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Five Albums to Prolong Your Summer

Photo Credit: Wendy Hu

Labor Day has come and gone and as much as we’d like to deny it, autumn is officially here. While it may be time to pack up that bikini, there’s no need to turn the music down. With tunes this good, who said summer has to be over?

Black Eyed Peas – The E.N.D.

The E.N.D., short for The Energy Never Dies, does just that. Released in June, many of the tracks could be heard in clubs and parties all summer long. In fact, it didn’t seem right if the night ended having never heard at least one of Black Eyed Peas’ songs. Hit singles, “Boom Boom Pow,” “I Gotta Feeling,” and “Meet Me Halfway” are undeniably 2009 summer anthems. With their electrifying dance beats, catchy choruses and synth-fused tracks, Black Eyed Peas prove they still know how to get the party started.

Colbie Caillat – Breakthrough

If Colbie Caillat’s new album, Breakthrough, doesn’t emit summer nostalgia, I don’t know what will. You can practically hear the ocean waves and smell the sea salt as she’s singing current radio hit “Fallin’ For You” and moving opening track, “I Won’t.” Of course, that could be because she wrote the album while vacationing in Hawaii. Songs like the laidback acoustic “Droplets,” featuring co-singer/songwriter Jason Reeves, and emotional “I Never Told You” are a breath of fresh air. Bet you can’t help but reminisce about that summer romance.

The Gaslight Anthem – The ’59 Sound

Jersey’s own the Gaslight Anthem have had quite the summer. Having toured the globe in support of their incredibly well received sophomore effort, The ’59 Sound, the band also shared the stage with Bruce Springsteen at Glastonbury Festival in England. If there was one album that epitomized driving down the shore with the top down and radio blasting, it would be this one. Tracks like “Great Expectations,” “Here’s Lookin’ At You, Kid” and “Backseats” are filled with vivid imagery and descriptive narratives of failed relationships, lost youth and somber regrets masked by energetic musical accompaniment. With a punk rock feel combined with that classic Springsteen sound, The ’59 Sound references those long summer days and endless summer nights.

Gloriana – Gloriana

The country outfit’s debut self-titled release encompasses upbeat, high energy songs bound to get the crowd on their feet. This is no summer campfire music. Currently on the road supporting Taylor Swift, the four-piece, made up of brothers Tom and Mike Gossin, Rachel Reinert and Cheyenne Kimball, are sure to change the everyday music lover’s opinion on country. Catchy hit single “Wild At Heart” has been gaining attention throughout the summer, garnering them best single by a new country act in 2009 while tracks like “The Way It Goes” are sure to be just as successful. With fitting fiddle, steel and guitar accompaniment along with the bands’ emotive lyrics, Gloriana is sure to win over music fans everywhere.

Sean Paul – Imperial Blaze

The reggae king is back with his 20-track summer release, Imperial Blaze. Including smash club-centric tracks like “So Fine,” “Now That I’ve Got Your Love” and “Press It Up,” Sean Paul continues to prove his success as a producer and solo reggae artist. At a press conference earlier this summer, Paul talked of his new single. “I think [“So Fine”] is a perfect summer giant. It’s very bouncy. I usually cover stuff that you can hear in the clubs, in the cars. It’s raunchy but also sounds smooth. It has a cool attitude.” After listening to the track, I couldn’t agree more. In fact, most of Imperial Blaze has that same flavor: jams that make you want to get out on the dance floor.

What do you think? What albums did I leave out that should be considered? What’s your favorite summer album?

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CD Reviews

Album Review: Nadia Kazmi’s “Arrival”

Nadia Kazmi’s debut release, Arrival, combines a unique blend of rock and soul with recognizable influences from many of music’s biggest icons. With poetic lyrics and strong vocals, Kazmi brings an eclectic flavor to her 10-track album. Encompassing many genres of music, Arrival, is just a hint of what’s to come for this singer-songwriter.

