Bess Rogers - Out Of The Ocean

Bess Rogers - Out Of The Ocean
2011, Bess Rogers

Some people write great melodies.  Others craft lyrics that leave you breathless.  There are even some in the music world who build arrangements that go beyond day-to-day to comprehension.  Any one of these talents can make an artist a household name.  Any two may well make them a legend.  On her prior EP, Bess Rogers Presents: Bess Rogers, we found an artist who showed flashes of these types of brilliance.  Fourteen months later, Rogers returns with Out Of The Ocean, making unbelievable strides as an artist, and transforming herself quickly from a singer/songwriter with big talent and tremendous potential into a maturing, brilliant artist you simply can’t ignore.

Rogers has built her reputation on several fronts.  The Brooklyn-based multi-instrumentalist has been involved in numerous projects over the years, playing nearly every style of music imaginable.  A few years back she was picked to be Ingrid Michaelson’s guitarist, and has earned a well-deserved reputation as a dynamic performer with a flair for the dramatic and the technical chops to back it all up.  Rogers began building her name as a solo performer through her web presence and technical savvy, but it’s the music that speaks for Rogers.

Out Of The Ocean opens with "One Step Free", the song snippet that gives the album its name. Rogers makes an impressive start here, although it may leave you wishing she'd finished the song. "Standing Tall" opens with a plaintive verse that resolves into a beautiful, lush and lustrous pop chorus. Roger's voice is pure ear candy for those with rich musical tastes, and she bends and shapes the melody line here like a true artist. The song itself is one of safety and confidence in love - a nice change of pace from the glut of starry-eyed pop songs and anguish filled navel gazing ballads that fill up the airwaves. "Weak Link" is an anachronistic invitation from one who views her own imperfections as the perfect complement to the object of her desires better qualities. There's a romantic, tongue-in-cheek element here that's charming, and the full, active arrangement makes it a pop gem.

Rogers bemoans the relegation of romance and attraction to chemical processes on "Math And Science", yet indicates a continued willingness to play her part. Rogers draws you in here with a chorus that simply will not get out of your head. "Anchor" goes up-tempo, running along at a gallop while Rogers keeps pace with a flawless vocal line. The melody line here is brilliant, and once again, Rogers will stay in head for days. Don't be surprised if this is a break out hit. Rogers slows things down a bit with "In The Waves", a utopian invitation from a mermaid to a broken man that parallels immersion in water and falling in love with artful delicacy. Rogers creates a gorgeous sonic landscape here with layered voices and synth over a sparse arrangement. The song closes in haunting fashion, fading away into the depths.

 

Water And Dirt" is another wonderfully catchy pop/rock rumination on love. Rogers plays with the theme of elements, and the almost hopeless part we play in the human dramas of love throughout the album, but here she creates a bit of musical and lyrical magic that's impossible to ignore. "The Fittest" is another example of the sort of diluvian, edgy pop that Rogers is capable of creating. The arrangement is beautiful and lush, but with a backbone as hard as iron. Rogers rocks out on "I'll Be Gone", throwing down the gauntlet in a relationship where the sharing is no longer equal. This is done not in angry tones, but in a driven melody with honest lyrics that are more intelligently questing than spiteful. "Second Chance" is the most stripped-down and personal of the offerings on Out Of The Ocean, showing off Rogers' voice in a more open arrangement that reveals its simple beauty in broad daylight. Similarly, "Brick By Brick" sticks to an unfettered musical formula, whereby Rogers explores the minutiae of relationships in affecting and intelligent imagery. Rogers builds the intensity of the arrangement back to where she started in a conveyance of the building process, before falling back to the simple strains of a guitar string that fades as if leaving a story in progress.

 

Bess Rogers showed herself to be a special talent with her debut EP, Bess Rogers Presents: Bess Rogers, but Out Of The Ocean is light years ahead of first effort, showing a fast-maturing talent for melody, lyrics and song construction, all wrapped up in a voice that resonates in your mind. Rogers shares the love of lush arrangements apparent in the work of Sarah McLachlan, as well as the willful, independent narrative lyrics found in Aimee Mann's work. This all comes together in a fashion that is comfortingly familiar yet excitingly original. Very quietly, and without warning, Bess Rogers will knock your socks off. Out Of The Ocean is a Wildy’s World Certified Desert Island Disc, and figures to be featured heavily in year-end lists.

