Music Now!

Archive for May, 2011

The exceptionally talented Pop artist Toni Braxton has released her CD entitled Libra. I am very confident and happy to announce that I believe Toni Braxton fans, and Pop fans alike will be pleased with this one. With the release of Libra Toni Braxton’s artistic excellence is on full display as Braxton has once again delivered a brilliant collection of tracks that could very well be her best work to date.

Libra literally grabs your attention right from the start with Please and won’t let go until the very last note of the very last song Shadowless, which is another great track by the way.

Libra is a nicely varied, mix of 10 tracks that are very well written songs by this clearly outstanding artist. Most of the songs display a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are her own real life experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

I give Libra my highest recommendation. It just plain belongs in any serious music collectors collection regardless of genre preference.

While the entire album is outstanding the truly standout tunes are track 3 – What’s Good, track 6 – I Wanna Be, and track 10 – Shadowless.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Please. Great track!

Libra Release Notes:

Toni Braxton originally released Libra on September 27, 2005 on the Blackground Enterprises label.

CD Track List Follows:

1. Please 2. Trippin (That’s The Way Love Works) 3. What’s Good 4. Take This Ring 5. Midnite 6. I Wanna Be (Your Baby) 7. Sposed To Be 8. Stupid 9. Finally 10. Shadowless

Personnel include: Toni Braxton (vocals); Rich Harrison (various instruments); Dan Shea, Siete (guitar); Kendrick Dean (strings); Greg Phillinganes (piano); Tamar Braxton, Babyface (background vocals). Recording information: The Hit Factory, Criteria, Miami, Florida.

At The Movies is the latest Jazz CD put out by the richly talented Stanley Clarke who once again has delivered a brilliant collection of tracks. I’m confident Stanley Clarke fans, and Jazz fans alike will be pleased with this one.

Stanley Clarke has been a super star in the Jazz genre for quite a while now and At The Movies is an excellent illustration as to why.

The nice thing about a CD like this is when the talent is this rich even if Jazz isn’t your favorite genre you still can’t help but appreciate the greatness of the artist.

Listen to At The Movies and I believe you’ll find there’s not much to dis-like about it. The songs are inspired, the production is simply outstanding, and Stanley Clarke is clearly in top form. So much so that if you’re even mildly into Jazz music you’ll enjoy this album.

While the entire album is really very good some of my favorites are track 3 – Justice’s Groove, track 8 – Higher Learning Main Title, and track 15 – Max’s Theme

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Passenger 57 Main Title. Good stuff!

At The Movies Release Notes:

Stanley Clarke originally released At The Movies on August 8, 1995 on the Epic Soundtrax label.

CD Track List Follows:

1. Passenger 57 Main Title – (from “Passenger 57″) 2. Lisa – (from “Passenger 57″) 3. Justice’s Groove – (from “Poetic Justice”) 4. Lucky Again – (from “Poetic Justice”) 5. Father And Son – (from “Boyz N The Hood”) 6. Theme From Boyz N The Hood – (from “Boyz N The Hood”) 7. Grandpa’s Theme – (from “Little Big League”) 8. Higher Learning Main Title – (from “Higher Learning”) 9. Learning Curve, The – (from “Higher Learning”) 10. Anna Mae – (from “What’s Love Got To Do With It”) 11. Capital (from “Panther”) / Naty’s Theme (from “Panther”) 12. Meeting – (from “Panther”) 13. Deja’s Theme – (from “Higher Learning”) 14. Black On Black Crime – (from “Boyz N The Hood”) 15. Max’s Theme – (from “Tap”)

Personnel includes: Stanley Clarke; George Del Barrio, William Kidd (conductor).

“Beck” is an American indie/alternative artist from Los Angeles, California. Although born as Bek David Campbell, he is known as Beck or Beck Hansen on stage. Beck is mainly into making indie and alternative music which covers folk rock, hip-hop, electronic, rock and even blues. Beck is also known for being a multi-instrumentalist where he plays guitar, keyboards, bass, drums, harmonica, percussion, banjo, synthesizers and other instruments.

Modern Guilt dives in with folky opener “Orphans”. It has a distant bass sound in the beginning. Once the guitar enters and Beck voices out, the track just hits the jackpot like that. It produces a country-like atmosphere to it, folk and country rock altogether. Indie artist Cat Power also known as Chan Marshall is also featured here to lend her vocals to Beck. In the bridge, the additional flute is a thing to watch out for. Very well-harmonized vocals on Orphans towards the end. Very tempting opener that will haunt especially the adults.

“Gamma Ray” is a faster tempo track and i wouldn’t mind if i’ve been hit by Gamma Ray. The music itself speaks for itself. The vocals of Beck just add extra pump and weight to the whole song. The bass and drums keep re-looping themselves until they hit a climax further down into the track. In the verse, the music seems to be taking a break and slowly build itself for a breakthrough in the coming chorus. Every phrase that Beck sings is followed by gospel-like backing vocals. I just love the music on Gamma Ray, infectiously groovy!

