Welcome back!

Hi again!

Howard Jones has been a part of the soundtrack in my head since the 1980s. With such an amazing career with tracks such as “Things Can Only Get Better,” “What Is Love?”, “No One Is to Blame,” and “Everlasting Love,” his synthesizer pop sound seemed to do no wrong as New Wave album after awesome album appeared on the pop charts. Even today, it’s impossible for me to hear “No One Is to Blame” and not sing along in the car.

Even in his mid-50s, Jones is still touring and playing music for his worldwide fans. His songs have appeared in several movies and video games over the last 30 years and there’s just some endearing quality about his talent and personality that keeps him and his music in the limelight.

1984 seems forever ago, but “Like to Get to Know You Well” was a worldwide hit on The 12″ Album. He followed it up with “No One Is to Blame” in 1985 on Dream into Action, the Action Replay EP in 1986, and my favorite album – Cross That Line in 1989 with “The Prisoner” and “Everlasting Love.” Back then, MTV was actually a place to watch amazing music videos such as Jones’ video for “Everlasting Love” featuring a pair of mummies seeking the perfect relationship.

Now he’s releasing a new album – Ordinary Heroes – which provides the same Howard Jones we know and love but with a bit older, wiser, and more introspective flair. He still loves to write about love (“Even if I Don’t Say”, “Love Never Wasted”, and “Someone You Need”), but now he is mixing in songs about children growing up and going out on their own (“Soon You’ll go”), the unrecognized heroes all around us (“Ordinary Heroes”), and the lives of ordinary people (“Straight Ahead”). All ten tracks on the album are wonderful, providing glimpses of an aging Jones who seemingly hasn’t lost a single step since I heard him in high school.

My favorite song on the album by far is “Soon You’ll Go.” There’s something about the concept of watching your children grow, change, and leave the nest that’s one of those amazingly consistent themes of life. Even the recent Toy Story 3 release deals with it in an emotional, yet inevitable way.

“Tiny fingers clutching round the edge of the bed / Wouldn’t listen to a single word your mother said… These things I will hold on to / when I can’t hold on to you…” Howard’s lyrics bely simple sentiments, based in the memories each parent has of their children from birth to the time they move on with their lives. And the piano, Jones’ voice – backed by a choir – and the obvious emotion just emphasizes the story of the lyrics.

“Ordinary Heroes” – the title track – is my other favorite. “Ordinary heroes / There’s one one on every street / You might not recognize them / ‘Cause they’re just like you and me…” Jones focuses on the people behind us, making us strong and safe. The mothers and fathers, wives, and family that make us who we are. Jones’ voice, piano, and a nice acoustic guitar melody woven through the composition reinforce that none of us are truly alone if we look hard enough.

Thoughout the album, Jones’ piano skills lend themselves from the upbeat tunes to the slow songs and his voice sounds just as good now as it ever did. Howard Jones continues the legacy of the ’80s and doesn’t show any signs of slowing down or losing his touch.

If you’re a Howard Jones fan or are simply looking for something more hopeful and upbeat than the current songs beating the airwaves senseless, I’d encourage you to give Jones’ Ordinary Heroes a listen!

For more details about Howard Jones, his albums, songs, or tour dates, be sure to check out HowardJones.com.

Article first published here on Blogcritics.

–Fitz

p.s. Pick up this and other great Howard Jones CDs below!

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Hi again…

Don’t you love it when a band manages to have a unique sound, creative songs, and comes out of left field to smack you in the head? Chicago-based AM Taxi is a young band that manages to mix punk with modern pop, offering their experiences with modern arrangements. It’s impossible for me to believe that these guys have been playing together less than two years.

AM Taxi was formed about two years ago by a trio of musical pals – singer/songwriter Adam Krier, drummer Chris Smith, and bassist Jason Schultejann. They produced their first EP – Runaway Songs – and were then joined by brothers John and Luke Schmitt on guitar and keyboards. After another EP – The Good, The Bad and The Fed Up – they were ready to tackle a major-label (Virgin Records) debut We Don’t Stand a Chance. They worked with producer Mike McCarthy (Spoon, Patty Griffin, and You Will Know Us by the Trail of Dead) to capture the way they sounded doing live performances while in the studio.

