

Rene Lopez
Song: Restless

New York-based, Nuyorican musician, Rene Lopez, turns heads and gets feet movin' with the smooth, electro-latin-soul song, "Restless". Rene is a talented songwriter, multi-instrumentalist, and producer that has explored an intimate palette of aural magnificence originating from his passionate vocals, tropically-tinged songs, and an ever-present, contemporary or urban presence. The song begins with a steady, synth melody, clap-like percussion, soaring strings, and background vocals with a gospel edge. There is an uplifting element of the song near the end of the song with louder vocals and more background accompaniment. In fact, Rene's vocals at the end of the song resemble Bruce Springsteen. However, the song is not a rock anthem, nor a hip hop party track. Instead, the song is a trip hop, lounge standard with classy vocals and a steady, yet creative beat. Fans of Craig Armstrong's earlier works will find similarities here. At any rate, everyone should check out "Restless" by Rene Lopez. 5 Stars (out of 5) ~ Matthew Forss    

CD Review: Jacob Davich's Self-Titled EP

Jacob Davich
Jacob Davich
Self-Release

A former actor turned musician, Jacob Davich releases a candid five-song EP. Jacob's folksy sing-songwriter guitar and vocals resemble the work of Jim Croce, James Taylor, and David Gray. "Don't Run Don't Hide" is a great roots-driven, folk-centric, and pop-infused medley of throbbing B3, jangly guitars, and swishy percussion. "Call My Name" is a slower, down-tempo ballad with folk and alt-country stylings. "Hold On" is another ballad with introspective lyrics and a jazzy or bluesy musical influence with piano backing and guitar accompaniment. "How You Gonna Tell Me" is a great folk-rock song with a hint of roots-driven qualities from American folk music of the 1960's and 70's. The Dylan cover, "I Shall Be Released," is a bluesy, almost gospel-driven medley of sound reflecting the music of the time that is equally-relevant today. All in all, there are four original tunes and one cover. If you are fans of the above-mentioned artists, you will definitely love Jacob Davich's new EP. Everyone else should pick it up. It's that good. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Niels Gedge's 'Maui's Whale'

Niels Gedge
Maui's Whale
Self-Release

The folk and blues-tinged vocals of singer and guitarist, Niels Gedge, paints a beautiful picture of intelligent music from a seemingly-unlikely region of the world: New Zealand. The English vocals are emotive and ruddy, but always pleasant. Niels is joined by several performers on clarinet, sousaphone, percussion, piano, cello, accordion, upright bass, cross harp, trumpet, and a few other instruments. The songs are led by Niels' intense and honest lyrics that are wrapped around a heady mix of rhythms and melodies that never get old. The playful tunes bring in some blues and gospel overtones amid a folk background. Anyone searching for some great folk, blues, gospel, and popular music with classic vocals and a great mix of instrumentation will love Maui's Whale. ~ Matthew Forss

CD Review: Nitya Thomas' 'Awakenings'

Nitya Thomas
Awakenings
Watchfire Music

Awakenings is a three-track release that is ripe with joyous, Christian melodies. The first track, "O Dreamer," is a traditional Irish melody by lyricist, Rosa M. Turner. The song begins with a few keyboard chords followed by Nitya's sparkling vocals and guitar sounds. "My Grateful Spirit Sings" is a song by Sally DeFord with a popular sound that brings together gospel, classical, and new age. "Psalm 23" is the only song written by Nitya. There are classical piano sounds and classical strings that set the mood for the Bible-based composition. Anyone with an interest in contemporary vocal performances with a Christian foundation will love Nitya's soulful and heavenly release. The vocals are strong and clear throughout. Fans of Christian music, new age, piano pop, and female vocal music should check it out! ~ Matthew Forss

CD Review: Malawi Mouse Boys' 'Dirt Is Good'

Malawi Mouse Boys
Dirt Is Good
IRL Records

Discovered by Grammy-winning record producer, Ian Brennan (of Tinariwen and Lucinda Williams-fame), the Malawi Mouse Boys perform fifteen upllifting, Christian songs written and sung in the Chichewa language. These are not your typical gospel or worship hymns, as the rudimentary guitar, drums, and assorted instrumentation suggest an earthy, primitive, and organic concoction of tunes. The vocals and instrumentation come through clearly and the melodies are strong. The vocal harmonies on "Kufanana" suggest a Ladysmith Black Mambazo influence without any instrumental accompaniment. A gritty electric guitar on "Zochita Zanu" showcase a bit of grunge elements and a great rhythm. "Ndiyamika" is a peppy little tune with a catchy vocal set and light percussion. Overall, Malawi Mouse Boys make a positive impact to the world music scene in Africa and beyond. Enjoy this one! ~ Matthew Forss

