The Foley-McKenna Band, Moving My Feet

One word comes to mind when listening to The Foley McKenna Band’s Moving My Feet: unpolished. The five-song CD is an okay start, but it just seems to be missing something. The first track, “Kimberley,” opens with a soulful, beautiful guitar riff, proving that the band has a solid instrumental package. The verses are good, but they appear to build up to something bigger than the pre-chorus. The chorus, however, makes up for it, as its simplicity makes it the most beautiful part of the song.

While the weak pre-chorus is problematic, the song’s biggest shortcoming is its ending. Listening to the entire CD suggests that perhaps the band is just weak on writing endings. With “Kimberley” in particular, the song seems to be cut off too soon. Although as a listener I am grateful that they didn’t continue to sing, “Kimberley, time is killing me” for three minutes, the ending seems to come rather abruptly. It’s kind of like finishing a drink: you’re convinced there’s more in the glass, but nothing comes out, and you’re not ready to be done yet.

For all of “Kimberley’s” problems, the rest of the CD is okay. It’s not particularly memorable, but the concepts of “Brick Wall” and “Moving My Feet” are excellent. They’re also universal; virtually everyone can identify with being treated as someone’s strong, silent, unmoving brick wall. It’s also easy to relate to the idea of wanting to move on in our lives but failing to take the initiative. “Can’t move on without moving my feet.”

The songs are okay. The ideas are great. The instrumentals are fantastic. The Foley McKenna Band is getting there. With some work the CD might become more than okay, but for now the lyrics and melodies are less memorable than the lead guitar riffs.

www.myspace.com/thefoleymckennaband

Words By: Valerie Williams

Rating:

Davina Robinson, The Blazing Heart

Davina Robinson really rocks. Well, her band does. Her CD, The Blazing Heart, opens with a high-energy beat and an electric guitar player who is seriously rocking out. Robinson’s voice is fitting for rock, as it’s a little hard and harsher than a pop diva or an R&B crooner.

It’s a shame for Robinson’s band that her name is on the CD, because the backing instrumentals are the most interesting parts of the songs. In fact, the songs even seem to be mixed to be very guitar-heavy to a point where, at times, it almost overpowers the vocals. Some of the hooks are catchy, particularly the choruses of “Making Love to Your Girlfriend” and “Conversations In My Head,” but the verses and bridges aren’t nearly as interesting. For the most part, the lyrics didn’t seem “rocky” enough. Some of them seem a bit awkward and forced, and out of place.

“Never Good Enough” has by far the best opening guitar riff. I even liked the message until I realized that she says in the chorus, she says, “Though I try and try, you’re just never satisfied,” which changes the song from one of empowerment to an admission of submission. Five seconds of the song changed the entire perspective for me, transforming the singer from an independent spirit to the weak partner in a relationship.

Despite the song’s problems, “Never Good Enough” features what is probably Robinson’s shining vocal moment on the recording. The bridge, which is stripped down to almost entirely vocals, is the place where her voice sounds the best.

However, my biggest problem with the CD came about in the last track, “Keeping Me Sane.” Robinson opted for a couple unison vocals on the track, which is fine, but one of the voices is out of tune through most of it, creating a horrendous sound and distracting from the rest of the song, which sums up my experience with the album as a whole. The vocals didn’t really add anything for me, and the album would be nothing without the guitar.

www.davinarobinson.com

Review By: Valerie Williams

Rating:

Sevendust, Chapter VII: Hope And Sorrow

Sevendust kicks off their seventh studio album with 11 great tracks and each having its own, distinct identity.  The new album offers everything from aggressive, heavy-bangin’ music to melodic, softer melodies that seem to come together oh so nicely in Hope and Sorrow.  The beauty of the album is that Lajon Witherspoon could be screaming his lungs off during part of a song, but then he slows it down and sings quite harmoniously. 

Hope and sorrow signifies all of the ups and downs throughout the years for all members of Sevendust.  You really get a feel for this from each song and from the sound of it, seems like a band found itself through one special album.  All the ups and downs, the hope and sorrow, the glory and the turbulences—it all is touched on and all figured out on this one.