And I think their album title says it all. But the “We” in this case is the throngs of fans they’re going to attract as they release this album, play locally in Chicago, and go on the Vans Warped Tour. “We” really don’t stand a chance.

Starting with “Dead Street,” they lay down an infectious beat with emotional punch as they describe the fate of people stuck in our current economy. “Dead Street” is a place where there aren’t any jobs and you can’t find a way to improve your situation. “All the strung-out kids on Dead Street / Gave her directions and a fix / She’s got money left for the ticket out / She’d rather drink ’til she don’t exist…” That about says it all. Is there a way out in some of these industrial areas that were clobbered when they economy crashed?

The album continues with “The Mistake” which merges almost spoken-word poetry with some vicious electric guitars, a light keyboard melody and drum beat in the background. Again, the lyrics say it all as the person being sung to is told over and over that hanging out with the singer is a bad idea that may lead to a worse end… “I am the truth you couldn’t take, I am the mistake / Worst you ever made…” Not cheerful by any stretch, yet expressive in the extreme telling the story again of someone stuck in a life who clings to even bad decisions to avoid change.

But my favorite song on the album is the duet “Maydays and Rosaries” between lead singer Krier and the singer of Company Of Thieves, Genevieve Schatz. Where “Dead Street” and “The Mistake” call out to the despair of certain situations, this song cries out to the hope inherent in love that must be acted on or lost. As he says – “I’d love to hear your voice.” And she says “I wouldn’t even know what to say.” It’s that precipice between decision and indecision – that paralysis – where we sometimes watch good things slip away.

These guys know how to play the angry/punk card and the gentle/romantic card with deep, emotion-packed lyrics and powerful arrangements evoking particular feelings in the listener. I hear aspects of many other bands I’ve liked over the years – Dishwalla, Snow Patrol, Better than Ezra… – brought into the realm of today’s music with some definite punk sensibilities. AM Taxi speaks the truth as they see the world and that no-compromise approach will win them a lot of fans.

If you’re looking for a new sound to jam to this summer, take a listen to AM Taxi’s We Don’t Stand a Chance (available June 8, 2010) and catch up with them on tour. In the meantime, check out their MySpace page to listen to some of their tunes and get details about upcoming dates!

This article originally appeared at BlogCritics.org here.

–Fitz

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Hi there!

Somewhere between the 1980s and today, the use of a horn section in a rock band fell out of favor. I’m not sure how or when, but we went from awesome sax solos and trumpets in songs like “Urgent” from Foreigner, “Who Can It Be Now?” from Men at Work, and Huey Lewis and the News when they toured with the horns of the Tower of Power. Sure there are a few groups like the Dave Matthews Band who still use a trumpet or sax now and then, but it’s not quite as integrated into the whole rock experience as it used to be.

Now bring in Frank Viele and the Manhattan Project (from where else, but the New York City metropolitan area) – a six piece group featuring Viele on vocals as well as acoustic and electric guitars, Mario Capdiferro on drums, Rob Liptrot on bass and backing vocals, Eddie Arjun Peters on lead guitar, Pasquale Ianelli playing tenor, soprano, and baritone saxophones, and Andrew Mericle on trumpet. Add to that mix Richie Cannata playing sax (from Billy Joel’s band) on “Turn Around,” Jason Hirth on keyboards on six tracks, and Ben Golder-Novick helping on the alto sax on six tracks… and where having a strong horn sound can sometimes overwhelms a band, these guys sound amazingly well together.

They’ve been touring together for a few years now and Neon Lights is their first full-length album. It doesn’t disappoint, crossing multiple genres (funk, rock, pop, jazz, blues, and swing) on nine great tracks.

What blew me away was the title track – “Neon Lights”. It opens with a bass line that has stuck with me like few recent songs, reminding me of the way the bass line in “Running Down a Dream” from Tom Petty & The Heartbreakers wormed its way into my head to the point where I can’t help but sing along. Layer that with Viele’s rough voice, the backing horns, and some sweet lead guitar and it is tough to get me to stop listening to it over and over again…

Like most great bands who write their own songs, the lyrics for “Neon Lights” tell a story as well. A modern tale of wanting the best for an ex- with drug and alcohol problems… “Then my hip starts buzzing, you’re on the telephone / But Honey you know they’re wrong and that you don’t want to stay…” It’s not quite a plea for her to come back (after all, in the first verse they say she “ain’t coming home”), but you can tell he’s worried.

