LIVE AT BAKER STUDIOS
Shane Philip
Independent
8-out-of-10
Be prepared to enter a world of music that is unique, compelling, infectious and just plain good when you pop Live At Baker Studios into the player.
Shane Philip hails from B.C., but uses Australian instrumentation to create this outstanding album. He combines guitar, Weissenborn lap-slide, djembe and didgeridoo into unique combinations that offer the listener something quite fresh in terms of music.
Insomnia is a beautiful song powered by the didgeridoo, and Philips smooth vocals.
Triple Shot is an instrumental effort where Philip turns to the djembe drum, and it is simply a wonderful upbeat piece.
There are times the mood softens here, such as Sweet Ocean, a piece that lacks some of the unique taste of the best songs here, yet it works as a change of pace.
The CD overall is a combination of folk-heart, with overlying pop sensibilities, which culminate in the absolutely excellent Skydance, a song opened with more didgeridoo, and then turning to an upbeat pop anthem. The blend works perfectly here.
This CD would be worth a listen if just for the unique blending of little-heard instruments, used in a compelling new fashion. That he does it all himself just adds to the satisfaction of being along to listen.
However, there is far more here. The quality of the material Philip has created takes this CD far above just being a novelty, to one that will get repeated plays because it is just so darned good.
A talented songwriter and musician emerges from this CD, be there for the event.
Check it out at www.shanephilip.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 8, 2009 - Yorkton, SK. Canada
Friday, July 10, 2009
Review -- BOB RUSSELL -- Turnin' Heads
TURNIN' HEADS
Bob Russell
Independent
7.5-out-of-10
Welcome to today's country that at least has a little bit of the heritage of the genre wrapped in the music.
Bob Russell cooks up straight country, with an ear toward fitting into radio nicely these days.
The disk starts off with Down A Road You've Never Been, then follows up with Cowgirl Love, both songs that could fit into drive time country radio.
Ditto for track three with Hard To Be An Outlaw.
Now Russell doesn't exactly forge anything new here. He uses tried and true formulas. Hard To Be An Outlaw is upbeat. It's a song about being a loner, and doing what you know is right. Not groundbreaking material, but darn it's a fun song that is toe tapping, with catchy hooks to sing along with.
Russell does know how to slow it down too. Too Damn Young is a love song that has a nice pace, and again, could catch country radio interest.
This is a guy that can play today's country, yet keep it with some semblance of older country, at least in terms of song selection. He has selected these songs from a range of writers, but they all fit his easy, clear vocal style.
Now I can't exactly rate this CD higher because it is so geared toward meeting radio, and uses formula-style style songs from start to finish.
Yet, you know what? Russell makes it all work far better than most country CDs that pass around these days.
It doesn't hurt that Bart McKay is around as producer either.
It could be the clear vocals. It could be the song selection which is just a bunch of good-time country songs that are fun to listen too.
Either way, if you like today's country, you will love this CD. Check it out.
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 8, 2009 - Yorkton, SK. Canada
Bob Russell
Independent
7.5-out-of-10
Welcome to today's country that at least has a little bit of the heritage of the genre wrapped in the music.
Bob Russell cooks up straight country, with an ear toward fitting into radio nicely these days.
The disk starts off with Down A Road You've Never Been, then follows up with Cowgirl Love, both songs that could fit into drive time country radio.
Ditto for track three with Hard To Be An Outlaw.
Now Russell doesn't exactly forge anything new here. He uses tried and true formulas. Hard To Be An Outlaw is upbeat. It's a song about being a loner, and doing what you know is right. Not groundbreaking material, but darn it's a fun song that is toe tapping, with catchy hooks to sing along with.
Russell does know how to slow it down too. Too Damn Young is a love song that has a nice pace, and again, could catch country radio interest.
This is a guy that can play today's country, yet keep it with some semblance of older country, at least in terms of song selection. He has selected these songs from a range of writers, but they all fit his easy, clear vocal style.
Now I can't exactly rate this CD higher because it is so geared toward meeting radio, and uses formula-style style songs from start to finish.