“Chemtrails” is a track that suddenly slows down Modern Guilt’s momentum. Listening to Chemtrails revokes your imagination, you would like you’re dreaming. The piano and the synthesizers just create a soundscape that is so unreal, you be dreaming away listening to Chemtrails. Even Beck’s vocals on Chemtrails blends in very well with the music. Full of howls and moans to greatly enhance the atmosphere of Chemtrails. The remaining one minute instrumental, you would enjoy the beautiful violin that plays on just before the track ends and fades into silence. What an experience!

“Modern Guilt” has a steady drum beats once it enters. Beck moans through each phrase with his vocals. Combined with the music, Beck is twisting his vocals here and there to accustom himself to Modern Guilt. Entering the chorus, the guitar just comes plucking itself in and it’s really good, Beck just goes on with, “Modern guilt, i’m stranded with nothing… Modern guilt, I’m under lock and key…” In the bridge, the piano and violin speak for themselves. Beck just adds in some vocal effects to complement the music. Until the end, the whole track seems to be saving the best for last. It’s very beautiful and i find myself swaying away listening to it.

The bass in the beginning of “Youthless” really revs me up. It’s very tight and fast the way the bass is being played on Youthless. Even Beck sings as if he’s rapping softly at between intervals. When it comes to the chorus, Beck just sings at a slightly higher pitch that seems to be echoing itself through the chorus, “And they’re helpless and forgetting in the background holding nothing, and they’re youthless and pretending with their bare hands holding nothing…” The synthesizers also seems to be having fun from here onwards, coming in and out, creating some cute sounds at intervals that delight us. Towards the end, cello enters and give some extra support to the bass. Very smartly composed music, very tight!

“Walls” already surprises me in the beginning. The violin-like sound created by synthesizers is really the core music on Walls. Beck just sings on as the music goes on like that. Approaching the chorus, there’s a lady-like sound in the background, sometime i would think that it’s Alvin from The Chipmunks which is making those funny sounds. Cat Power is again featured on this track in the chorus, where she would join Beck, “Hey what are you gonna do, when those walls are falling down, falling down on you…” The music on Walls just ends almost the way it started. Weirdly good!

“Replica” is fast and delicate simultaneously. The beats on Replica are tight and light. Due to a distant sound in the music, it makes the whole track sort of delicate. Delicate enough you would also hear Beck singing in a distant voice. Piano can also be heard in this track as Beck sings. Nearing the end, the violin only comes in and the whole track turns into an instrumental adventure before fading itself to night.

“Soul Of A Man” sounds like a rock track for the army. The bass line just follow every lyrics that Beck sings, like a chick following its mother. Handclaps and guitar riffing can also be heard as Beck sings through the track. When the chorus comes, the whole track seems to be floating in mid-air and Beck goes, “Cold was the storm, that covered the night…” Soul Of A Man is at times like a folk rock track that would definitely be appeal to the old ages. It’s not loud, but its groovy beat will get onto you quietly.

“Profanity Prayers” is an upbeat track with infectious drum beats and smart vocals that just know how to enter and exit. Beck can be heard singing in a speedy voice in the verse. In the chorus, he just raises his pitch and let go of his vocals that echo back to him, “Who’s gonna answer, profanity prayers, who’s gonna answer, these profanity prayers…” I also like the guitar that enters in the chorus, it has this special rhythm with it. When Beck is not singing, the music just plays itself out. And i have to say, it’s really good!

Beck ends Modern Guilt with slow-driving “Volcano”. Beck’s voice on this track gives a hint that he might be tired from all the singing that he has done on Modern Guilt. Therefore he’s taking it slow with Volcano. When it comes to the first chorus, you would hear some backing vocals helping Beck out when he goes, “I don’t know what I’ve seen, was it all an illusion? Or a mirage gone bad? I’m tired of evil, and all that it feeds, but I don’t know…” With the backing vocals, it sounds really great as it adds the definitive weight to Volcano and Beck’s voice. Volcano is slow but it’s able to gulp you down slowly after listening to it a few times. Once you get the hook of it, you would find it hard to drop it. Sometimes it’s just beautiful!

Cheers!
Darren Tan
Indiesurf.com

Highways And Honky Tonks is the latest release from Country Artist Heather Myles, and is another great one by this talented musician.

It’s a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I’m more than happy to announce that’s exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all, with each song standing tall on it’s own.

Heather Myles possesses the characteristic of being able to win you over with her talent alone. The kind of artist I really enjoy listening to.

I give Highways And Honky Tonks my highest recommendation. It just plain belongs in any serious music collectors collection regardless of genre preference.