Another great track is “Portland Rain” which has some awesome horn riffs that remind me of some of the great R&B groups of the ’60s and ’70s. It’s a throwback to an earlier time with a guitar solo tearing up a chunk of the song as well.

And so you don’t think it’s all R&B and rock, their song “Try” sounds very much like something you might hear from Dave Matthews. The syncopated rhythms on an acoustic guitar mixed with Viele’s voice talking straight to a girl he wants to get to know better… “Yeah but Baby, there ain’t enough wine in me to tell you that God is on your side / And there ain’t no holy roller that’s gonna bring you peace tonight / … / But if you leet me be your lover, I will bring you peace tonight…” It’s a heck of a pick-up line to play from the stage, but it just might work!

My only complaint with this album isn’t with the musicians, but with Viele’s voice at times. Every now and then it was so gravelly or growly that it was nearly impossible to tell what he was singing. But most of the time when he wasn’t going that far, he sounded great and was backed up by his amazing guitars and horn players.

If you’re looking for something different with some sensational horns and guitars and a funky modern feel, give Frank and the boys a listen. Look for Neon Lights at your favorite music online or brick-and-mortar retailer when it’s available July 13, 2010. And check out their website at FrankVieleMusic.com for a list of tour dates and more information about the band!

This article first appeared at BlogCritics.org here.

–Fitz

Hey…

Keane is one of those bands I would sometimes hear on the radio that simply became part of the background. Songs like “Somewhere Only We Know” gained so much air play locally that I just changed the station without really listening. Little did I know what depth was there beneath the surface…

Keane’s three members – Tom Chaplin (lead vocals), Tim Rice-Oxley (piano, backing vocals), and Richard Hughes (drums, percussion) – have been making music together since the late 1990s. With only limited success up to then an early bandmate – Dominic Scott – left in 2001, but the band pressed on. When their single “This is the Last Time” was released in 2003, they started to gain some traction, which paid off handsomely with the success of Hopes and Fears a year later.

After Hopes and Fears, the band released Under the Iron Sea (in 2006) and Perfect Symmetry (in 2008), both receiving immense praise and encouraging throngs of fans worldwide to attend their live shows. For the Perfect Symmetry tour, they visited 28 countries’ worth of packed venues – Russia to Australia, Columbia to South Korea, Lebanon to Switzerland… And somehow they had time between dates to slip into the studio to record a few tracks.

It’s those tracks you’ll find on their new album – Night Train. And I have to say that I don’t know why I didn’t latch on to Keane’s rich melodies and deep lyrical meaning in the last 6 years. I doubt that they’ll continue to fade into the background when they’re on my radio.

With only eight tracks, Night Train doesn’t have a lot of time to grab your attention, so it doesn’t waste any. From the opening beats of “Back in Time” to the amazing “My Shadow”, the album rises and falls effortlessly across a varied musical landscape. And while I may not personally appreciate all of their genre-defying collaborations with fast-rising Somali/Canadian rapper K’Naan or Japanese baile funk MC Tigarah, I applaud the band taking chances to broaden their already impressive appeal.

Among my favorites on the album are “Back in Time,” which to me sounds like a plea to stop the world… “Time, I wait for you / Hibernating hoping life will start again” evokes an image most of us have struggled with in life from time to time. The feelings of loss and sadness after a particular loss forcing someone to hide away for a while while the pain fades. The driving synthesizer and drum beats, like a heartbeat, keep the song pumping as Chaplin’s vocals evoke that painful plead.

As a band that I always associated with synthesizers and rock guitars, the acoustic guitar and percussive claps that open “Clear Skies” caught me a bit off guard. The almost upbeat music almost hides the sadness of the lyrics – wanting to feel the certainty of those who survived. “And I wish that I could be / Everything you are, everything you are / And I wish that I could state / My faith the way you do, as certainly as you…” Like the passing of a storm, “Clear skies gonna fall on you…” This definitely evoked television news memories of the Katrina aftermath for me.