Yet, you know what? Russell makes it all work far better than most country CDs that pass around these days.
It doesn't hurt that Bart McKay is around as producer either.
It could be the clear vocals. It could be the song selection which is just a bunch of good-time country songs that are fun to listen too.
Either way, if you like today's country, you will love this CD. Check it out.
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 8, 2009 - Yorkton, SK. Canada
Review -- THE GORDON GRDINA TRIO -- ...If Accident Will
... IF ACCIDENT WILL
The Gordon Grdina Trio
Plunge Records
8-out-of-10
The Gordon Grdina Trio takes jazz into the world of the inspired, the experimental, the slightly wild, and the always interesting.
We shouldn't expect less given that his own bio states “Grdina is a Vancouver based Oud/Guitarist whose sound is a combination of his interests in mainstream jazz, free-form improvisation and Arabic classical music.”
That gives you a bit if an understanding of what ... If Accident Will is about.
Joined by Tommy Babin on bass and Kenton Loewen on drums, Grdina uses his interest in Arabic classical music well in that it is clearly heard in most of the instrumental pieces here as a unifying element for the CD.
The influence comes to the forefront on 229, the CD's second cut, and from there on your ear connects to the underlying rhythm of Arabia.
There is some particularly gentle Arabic guitar work on Cobble Hill / Renunciation.
While only nine pieces are included here, they are substantial ones and the trio lets themselves go, delving into the combinations of musical styles, letting the music live and breath and develop as it wants too. They are wise to do so, because it takes some nice curves along the way, going off the beaten path to investigate some interesting side roads of jazz.
This is a CD where you can grasp what the Grdina Trio is out to do, bringing the Arabic flavour to jazz. However, it is an experiment in terms of how they accomplish it, and that is what makes this CD work.
The first listen will capture your attention, but this is the sort of music which you will find little nuances that impress anew three, four, five spins later. That is what make it a truly compelling jazz effort.
If you like you jazz fresh, check it out at /www.gordongrdina.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 8, 2009 - Yorkton, SK. Canada
The Gordon Grdina Trio
Plunge Records
8-out-of-10
The Gordon Grdina Trio takes jazz into the world of the inspired, the experimental, the slightly wild, and the always interesting.
We shouldn't expect less given that his own bio states “Grdina is a Vancouver based Oud/Guitarist whose sound is a combination of his interests in mainstream jazz, free-form improvisation and Arabic classical music.”
That gives you a bit if an understanding of what ... If Accident Will is about.
Joined by Tommy Babin on bass and Kenton Loewen on drums, Grdina uses his interest in Arabic classical music well in that it is clearly heard in most of the instrumental pieces here as a unifying element for the CD.
The influence comes to the forefront on 229, the CD's second cut, and from there on your ear connects to the underlying rhythm of Arabia.
There is some particularly gentle Arabic guitar work on Cobble Hill / Renunciation.
While only nine pieces are included here, they are substantial ones and the trio lets themselves go, delving into the combinations of musical styles, letting the music live and breath and develop as it wants too. They are wise to do so, because it takes some nice curves along the way, going off the beaten path to investigate some interesting side roads of jazz.
This is a CD where you can grasp what the Grdina Trio is out to do, bringing the Arabic flavour to jazz. However, it is an experiment in terms of how they accomplish it, and that is what makes this CD work.
The first listen will capture your attention, but this is the sort of music which you will find little nuances that impress anew three, four, five spins later. That is what make it a truly compelling jazz effort.
If you like you jazz fresh, check it out at /www.gordongrdina.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 8, 2009 - Yorkton, SK. Canada
Review -- SORA -- Heartwood
HEARTWOOD
Sora
Independent
9.5-out-of-10
OK to start this review I'll just say if you love amazing voices and great music you should abandon reading this right now and instead simply go out and buy Heartwood by Sora.
It took all of 35 seconds of the opening cut of this CD, which also happens to be the title cut, to totally fall in love with this lady's voice. To term it anything less than stunning, or amazing, would be to do Sora a disservice.
