It’s the Backstreet Boys first week on Cashbox Popular Albums Charts with Unbreakable and they have already climbed to the #10 spot with a bullet. There must be a reason for that. The boys sound hotter than ever, the harmonies are smooth and tight especially on the ballads like “Inconsolable”. They have solid strong melodies that are the type that just might stick in your brain and find you singing along in the car, or shower even when the music isn’t playing.

Songs like “Trouble Is” is strong crossover song that could go country or be a powerhouse Rock tune performed by a band like Aerosmith. “Any Other Way” is a strong funky minor key tune that rocks well but I am hearing more and more artist using the vocoder type vocal tuning which says to me that the boys are having a little trouble keeping the vocal tracks in tune. Rather than spend the time hitting the right notes they have to resort to a studio effect. Subtract 1 star for this over used effect.

Unbreakable may not be the best ever from the Backstreet Boys but it certainly ranks as a must have for any of their long time fans.


MSP    

This CD is the 3rd and latest effort by Buzz Carlton. The title “Somebody Get Me My Guitar” could have been “I Got My Guitar Now Can I Get A Band?” With a total of 10 songs the one thing that stands out is the lack of any orchestration other than a rhythm guitar. You can catch some tambourine and kick drum action here and there and the songs “Amen” and “I Wanna Do It With You” display a touch of vocal harmony.

Buzz has a solid deep Country twangy voice that sounds a bit at times like a cross between Randy Travis and Leon Redbone. Buzz might be fine with some serious Nashville studio production and musicians but lyrically and melodically none of the songs on this CD show enough originality to actually stand on their own.

You can Check out Buzz at Buzz Carlton at CDBaby.com or www.buzzCarlton.com


MSP    

Taking Chances has been hyped as a daring departure from Celine’s “Songbird instincts” leaning more towards Rock ‘n’ Roll. I don’t agree and hear it as only a slight departure from what we all have come to expect from this vocal goddess. Celine has one of the purest voices heard anywhere. Pretty much anything she sings becomes a masterpiece and a target for other artists to shoot for.

For Celine lovers, it tends to be a love hate relationship where everyone truly loves what she sings but hates to be caught buying her CDs believing that someone might think them un-kewel. Personally I don’t care what anyone thinks about my musical taste, I love what this musical monster named Celine can do. I am a sucker for rich full sounding music that can shake the windows or simply be a moment of pure emotion as a single violin string cries alone. Going with that, I pick “A Song For You”, "Surprise, Surprise" and “Right Next To the Right One” as the songs most likely to jump from the tracks and climb the charts.

Taking Chances could also be titled “Taking Liberties” as she cuts the bindings that hold her into the "Celine genre" that fans have always expected. Now she soars to new plateaus and stratospheres exercising her vocal wings with a wide latitude of musical styles. I don’t believe that Celine is taking any chances with what she has given us on this CD and if she truly believes she has taken any chances, she has managed to give us so much music in these 16 tracks that even her worst critics would have to overlook the one or two songs that they believe to be a bit rebellious. You cannot lose with this CD choice, no how, no way!!!


MSP    

Curtland Watson’s musical offering is a combination of R&B and Hip Hop made up with loops and beats to provide a somewhat common arrangement for a solid vocal style that is reminiscent of “Curtis Mayfield and the Impressions”. Not to say that Curtland is yet in the same ballpark but he may possibly be headed in the right direction. Included on this album are touches of “Barry White” style soft, gentle and sexy talk that is only lacking in the deep vocal resonance of the master.

The only things missing in this musical compilation is more unique musical arrangements and some real lyrical content. Curtland’s music is easy and smooth with vocals to match and doesn’t contain any offensive tracks which will definitely open the doors to radio play. Hopefully other Hip Hop artists will continue following this trend of respecting the listeners. With the 14 tracks on this CD Curtland could be on his way to bigger and better things.
MPS    

Impressive new artists don’t materialize out of thin air. But when you start with incredible talent from Toronto and add legendary producer Bob Gallo, the result would lead you to believe that Dave Borins did. After a sneak peek at his debut album, Songs of Sense and Color, these tracks are exactly what you’d expect from these two incredible inputs; music in its finest form.

Borins’ lyrical and musical abilities permeate your speakers right as track one, “Call Somebody You Love”, begins. The vocals and unique writing style take center stage in a song that conjures refreshing feelings of a Sunday stroll. He has great tone, range, and his dynamics change effortlessly. The song travels through the slow and melodic, with detours to the more upbeat and driven. Borins adds his soulful vocals and artistic flair to complete a radio-ready track.