“Volcanoes,” draws the listener in right away with Kazmi ‘s powerful and jazzy vocals. The album starts forcefully : “I am a singer who cannot sing/A music maker but I don’t play a thing/Soul of my soul plays a game/I cannot win/This world’s treachery against me/Must be some kind of sin/Why open the door and/Not let me in,” she sings. The listener easily feels her passion and struggle accompanying the song through the musical buildup and moving lyrics. “Given the gift to speak, get close but never reach my peak,” Kazmi sings. An appropriate end to the song, much of the album deals with similar issues and frustrations – a woman’s quest to find meaning in this life.

Another emotional track, “Mother” tells the tale of a sister who kills her brother in his sleep. The woman in the song asks for forgiveness as she has evidently become her mother’s enemy after such a tragic event. Never failing with her unique storylines, Kazmi leaves the listener questioning what is to come next. Songs like “Mother” have a classic, ageless feel, almost as if they belong in another era.

Piano-based track, “Julian” is slower than previous tracks. Throughout Kazmi’s higher vocals the emotion is easily portrayed in a tale that involves reminiscing of a love that no longer exists. “Julian/This melody reminds me of you/Julian/How unfair, how unfair,” she sings. One can only wonder what may have happened.

“Arrival” recalls Queen and at times, Alicia Keys with Kazmi’s powerful vocals while tracks like “Tyranny of the Heart” introduces a different sound. With a slightly 70s styled beat, the song surprisingly resembles more of a club hit than previous ballads.

While Kazmi’s vocal ability is undeniable, the album lacks a cohesive flow jumping from soulful numbers to jazz tunes to club beats. One track especially, “Martians” has little to offer listeners. At times soporific with light guitar strumming and soft vocals, this song does nothing to flatter Kazmi. Her voice is powerful and comes across best when belting lyrics with feeling and the appropriate flattering music.

Despite the lack of symmetry throughout Arrival, most of the album is an appropriate testament to Kazmi’s talent. One example is “Prophets,” an edgier, stand-out track. With catchy percussion beats and Kazmi’s soulful singing (almost chanting style at times), the song hints at Kazmi’s talent and what is to come from this debut album.

For more on Nadia, be sure to visit her on MySpace.

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CD Reviews

Album Review: Terry Penney’s “Town That Time Forgot”

Terry Penney’s latest release, Town That Time Forgot, is a blend of contemporary folk, roots, blues, country and rock and roll. Throughout the album, Penney transports the listener to another time, many decades ago when Buddy Holly and Elvis Presley were still alive making hits and leaving their marks on the music scene. Whether he is singing vividly about WWI over 90 years ago in “Benny Brown,” or an uncertain life in “Plan B,” Penney intrigues the listener, begging him to continue on his journey.

“A Place To Hide” begins Town That Time Forgot with crickets chirping, dogs barking and the sound of footsteps in the background before a guitar enters. “I’m bones and loneliness, I’ve been gone so long/Locked up in a prison cell for someone else’s wrong,” Penney sings. With catchy, memorable vocals throughout his tale, “A Place To Hide” has a classically rootsy folk feel.

Telling a story of an innocent man sent to jail for six years, the accompanying music is eerie and makes the listener wonder what will unfold next in the song. “I can hear Hank Williams’ ‘I’m So Lonesome I Could Cry’/Drifting through your kitchen on the smell of apple pie/I need to know you believe that I have nothing to admit/I never could have done those dreadful things they said I did.”

“A Place To Hide” is just a glimpse into the remainder of the album. While many pop culture references abound, history lessons also encompass much of Penney’s release. The album’s title track starts off as an acoustic ballad with Penney’s comforting vocals blending well with the accompanying music.

“Thanks For Everything” segues to more of an old school rock and roll vibe intertwined with a laid-back country feel. In fact, what is Penney’s biggest attribute is how he switches gears completely from one track to the next. From heart wrenching ”Be A Better Man” to soulful and bluesy, “Buddy Holly Blues,” Penney keeps the listener on his toes. Taking inspiration from the late Buddy Holly, the track is the perfect tribute.