CD Review: Barefoot Divas' 'Walk A Mile In My Shoes'

Barefoot Divas
Walk A Mile In My Shoes
VGM/MGM

Barefoot Divas is a collective of six women with a connection to the indigenous people's of Australia, New Zealand, and Papua New Guinea. The vocal group is comprised of Aboriginals Ursula Yovich and Emma Donovan, Maori's Whirimako Black, Maisey Rika and Merenia. Ngaiire represents the Papua New Guinea connection. The opening vocal track by Maisey Rika is rather contemplative without any instrumentation. The serenity is short-lived, as "Never Forget" brings an amped-up, R&B and gospel composition to light. The Spanish-tinged, "Fortuna," is driven by the world fusion repertoire representing Greek, Chilean, and Peruvian elements. The work is largely vocal with a poetic, social commentary. However, the combination of vocals and contemporary instrumentation represents an edgy mix of world fusion worth listening to over and over. There are fourteen tracks in all. The recording was recorded live in 2012 at the Sydney Festival. This project could not have been possible without the group's creator, manager, and producer, Vicki Gordon. ~ Matthew Forss   

CD Review: Eric EQ Young's 'Just 4 You'

Eric EQ Young
Just 4 You
Self-Release

The sultry soul sounds of Eric's slap bass, the heady percussion section, jazzy horns, and magnificent keyboards celebrate the funky, urban, down-tempo chill genres with effortless fluidity and absolute humility. The handful of songs represent a mature musical expression that only comes from years of instrumental playing and innovative musicianship. "Dance With Me" opens with some jazzy elements and industrial, metallic, urban funk sounds. The dance track is beaming with groovy hooks and back-up vocals that find a happy medium accompanying Eric's lead vocals.  "Just 4 You" is a more relaxed, down-tempo song that shimmers with jazz, funk, and soul inflections that include some reverberating B3 sounds, glistening percussion accents, and soulful vocals. "Let's Ride" is a more upbeat jazzy track that includes some piano keys, danceable percussion, and groovy leanings that border on jazz, soul, and funk all the way. The slap bass solo near the end of the song is a stand-out performance. The music is full of infectious hooks, riffs, and licks that are never grating or boring. Fans of jazz, funk, urban, soul, gospel, and contemporary pop music will find the relatively small collection of songs to be very enthralling and refreshing. ~ Matthew Forss

CD Review: The Mickey Finns' 'Prayers and Idle Chatter'

The Mickey Finns
Prayers and Idle Chatter
Mankeltray Music

The Celtically-inspired gospel, punk, bluegrass, and folk collective, The Mickey Finns, creates an inspirational, upbeat, and refreshing album of excellent music. The opener, "Return of The Prodigal Son," is an energetic gospel-bluegrass tune with Celtic fiddle and guitar work. The seasoned vocals make the song shine with Celtic pride. "Tanks and Barbed Wire" is a slower tune with fiddle, percussion, and guitar. "The Jester" is a playful tune with lively strings, percussion, guitar, and plucked instruments. The vocals are good and the melody is upbeat and classy. The Celtic-bluegrass connection is not that far away here. "Be Minor" is an upbeat instrumental track with bass, fiddle, percussion, and jiggy guitar. The music is contemporary, but not electronic or dance-laden in that regard. However, a little toe-tapping is expected, along with some head-nodding. Anyone with an interest in contemporary Celtic music with an ear for bluegrass, gospel, punk, and folk idioms will love The Mickey Finns. I give it a 5 out of 5. ~ Matthew Forss 

CD Review: Peter Link's 'Goin' Home'

Peter Link
Goin' Home
Watchfire Music

Peter Link's new Watchfire release is a true gospel cantata, which means musical compositions for voice and orchestra are based on spiritual texts. The thirteen-track release presents a slew of performers with a gospel and Broadway-esque singing style, including Jenny Burton, Margaret Dorn, Angela Clemmons, Keith Fluitt, John James, Kevin Osborne, Catherine Russell, Vaneese Thomas, Darryl Tookes, Julia Wade, Tom Tipton, and the blaring trumpet sounds of Barry Danielian. The music contains R&B melodies, gospel harmonies, and contemporary arrangements with percussion and piano. The soulful vocals work off of each other during many of the choruses. The classically-tinged, "Come To Me As A Bird," is a solemn Broadway-type tune with magical chimes and sweeping vocals with light string accompaniment and acoustic guitar. The scattered percussion of "I Ain't Gonna Grieve" sets a stylized dance tune of trip-hop with Western-type male vocals early on and female vocals join in by the end. This is not a particularly traditional tune, which is not a negative. "When The Saints Go" is a jazzy, dance-floor beat with soaring female vocals and blaring brass. An electric guitar adds a little frenzied music to the '80's-like arrangements to a traditional tune. There is a bit of funk and gospel ambiances that showcase the musical diversity throughout. Fans of gospel, Christian, Broadway tunes, and inspirational vocal music will find Peter Link to a beacon of light for all seeking musical (and soulful) salvation. ~ Matthew Forss     