As for the music, well we reviewers love to categorize, but in this case it's interesting to read what Sora herself says.
“I have thought a lot about genre, about where I should place my music and after all these years, I still have no idea,” she said on her website. “My favorite description of my music is neoclassical, although I often call myself Contemporary Celtic or that nebulous singer/songwriter category. As a kid, I had strict classical teachers and mentors as well as folk, neither could seem to find merit in the other, but I see music as simply music. Genre, you always hear about genre. Classify yourself, categorize, but be interesting and unique while doing it. My music, to me, comes from the natural world. That is what inspires me, that is the imagery I place in my songs. Trees, and forests, light dappling through the canopy. The feeling of fiery leaves falling around as you walk on an autumn day, a cherry full to the brim with blushing blossoms, springing to life. The way ice forms in intricate patterns on my window, the sound of the wind in the trees. My lyrics come from there and that is what I want to share with my listener.”
Sora's view of her own music is interesting, in that it shows the poet inside her. The view is descriptive. It is near lyrical.
That is what you get here, music that paints pictures. That comes from the heart.
As for vocals style, two names came to mind Loreena McKennitt and Enya. So it was interesting to read, again on Sora's website her view of her influences.
“I love so many different musicians and types of music, from Rachmaninoff to Enya, and it all has helped to create my music,” she wrote. “But as to style, I guess Loreena McKennitt is my greatest influence. I have loved her music from the very first note on the very first song I heard, many many years ago. She is an inspiration to me. She is the only artist in which I can listen to every single one of her CD's all the way through and love every song. Amazing! Other influences include Tori Amos, Jewel and Sarah McLachlan.”
I won't even try to select a best cut here. They are all just excellent, all written by Sora as well. This lady is an amazing talent. Check it out at http://www.soramusic.ca/
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 1, 2009 - Yorkton, SK. Canada
Sora
Independent
9.5-out-of-10
OK to start this review I'll just say if you love amazing voices and great music you should abandon reading this right now and instead simply go out and buy Heartwood by Sora.
It took all of 35 seconds of the opening cut of this CD, which also happens to be the title cut, to totally fall in love with this lady's voice. To term it anything less than stunning, or amazing, would be to do Sora a disservice.
As for the music, well we reviewers love to categorize, but in this case it's interesting to read what Sora herself says.
“I have thought a lot about genre, about where I should place my music and after all these years, I still have no idea,” she said on her website. “My favorite description of my music is neoclassical, although I often call myself Contemporary Celtic or that nebulous singer/songwriter category. As a kid, I had strict classical teachers and mentors as well as folk, neither could seem to find merit in the other, but I see music as simply music. Genre, you always hear about genre. Classify yourself, categorize, but be interesting and unique while doing it. My music, to me, comes from the natural world. That is what inspires me, that is the imagery I place in my songs. Trees, and forests, light dappling through the canopy. The feeling of fiery leaves falling around as you walk on an autumn day, a cherry full to the brim with blushing blossoms, springing to life. The way ice forms in intricate patterns on my window, the sound of the wind in the trees. My lyrics come from there and that is what I want to share with my listener.”
Sora's view of her own music is interesting, in that it shows the poet inside her. The view is descriptive. It is near lyrical.
That is what you get here, music that paints pictures. That comes from the heart.
As for vocals style, two names came to mind Loreena McKennitt and Enya. So it was interesting to read, again on Sora's website her view of her influences.
“I love so many different musicians and types of music, from Rachmaninoff to Enya, and it all has helped to create my music,” she wrote. “But as to style, I guess Loreena McKennitt is my greatest influence. I have loved her music from the very first note on the very first song I heard, many many years ago. She is an inspiration to me. She is the only artist in which I can listen to every single one of her CD's all the way through and love every song. Amazing! Other influences include Tori Amos, Jewel and Sarah McLachlan.”