 I enjoyed the early anticipation of something big to come during many of the songs.  Faint sounds in the background, almost an industrialized sound with anvil hammers hitting steel, leaving the listener intrigued but then grabbing them by the ears coming in hard with ferocity.  It was one hell of a listening experience; I have to say and just got better after each time I listened to the album. 

Expect some other exciting factors like guest appearances by Chris Daughtry and members of Alter Bridge.  Ironically enough, Alter Bridge members were featured on the title tracks, “Hope” and “Sorrow”.  Sevendust hasn’t added guests to their albums since 2001, so definitely seemed like something special this time around. 

Coming off a nearly two week tour of Germany and Afghanistan, Sevendust enjoys playing for all the brave soldiers and continues to do so.  They also will continue to tour the states, so check www.sevendust.com for dates and times.  I give this album 4 and a half Skopes, Hope and Sorrow freakin’ rocks!  No Joke!

Review By Jimmy Rae

Rating:

Foul Mouth Jerk, Street Light Music

Who does this jerk think he is?  One hell of a rhyming MC, that’s who!  Foul Mouth Jerk hails from Jersey, but has traveled through many states laying down rhymes and spittin’ lyrics.  His fourth solo effort features 16 hot tracks and has a refreshing, throw-back sound to it.

Jerk really brought it back to the old-school with classic sounds and styles that can be associated with the likes of break dancing and Pac Man.  You just get that 80s flavor from many of Jerk’s songs by the way he lays the tracks down and from those beats that seem to come from around the block.  Streetlight Music is bringing hip-hop back to the streets where it all began, where cats were rap battling in the parks and kids playing stick ball outside.  Definitely has that classic feel to it, no doubt.

Old-school also meshes with new-school, where Foul Mouth Jerk seems to bring the best of both worlds together.  It’s cool that an artist can stick to his roots and the true roots of hip-hop, but also explore newer facets of the music.  Catchy riffs, smooth-flowin’ rhymes and head bobbin’ beats are all ingredients that you get from this fresh, new album.  This guy known as Foul Mouth Jerk is definitely no jerk, but sure is keepin’ it real for all those true fans out there. 

There are also some rap legends featured on the new album like Grandmaster Caz, Masta Ace and others.  Also expect to hear samples of classic Notorious B.I.G songs during certain tracks.  Overall, the album just has a cool feel and something that you could definitely jam out to in a club or party to.  Just have fun and feel good is what I got out of listening to Streetlight Music.  And isn’t that what the music should all be about, am I wrong? 

For more on Foul Mouth Jerk, check out myspace.com/foulmouthjerk and www.granolafunk.com. I give this album 4 and a half Skopes, check it out for yourself!

Reviw By: Jimmy Rae

Rating:

Def Leppard, Songs From The Sparkle Lounge

I just have one question:  “Do you wanna get rocked”!  Def Leppard is bringin’ the heat once again with their fourteenth studio album and they seem to be conquering newer generations of fans.  These rock icons from England have been going strong since the late 70s and definitely know how to turn a great album out.  Songs from Sparkle Lounge is no exception!

The new album features an array of songs that can appeal to many different types of people.  You get heavy, then not so heavy mixed in with slower, love-type songs blended in with some incredible melodic singing and then add in some punk for good health.  This is Def Leppard and at their finest I might add.  Something for everyone and they accomplished that feat through all 11 tracks. 

One of my favorite songs on the album is “C’Mon C’Mon” because of its fun and rockin’ feel.  There are so many good songs though and honestly not one I didn’t enjoy listening to.  Definitely one of those albums you can turn on and just leave on until the end.  After the third listen, I particularly realized how impressive and how well-done Songs from The Sparkle Lounge was. 

To say “Nine Lives” was the biggest surprise because of a guest appearance by Tim McGraw would be unfair and not do the guys of Def Leppard any justice.  Don’t get me wrong, it was a nice surprise to hear and unique to blend the two genres of artists together but so much of the album is a treat.  So many songs on this album that fans will love and with its musical diversity, it makes for a special album. 