CD Review: Adam Gilbert's 'A Generation Of Forgotten Kings'

Adam Gilbert
A Generation Of Forgotten Kings
Self-Release

The piano-driven pop/rock concoctions in Adam Gilbert’s new release, A Generation Of Forgotten Kings, is an uplifting and emotive work of musical art.  The New Jersey-native lends his talents as a singer, songwriter, music director, and producer.  Adam presents thirteen songs that border on ballads with a classic rock vein, while including pop standards, gospel-tinged, R&B/down-tempo grooves that are not electronic, but firmly-rooted in bass, guitar, piano, and percussion.
“A Generation Of Forgotten Kings” opens with unaccompanied and non-descript vocals in an anthem-type format.  The mostly spoken vocals kick-in and a piano, percussion, and acoustic rock beat follows.  The lengthy and rhythmic Coldplay-esque drumming techniques and punchy piano overtures signify a large-scale, anthemic song with background, non-descript vocals throughout the louder parts.  There is a good variation with guitar accompaniment, piano, drums, vocals, and bass, which evokes what would happen if Queen and Coldplay formed a modern-day group together.
“How Do We Respond” opens with Adam’s clear vocals and an ever-increasing piano melody that is punchy and persistent.  A few guitar notes permeate the piano notes, before a percussive drum-kit adds another layer of complexity.  The shimmering guitar notes, thudding drums, and open air vocals provides an anthemic presence overall.  Of course, Coldplay signatures are not too far away with spacious, echoing vocals and lengthy guitar/piano arrangements.  The end of the song is more chaotic with crashing cymbals, energetic piano and guitars, and moving vocals.
“On A Hill” begins with a jaunty solo piano, but a jazzy, sauntering drum-kit enters with Adam’s classy vocals.  A guitar is added to the mix near the end of the song with a conglomeration of piano, vocals, percussion, and strings that signify a cinematic presence.  There is enough diversity to keep listeners appeased.
“Everywhere I Go” opens with a pensive, but classic pop standard piano melody and Adam’s smoky vocals.  The heartfelt vocals are joined by layered, back-up vocals and a sauntering, percussive beat.  The down-tempo groove merges into an R&B classic with smooth bass, clattering cymbals, and throaty vocals with bluesy guitar stylings later on.  This song is a small departure from other songs on the album, due to its raw, organic, and R&B sensibilities.
“Better” begins with a steady, punchy piano melody and soaring vocals.  The bass starts up and accompanies the fluttering piano notes.  A militaristic drum-beat appears for a few seconds, which morphs into a full-blown piano/rock ballad chorus.  Cinematic strings appear, as in some of the other songs.  The difference lies in the catchiness of the chorus that includes lush percussion, twinkling piano notes, and guitar work that blends in to various degrees.
Adam Gilbert’s new album, A Generation Of Forgotten Kings, contains a baker’s dozen of songs that finds recipes for success with lush piano melodies, ballad-esque arrangements, and spacious rock arrangements that soar into areas of pure beauty.  Adam’s vocals are more clear than both Queen and Coldplay, but not as rock-centric.  The vocals seem to match the complex percussion and lavish arrangements with ease.  The pop/rock sensibilities are matched by a good piano base, but nothing that overshadows the rest of the music.  For instance, the piano does not provide a sense of classical arrangements, but rather a jazzy inflection that is pure singer/songwriter material.  The use of guitars, piano, drums, bass, and violin are fairly rudimentary, but their tonal ranges are anything but limited.  Though, some of the songs are long-winded and repetitive in parts.  Adam’s songwriting is top-notch and all of the songs reflect a sense of introspection and hope.  Anyone with an interest in the music of Queen, Coldplay, and similar groups will find Adam’s new release worthwhile. ~ Matthew Forss    

CD Review: Martina Downey's 'Sign Post'

