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MUSICDISH
CD REVIEWS
Beth Thornley has to get married soon. Anyone who looks this cute and can perform and write songs like these can't possibly stay in the game for long. Boyfriend, you're a fool if you're waiting around the door. To the music: Beth's style reminds me of the vocal energy that came out of girl groups in the 80's. Remember that sexy little film from 1988 with Justine Bateman, Satisfaction? Take the raw energy out of what they were doing, put modern polish and riffs onto it and Beth Thornley originally grinds out of the mix. Maybe it's being born in Birmingham, Alabama that gives her that very accessible pop sound that seems to blend a love of the acoustic with the grind of the amped up guitar.
I Will Lie You Made It So Sunshine and Celluloid Arrogance How Many Days Don't Save Me Talkin' Like an Angel Lucky You Go Baby Go Break u n 2 that she began her musical training with Bach, Mozart and Chopin's Etudes? Could that be where she gets her Beatles' catchiness from? 'Don't Save Me' would've been something John Lennon would've loved to have covered (I guess the corset thing would have to be rewritten of course!) just
for a moment we'll play it your way The day I'm writing this Beth appears at The Hotel Café in LA. She's won a few songwriting contests and keeps getting good reviews like this one. Well, that's only because her music is bright and wonderful, and FULLY recommended to all.
Are you tired of the same old shit different day type of music? Music like that does not even make it to the third track in my stereo; it gets the heave ho pronto. Do I have something to fix that, it is a band called Revolution lead by artist/musician/author Ben Harris. The band is an underground music project that is in constant rotation and evolution via artists input from all over the country. The band is not the only thing that is a unique concept; the way that they put all the music together is different as well. Everyone participates by sending files back and forth over the internet and exchanging ideas. Welcome to 2003 and the advanced technologies embraced by independent artists. The Last Revelation may be your first after you listen to this CD. The first requirement before listening to this music is that you have a high tolerance for change and off beat vocals with odd time signatures enhanced by every instrument you could possibly imagine. In total, every song sounds like a musical patchwork quilt, as it should because so many different artists (i.e. 25 to 30 drummers, 15 to 20 bassist) contribute. What I am in awe of is how this recording was eventually arranged to make any sense or maintain a semblance of rhythm and order. Much to my surprise, it does on more than one occasion during the course of this album. Harris sounds similar to Lou Reed and because of that, it made listening to him that much more difficult, coupled with the fact that this is music off the beaten path. He must have a copy of Metal Machine Music in his collection and was inspired at some point with the sheer madness of that recording. I have to warn you, this music takes a little getting used to and you may need some time to reflect upon it all before you decide to give it a spin again. It is surely worth checking out regardless of the intensity and how much different it will be than anything you have ever heard before, but then again, that is what makes it appealing to begin with.
With a name like Paquito D'Rivera, I seriously thought I was in for a Latin ride. No. The title is correct. This is big band time. Before the days of conga control. Back when these big brass monsters had a louder sound than a Broadway show. Yes, the rhythms ideally march to a Latin beat, but more in the back. This isn't the Reason for the album, which sports an interesting track list of smooth, sexy and grandiose sounds. 1.
To Brenda With Love As PD'R himself promotes, “Nothing on earth is comparable with the magic and powerful yet sweet sound of those eight brass, five woodwinds and rhythm section. That's why every time I want to have fun, I go BIG BAND.' Born in Havana, Cuba, now based in NJ/NYC, D'Rivera was a child prodigy who has now won his Grammies, performed with the Cuban National Symphony Orchestra, is now Artist in Residence at NJPAC, and serves as Artistic Director for Jazz Programming of the New Jersey Chamber Music Society. Among many more honors. That's why his jazz flies, soars, can be passed around like a hungry drag of pot on a campus front yard. The more you hear, the more you'll want to consume of this hour's delight.
Tony Adamo is the definition of the consummate smooth vocalist on his latest release Dance of Love. He sounds like a combination of Lou Rawls and David Bowie. Out of the ordinary as that may sound for a jazz vocalist it works very well. The sound created on this recording happened for Adamo because he utilizes one of the most accomplished saxophone players in the business, Ernie Watts, as well as many other talented individuals. I found it easy enough to step into Adamo's worlds through his music. “Midnight Café“ is one of the more expressive tracks on the album and the ambiance created is believable because of the singers' well-timed vocal inflections and the stellar musicianship available for him to build his voice around. The common denominator here is love and how we all dance to it in a different way. It is equivalent to how we all have our own unique personalities and interpretations of daily life and how relationships with others effect us. Tony does a nice job making his point known through some very nice jazz music. This is crossover jazz that will appeal to both the contemporary and pop audiences alike. There is not any new ground covered here, it is straightforward with no frills, which is comforting for many people when they listen to music. I like that aspect myself at times. I am sure once you hear this groove it will find its way back to your stereo on more than one occasion. Shall we dance?
This is a trilogy of cds from instrumental progressive rock group, Brand X. It contains the out of print 2 last albums, plus a rarity from 1979 with Phil Collins on drums and voice, helped out by Peter Robinson, Robin Lumley, Percy Jones, and John Goodsall. In short, Manifest
Destiny The music is reminiscent of The Lonely Bears and Jeff Berlin and some of the newer prog sounds of the Magna Carta label, without resorting to loud rock. Often it is closer to freestyle jazz with an electric guitar fronting and bass and drums following close behind. Fusion? Yes, but these 3 50 minute cds are probably aimed more at the pop/rock heads that have been listening to Spock's Beard and 20 years of the few Yes instrumentals out there. For those of you wanting to hear a retro mood, go straight for the 3rd cd and hear Robin Lumely's dated keyboard work that will keep you Very interested. It's a class act, performed very ably, and produced from a soundboard (thank God). I don't know if this is a previously unreleased cd, but in terms of prog history, it is a welcome addition to the genre.
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Artist: Beth Thornley (
Artist: Revolution 
Artist: Paquito D'Rivera 
Artist: 
Artist: Brand X 