“Your Love” sounds like it came right out of the 1980s with its drum machine-sounding beats and background keyboards, with a dash of today’s darker romantic vibe. As the singer lay on the floor, fallen to floor under the influence of the drug that is love… “The chemicals react, the molecules collide / The poison works its way somewhere down inside…” – what a dark, almost technical description of the effect of love’s drug set to the innocuous, happy beats of an earlier age.

But by far my favorite is “My Shadow,” with it’s haunting message of love and new beginnings. Like an exploding universe, “And you will see my shadow on every wall / And you’ll see my footprint on every floor…” as the spark of lust and love that kick off the start of new possibilities. “It only takes a spark / to tear the world apart / these tiny little things / that make it all begin.” And beneath it all, the driving keyboards and harmonies to drive the point home.

Keane’s new album Night Train takes no prisoners as the band experiments with ideas, styles, and collaborations that will find their way onto the radio once again to become more than simply notes in the background. Even if you’ve not heard Keane before, give this album a listen.

–Fitz

p.s. Check out this and other Keane albums at Barnes & Noble below!

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Hi there!

The Barenaked Ladies (BNL) have always had a strange appeal for me. Ever since I heard my father do a rendition of “If I Had A Million Dollars” on an 12-string acoustic guitar in the 1990s, I knew there was something there. And ever since 2003′s Everything to Everyone and their song “Another Postcard” (with chimpanzees…), their crazy view on the world managed to bury itself in my brain. Plus, as my daughters say, the band name alone is worth a listen because “they’re not ladies and why would they be bare naked?”

So when I heard that Steve Page was leaving the band in 2009, I wondered what it would mean for the rest of the group and the band’s sound. Page was arrested on drug charges, which were eventually dismissed. And, to add insult to injury, Ed Robertson‘s mother passed away in December 2008. It wasn’t a good year for BNL. So when Page left the group in February ’09 “by mutual agreement”, what effect would have on this group that had survived nearly 20 years and 10 studio albums?

Without Page, the band now consists of Robertson (guitar/vocals), Jim Creeggan (bass/vocals), Kevin Hearn (keyboard/guitar/vocals), and Tyler Stewart (drums/vocals). There is an amazing array of talents here, from multi-instrumental band members to having four vocalists able to help out and offer very different sounds and styles to their music.

Unfortunately, I’m sad to say I was disappointed by All In Good Time. There are few echoes of that quirky approach to life left on this record. Perhaps Page represented the bizarre humor that came through in their lyrics and music? I don’t honestly know. But that doesn’t seem to have stopped the band from recording an interesting mix of tunes. Even so, I’m not sure I like the slower, more introspective songs like “Jerome,” “How Long,” and “I Saw It…” It was always the more upbeat, off-beat songs from the group that attracted me, not these philosophical, slow songs.

Don’t get me wrong, there are some fun songs here too, including “Four Seconds” which somehow manages to rhyme the word orange! “Oh Flip, The light is turning Orange / Coat ripped, when I caught in in the door hinge…” It’s one of the shortest songs on the album and definitely my favorite. The insane pace of the lyrics and the zydeco-style instrumentals brings to mind songs like “One Week” on Stunt, which made it fun…

And the anger with Page comes through loud and clear in songs like “I Have Learned” – “I have learned to live with living with / Every choice we made / But I would love to live with giving this / Shaky voice some shade… Same sun / Same Fun / Whole new world…” This song comes out and says we’re ready to move on and has some fun electric guitar to back it up. This may be 4/5 of the original group, but there’s definitely a new feel and they’re not holding back on letting the world in on their new sound.

But there’s also a song – “Golden Boy” – that almost sounds like they’re applauding Page’s departure… “No, no, no, you’re not a quitter / So don’t, don’t, don’t, don’t you be bitter / Go, go, go where you glitter away…” Page has gone off to pursue his solo career, which though the rest of the band hit a rough patch for a while, they’re ready to move on. As bassist Creeggan says – “We came to the conclusion that the band was only worth saving if we supported one another and strove for a healthy dynamic between us. So far it’s been amazing and the most creative time I can remember having with the group.”

It’s my hope that BNL continues to enjoy success in this new incarnation. I just hope that they get a bit more cheerful and back to those off-beat humorous songs that attracted me to them in the first place. Be sure to check out All In Good Time at your favorite music retailers and keep an eye out for tour dates near you starting May 10th.