While the entire album is outstanding some of my favorites are track 2 – Kiss An Angel Good Morning, track 9 – Rock At The End Of My Rainbow, and track 12 – I’ll Be There If You Ever Want Me

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – You’re Gonna Love Me One Day. It’s a great track!

Highways And Honky Tonks Release Notes:

Heather Myles originally released Highways And Honky Tonks on September 1, 1998 on the Rounder Records label.

CD Track List Follows:

1. You’re Gonna Love Me One Day 2. Kiss An Angel Good Morning 3. You’ve Taken Me Places I Wish I’ve Never Been 4. Broken Heart For Sale 5. True Love 6. No One Is Gonna Love You Better – (with Merle Haggard) 7. Playin’ Every Honky Tonk In Town 8. Mr. Lonesome 9. Rock At The End Of My Rainbow 10. Who Did You Call Darlin’ 11. Love Me A Little Bit Longer 12. I’ll Be There If You Ever Want Me

Highways And Honky Tonks Album Notes Personnel: Heather Myles (vocals, acoustic guitar); Merle Haggard (vocals); Bob Gothar (acoustic & electric guitars); Pete Anderson (guitar); Marty Rifkin (steel guitar, dobro, mandolin); Gary Brandin (steel guitar); Scott Joss (fiddle); Skip Edwards (piano, organ); Keith Rosier (acoustic bass); Taras Prodaniuk, Ray Kennedy (bass); Larry Mitchell (drums); Brantley Kearns, Irene McCullough, Kelly McGuire (background vocals).

Recorded at Mad Dog Studios, Burbank, California and The Bradley Barn, Mt. Juliet, Tennessee. Includes liner notes by Jon Weisberger.

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One word describes the CD Josh Groban from Josh Groban… AWESOME!

Unfortunately, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Josh Groban. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

If you’re a Josh Groban fan this is a CD your collection flat cannot be without. In fact, this is one of those CDs that you don’t even have to be a fan of Groban, or even Pop to know is good. It’s just good music. Period.

While the entire album is really very good the truly standout tunes are track 3 – You’re Still You, track 11 – Home To Stay, and track 13 – The Prayer.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Alla Luce Del Sole. Good stuff!

Josh Groban Release Notes:

Josh Groban originally released Josh Groban on November 20, 2001 on the 143 Records label.

CD Track List Follows:

1. Alla Luce Del Sole 2. Gira Con Me 3. You’re Still You 4. Cinema Paradiso (Se) 5. To Where You Are 6. Alejate 7. Canto Alla Vita – (featuring The Corrs) 8. Let Me Fall – (from “Cirque Du Soleil”) 9. Vincent (Starry Starry Night) 10. Un Amore Per Sempre 11. Home To Stay 12. Jesu, Joy Of Man’s Desiring – (featuring Lili Haydn) 13. Prayer, The – (with Charlotte Church)

Josh Groban Album Notes Personnel includes: Josh Groban, The Corrs, Charlotte Church (vocals); William Ross (conductor); Ramon Stagnaro, Dean Parks (guitar); Lili Hayden (violin, background vocals); Richard Marx (piano, keyboards); David Foster, Walter Afanasieff (keyboards); Curt Bisquera (drums); Rhys Fulber, Felipe Elgueta (programming); Efrat, Marco Marinangeli (background vocals).

Producers include: David Foster, Walter Afanasieff, Toni Renis, Richard Marx,

Humberto Gatica.

Thinking Of Home is the latest release from Rock Artist Hank Mobley, and I can only think of one word to describe it… AWESOME!

Thinking Of Home will grab your attention right from the beginning with Suite: Thinking Of Home / The Flight / Home At Last and doesn’t let go until the very last note of the very last song Talk About Gittin’, which is another great track by the way.

Thinking Of Home has a pleasantly varied, mix of Suite: Thinking Of Home / The Flight / Home At Last tracks that are very well written songs by this clearly outstanding artist. Most of the songs display a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are him own real life experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

I give Thinking Of Home my highest recommendation. It just plain belongs in any serious music collectors collection regardless of genre preference.

While this entire CD is really very good some of my favorites are track 3 – You Gotta Hit It, track 4 – Gayle’s Groove, and track 2 – Justine

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Suite: Thinking Of Home / The Flight / Home At Last. Great track!

Thinking Of Home Release Notes:

Hank Mobley originally released Thinking Of Home on October 8, 2002 on the Blue Note Records label.

CD Track List Follows:

1. Suite: Thinking Of Home / The Flight / Home At Last 2. Justine 3. You Gotta Hit It 4. Gayle’s Groove 5. Talk About Gittin’

Personnel: Hank Mobley (tenor saxophone); Woody Shaw (trumpet); Cedar Walton (piano); Eddie Diehl (guitar); Mickey Bass (bass); Leroy Williams (drums). Recorded at van Gelder Studios, Englewood Cliffs, New Jersey on July 31, 1970. Originally released on Blue Note (40531). Includes liner notes by Todd Barkan.