 

Rating: 5 Stars (Out of 5)

Learn more about Bess Rogers at www.bessrogers.com or www.myspace.com/bessrogers.

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Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Check out with current tour-mate Allison Weiss in the first episode of "Van Jams", below:

Lori Diamond & Fred Abatelli - True

Lori Diamond / Fred Abatelli - True
2011, 5th Chakra Records

Bostonian Lori Diamond and NewYorker Fred Abatelli are a testament to a time, not so long ago, when MySpacewas a vibrant community. The two "met" on MySpace in 2007, and beganwhat has turned out to be an extremely successful musical collaboration.Diamond has a golden voice and a gentle touch at the piano that shows itself inthe beautiful and fluid songs she writes. Abatelli offers the perfectcounterweight to Diamond's songs on the fret boards of both bass and 6-stringguitar. Two of Diamond's prior albums, Bound and Mystery (withAbatelli), have earned rave feedback from fellow artists and media alike. OnOctober 22, 2011, Diamond and Abatelli release their second album, True,building on their reputation for great songwriting and seamless playing.

Lori Diamond and Fred Abatelli sharean undeniable chemistry in their music. What was readily apparent on Mysterycomes fully into bloom on True. The album itself is easy tounderestimate. Diamond and Abatelli's songs never truly blow you away, but areof such consistent quality in melody, lyric and arrangement, that you canalmost lose track of how well-written they are. Diamond's voice is a pureinstrument, calling to mind folks such as Sarah McLachlan and Joni Mitchell.Her phrasing and tone are ideal throughout the album. Abatelli contributesquietly throughout the album, enhancing the framework of each song with subtle,yet palpable work on both the bass and guitar.

True opens with The Inside, a gorgeous, five-and-a-halfminute ballad. The sounds Diamond and Abatelli create here are beautiful,layering voices and instruments into a mellow, but dynamic weave you simplyhave to hear. From there on it out its one solid performance after another,from the soulful "True", the Latin sounds of "All ComesRound", or the efficient beauty of "Never Too Late" The pairoffer up a lovely piano/guitar instrumental in the form of "Love's EarlyDays", painting in musical pastels an impressionistic portrait of thegentleness of spirit that accompanies new love. Diamond raises the bar vocallyfor "Choosing Peace" and "Your Face". The former is agorgeous, fluid performance that perhaps exceeds any of her prior recordings,and the latter is just a vocal "Wow" moment.

Lori Diamond and Fred Abatelli won'tgrab you by the shirt and make you listen; rather, they create subtle songsfull of beautiful movement that slowly draws you in. Diamond's voice ismesmerizing, and her piano work is enhanced by the eminently subtle guitar workof Abatelli. True shows a duo continuing to improve on a chemistry andshared musical vision that had previously proven quite rare. True is thesort of album that inspires impatience to hear what Diamond and Abatelli mightdo next.

Rating: 4 Stars (Out of 5)

Learn more about Lori Diamond at www.loridiamond.netor www.myspace.com/loridiamond. True is available on CD through Diamond's website.  Downloads are available through the link below.

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Please note that the Amazon.com prices listed above are as of the posting date, and may have changed. Wildy's World is not responsible for price changes instituted by Amazon.com.

Salina Sias - Salina Sias

Salina Sias – Salina Sias
2011, Salina Sias

Salina Sias’ musical career was almost derailed before it really started. Classically trained from a young age, Sias sang competitively throughout her school years. Then one morning, at the age of 17, her voice was simply gone. Down, but not out, Sias switched her sites to acting. She moved to New York City at the age of 18 to study, and spent the next decade trying to make it while dabbling in marketing and journalism as a way to pay the bills. Sias’ voice had come back however; she was a regular shower singer long before she left anyone know about it. Then, about a year ago she met with a vocal coach and started putting the pieces back together. Excited to make up for lost time, Sias recently released her debut album, Salina Sias.

Sias shows a longitudinal story-teller’s style on Salina Sias, writing and performing in a semi-stream of conscious style that makes the background music more utilitarian than compelling. Her imagery is strong, however, while Sias explores themes that run the gamut from coming of age stories to chasing down the mixed emotions of life. Sias starts off on a stark note with the lovely but vaguely disturbing “Up In The Trees”. The experience related her have my innocent or may carry much darker undertones, but it’s about a little girl’s perspective from off to the side as she comes to terms with the world around her. Let the interpretations begin, but it’s a strong opening shot from an artist who deserves to be heard. “Sounds Of Blue” is a pretty discourse on two people living together yet living apart. There is an intrinsic sadness here wrapped up in a warped sort of fatalism. The song will get under your skin.