–Fitz

p.s. Pick up All In Good Time and other BNL albums below!

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Hi all…

Just about a year ago I had the opportunity to review Tyrone Wells‘ album Remain. Tough to believe that it’s been twelve months. And now he’s releasing an acoustic album called Metal & Wood that proves he continues to mature and develop as an artist.

Wells has once again brought compelling, socially-conscious lyrics into sync with rhythms and melodies that provide additional layers. Add to that his soulful voice and gift for putting his emotion into a performance and you begin to see a pattern emerge between Remain and Metal & Wood. I’ve always found that when you strip an artist down to the bare essentials of acoustic performances, you hear their true talents emerge. Without a doubt, Wells is the real thing.

This album opens strong and doesn’t let up. But when I started listening to the title song – “Metal and Wood” – Wells had me from the opening strum. Using traditional folk guitar styles and merging them with the edge of rock/pop, the song calls to listeners to make the world a better place for our children for we won’t be here forever. “We took the music from the schools / and left the darkest gaping hole / where will our children be / if they don’t learn to sing / millions of voices fallen silent til they’re gone…”

“Metal and Wood” really hits home for me as a parent of two young kids. As a product of the public school systems of the State of Colorado, much of who I am was courtesy of the art and music programs in my schools and the wonderful teachers who knew those programs were building more complete kids. I wonder where we’ll be when the arts are totally gone. I’m not sure I want to find out. Without music the world would be a very dreary place. So bravo to Wells for bringing up this issue close to my heart.

Another song that stands out is the duet with Jason Reeves called “Give Me One Reason,” which has some beautiful harmonies from the very beginning. It’s about two people in a troubled relationship like two stars orbiting each other and waiting for an opportunity to escape their gravity. “You’re like a shadow that I cannot hold on to / I’m not a prison / I cannot tie you down” he sings hoping that she gives him one reason to stay.

And “Use Somebody,” which I’ve heard on local radio stations from the Kings of Leon, gets a nice acoustic makeover. This is a simpler, slower version that really lets the melodies, the lyrics, and the guitar come out loud and clear. It’s a great cover.

The whole album really cruises along to a mix of wistful, romantic tunes like “Running Around in My Dreams” to the more serious “Metal and Wood” and “Give Me One Reason” to the bluesy beats and happy lyrics of “And the Birds Sing”. We could all use a bit more sunshine as Wells sings “it warms your skin and the soul within as the birds sing…”

Really that’s what hits me about this album. Where Remain focused on a bit darker subject matter, Metal & Wood focuses more on the happy side of the equation. In a time when the world has its own issues, it’s great to have a positive message now and then. I’m a fan.

So if you’re looking for more Tyrone Wells and something a bit different than Remain, be sure to check out Metal & Wood which will be released March 2!

–Fitz

p.s. Pick up this and other Tyrone Wells albums at Amazon below!

Hey there…

Who is Dan Black? Apparently he is a master of mixing musical elements and styles from multiple sources to create something unique. It’s as though the world of music provides an infinite variety of sounds for him to choose from and he simply arranges them to suit his needs for a particular composition. I’ve heard other electronica acts, but nothing quite like his. ((UN)) is “one” in French to signify his debut album, but the title provides a variety of other meanings according to Black starting with the fact that he wanted the album to be “un-rock, un-hip hop, un-everything…” I think he’s succeeded.

Black managed to write, play, program, and produce every note of every track on the album. Add to that the fact that he handled his own artwork and videos and you have one heck of an artistic and productive individual. These are not your average pop, rock, or hip hop songs. But they certainly hold together nicely. The blend of styles and influences is seamless across the board.

From the opening strains of “Symphonies” to the last notes of “Let Go,” he’s managed to collect, capture, and synthesize his own world in these tracks. It’s taken two years of writing, tinkering, and adjusting but he’s created a heck of a masterpiece for his first release.

Though the whole album is rich with rhythm, harmony, and lyrics, I found myself drawn to three songs in particular.

The maddeningly addictive baseline of “Alone” was immediately stuck in my mind bouncing around. And like the lyrics of the song, it “would not leave me alone.” This isn’t the pop music of today and hearkens back to almost a disco feel while staying current.