The next track has rock roots laced throughout. Borins enhances the track by teetering on the edge of straining his vocal chords, adding edginess and conviction to his tone. The perfect placement of Hammond organ fills radiate. “You Don’t Really Love Me”, is a toe-taper that shows Borins’ arranging ability through shifting moods.

“She’s Under My Wing”, is a dynamic track that screams influences one-by-one ranging from Bob Dylan to Jack Johnson. It has a Counting Crows meets CCR appeal. With its great acoustic feel and harmonious ambient background vocals, this track is layered with plenty of intricacies to keep even the most analytical listener occupied. Borins shows his maturity through careful arrangement and changes that keep the musical monotony in check.

"My Hit Song" shows the cynical, yet hopeful wit of Mr. Borins. At the beginning, the songwriter lists numerous artists that he has "borrowed" ideas from; Neil Young, Hendrix, Cobain, the list of musical royalty goes on. His roll-call lyrics serve to expose and glorify what so many writers seek to hide: their undeniable debt to the music that inspires them. This rather mature statement is packaged with a nod and a wink to rock'n'roll clichés. The song is wonderful and the ironic stadium sound arrangement creates an impressive sonic canvas. Borins sounds like he belongs on that stage and few will be surprised to see him there soon.

Dave Borins is an extraordinary talent. His lyrics are meaningful, poetic, and introspective. His voice is incredible in all ranges and he is able to color it with so many shades. His sound is reminiscent of every prolific artist he could ever want to emulate; with distinction. Dave Borins is FOR REAL.


David Warren    

If it wasn't for the absolute sales champ Casting Crowns this group would have camped at no. 1 but 2 is respectable and well earned. This Pop Christian band is well produced and is certainly delivered in such a way that it flows so well and is easy on the ears. All 10 tracks are excellent. "Remedy" sounds to be the standout track and I really like the way they handle the hymn classic "Oh For A Thousand Tongues". "Never Let Go", ":The Glory of It All", "Rain Down" and "Surely We Can Change" are great contemporary gospel tracks.

I hope to hear more from these guys. Guys, keep it like it is. I wouldn't experiment with something that’s this good. Five Stars


JDH    

”More people have the Einsturzende Neubauten stick figure tattoo than there are people who know who they are”, Nick Hornby once said, and I am sure they was a time when this was true. Here on their latest release, the great, and sometimes frightening EN deliver the goods. While Alles Weider Offen does not offer the same wackiness as 2000’s Silence is Sexy, it also does not suffer from the formers filler. Though, I am partial to “Silence is Sexy’s” perfectly recorded smoking of a cigarette. Album opener “Die Wellen” starts off quietly and slowly builds into a complete frenzy. The next tracks teases at EN selling out to some lighter sounding industrial music, but “Nagorny Karabach” actually comes off as totally sincere and poses the question: have EN finally calmed down and, god forbid, matured? “Weil Weil Weil” assures the listener that while there might be a transformation in EN’s sound, that their oddly catchy industrial tunes have not been thrown out the window, but welcomed alongside their new sounds as well. “Let’s Do it Dada”, the only song titled in English, is also the album’s shinning accomplishment. Everything great about EN comes out on “Let’s Do it Dada”. The beat is strong, the difference between verse and chorus is the difference between slow and quiet to fast and loud. While EN is in their third decade of making music, they show no signs of running out of ideas or steam. Let’s Do it Dada!


Justin Scro    

If you have suffered musical amnesia and can’t remember the past decade, you may think Echoes, Silence, Patience & Grace is somewhat of an equal opportunity genre employer. Don’t be mistaken. It is simply Dave Grohl tracing customary Foo Fighters rock riffs and mixing new flavors of the familiar.

“The Pretender” and “Erase/ Replace” typify the progressions that remind us of the Foo’s. The second single off this their sixth studio album “Long Road to Ruin”, is reminiscent of a “Learn to Fly” and has similar chart climbing capabilities.

“The Ballad of The Beaconsfield Miners” is the first instrumental piece done by the Foo Fighters and was composed and performed entirely by Dave Grohl. It is a dedication to 2 miners from the Beaconsfield mine collapse who requested an IPOD of Foo Fighter music while trapped. His finger picking in the tune shows his range as a musician; as if that were an unknown fact.

Grohl also dabbles in a bit of piano in the melancholy, nostalgic tunes “Statues” and “Home”.