“Dear Job” is an intriguing song about the struggle for faith and doing the right things in day-to-day life. The moments when we look at a path and know what we should do but continue on our own merry way are immortalized herein. Sias’ conversation with the saint through a book on her shelf that beckons yet remains untouched. Sias gets contemplative on “Almost The Same”, showing an odd blend of emotion and detachment that unrolls slowly with the song. “Slipping Away” is a gorgeous musical dissertation on death, marking both its permanency and its negotiability for the living left behind. Sias’ piano arrangement is worth the price of admission on its own.

“Broken Memory” builds brilliance from dichotomy, blending mystery and darkness with ragged edges into an illuminating musical moment full of a rough hewn beauty that is nearly impossible to create. In this one moment the listener hears all that Salina Sias can be as a songwriter – A true WOW moment. Sias suddenly throws listeners a pair of curves on the final two songs. An album full of gentle, occasionally ethereal folk/pop, she gets down and dirty with a pair gut-busting, innuendo-laden torch songs that will know your socks off. “Midnight On Thursday” speaks of basic human needs, waning hours, and the sense of desperation that alcohol ferments. Sias opens up her voice and leaves a scarring impression full that you won’t soon forget. “You Ain’t The One” might just be the afterthought; a bluesy, soulful lamentation on what the listener probably knew was inevitable a song ago.

Salina Sias starts out with a firm impression that would place Sias among the likes of Loreena McKennitt, Sarah McLachlan and Milla, but on the final two songs becomes a bit of Martina Sorbara (pre-Dragonette) or even Sunday Wilde. However you choose to classify the singer, Salina Sias is a distinctive introduction to an artist who aspires to big things. The songwriting here is impressive, if occasionally uneven, with Sias showing serious chops as a writer, singer and pianist. This might not be the breakout album; Salina Sias is the one that makes the breakout possible later. This is one young lady who’s going to be on a lot of music radars very soon.

Rating: 4 Stars (Out of 5)

Learn more about Salina Sias at www.salinasias.com. Salina Sias is available from Amazon.com on CD or as a Download.

Megan Barbera - Zig Zag To The Sea

Megan Barbera - Zig Zag To The Sea
2010, Megan Barbera

If you're going to have a conversation about Megan Barbera it's going to start with her voice, which is an idiosyncratic blend of Edie Brickell and Sarah McLachlan.  Barbera's distinctive talent for songwriting is quickly evident, and her maudlin, melodic style evokes thoughts of Hope Sandoval.  This latter is either good or bad, depending on a listener's personal taste.  Barbera writes in imagery and rhyme, but can occasionally lose touch with the listeners at home.  With all of these thoughts in mind, let me introduce you to Barbera's debut album, Zig Zag To The Sea. 

Barbera opens with the mellow Americana/country sound and deep vulnerability of "Anywhere But Here".  In an age of computerized management of vocal quirks, Barbera's plaintive and unadorned vocal performance is a breath of fresh air.  From a songwriting perspective, this is the class of the album; subtle and nuanced without ever losing touch with the reality that lay behind it.  "Can't Love Yourself" is insightful and well-written, although Barbera tries to squeeze too much content into the melody at times.  This effort stands out, as the rushed feel this gives stands starkly at odds with the relaxed and melancholy air of the arrangement.  "Wasted" is a smooth melancholy country number with a hopeful side.  The melody on this tune is simply gorgeous; the sort to recur in your dreams.

"Shallow Well" highlights the comparison to Brickell and McLachlan above.  Barbera's vocal performance is unforgettable, although the song itself is too drawn out and slow for its own good.  Barbera recovers nicely with "A Little Hokey Pokey", a quietly catchy and fun bit of folk n roll that stands out.  Much like its name, Zig Zag To The Sea essentially meanders the rest of the way through pretty and understated songs that fail to make a big impression one way or the other.

Zig Zag To The Sea shows Megan Barbera's strengths and weaknesses as a songwriter and performer in bold lines.  At her best, Barbera is engaging and insightful, but she also appears to still be getting comfortable with herself as a songwriter.  Barbera gets so caught up in her own sense of musical melancholy at times that the she seems to forget the listener.  While artistically honest, Barbera occasionally loses her sense of song craft in the process.  Zig Zag To The Sea shows a lot of promise, but as always, promise comes to fruition with a lot of work.  There's more than enough potential evident on Zig Zag To The Sea to convince listeners to stick around to see how it all turns out for Megan Barbera.