Then you’re hit with the insane guitar and percussion of “Yours” which again rattled around my braincase and wouldn’t fall out. In some ways, this one reminded me of classic Duran Duran from the 1980s.

Lastly for me, there’s something about the industrial beats and keyboards of “I Love Life” which continues the hypnotic effect of the album. More hip hop than I usually finding myself like, there’s something about the rhythms that wouldn’t let me go.

Perhaps Dan Black’s name rings a bell for you? It might be because it was shouted from the rooftops by folks such as Zane Lowe and Perez Hilton raving about “HYPNTZ,” the Notorious BIG cover which put Black in the limelight in 2008 before he was signed by A&M. It was the success of the “HYPNTZ” experiment on MySpace that spawned the songs of ((UN)).

Black has done an amazing job pulling together a fantastic array of music I’d expect to hear on any number of different stations. It’s the synthesis of rock, pop, hip hop, with a bit of fusion jazz thrown in for good measure. If you are tired of the humdrum, homogeneous pop/rock album, be sure to give Dan Black’s ((UN)) a listen.

–Fitz

p.s. Pick up this album at Amazon below!

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Hey!

Every now and then I have an artist recommended to me that I would never have heard about otherwise. Rusty Anderson is one of those. He deserves some serious attention for his latest album – Born On Earth. With a mix of rocking guitars and some quieter pieces (including a strings intro for the title track), the album has a bit of everything.

At age 50, Anderson has played with some great acts including Elton John, The New Radicals, Willie Nelson, The Wallflowers, Stevie Nicks, and Paul McCartney. He was a part of the Paul McCartney band from 2001 until 2007. His first solo release, Undressing Underwater released initially in 2003 and was re-released in 2005. His new album was just released in October 2009.

The title track, “Born On Earth,” kicks off in an interesting way. A string intro that might be more expected in a classical music concert leads to some screaming guitars that blend into some serious rocking music. But when you factor in the almost sarcastic approach to the world’s woes that go along with the rock, I found myself really liking this one… “all the ice is melting away / but its alright / cause all we gotta do is pray” and “we got folks in high places / down low as can be / and no matter how high we climb/ we’re born on earth…” We’re all here, we might as well rock our way to the end, right?

The rest of the album floats between hard rock, blues, acoustic and slower guitar-layered tunes. Anderson has a gift for creating analogies in his songs that we can all identify with. Telling stories of loves lost and found and people trying to find the answers to all those questions we all have.

“Baggage Claim” is one of those analogy-laden songs set in our modern world of people passing in crowded airports. “… I’ll meet you / in the baggage claim / where no one is to blame … the bell starts ringing at the carousel / but all the bags kinda look the same … so open it up and see what you find…” Who hasn’t wanted to start over in a relationship at one time or another?

But “Julia Roberts – filtered mix” is by far my favorite song on the album. It has a sound that blends influences of the ’60s and ’70s – a bit of Beatles, a bit of Donovan, a bit of the Hollies… Even I have to admit a crush on Julia Roberts at one time in the distant past, though I can’t say I ever dreamed of Julia Roberts down by the sea! “isn’t this a lovely dream Julia Roberts? / we walked into the restaurant near ocean and vermont / the paparazzi were called / i lost her gaze to a man by the bar / who didn’t like me at all…” It’s the stream-of-consciousness most dreams happen to exist in.

The gift of multiple styles, great arrangements, and creative lyrics is one heck of a trifecta for Rusty Anderson in this album, Born on Earth. Find a copy online or at your favorite brick-and-mortar store and be sure to ask for it at your favorite radio station. All of these tunes would sound great over the airwaves cruising into your car!

You can also find out more about Rusty at his website.

–Fitz

p.s. Be sure to check out Rusty’s albums!

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Brandi Carlile and her band first came to my attention a couple of years ago when they opened for Sheryl Crow at Red Rocks Ampitheater in Morrison, Colorado. Carlile, twins Tim and Phil Hanseroth and cellist Josh Neumann walked out on stage and blew me away with tunes from their album The Story, which I immediately purchased upon returning home.