Don’t miss out on this one; Def Leppard has proven that their musical abilities and capabilities can go way beyond even a fantastic album like Pyromania.  These British rockers are proving that greatness does with come time.  I give this album 5 Skopes, loved it!!!!

For more on Def Leppard, check out www.defleppard.com. 

Review By: Jimmy Rae

Rating:

Rose of Jericho, These City Lights

Although I am not a fan of American Idol, I can see the attraction.  It is a demonstration of great skill and perseverance.  Most difficult to me, looking in as a viewer, though is watching incredibly talented people trying desperately to squeeze their own personal genre into the maze of twists and turns thought up by some self proclaimed witty producer.  But alas, I digress.  In the spirit of squeezing talent into a void of simplicity, meet Rose of Jericho and their second album “These City Lights.”   Behind the powerful poppy songstress, Andrea Russie, lies a sad blankness that is the sound of a generic and lightweight ’90s power riff rock band.  Somewhere between Christian rock’s sadder moments and Guitar Hero before they acquire any rights, the meat of the Rose of Jericho, the band, is a purely a vessel to disguise what is a great pop vocal voice in a Lita Ford mask.  The band is not completely to blame though.  There are hopes here of being a true “rocker” whatever that means. Perhaps there were once hopes of be Evanescence, but the stale backdrop can’t quite pull the Gothic pain out of the soft and gentle suburban rocktress that is actually beaming through the speakers.  “These City Lights,” the title track says it all.  Its optimistic, its sultry and its well done all without a lick of power ballad monotony.  I can only hope that the Rose of Jericho does as its name sake and arises well from the gloom of their present state.

Review By: W. R. Eilers

Rating:

Russ Glenn, Brand New World

When I first popped in Russ Glenn’s, A Brand New Earth, I was willing to give it a chance.  Sure it sounds like your average frat boy with a guitar tearing up the scene at the local college bookstore, but hey we have all sat around the fire singing along to Jack Johnson riffs.  It is a hard album to sell though.  Unlike the John Mayers and Ben Harpers of the world, Russ Glenn is choppy and mechanical.  Unfortunately, his rigidity spills over into his voice that is too dramatic, too vibrating, too intended.  Like watching your girlfriend taking an acting class, however, I still secretly cheered Russ on.  His chords are solid.   His enthusiasm is commendable.  This, of course, was before the tragedy of this album, Russ Glenn’s cover of Jane Says.   Albeit a bold move, I have to say it was not a wise choice.  Singing a song about a prostitute like its a summer camp jamboree is just distasteful.  This tragedy is then followed by yet another cover.  This time he takes on the prince of 60s East Village heroine angst, Lou Reed and his classic Sweet Jane and again plants it cheerfully into the weekend retreat’s sound system.  Please understand paying tribute through a cover is always a honoring gesture, but disregarding the painful truths behind the lyrics and the music with hand holding bellows is just a not right.  Already struggling, Russ Glenn managed to do what few camp fire rockers have been able to do, distinguish themselves from the crowd, much to the dismay of this listener, and he did it in two songs.
 
Review By: W. R. Eilers

Rating:

One World, Share The Love

Despite the tranquil and harmonious name, the new album by One World, Share the Love, sadly does not inspire me to do the same.  As is often the case in the eclectic catch all genre known as “world beat,” One World’s attempts to show the vast gambit of their influences by giving too little of a lot of different forms. 

The result is a mediocre blend of Latin folk, Latin Rock and Latin Soul, all while strangely  not exercising their obvious Latin muscles quite enough.  One World fails to bridge the different hues and create subtle intersections that are one fluid concept.  The genre combination plays more like a piled up sampler and less like a medley. 