“Benny Brown” is a descriptive tale reassessing a battle with the Germans during WWI. While it is questionable how accurate the portrayal may be, it is the job of a songwriter to paint a picture through his music and this is what Penney does, and does well, not only throughout “Benny Brown” but the entirety of Town That Time Forgot.

Somber and heartbreaking, “Be A Better Man” is another example of Penney’s versatility. “I used to like who I was/I had a place and a plan/I used to want so many things/I want to be a better man” Penney sings. “Well I fight with my wife/She’s taken all that she can/I don’t know why I’m the way that I am/I want to be a better man,” he continues. With fitting harmonica and acoustic guitar he aptly gets his point across.

Highlight of the album is upbeat track “Buddy Holly Blues.” Penney takes the listener back to the Buddy Holly era sampling parts of Holly’s music throughout his guitar playing. Definitely the most rock and roll track of the record, Penney’s talent is evident here in his adaptation and tribute to Holly.

Whether it’s singing ballads about WWI veterans or fugitives, one thing is certain, Terry Penney will be around for a while. His music is timeless and his descriptive stories a rare and unique find in today’s music industry. With such a standout release, I can only wonder what the next record will bring.

You can read this review, originally posted on ReviewYou.com. For more on Terry Penney, visit his MySpace.

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Album Review: Zan Zone’s “Time & Materials”

An award-winning songwriter, Zan Burnham has been writing since the early 90s for his band Zan Zone. While previous recordings have featured electric instruments in a rock ‘n’ roll format, his latest release, Time & Materials is a stripped down acoustic approach. With mandolin, dulcimer and banjo accompaniment combined with acoustic guitar, bass and percussion, the album has an enjoyable eclectic vibe. From instrumental tracks “Skydog Salute” and “Bipolar/Hilarity Rag” to the more emotional “Better Dream,” the band’s talent is undeniable.

A mix of folk, Americana and blues, Time & Materials is a versatile release that offers much to its listeners. Whether it’s an eight minute instrumental song or a bluesier track (aptly titled “The Blues”) featuring multiple harmonica interludes, the album has that laidback, personal and at times campfire feel.

“Even though I’ve written a great many rock songs, there’s an intimacy that seems to feel so natural in a song composed and played on an acoustic guitar. You feel like your song expresses exactly the profound experiences and passionate feelings that inspired you to write,” Burnham said. I couldn’t agree more with his sentiments.

Starting off Time & Materials with “Better Dream,” the listener quickly feels the emotion in Burnham’s longing vocals. “Clock is tickin’ there upon the wall/Sunset scatters long shadows in the hall…I hear whispers and screams/Maybe there’s somethin’ better/Maybe there’s a better dream,” he sings with fitting finger picking as the questioning of life and its adequacy is displayed. In addition, a confused edginess is felt mid-song throughout the more somber lyrics.

“Carey Won’t You Sing For Me” is a more uplifting track with the man in the story requesting a beautiful song from his lady, Carey. “Carey won’t you sing along/You put such magic in a song/Your notes are never wrong,” Burnham sings. Obviously, the title says it all.

Time & Materials encompasses many instrumental tracks. While on any other album this may seem peculiar, Zan Zone proves to be the exception. Each song allows the listener to decipher as he wishes, making up his own story as the guitar or banjo plays along. The flow between each track seemingly provides the album’s own tale. Case in point: “September Rain” segues nicely after instrumental “Charles O’ Connor” so well in fact; it seems that both songs belong as one.

Whether it’s providing self introspection on “That Flame” or jamming throughout eight minute track “Skydog Salute,” Zan Zone demonstrate their prowess on each instrument. The variation keeps the listener on his toes, not quite sure what to expect next. While solely instrumental tracks are often hard to sway the listener, Zan Zone manages to keep the audience engaged, and that for any band is an impressive feat.