Rating: 2.5 Stars (Out of 5)

Learn more at http://www.meganbarbera.com/ or on Facebook.  Zig Zag To The Sea is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Yael Naim - She Was A Boy

Yael Naim - She Was A Boy
2011, tot Ou tard / VF Musiques

Yael Naim rocketed into international consciousness back in 2008, due to the inclusion of her song “New Soul” in an Apple advertisement.  While this break was real and palpable, it’s hard to imagine someone with the talent of Naim not making it.  Together with collaborator Davd Donatien, Naim has spent much of the last two years in her Parisian flat/recording studio, writing and recording material for her sophomore album, She Was A Boy.  The album is due for US release on May 10, 2011 digitally and May 17, 2011 on CD.

She Was A Boy opens with "Come Home, a catchy bit of mellow pop/jazz fleshed out with orchestration. The arrangement is silky smooth and showcases Naim's wonderfully breathy alto perfectly.  "My Dreams" is an interesting blend of pop, jazz, new age and world music.  Beauty, urgency and need are all portrayed as part of the whole in the most sonically intriguing song on the album.  "She Was A Boy" plays with middle eastern scales in a catchy bit of orchestrated pop music. Yael Naim is no stranger to notoriety.  "New Soul", featured on Yael Naim, turned into a sensation overnight with its inclusion in a MacBook Air commercial.  That may be nothing compared to "Go To The River", which is one of the catchiest songs of 2011 so far.  You won't be able to get this song out of your head for days at a time.  Naim uses layered voices to create syncopated harmonies and rhythm on a chorus you will never forget.

"Never Change" features heavy southern European influences and a cantering pace to highlight a memorable melody.  It's a solid changeup from "Go To The River" that's subtle but perhaps just as unique in its own right.  "Today" is personal and compelling, and features Naim's best vocal performance on the album.  Her voice is utterly breathtaking in a song of heartbreak and yearning for something more.  The orchestration builds layers into the sound that are compellingly lush.  "Mystical Love" shows another side to Yael Naim, sounding a bit like something that might have been written through collaboration between Tori Amos and Andrew Lloyd Webber in the early 1970's.  The song is highly original and quirky in construction, showing a deep melodic sensibility with pop pretensions but a highly original sense of musical vision.

"Man Of Another Women" takes on a middle eastern flair in an intriguing number that may catch you by surprise.  It's one of those songs you don't necessarily pay active attention to the first time you hear it, but find yourself humming later and perhaps uncertain where you heard it from.  "Puppet" has pure sonic appeal, with Yael Naim sounding a bit like Milla Jovovich but with a middle eastern rather than slavic influence.  "If I Lost The Best Thing" is a highly personal and heartfelt number that is gorgeous in both instrumentation and vocals.  Naim replicates these qualities on the closing track, "Game Is Over". 

Whereas 2008's Yael Naim balanced French and English fairly equally, Naim sticks with mostly English on She Was A Boy.  The songs offered here show a musical depth that is rarely on display in pop music.  Yael Naim creates songs full of emotional and musical substance that speak to you from the depths of her worldly experience.  The songwriting on She Was A Boy is compelling, and the sounds, whether instrumental or vocal, spend much of the time surpassing beauty.  This is not an album to ignore of pass by.  She Was A Boy is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Yael Naim at www.yaelweb.com or www.myspace.com/yaelnaim.  She Was A Boy is due for release on May 10, 2011 for digital and May 17, 2011 on CD.  You can pre-order the album through Amazon.com on CD or as a Download.  iTunes has yet to post a link to pre-order the album, but expect one shortly.

Jennings - Collapse, Collide

Jennings - Collapse, Collide
2011, Mary Jennings

New York City-based singer/songwriter (Mary) Jennings returns on May 10, 2011 with her third album, Collapse, Collide.  Jennings has spent much of the past year touring and working with Billboard-charting songwriters to further develop her sense of song craft.  These efforts are apparent on Collapse, Collide, although, as always, with growth comes growing pains.