Smooth rock intros break hard into bluesy grit in an awkward jerk that is hard to settle into.  For example, the song “Orale” opens with a Santana like riff and abruptly twists into a “Latin Soul” as the raspy vocals of the lead singer hover above chanty and gimmicky chorus, all upon a backdrop of mamba rhythms.   Nothing quite relates to the other, like looking at off white curtains against an eggshell wall.  However, each segment is too distinct and out of touch with the other.  The problem lies in the lack of cohesion.  It is quite obvious that the members of One Love are talented.  They show great diversity in their abilities and understanding of their inspirations.  But like fusion cooking gone awry, this album simply fails to grab your attention.  Those songs that have a fluid consistency, like the title track, Share the Love, simply fall away dull and unappealing. I feel like these guys have so much more to offer, but with every new listen, I find myself getting more and more turned off.  If One World was playing at your local Taste of Our Town weekend festival, you might stop and give a listen, but you will find yourself moving quickly onto the local wooden puppets and home crafted doilies with a second thought. Simply put, this album would be a good present for that meat and potatoes in-law who needs to spice up their Michael Bolton morning commute with something mildly soothing and equally as forgettable.  

Review By: W. R. Eilers  

Rating:

Nick Motil, Everything’s Alright

On his new album, “Everything’s Alright,” Nick Motil sings, “The sun is always shining where I come from.” But where is that? According to his myspace page, he was born playing at Jimmy Buffet’s Margaritaville Restaurant on the Sunset Strip in Las Vegas, just a few years ago.

Some hints to his identity come through the music on his latest album, “Everything’s Alright.” His melodies are guitar-based and painstakingly simple. His lyrics circle vivid images, creating movies in the mind of the listener, beside declarations of love and heartbreak. At times, it sounds like he wrote down what he’s said in phone conversations, or letters never sent. He doesn’t push it when he sings. His voice drawls like shoes across gravel. He might as well be sitting on the front porch of a family farm, playing for the sun as it sets in the sky.

Nick Motil is a country boy.

Apparently, he doesn’t know this yet. He lists his influences as Paul Simon and David Gray, two artists that share only the occasional penchant for acoustic songwriting. That’s where the similarities end. Motil misses the originality of songwriting and eclectic feast of genres that is Simon’s career, as well as the Euro-influences of Gray.

“Everything’s Alright” is an album of Americana. It’s filled with brilliant country tunes. It’s melodic and clever, a great Sunday afternoon record. As a lyricist, Motil likes to play word games. As a songwriter, he favors classic chord progressions. His originality comes through in the down-home comfort he exudes, and his ability to sing candidly. He opens the song “Butterflies” with the line: “I probably should’ve kissed you.” He’s singing to the ladies in the crowd, but earnestly.

Currently, Nick Motil is the highest booked act on U.S. College Circuit. If he fessed up to the country and western appeal of his music, he could headline arenas.

Review By Anney E. J. Ryan

[Rating 3/5]

Jimmy Reeves, The Axe and the Tree

Do not confuse Jimmy Reeves with the Texan country crooner from the fifties and sixties. This Jimmy Reeves is a gypsy. He calls everywhere home. Reeves grew up a military kid, traveling across the country. However, in his new album, “The Axe and the Tree,” he sounds very grounded, like someone who’s made a home for himself in his own head.

“The Axe and the Tree” references the story of Noah and the Flood, the moment when Noah decided to start building his ark, despite the warnings and laughter of skeptics. Reeves appreciates this kind of blind faith. It’s proven to serve him well. “The Axe and the Tree” is an album that floats, constructed of rich materials and similar mad inspiration.

The whole album bleeds blue. It reminds you of the nineties, back when you could spend weekend nights sitting in the back of a smoky dark café. Snippets of the music are too beautiful for the coffee house; however, Reeves has the tendency of a singer-songwriter to overplay melodies instead of moving on. This could be due to his appreciation of the blues. Reeves attempts this same kind of form, but through songs that sound more like pop ballads.

All artists make choices, and Reeves chooses to be more avante garde than the typical singer-songwriter. At times, his words don’t match his melodies. His music is lush, swaths of piano and guitar that unfold and wrap around you, while his words thunk and clatter. Without the words, this album would make perfect movie music. To do that, however, would rob the world of Reeves’ voice, a voice that should be heard. It’s not cultivated or polished; it’s just good. Much like John Lennon or Paul Simon, Reeves has a natural, unassuming solid voice. So few singers sound so down-to-earth today.

Review By Anney E. J. Ryan

[Rating 2/5]

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