For more information, check out Zan Zone on MySpace. You can read this review, originally posted on ReviewYou.com.

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Album Review: Mat Kearney’s “City of Black & White”

After hit single and title track from 2006’s album, Nothing Left to Lose took off, Mat Kearney found himself on the road continuously. Supporting acts like John Mayer, Sheryl Crow and The Fray as well as his own headline stints, Kearney has been making a name for himself ever since.

Three years and many traveled miles later, Kearney is back with City of Black & White, due to hit shelves May 19. Of his release, Kearney has said it is a record about community. “There’s definitely the theme of this traveling/sojourner/vagabond kind of guy landing in the midst of people that he loves, and who love him.”

You can easily see this on first track, “All I Have.” Seemingly talking of the past three years on tour and being away from loved ones, Kearney sings “All I have, all I have, all I have, you know it’s yours/Every breath, every step, every moment I’m looking for/All I have, all I have, all I have is yours/If you watch my heart break a little bit more.”

Kearney has said he listened to U2 and Tom Petty while recording the album and this influence can be heard on many tracks. Additionally, “New York to California” strikingly evokes early Coldplay, specifically Chris Martin’s vocals and piano accompaniment throughout hit single “Clocks.”

Slower ballad “Never Be Ready” recalls Kearney’s radio hit “Nothing Left to Lose” with its catchy chorus and slow buildup throughout the song while “Lifeline” portrays longing, specifically in lyrics, “The world is too big to never ask why/The answers fall straight out of the sky . . . I can’t feel a thing without you by my side/Send me out a lifeline.” At times his voice sounds saddened, as he pours all his emotion into each song.

While there isn’t tremendous variation from track to track, Kearney’s relaxed and familiar vocals are what keep the listener intrigued. Emotional song, “Annie” encompasses a moving tale of a girl needing to break free of her mundane life. A relatable track, the listener can sense the passion and heartbreak felt within each line of the song.

City of Black & White is bound to continue Kearney’s musical success. Pick up a copy May 19th and be sure to catch him live, currently on tour with Keane! Listen to a preview of some songs off his upcoming release on MySpace.

Recommended: For fans of Coldplay, John Mayer, U2 and The Fray.

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Album Review: Dead Poets’ “Starving Artist”

Having met in college, Bronx, New York natives Mark-uz MidKnyte (Knyte) and Lazarus (Laz) provide listeners a glimpse into their lives with catchy rhymes and moving tales on their debut album, Starving Artist. The duo, naming themselves Dead Poets, prove to be just what Hip-Hop needs today — MC’s rapping about the everyday struggle of an artist and how to overcome hardships through patience and positivity.

The diverse 12-track album blends well structured beats and lyrics, never leaving the listener astray. In fact, it’s often hard to believe this is Dead Poets’ debut release.

The listener quickly realizes this is not an ordinary Hip-Hop album. “Too Many Mics” brings references to politics, the music industry and humility. With catchy phrases like, “We cover more grounds than FedEx,” Knyte and Laz keep the listener hitting the repeat button in constant search of additional lines missed upon first listen.

Tales of difficulties in black society intertwined within funk, soul, R&B; and what will most likely become club hits, the variety on this album is impressive and never falls short. “On the Grind” talks of drug culture, the workforce and poor treatment by cops. In the midst of a song that seems hopeless, Knyte and Laz rap about redemption and how “progress is based on advancement.” The talent and emotion within this song is undeniable.

Tracks like club-centric jam “Tickled Pink” have the potential of Top 40 radio while “Step Up,” is a slower R&B; number encompassing a softer vibe with light percussion. Rapping, “Anything is possible from diplomas to degrees” later continuing, “Step up to the plate and be a man,” the positive outlook provided by Dead Poets is inspiring.