Gil Norton was brought in to produce the album. His contribution has past promise as he worked on the Foo’s supreme second studio release, The Colour and the Shape. Echoes, Silence, Patience & Grace is comparable to the formerly mentioned with a wide array of dynamic tracks. The “My Hero”, or “Everlong” is absent however.

It is certainly worth adding to any Foo album collection.


Chris Ceccotti    

George Duke stands as one of the true master keyboardists of the late 20th century. Duke has performed with everyone from Cannonball to Frank Zappa. He has dabbled in jazz as a soloist and sideman, an electronic jazz pioneer, classical arranger, pop star and producer. With such a great and wide gap of material to choose from, how could anyone expect to encompass that all on one CD? Mosaic’s “Ultimate George Duke” may show a variety of the music Duke made, but it is in no way the “Ultimate” collection.

The album opens up with “Reach For It”, which is pure funk. The street beat and bass solo really brings the track alive. Sadly none of the other funk tracks, including this one, really show the excellence Duke was producing at that time. He had much funkier tracks to choose from this era of his musical career. The middle part of the album all runs together. No song really defines itself. They all are either an upbeat dance tune with lots of background noises and vocals, or a smoother feel with sustained background harmonies.

Once we venture closer to the end of the album with songs like, “No Rhyme, No Reason” or “Love Can Be So Cold”, you start to hear a more typical song structure. Also, we’re lucky enough to hear Duke play an actual piano with some “jazzish” influences. The last track of the album is by far my favorite. It’s an ode to Duke’s piano, hence the name, “My Piano”. There is a great intro with a lot of great things woven in, including what sounds like a soulful gospel choir in the background.

George Duke may have been a great musician, but this album just doesn’t even begin to touch on the great successes he achieved. While it maybe difficult to span 11 tracks to represent one mans entire 40-year career, there has to be a better attempt than this. I give this album 3 stars because even though the compilation is weak, the performer is stellar.


David Warren    

Some people wrote off Gorillaz as a side project band, others wrongly referred to them as ‘children’s music’, while the general population just bought Demon Days and basked in its catchy greatness. I must say that while I was not too impressed with their debut, I fell in love with Demon Days right off the bat. I mean, it’s the pop music Kid A! I said it. I dare any naysayers to track down the live Demon Days DVD, watch it, and try to deny that Damon Albarn is a genius. I loved the album, but that DVD is a sell point to any harsh critic. Gorillaz pull of everyone of the songs on their album, get all of the guest stars to appear, and even have a children’s choir.

But enough about Demon Days, that is just the back story. D-Sides is a collection of songs that didn’t make the cut or that were developed after the album. The clear standouts are the haunting “Hong Kong” and great “Bill Murray”. The rest of the disc is great as well. Each song seems like it could have been a key track on Demon Days, and the album avoids feeling like it is exploiting this great band’s catalog. While some b-sides albums might resort to throwing together some live tracks and remixes, D-Sides keeps it fresh with 13 new tracks and a demo version of Demon Day beautiful “Don’t Get Lost in Heaven”. While this comp might not help the Gorillaz branch out to new fans, it will satisfy any fan of the band. This complex and often misinterpreted band are supposedly broken up, but time will only tell if we are left with two great albums, two b-sides albums, and a complete album overhaul by Space Monkeys to live with or if we will be graced with an even further evolution of Damon Albarn’s Gorillaz.
Justin Scro    

On February 26, 2007, tenor saxophonist, Howard Wiley released his second studio CD entitled, "The Angola Project". According to Howard’s web site, “this project was crafted with inspiration from African-American spirituals and vocalizations originating from recordings of gospel music and slave chants in the Angola Prison of the 1950's”. The site further explains that Howard's interpretations draws upon the call and response technique between a leader and the "congregation", creating a unique musical exploration. The connection is totally obvious with a quick listen to the first song on the CD. Twelve Gates to the City however some songs like the second Angola strays from the “Hallelujah and Amen” gospel style to become an obscure mysterious combination of saxophone noises and operatic vocalization in the background that is taxing on the ears and brings out an emotional feeling of despair and anguish. It might work well in a movie that wants to portray these emotions but as far as pure listening, it leaves something to be desired. The conversation follows in the footsteps laid out by “Angola” just too painful to play from beginning to end.

I understand that Howard is trying to express this agony and despair of The Angola State Prison in Louisiana in this CD release and I believe he has accomplished that. But as a whole I believe this CD album would appeal to a very, very small audience of depressed and agonized listeners… No, on second thought those people would probably want something more uplifting. Number 9, Amazing Grace is done in a minor key that is so sad soul felt that you feel complete anguish through out the song as Wiley uses this platform to express the pain and suffering of a thousands of lives doomed to a live in the bondage of slavery. It is not until 10 Second Line (The Mardi Gras Song) that you are aloud to escape this musical despair. This song captures the emotion of a New Orleans funeral march when a soul of a slave actually gets to escape the bonds of life under slavery and joyously fly up and away.