Collapse, Collide opens with "Surrender", an electro-ethereal pop number that falls somewhere between Sarah McLachlan and Sara Bareilles.  Jennings' distinctive voice is on display here, although it seems as if she never really opens it up.  It's a solid starter, but without the sort of dynamism you might expect.  "The Darkness" is in similar territory, but shows much better realization and execution of what Jennings might have foreseen when writing the song.  Centered on a solid groove, Jennings builds around an original progression that serves as a natural focus for her muse.  "Everlong" is a plus love ballad, although it sounds like Jennings may have chosen a key too low.  She appears to struggle with the bottom of the melody line at times, with pitch being the casualty. 

"Falling Higher" is a great tune with a lot of potential.   Jennings is spot-on in this love song, but the production is a bit messy and at times, distracting.  Jennings offers herself as support to loved one in "Cling To Me", a well-intended and well-written tune that just doesn't become itself in execution.  This isn't so much an artistic issue as a production one.  "U-Turns" is a vibrant pop number with real potential that once again falters on the boards.  The remainder of the album is solid yet uninspiring contemporary adult contemporary alternative rock music that is nicely slotted for radio consideration but fails to live up to what Jennings is capable of.

Collapse/Collide would be a solid effort from many artists, but Mary Jennings has made a point of cutting her own path through the emotional hinterlands that have defined her previous work.  Jennings' move to the commercial center is somewhat befuddling, as she seems to surrender her own voice for a quasi-corporate conception of what she should sound like.  Jennings is a distinctive enough talent to make it work as best she might, but hard core Jennings fans won't know what to do with Collapse, Collide.  Chalk it up to an artist going through the growing pains of how to commercialize their art in a meaningful way without giving up the spirit that got her this far.  The compromises here are too many, and the production is too messy to allow Jennings to emerge from Collapse/Collide. 

Rating: 2.5 Stars (Out of 5)

Learn more about Jennings at www.jennings-music.com or www.facebook.com/jenningsfemtastic.  Collapse, Collide drops on May 10, 2011.  Pre-orders are available through Amazon.com on CD and as a Download.  Preorders are also available via iTunes.

S.J. Tucker - Mischief

S.J. Tucker - Mischief
2010, S.J. Tucker

S.J. Tucker fell into music at the age of three. The was The Beatles' Magical Mystery Tour that gave her the gentle shove that changes lives.  A veteran of bands such as Skinny White Chick, Tricky Pixie and The Traveling Fates, Tucker has ten albums under her belt.  A severe illness in 2008 and 2009 knocked Tucker off her feet and off the road for a time, but Tucker is back at with her tenth album, Mischief. Released in 2010, Tucker continues to mature as a songwriter while offering perhaps her most subtle work to date.

Mischief opens with "Ravens In The Library", an interesting personification of society and the roles that we take up in the course of human interaction.  Role are portrayed here as birds out of their element, with the laws of nature and social pecking orders asserting themselves immediately.  It's a cautionary morality tale exploring the effects our words and actions can have on others.  The simple, energetic acoustic guitar-based arrangement is remeniscent of Ani DiFranco, while the vocal line is more Sarah McLachlan.  "Cheshire Kitten (We're All Mad Here)" is an energetic folk number with real energy.  Tucker builds tremendous rhythms into a single acoustic guitar part, supporting herself both musically and rhythmically.  This is an anthem about being yourself in a world that ostracizes individualism, reminding us that we're all born a little off-kilter.  The chorus here is atypical and will stick with you.

"Were-Owl" explores the dangers, and thrills, of romancing darkness.  Tucker delivers her thoughts in a sultry, sensuous vocal line wrapped in stark harmonies.  "Love Lies" is a soulful acapella number that's deliciously arranged.  It's a short tune but full of sparks.  "Don't Get My Hopes Up" features Tucker solo with an acoustic guitar.   If ever a song were perfect for a singer is this one right here.  Tucker transitions through her vocal range with an interesting blend of confidence, insecurity and an unwillingness to waste her time on anything less than the real thing.  The dark and eerily beautiful textures of Tucker's voice will blow you away.

"Neptune" explores falling in love with someone new while looking back on a love that fell out.  The arrangement has a dark, unkempt feel that's strangely beautiful.  "Girl With The Lion's Tail" is a statement of self.  Tucker wants a romance, but doesn't want to be an object or curiosity in that context.  This isn't her best songwriting, but the exploration is an intriguing one.  "September's Rhyme" is another gorgeous acapella piece, this time with a baroque feel.  The vocal harmonies on this one are flat out amazing.  "Salad Of Doom" is tongue-in-cheek take on the healthiest choice on the menu; a highly entertaining moment of lightness.  "Witchka" is a sultry, witchy love song sung with the lusty abandon of young love.  Tucker closes with "To My Valentine", a simply gorgeous love song that could easily become a staple for mix tapes and wedding receptions.  Tucker keeps it simple in both arrangement and sentiment; there's nothing saccharine or contrived here.  An amazing performance.