Stand out number is “Irresistible” featuring Denae and L’Monte on vocals. A catchy club hit, the infectious chorus is bound to be stuck in your head long after the song is over. Whatever genre of music you may enjoy; Dead Poets’ Starving Artist satiates every music lover’s appetite. Each track is fresh with varied guest vocalists bringing their own style and flavor to the table.

Ending the album with, “Uncomplicated” Dead Poets rap, “Follow your heart in a moment of truth.” Summing up the ideas behind Starving Artist — having respect, patience, serenity and humility towards each other, Knyte and Laz leave an impact on the listener. Not often an easy task for a Hip-Hop artist to accomplish, Dead Poets succeed and never come across as presumptuous or overproduced. “You can’t break the spirit of a true starving artist,” they sing on the title track. Luckily, for Knyte and Laz, this proves to be true. Hip-Hop world take notice.

For more on Dead Poets be sure to visit them on MySpace.

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Reviews to Peruse

I’ve been reviewing a bunch of new albums over the past few weeks. Here are a few for you to peruse and if you like what you’ve read be sure to visit each band on MySpace!

Gustavo Briceno

Felicia Finley

Carla Seidl

Kindred Souls

Bernard Journey

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CD Reviews

Demo Review: Jamie Allen

After one listen to Jamie Allen’s demo, never in a million years would I have imagined it was written and arranged by a 13-year-old. With a voice that brings comparison to Carrie Underwood and talent that makes any 20-something musician jealous, the three-song demo CD, a mix of country and pop, is an impressive release that is just a glimpse into Allen’s bright future.

The Denver, Colorado native began taking singing lessons at the age of 10. Nearly a year later she performed a two-hour set at a local coffee house, her dad accompanying on guitar. Lucky for Allen, a radio disc jockey was getting a cup of coffee during her performance and enjoyed what he heard, asking Allen to appear as a co-host on his Internet radio show. One thing led to another and soon after Allen was in Phoenix, Arizona recording this demo release.

The three-song disc has welcoming versatility, truly a testament to Allen’s talent. Beginning with moving “Kisses from Angels,” Allen’s voice is soft, yet infectious. With a strong country vibe, she tells an aching story within her lyrics, begging the listener to pay close attention. As Allen belts out “I never was a young girl,” you can’t help but to believe her.

Second track, “Its a Girls Night” changes quickly from the more serious nature of previous song, “Kisses from Angels.” A bit edgier with a fun and danceable vibe, Allen’s honest lyrics are age appropriate as she never tries to be someone she isn’t.

Definitely a slumber party anthem, Allen describes a typical girls night that includes listening to Lil Wayne and, of course, calling boys. She begins the track singing, “Hair and makeup, popcorn and scary movies, scary movies/Drank pop sodas, my stomach don’t feel so good, not so good/Nobody has to cry, no boys can bring us down/Its a girls night/Stay up late calling boys/Its a girls night/Pillow fights making so much noise/ ’Cause its a girls night.” Simple and fun, if only life was like this everyday.

Last track, “Sugar, Please!” has a funky beat with fitting background vocals. Singing, “It’s my time/Not your time/I’ll be just fine without you” Allen gets her point across to a boy who just won’t leave her alone. At times reminiscent to an edgy Christina Aguilera, “Sugar, Please!” showcases Allen’s more soulful side, still with a hint of country-pop intertwined within the track.

Allen’s talent is evident on her release. One of the best demos I have ever heard, not to mention by a musician at such a young age, it won’t be long until Jamie Allen is a household name.

To listen to Jamie’s demo visit her on MySpace. What do you think?

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Album Review: Dan Freedman’s “Art Attack”

There is a quote I recently came across that read, “Music is what feelings sound like.” This couldn’t be a more perfect explanation of Dan Freedman’s debut album, Art Attack. Entirely instrumental, the listener feels the emotion produced throughout each track — words not needed.