"The Angola Project" showcases an impressive pairing of two vocalists (opera and scat), along with two violins, two bass players, saxophone, trombone, trumpet and drums. The Angola Project is now available on CDBaby.com.
MSP    

Larry Cordle and Lonesome Standard Time is down home as blue grass gits. If you are looking for some good ole country banjo pickin’, twangy guitars, bottleneck slide, and voices with just the right twang and substantial blue grass harmony you dang sure came to the right place. Larry and his boys can lay it down as good as the best of ‘em.

One of the things I really like about this CD is the lyrics and the enclosed CD booklet with a short story for each of the songs. There are stories about the songs themselves or about how they came to be on this CD. You kin git yor historical ed-u-ka-shun while you listen. With the story of Frank, William and Jessie and The First Train Robbery you will also hear the voice of Randy Kohrs filling in the vocal harmonies. Mississippi Kid turns out to be a song tribute to Larry and Lonesome Standard Time's all time favorite Rock bands, Lynyrd Skynyrd.

If you are a lover of Blue Grass Mountain Music the 13 songs included on this disk will make sure that you come away with a smile on your face.


MSP    

Put together a great contingent of artists and musicians such as Jackie Gore, Johnny Barker, Gerald Davis, Tony Davis, Mark Black, Jeff Grimes, Rusty Smith and Jason Moore and you are bound to have stuff made of “legends”. Included in this group are five former members of the longest running Beach band of all time, The Embers. I had the privilege of working in the DJ booth with them at their first public appearance at TJ’s Nightlife in Raleigh, North Carolina back in late August. The sound and showmanship was just incredible!,

This CD contains 13 tracks, led off by a Johnny Barker written original entitled Feels Like The Real Thing. It pretty much tells the story of days gone by as well as a group of talented performers getting back together again to do something special. The song is already receiving widespread radio air play. The band steps right up on several all time Beach standards - the Barker written classic Summertime’s Calling Me, the Gore written anthem I Love Beach Music as well as Far Away Places, Summer Wind, I’m Gonna Do Beautiful Things For You and their own special adaptation of Street Corner Serenade.

There are three excellent Mark Black written tunes, I Picked A Bad Time For Me To Get Old, I Ain’t Got Nothin’ To Lose and the slower Livin’ Here, Lovin’ Her Is Killin’ Me that have more of a hard edge, bluesy feel to them and serve well to demonstrate the vocal talents of both Mark and Jeff Grimes as well the overall versatility of the band. There is already quite a bit of positive response to the Barker arranging and Jackie singing on the Cole Porter standard Begin The Beguine. The absolute killer for me, however, is their great rendition and Jackie’s vocal interpretations of one of my all time favorite R&B tunes from Cash McCall entitled Let’s Get A Thing Going On.

Distributed on the KHP label, with this lineup of talent, how can this CD it be anything but great? To learn more about the CD, the band and where they will be playing, go to their new website at www.legendsofbeach.com.


Neal “Soul Dog” Furr    

Matchbox Twenty’s Current Line up:

Paul Doucette – drums, percussion and vocals (1996-2007) guitar and vocals (2007-present)

Matchbox Twenty has sold in excess of 37 million albums worldwide from the releases of "Yourself Or Someone Like You", "Mad Season", and "More Than You Think You Are". The latest release Exile on Mainstream, appeared in stores on October 2, this year. As far as Rock bands go Matchbox Twenty is probably one of the most popular and recognizable bands of this decade, yet they really have not dominated the charts as such.

This 2 disc 17 song CD set opens with How Far We’ve Come cranking out rock with solid drums setting the groove and sounding like any other rock band in the world until Rob Thomas jumps in with the most unique voice in today’s music and takes control. What is so great about Matchbox Twenty is the fact that they continue to provide us with real music, without samples, loops or vocal tuners. It’s raw and real, filled with excellent musicianship, sparkling lyrics about a multitude of subjects and totally believable content. This CD is the culmination of all the works that have gone before. I am sure that we will be seeing songs like See How Far We've Come, I’ll Believe You When, All Your Reasons and Can't Let You Go climbing Cashbox Charts over the next months well into next year and until their next CD arrives on the shelves. Rock lovers, go out and buy this one, you will be glad you did.