S.J. Tucker doesn't say no; doesn't back down.  She practices the musical insistence of Ani DiFranco, the melodic intensity of Sarah McLachlan and the parenthetical approach to songwriting that fuels Tori Amos.  Mischief is off the beaten path just enough to intrigue, but not so much as to scare away casual listeners.  Tucker has the charisma and force of personality to wrap you in her charms and have her way with you, and the musical talents to make you love every minute of it.  Mischief is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

 Learn more about S.J. Tucker at http://www.skinnywhitechick.com/ or www.myspace.com/sjtuckerskinnywhitechick.  Mischief is available from Amazon.com as a CD or Download.  The album is also available from iTunes.

Jill Goldberg – Girl, Polite

Jill Goldberg – Girl, Polite
2011, Louar Music

Boston-based singer/songwriter Jill Goldberg returns on April 1, 2011 with a new six-song EP, Girl, Polite.  The talented and savvy artist provides her own perspectives on life, love and loss in solid, piano-drive pop/rock tunes full of heart.  Opening with “Not Worth It”, Goldberg crafts intriguingly radio-friendly pop without sounding saccharine or trite.  Goldberg’s deep alto voice is a pleasure to listen to, and she comes off as something of a cross between Laura Branigan and Paula Cole.  “Girl, Polite” explores the struggles of someone brought up to be a ‘good girl’ but feeling rage and anger at the actions of others.  What is occurring beneath the placid depths of polite conversation may surprise you, but should be strange to almost no one.  All of this is covered under a smooth-pop sound that is delightful.

“Where Did You Go” is a sorrowful pop ballad, born of heartbreak and loss.  There is a faux waltz underpinning the arrangement in 6/4 time, and Goldberg’s voice gives more than a few ‘WOW’ moments here.  “Five Steps” and “I’m Always Right” are bland filler, but Goldberg recovers nicely with “My Heaven”; a love song to one who may never hear it.  Goldberg writes here for herself, trying to survive loss and loneliness.  Goldberg is absolutely amazing on the chorus; her voice rich and deep and full of an abject beauty.

Girl, Polite hits a lot of right notes, and Jill Goldberg’s voice is in fine form throughout.  There are two filler tunes here, but even in her more mundane moments Goldberg is intriguing.  It’s a shame Goldberg will only be promoting this EP on the East Coast; she shows enough talent and panache to extend her reach well beyond the I-95 corridor.

Rating: 3 Stars (Out of 5)

Learn more about Jill Goldberg at http://www.jillgoldberg.com/ or www.myspace.com/jillgoldberg.  Girl, Polite drops April 1, 2011, and will be available from Amazon.com as a CD or Download.

Halie Loren - After Dark

Halie Loren - After Dark

2010, White Moon Productions

 The past year has been a momentous one for Halie Loren.  Winning the Just Plain Folks Award for Best Jazz Vocal album to becoming a major label artist in Japan (her album They Oughta Write A Song went to #1 on the Amazon Japan charts and stayed in the top-10 for several days.  The crowds in Japan have been growing, and would seem to portend the success that seems inevitable back home in the States.  Loren also released a successful live album, Stages, showing off the line energy that makes her an in-demand performer.  Loren returns on November 16, 2010 with a new album of studio recordings.  After Dark mixes original and cover tunes and shows a somewhat lighter side of Loren, who is again joined by capable skills of pianist Matt Treder, bassist Mark Schneider, Chris Ward on guitar and Brian West (percussion), with guest appearances by guitarist Jack Jezzro.

Loren opens with “After Dark”, a theatrical ballad of forbidden love perfected in secret.  Loren burns with desire, the many levels and textures of her vocal sound sparkling in the dark light of sensuality and longing.  This is an amazing start full of power and emotion.  Loren sings in English and Spanish on Jobim’s “Waters Of March”, finding a place that is subtle and refined but thoroughly in the moment of the song.  “Gray To Grand” is a Loren-penned piece of sweet and breezy jazz/pop with a pretty melody and a light feel; a nice change of pace with a developing worldview full of optimism.