Martina Downey
Sign Post
Self-Release

New Jersey-based, Martina Downey, brings to life the psychedelic and R&B-driven sounds of America's golden age of rock, soul, and ambient music during the 1960's and 70's. This sophomore release of ten new songs represents a lively set of music that combines various genres and influences for an adventurous, urban, and gospel-centric audience. The dreamy instrumentation, punchy percussion, and jazz or rock idioms are also presented here. Martina's vocals are joined by back-up singers, but the  instrumental arrangements are equally-compelling. Notably, the entire album contains vocals, but the genre-bending instrumentation provides a good selection of melodies, rhythms, and influences to enjoy. The jazzy "Close To Her" opens with a piano and sax with Martina's unconventional high tonal range, but the song is extremely catchy. "Dark Caverns" is a classic, pop track with R&B funk, gospel joy, and rippling guitar sounds throughout. "Finer Things" is another pop classic with rousing vocals and punchy guitar work with keyboard strings. The folk-rock tune, "Hurricane," is a tune with Top-40 potential and a good, gritty rock mix of styles bordering folk, alternative pop, and jazz. The entire set of songs runs the gamut from jazz, folk, rock, R&B, gospel, jazz, and psychedelica. Martina Downey is a woman full of creative energy and a compendium of songs that more than suit her vocal abilities. Sign Post is a mile marker of artistic achievement. ~ Matthew Forss     

CD Review: Markeisha Ensley's 'Talk To Me'

Markeisha Ensley
Talk To Me
Emporia Records

Markeisha's soulful and swaying ballads feature doo wop melodies, jazz interludes, and New York City's classic, vocal melting pot conjures up images of smoky clubs and timeless lyrics on her latest release, Talk To Me. The gospel-tinged ballads feature classic rhythms and moods that can only be created by Markeisha. The new five-track release is energetic, jazzy, and full of pop flavor. The slow, piano-playing, jazzy vocals, and sauntering beats of the pop standard gem, "Maybe," is full of spirited emotion delivered in a mature way without needless electronica or overt rock tunes. "Still Yours" is an upbeat ska and jazz tune with a little roots and gospel thrown in for good measure. "Talk To Me" is a slow tune with light percussion and sultry vocals. "Break Free" is a gospel-tinged song about love and moving on. "Someone To Love" is a slow song with piano and strings that form a more introspective result. At any rate, Markeisha presents us with a good set of soulful gospel, classic songs that showcase a full vocal range. ~ Matthew Forss 

CD Review: Meghan Cary's "Building This House''

Meghan Cary
Building This House

Philadelphia-based singer/songwriter, Meghan Cary, is a beacon of light in the world of female folk music. Building This House, which may seem like a nod to Shawn Colvin's These Four Walls, is vocally-similar to the likes of Stevie Nicks and Shawn Colvin. Domesticity references aside, Meghan produces an album that results from a culmination of life experiences--notably marriage, children, and home ownership. The Nicks-esque title track contains a peppy, folk melody with reverberating B-3 sounds, vocal interplay, and punchy bass lines. "Lost You In The Light" is a jazzy tune with piano and effervescent vocals resembling a classy, lounge song with pop standard written all over it. "Thursdays" is a folk tune with sparkling acoustic guitar sounds and Meghan's soulful voice from an angelic source. Moreover, the song can be played everyday of the week--not just on Thursdays. "Responsibility" is a bluesy tune that contains piano, percussion, and folksy guitar styles. This is a Colvin-esque tune. "Darker Song" opens with metallic percussion and deep, piano sounds with haunting vocals that are a departure from other tracks. Nevertheless, the song's Nicks-esque vocals are a throwback to classic folk music from the 1970s. The final track, "Live!," is an upbeat, folk tune with B-3 and good 'ol bluegrass/gospel charm. If female music fans add this one to their collections, then their house would be complete. ~ Matthew Forss 

CD Review: From The Woman That Sang The National Lampoon "Christmas Vacation Song"

Mavis Staples
Live: Hope At The Hideout
Anti

Mavis Staples' singing career spans over 50 years. Her background in blues/gospel and roots music is legendary. In fact, she sang the theme song, "Christmas Vacation", on the 1989 hit film, National Lampoon's Christmas Vacation. On her twelfth album, Live: Hope At The Hideout, takes place at a small roots club in Chicago, USA. It features thirteen popular songs including, "For What It's Worth", "Eyes On The Prize", "Down In Mississippi", "Freedom Highway", and "Will The Circle Be Unbroken". Fans of gospel, soul, roots, and blues music probably already know about Mavis. Now is the time to spread the word about the music of Mavis Staples to the world community. ~ Matthew Forss