I won't even try to select a best cut here. They are all just excellent, all written by Sora as well. This lady is an amazing talent. Check it out at http://www.soramusic.ca/
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 1, 2009 - Yorkton, SK. Canada
Review -- CARVELLI -- The Movement
THE MOVEMENT
Carvelli
Independent
??-out-of-10
You will notice the question marks in place of an actual rating for Carvelli's CD The Movement. There is a reason for that. I simply do not how to rate this one.
I am not sure how this CD compares to others of a similar genre because this is a rap album, one of about only three musical styles which I avoid at nearly all costs, so I have almost zero experience with the style. I can assure you this effort hasn't changed my mind on that stance either.
That said I will give Carvelli credit. He is a Canadian of Italian descent, who is mixing his culture into his music. I am not sure there are a lot of Italian rappers out there, but Carvelli is fusing his culture and the musical style.
It's always impressive when a musician forges into an area the music has not substantially been before.
Like most rap, there is a beat here, and that's good, and the lyrics may well resonate with many listeners, but the rap style doesn't sell it to me.
Interesting for his approach, this remains a rap CD, and thus should likely only be sought out by fans of that genre.
Check it out at /www.carvelli.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 1, 2009 - Yorkton, SK. Canada
Carvelli
Independent
??-out-of-10
You will notice the question marks in place of an actual rating for Carvelli's CD The Movement. There is a reason for that. I simply do not how to rate this one.
I am not sure how this CD compares to others of a similar genre because this is a rap album, one of about only three musical styles which I avoid at nearly all costs, so I have almost zero experience with the style. I can assure you this effort hasn't changed my mind on that stance either.
That said I will give Carvelli credit. He is a Canadian of Italian descent, who is mixing his culture into his music. I am not sure there are a lot of Italian rappers out there, but Carvelli is fusing his culture and the musical style.
It's always impressive when a musician forges into an area the music has not substantially been before.
Like most rap, there is a beat here, and that's good, and the lyrics may well resonate with many listeners, but the rap style doesn't sell it to me.
Interesting for his approach, this remains a rap CD, and thus should likely only be sought out by fans of that genre.
Check it out at /www.carvelli.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 1, 2009 - Yorkton, SK. Canada
Review -- CROP CIRCLE -- Come Inside
COME INSIDE
Crop Circle
Independent
7.5-out-of-10
Crop Circle is a rock band, plain, simple, straight forward, solid.
Come Inside is not the best CD of the decade, but you know what, it is a workman-like effort. Solid. There are no techno tricks here. Crop Circle just plays rock. A lot of bands try to be something more than that, and yet as a genre, few strike a chord more than straight rock, and Crop Circle remembers that. They play.
For example, the guitar work on He Said She Said is really at the heart of what rock is all about.
While not the best CD of the decade, Recent Stranger is a memorable song. It again speaks to the heart of rock, and could be on a CD from a band ranging from Trooper to Nickleback. That tells you how solid it is.
Come Inside slows down the pace a half step, but again is very solid. Catchy. It just works.
Hideaway has a moody intro, and a generally darker musical element, but again it is solid rock.
Crop Circle is Sean McCormick, who offers up the vocals, with Brian Garbet on guitar, Nathan Zadworny on bass, and Ben Darbey on drums.
Not totally blown away, but darn this CD grows on you. Really it is one of those CDs you will play far more often than you might initially expect. Well worth picking up.
Check them out at www.cropcircle.ca
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 1, 2009 - Yorkton, SK. Canada
Crop Circle
Independent
7.5-out-of-10
Crop Circle is a rock band, plain, simple, straight forward, solid.
Come Inside is not the best CD of the decade, but you know what, it is a workman-like effort. Solid. There are no techno tricks here. Crop Circle just plays rock. A lot of bands try to be something more than that, and yet as a genre, few strike a chord more than straight rock, and Crop Circle remembers that. They play.
For example, the guitar work on He Said She Said is really at the heart of what rock is all about.
While not the best CD of the decade, Recent Stranger is a memorable song. It again speaks to the heart of rock, and could be on a CD from a band ranging from Trooper to Nickleback. That tells you how solid it is.
Come Inside slows down the pace a half step, but again is very solid. Catchy. It just works.