“La Vie En Rose” is one of those songs that artists tackle almost at their own peril.  Edith Piaf being the icon that she is, her signature song is one that gets butchered more often than not.  Halie Loren gives a bravura performance in flawless French, as if she were born to sing it.  “Thirsty”, another Loren original, is a song of unequivocal longing and desire with an arrangement that sounds like it might have come out of a Sting recording session circa 1988.  It’s an amazing bit of songwriting and seems to represent a step forward for Loren as a songwriter.  Loren goes a bit free form in her take on Ray Henderson and Mort Dixon’s “Bye Bye Blackbird”, offering a highly interpretive vocal.  Loren works this for all it’s worth in a flawless performance.  The band is right there with her at every step, with pianist Matt Treder in particular standing out. 

Loren interprets Bobbie Gentry’s “Ode To Billie Joe” as a slinky blues number and absolutely inhabits the song.  This is one of those performances after which you simply sit back and say, “Wow.”  Loren takes the air of mystery of the original and raises it a notch.  John Shipe joins Halie Loren for a duet on “Beyond The Sea”.  This is an opposites attract pairing, as Shipe vocally sounds like a lightweight next to Halie Loren’s full voice.  The mix works because of the contrast, but they do sound mismatched at times.  Loren takes on Duke Ellington’s “In A Sentimental Mood” in another “Wow” moment that smooth and lush; artful and rife with emotion.   Loren has fun with Stevie Wonder’s “Happier Than The Morning Sun”, a celebratory love song that’s jubilant in its aspect and refined.

Loren gives Tracey Chapman’s “Give Me One Reason” a surprising read; putting her own distinctive stamp on the tune.  It might take a couple of listens to get into this arrangement, but the song will grow on you.  “It’s You” is a sensual song detailing a long distance love affair.  It’s the textures of Loren’s voice that stand out in a chill-inducing performance.  Jack Jezzro takes on final turn on “Time To Say Goodbye”, while Loren makes the chorus absolutely soar with nuance and a sort of beautiful grit.  It’s a magical moment where the artist, Loren, rises above her art into the sublime.  After Dark closes with a cover of Joni Mitchell’s “Carey”, blending Caribbean, swing and pop styles.

It’s hard to imagine Halie Loren not being a star.  With a masterful voice that’s part Etta James and part Sarah McLachlan, a subtle touch that allows her to blend vulnerability and sensuality unlike any other artist currently in jazz or pop music, and a talent for phrasing that’s uncanny, Halie Loren is the complete package.  After Dark shows a slightly lighter side to Halie Loren, but at the same time shows her gaining gravitas as a performer.  This could be the breakout album in the US; the one that takes Halie Loren from a known quantity to the status of being a big name.  Whatever happens on the charts or in the popular media, there will be little doubt to those in the know that After Dark is one of the finest vocal jazz albums of 2010.  It’s certainly a Wildy’s World Certified Desert Island Disc, a must have album.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. After Dark drops on November 16, 2010.  Pre-orders are available from Amazon.com for both CD and Download.

The Jezabels - Dark Storm

The Jezabels - Dark Storm
2010, The Jezabels

Sydney, Australia quartet The Jezabels have had a whirlwind year, landing opening gigs for artists such as Tegan & Sara, Katie Noonan and Josh Pyke while promoting their 2009 EP She's So Hard.  In the process The Jezabels grew into headliners themselves, selling some pretty impressive rooms along the way.  Led by vocalist Hayley Mary, The Jezabels bring an eclectic sound on their latest EP, Dark Storm, the last of an EP trilogy.

The EP opens with “Dark Storm”, a stark and lovely tune with a disturbing edge.  The song has a hidden pop sensibility; it won’t necessarily be your favorite the first listen through but it is the song that will keep you coming back.  Vocalist Hayley Mary intrigues while sounding like a cross between Kate Bush and Stevie Nicks.  “Mace Spray” is crunchy-but-ambient pop.  Hayley Mary’s vocal is distinctive and disturbing, full of an asymmetric beauty and a hard edge that’s sort of like chewing on tin foil.  “Sahara Mahala” is an edgy pop love song with a serious hook and a deep sense of mystery.  “A Little Piece goes a bit too far vocally, with Mary stretching for some soprano notes that were perhaps ill thought.  The Jezabels close with “She’s So Hard”, a vocally intriguing but lyrically obtuse song that shows elements of Sarah McLachlan and Bjork.