Freedman, an accomplished jazz pianist and composer, shows listeners the true power of music on his release. Full of emotion, Freedman fills the 10-song disc with graceful and moving piano interludes, having the listener easily hear the pure joy he has playing with each stroke of the keys. While only two songs are Freedman originals, you wouldn’t have guessed it as he brings new life into eight of the remaining jazz standards. The album is a nice mix of piano, piano duo, piano/bass duo and piano/bass/drum trio settings.

Perhaps the liveliest track on the album is first track “On Green Dolphin Street.” A jazz infused song, Freedman demonstrates his prowess at the piano in this jazz trio format. A great way to start the album, “On Green Dolphin Street” is one of those songs you can listen to repeatedly and never get tired of. It’s easy to imagine it being played at a fancy restaurant or concert hall. His improvisational skills only heighten the listener’s regard for him throughout, never letting the listener down. Light percussion and bass accompaniment soon enters, only helping the beauty of the song. Second song, “Very Early” transitions well from the first track. In fact, most of the album runs incredibly smoothly into each other. While “Very Early” is mellower, “Solar” follows with a slightly faster and jazzier vibe.

“Wheatland” and “Chopsticks” bring much variation, but never stray from Freedman’s skilled piano playing. In fact, I don’t foresee a non-likable song on this album. “Sweet Georgia Brown” is edgier and livelier than previous tracks while “Lives At Stake” brings much desired percussion accompaniment closing the album. Any way you look at it, Art Attack is a solid debut album that shows much promise and a long musical career for Freedman.

You can also read the review here, originally posted on ReviewYou.com.

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Album Review: Maia Hirasawa

Maia Hirasawa‘s music video for “And I Found This Boy” first caught my attention a few months ago. Not your everyday music video, it definitely jumps out at the viewer. (Watch it below). Since then, Hirasawa has been keeping busy putting the finishing touches on her debut album, due out this spring. She’ll be performing for the first time in the U.S. tonight at the infamous Hotel Café in Los Angeles. So, be sure to listen to her MySpace and if you’re in the California area stop by for her show!

The Swedish-Japanese singer’s debut, Though, I’m Just Me, is an eclectic mix of lively songs and ballads. In fact, she’s already been compared to Regina Spektor and Lykke Li, even Bust suggested her similarity to Feist and a “less-angsty Bjork.” While some tracks sound incredibly theatrical, others tell moving stories of seemingly real-life relationships. Having written and played almost every instrument on the 14-song disc, Hirasawa takes the listener on a journey on her debut release.

Beginning with beautifully light vocals accented by soft guitar picking on “Still June,” Hirasawa’s voice sounds familiar at first listen. The familiarity soon changes at the start of next track, “Crackers,” which has that Big Band feel with horn introduction and further musical accompaniment.

“Parking Lot” is a slower ballad showcasing Hirasawa’s soft, yet at times, wavering voice while “Star Again” features male backing vocals from fellow singer Anders Goransson, who sounds slightly reminiscent to Bono.

Stand-out track is “And I Found This Boy.” With fast-paced horn and piano interludes, this song will undeniably become stuck in one’s head all day long. Hirasawa’s fluctuating vocals throughout the track keep the listener intrigued and the upbeat musical accompaniment only adds to it’s catchiness.

“You and Me and Everyone We Know” differentiates itself from the album with a children’s choir accompanying Hirasawa during the introduction of the song which then quickly segues into a string feature. Another emotional track is “Roselin,” a sad story of a girl who can’t bear to be alone. Hirasawa sings, “She’s been abandoned by her family/Didn’t know that life could be that hard/But she never complains.”

For anyone looking for a new musician to add to his collection, Maia Hirasawa is one artist that deserves a listen. Not your typical album material, Hirasawa switches gears tastefully and has much to offer on her debut disc, Though, I’m Just Me.

Watch Maia Hirasawa’s video for “And I Found This Boy” below. If you like what you hear, don’t forget to check her out in concert tonight at the Hotel Café in Los Angeles.

[youtube=http://www.youtube.com/watch?v=bk92Pm38G6E]