Give Up the Ghost is Carlile’s third studio album, pairing her with Grammy Award winning producer Rick Rubin. The album also provided an opportunity to work with her idol, Elton John, on the song “Caroline.” As Carlile said, “when I was 11 and discovered Elton John, I realized that performers do write and perform their own songs,” and that inspired her to get a keyboard and start writing. Also featured on the album are contributors Benmont Tench, multi-instrumentalist from Tom Petty and the Heartbreakers, drummer Chad Smith, and Amy Ray of The Indigo Girls.

It’s hard to argue with an album with this sort of pedigree. And Carlile doesn’t disappoint, returning once again with her soaring vocals, mixed musical styles, and amazing arrangements.

In “Dying Day,” an up-tempo guitar-driven beat provides the backdrop to the harmonies between Carlile and the twins. Add to that the lyrics of a lover stranded in the world, working his or her way home again to be with their love until their dying day.

“Caroline,” the duet with Elton John and Carlile, definitely has EJ’s touch on piano and they sound great together. There’s an interesting cross in musical styles between the almost Dixieland piano of EJ and the Grand Ol’ Opry quality of Carlile’s voice.

Without a doubt, “Before It Breaks” is my favorite on the album, with Carlile’s signature effortless octave-changing vocals. Backed by piano and strings, her voice takes on an ethereal quality. Take a listen for yourself in this live performance…

Brandi Carlile, \”Before it Breaks\” on YouTube

If you liked The Story, you should love Give Up the Ghost.. Brandi Carlile and her cohorts only get better from album to album and I for one hope they make music for many, many years to come. Look for Give Up the Ghost on store shelves starting October 6, 2009.

Don’t forget to watch for concert dates in your area either… Carlile and her band are just as amazing (if not moreso) live as they are on CD, so don’t pass up an opportunity to give them a listen.

–Fitz

p.s. Pick up Give Up the Ghost and other Brandi Carlile CDs at Amazon below:

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Hey all…

So many artists, so little time… I’m now of the opinion that the State of California has been hiding Greg Laswell since 2003. Based in Los Angeles, Laswell has produced and two EPs, with a new EP – Covers – released in October. He has a unique, almost haunting voice for a male singer and these simple arrangements of five songs from other artists reinforce that haunting quality…

The EP features covers of songs from Echo & the Bunnymen (“Killing Moon”), Morphine (“In Spite of Me”), Mazzy Star (“Take Everything”), Kristen Hersh (“Your Ghost“), and Kate Bush (“This Woman’s Work”). Not only is it an interesting combination of songs, but there’s a progression there… From a vaguely vampiric lyric to the burdens of a woman watching her son grow into a man, it’s interesting to hear a man’s voice singing these arrangements of music created or sung by women originally.

Beyond lending his emotive voice to these tracks, Laswell also played most of the instrument on the album. He produced the record himself in a cabin in Mountainaire, Arizona. The piano and guitar worked especially well for me in these stripped down, yet layered tracks. I have to say that though all of these songs are beautifully done by Laswell, the last two sold me – “Your Ghost” and “This Woman’s Work.”

In Hersh’s lyrics for “Your Ghost,” that haunting aspect of Laswell’s voice really come to the surface. He recorded multiple tracks of his voice to provide harmonies to give it further depth. But the words alone paint a picture of heartache… “… it’s too quiet, so I pad through the dark and call you on the phone / Push your old numbers and let your house ring til I wake your ghost…” The sense of loss is hard to miss and Laswell’s arrangements bring that to the fore.

I’d not heard Kate Bush’s version of “This Woman’s Work,” but had heard other songs featuring her distinctive voice. Laswell again takes the arrangement and boils it down to its core with a piano, a guitar, and his emotions. The lyrics are once again from a female perspective, yet Laswell provides the depth necessary to bring out the beauty, the hope in the underlying story instead of the sadness… “Of all the things I should’ve said / That I never said / All the things we should’ve done / Though we never did / All the things I should’ve given / but I didn’t… I should be crying, but I just can’t let it show…”

Laswell’s depth lends credence to all of the tracks on this album and I was left wanting more – the sure sign of a great artist. Be sure to look for Greg Laswell’s new EP – Covers – at your favorite retailer!

–Fitz

p.s. Unfortunately Covers doesn’t seem to be available at Amazon, but check out these other Laswell albums!