The Jezabels show an intriguing mix of rock, pop and Lilith Fair pastiche on “Dark Storm”, one of the more intriguing musical introductions we’ve made this year at Wildy’s World.  The EP itself has its ups and downs, but Hayley Mary has a voice that could become iconic.  Voice aside, there’s enough here to keep you in the loop enough to want to find out what The Jezabels do next.

Rating: 3 Stars (Out of 5)

Learn more about The Jezabels at http://www.thejezabels.com/ or www.myspace.com/jezabelsband.  Dark Storm is available on CD from Amazon.com.  Digital copies are available via iTunes.

Annie Fitzgerald - In Good Time

Annie Fitzgerald - In Good Time
2010, Pin Curl Productions

Minnesota native and Brooklynite Annie Fitzgerald captivates audiences with her own brand of homespun Americana. A regular on the New York City Indie scene, Fitzgerald is known in several major US cities as an entrancing performer with a voice that draws you, wraps its arms around you and just won't let go. With nods to Sarah McLachlan, Patty Griffin and even Ray LaMontagne, Fitzgerald tackles the little moments in life, drawing the significance of each out into the light in songs that flow like water. It won't take long until you are immersed in her first full length album, In Good Time.

Annie Fitzgerald has one of those voices that are hard to classify. Full of beautiful textures and contours, Fitzgerald can run a warm alto to an inspired soprano, transitioning from one to the other with great ease. Fitzgerald's voice seems to have multiple layers, ala Sarah McLachlan, but her sound is very much her own. When first greeted with that voice on In Good Time's opening track, "Hero", you'll be surprised by the simple, heartfelt delivery and utter beauty of her voice. "Hero" is a heart-on-your-sleeve ballad with a future on mix-tapes and as a wedding song. "Another Sad Love Song" is an amazing bit of melancholy songwriting in a delicious Americana arrangement; a bit of pure poetry. Fitzgerald wishes a young friend well on "Little Girl", a sweet song of inspiration and hope for one whose dreams, hopes and aspirations are all as yet unfound. It's Fitzgerald's easy, unaffected delivery that makes this song fly.

"Watch The World Go By" is an invitation to enjoy a perfect moment in love; those times when time stops and you are lost between the streams with that perfect person. Here it is a dream; a wish for love and the eternal what if. The songwriting style here will seem very familiar to fans of Sarah McLachlan, both for its textures and flow but also for the earnest lyrics and delivery. "Brother" finds Fitzgerald reminiscing about childhood in a song that's full of the melancholy of days lost but also the joy of memory. Fitzgerald's vocal performance here is stunning; stark, lonely and full of love. "How Long" has one of those choruses that seem familiar to you the first time you hear it and stick with you long after the song is done. It's a highly memorable tune you're likely to have on repeat.

"Old Souvenirs" touches on the significance of memories of loved ones who have passed on, and the power of objects, even names passed on, to fill our hearts. Fitzgerald finds that near-perfect songwriting moment here where a song is both highly personal and universal, opening a window between songwriter and listener that is tangible and real. Fitzgerald issues a personal and beautiful call to move forward with a relationship that works on "Let's Not Wait Too Long"; playing on a sense of love and urgency driven by the feeling that this time it's right. Fitzgerald's emotions swirl through the song like gusts of wind on a Fall day, moving and churning in a beautiful display of both creation and fear. In Good Time closes with "Cellar Door", a song about looking into the aspects of yourself that most frighten you; the things you'd rather not see. It's a song about crossing the bridge into adulthood, and taking on the fears we have hidden away from ourselves. It's an amazing closing song; a highly mature and introspective piece of songwriting that seems likely to be covered by others down the road.

Annie Fitzgerald shows a distinctive flair for writing highly personal and moving songs on In Good Time. Fitzgerald’s approach is mature beyond her years, and her voice is has the ring of angel song filtered through the rays of sunrise. Fitzgerald will captivate you with her songs, and you'll be waiting for more to come In Good Time.

Rating: 4.5 Stars (Out of 5)

Learn more about Annie Fitzgerald at http://www.anniefitzgerald.com/ or www.myspace.com/anniefitzgerald.  You can order In Good Time as either a CD or Download directly from Annie Fitzgerld's webstore.  digitally from Amazon.com or iTunes.