Hideaway has a moody intro, and a generally darker musical element, but again it is solid rock.
Crop Circle is Sean McCormick, who offers up the vocals, with Brian Garbet on guitar, Nathan Zadworny on bass, and Ben Darbey on drums.
Not totally blown away, but darn this CD grows on you. Really it is one of those CDs you will play far more often than you might initially expect. Well worth picking up.
Check them out at www.cropcircle.ca
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper July 1, 2009 - Yorkton, SK. Canada
Review -- ROMI MAYES -- Achin In Yer Bones
ACHIN IN YER BONES
Romi Mayes
Independent
9-out-of-10
Romi Mayes is one of those under appreciated musical gems which exist in Canada.
Hailing from Manitoba, she is a veteran of the Canadian music scene with a number of disks to her credit, including the 2006 release Sweet Somethin' Steady, an excellent CD I have enjoyed. It went on to earn Mayes a Western Canada Music Association award as Songwriter of the Year. And then there was the 2007 release Beverley Street: The Songs of David Essig by The D.Rangers and Mayes. Considering Essig is an icon in Canadian roots, that is a disk I would love to hear.
This CD is certainly one keeping with her past effort in terms of quality, starting with the title cut, which kicks off this CD. It is a song in the truest tradition of folk in that the lyrics tell a story, in this case a story of our country.
As good as the title cut is, and believe me it's very good, I can't call it the best among the 10 songs here.
If the Lord Don't Love You is the best of the bunch here. It is a deep, bluesy cut, where Mayes get down into the mood of the music and her voice simply fits the style. Very sweet indeed.
When Mayes turns to Mercy On Me, with some nice duet vocals with song co-writer Gurf Morfix, the pair come up with a definite winner as well. The pair really do combine well vocally. It is a combination I would have liked to have seen a bit more of on the album, since Morfix plays bass or guitar on all but one song here.
Tire Marks goes a bit more country, and honestly could be a hit on country radio if given a listen by programmers.
Mayes should be as well known as Anne Murray or Shania Twain or Jann Arden. Yes her style is different than each of these women, but at the same time, she's every bit as talented.
This truly is a CD to search out, excellent as it is from start to finish.
Check it out at www.romimayes.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper June 24, 2009 - Yorkton, SK. Canada
Romi Mayes
Independent
9-out-of-10
Romi Mayes is one of those under appreciated musical gems which exist in Canada.
Hailing from Manitoba, she is a veteran of the Canadian music scene with a number of disks to her credit, including the 2006 release Sweet Somethin' Steady, an excellent CD I have enjoyed. It went on to earn Mayes a Western Canada Music Association award as Songwriter of the Year. And then there was the 2007 release Beverley Street: The Songs of David Essig by The D.Rangers and Mayes. Considering Essig is an icon in Canadian roots, that is a disk I would love to hear.
This CD is certainly one keeping with her past effort in terms of quality, starting with the title cut, which kicks off this CD. It is a song in the truest tradition of folk in that the lyrics tell a story, in this case a story of our country.
As good as the title cut is, and believe me it's very good, I can't call it the best among the 10 songs here.
If the Lord Don't Love You is the best of the bunch here. It is a deep, bluesy cut, where Mayes get down into the mood of the music and her voice simply fits the style. Very sweet indeed.
When Mayes turns to Mercy On Me, with some nice duet vocals with song co-writer Gurf Morfix, the pair come up with a definite winner as well. The pair really do combine well vocally. It is a combination I would have liked to have seen a bit more of on the album, since Morfix plays bass or guitar on all but one song here.
Tire Marks goes a bit more country, and honestly could be a hit on country radio if given a listen by programmers.
Mayes should be as well known as Anne Murray or Shania Twain or Jann Arden. Yes her style is different than each of these women, but at the same time, she's every bit as talented.
This truly is a CD to search out, excellent as it is from start to finish.
Check it out at www.romimayes.com
-- CALVIN DANIELS
-- Review first appeared in Yorkton This Week newspaper June 24, 2009 - Yorkton, SK. Canada
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