MSP    

The Second Record Album starts off with the break-neck pace of “Heat is not Made of Tiny Hot Things”, a number that takes jazz and pushes its limits into that of contemporary alternative jazz music in habited by the likes of Chicago favorites Tortoise. While the album calms down with track two’s “Empty Chicago”, the band’s integrity continues smoothly from the opening track. Again, Mystikos Quintet hold back on the typical jazz grandstanding and rely instead on the ability to ride out a groove and let the music create its own atmosphere. A new birth of cool is born on the track “You Know Soul”, given even jam gods Mediski, Martin, and Wood. The only thing unfortunate about “You Know Soul” is it’s breaking from the instrumental theme set forth by the album. It’s not a bad vocal performance, but it makes the listener think, well, “why?”

While Mystikos Quintet aren’t exactly St. Germaine, they exist in the same cool, laid back blue area. The album rolls on and the vibe continues is the same manor until the ante is upped on the trippy “Golden Gate”, which also has vocals, but this time they seem more like samples than a live performance. This helps keep the sound fresh and make the band sound like they’re on the edge and not the backburner of the sound they are working at. As it draws to a close, the group visits a more Eastern influence sound and they Quintet drops the album best and most entertaining track of The Second Album, “One Night at the Egyptian”. With this track, the potential for the band’s sound seems endless. While Mystikos Quintet’s The Second Album does not redefine anything, it pushes at the borders from within.


Justin Scro    

The Part Time Party Time Band has a great R & B / Blues sound that is exactly what the name implies. They have a solid 70s/80s Soul feel that reminds me of of the Temptations, Four Tops, and even the Blues Brothers. These songs are the kind that make you want to get up and dance. They play live with nine guys playing trumpets, saxaphone, trombone, piano, guitar, bass and drums. Add to that some real heartfelt soulfull vocals. This is real music played by real musicians (no syntheszers or sequencers) and it don't get much better than this. There bookings are steady and it looks like they may have to change the name to FULL Time Party Time Band.

Members are:Charlie Carter - Guitar • Warren Phillips - Vocals, Guitar • David Spell - Keys • Mike Freeman - Vocals, Trumpet • Dan Pierce - Vocals, Sax • David Garrett, Trumpet • Brian Barfield - Trombone • Norman Allred - Drums, Percussion • Garry Gahagan - Bass Guitar, Vocals

Tracks

These 22 Gospel tracks by the late Porter Wagoner are culled from all the Gusto Gospel albums Porter released over the last 5 years. The albums highlights include a duet with Dolly Parton "Drifting Too Far From the Shore", with Willie Nelson on "When the Silver Eagle Meets the Great Speckled Bird" and Christie Lynn and Ralph Stanley on "Model Church". Porter also does the usual Gospel fair but on songs that are rarely recorded such as "When I Reach That City On the Hill", "Meeting In the Air" and "When My Time Comes to Go". A classic masterpiece and climbing steadily on the Cashbox Inspirational Chart. Five Stars


JDH    

Tesla is an American hard rock music band from Sacramento, California that was formed in 1984 and as of this year have produced twelve studio and compilation CDs, Real to Reel being number 12.

This CD is a collection of some of the greatest rock songs for the 60s and 70s covers of “Deep Purple, James Gang, The Guess Who, Thin Lizzy, Led Zeplin and more for a total of 13 songs. This appears to be a 2 disc set but the catch is that you get the first CD with a store purchase but you have to get the second CD by purchasing concert tickets to a Tesla headline concert in 2007 (that opportunity window almost gone now 11-06-07) Check with your local venues or www.teslarealtoreel.com for details.

The performances of the various tunes throughout this CD are extremely well done with all the polish that Tesla fans have come to know. That said however, fans of the original songs and the original artists will simply see this CD as something less than unique and poor imitations of the original artists and songs. “Thank You” (LED Zeplin) comes close to the essence of Zeplin but needs to be a totally new arrangement to eliminate the obvious comparisons. “I’ve Got A Feelin” (Beatles) is one of those songs that has not been overdone so it does keep a fresh and new feel that should keep fans of both artists happy. There will also be those unfamiliar with the 60s and 70s bands being covered that will actually get to hear what was great about the songs from another era. On a whole, I was expecting much more originality but didn’t really get to hear it. Maybe Tesla should have included the second CD in the package because this one in my opinion will not win new followers since Tesla appears to be little more than a cover band and there is little chance that a new listener will go marching off to the concerts to get the second CD which appears to have been removed from this package.
MSP