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A GIRL CALLED EDDY A Girl Called Eddy (Indie)
Looking for something new to please the ears? Check out the self-titled debut from A Girl Called Eddy. Eddy (Erin) Moran, a young songstress from New Jersey is a fresh breath of air on the music scene. Her voice is deep and sultry, and her style is dramatic and jazzy. The album is purely enjoyable to listen through, but will not lull the listener to sleep. It is a nice blend of dynamics and melody. Eddy draws inspiration from many sources and it shines in her music. She claims her heroes to be David Bowie, Paul Simon, Frank Sinatra, and Tommy Dorsey. As a self taught pianist, Moran has had an interest in songwriting her entire life. She developed a great deal of style and emotion to her writing after the unfortunately death of her mother, Kathleen, for whom a song was dedicated on the album titled after her. Her lyrics and melodies can appeal to any audience, although the greatest impact probably falls on young women, because of the emotional level and impact. Eddy’s songs such as “Heartache” and “Did You See the Moon Tonight” express some of the common feelings of a young female. “Little Bird” is a sweet expression of growing into a mature woman in a vast world. “Tears All Over Town” is a hauntingly dramatic track, while “Golden” offers a hopeful insight to a society gone awry. A Girl Called Eddy possesses mainstream capabilities with Grammy potential. It is refreshing to hear material that is original, innovative, and complex. Eddy was not afraid to explore her creative intellect with this album. She proves to be as influential as some of her peers –– Fiona Apple, Nora Jones, or even the legendary Carol King. This record will hopefully launch A Girl Called Eddy’s career to new heights. Krystal Kadar DEB SEITZ Soul Stirring (Indie) Hey Hey Blues Fans. One of the Midwest’s leading ladies of the blues, Deb Seitz, has released her new solo CD, Soul Stirring. As ‘Blues Is Her Business and Her Business Is Good’, this lil’ lady really nailed it all on this first solo indie release. Recorded, produced and mastered at Drumhead Studios by proficient producer/engineer, Pat Doody, who captured Seitz’s sound and style to the max. This CD has a strong blues sound that is musically fulfilling. Soul Stirring stands up well the best female vocalists in the Blues Nation. Seitz has performed night club shows and as a feature guest on Sopro’s All Star Blues Revues over the past few years, developing a vocal style uniquely her own, which Doody captured here perfectly . Deb never has to force her voice to do something that is not natural to her vocal style, because she has a broad range and powerful delivery as anyone who hears this CD will surely attest. The out-of-the-gate, kick-off is “Blues Is My Business,” which jumps right out at you thanks to the top shelf band who impress from the very start. The second song, “Goin’ Somewhere,” is a self penned tune from the artist. The only bad thing about “Goin’ Somewhere”, is that it is her only original song on the CD. It would have been nice to hear more of her own songs on this collection. Still, she chooses some great songs and delivers them in stellar fashion, as heard on “Voodoo Woman,” a number made famous by Koko Taylor. This is a fan favorite during a Seitz live performance. “Hurt So Bad” really kicks out Deb’s vocal prowess and highlights the band with their outstanding performance on this track. Her rendition of Janis Joplin’s “Turtle Blues” is right on the money as well the powerful version of the Kristofferson-written Joplin classic, “Bobby McGee”. She really nailed these two tracks beautifully in the vocal attack. Her Big Mama Thornton-style treatment of “Hound Dog” and “Rock Me Right” are two classic songs sure to shock and awe blues fans everywhere. Seitz’s could not have chosen better musicians for this wonderful blues journey of hers. Featuring some of the “top dog” blues performers in Chicago and the Midwest, these musicians have take the singer to a whole other level of perfection and give it a “down home Chicago style” groove. Pat Doody leads Deb’s band through track after track with exacting precision both as a performer and producer. Doody and bassist John Falstrom make what is perhaps today’s most outstanding blues rhythm section. Doody’s chops are precision, as are Falstrom’s taut bass lines. These two performers lay down the rock solid foundation that sets the tone for Deb’s magical voice throughout Soul Stirring. Add to this great blues back beat rhythm section, the Leslie-driven keyboard work of the well traveled and nationally known Brother John Katke on the Hammond B-3 along with the talented Lisa Welli’s soulful keyboard performance. Although the heart and soul of the CD is Deb Seitz’s angelic, and sometimes, downright “blues nasty” vocals. She also employs a trio of outstanding guitarists who the include: Motor City Josh Ford whose slash and full-shred, yet harmoniously textured guitar technique absolutely sets up the real deal blues sound that is totally prevalent throughout this CD. Triangulating this outstanding trio of blues string benders are Frank Anastos and Joey Drada, each turning in stellar performances. Deb Seitz, her band and producer have made a great slab of American blues music with Soul Stirring, that will surely survive the passing of time. Visit Seitz online at: www.DebSeitz.com to learn more about her and her music.
– Bud Monaco
DRY KILL LOGIC The Dead And Dreaming (Repossession Records)
Out of New York City with the release of The Dead and Dreaming from Dry Kill Logic, death metal emerges. The Dead and Dreaming is said to be the band’s most cohesive and dynamic offering to date. Other heavy bands see their promise, as both Kittie and Fear Factory haven taken Dry Kill Logic on tour. They have also had some music snippets appear on games by Midway and Activision, just to name a few. After listening to these 11 tracks, I could hear shades of promise, but overall, I felt this band sounded very stereotypical, falling in the realm the of cookie-cutter effect. This claims many victims in death metal and Dry Kill Logic seems the latest. All the tracks on this CD seem to be the same song. “Lost” is the same as “Buckles”, and so on and so on. They use the same formula. That being 10 tracks composed of aggressive marches with melodic breaks. All the songs have Eighties guitar riff intros and use down tuning in the verses, which is passé. The vocals in the verses are in the middle of the mix and hard to understand through the barking style of delivery. Then they close with the final track being the typical, redundant ballad with the soulful acoustic intro. The break out hit, “Paper Tiger”, sounds like a Slipknot rip-off. This band shows musical skill, but they need to discover their own sound. If you’re a white suburban 16-year-old boy who is a gear head, into gaming, can’t get laid and watches viva la bam religiously, you may beg to differ with me. www.drykilllogic.com – Mr. Sid MOTORHEAD Inferno (Sanctuary Records Group)
Motorhead has been a template for up and coming musicians with their brand of raw rock ‘n’ roll, great lyrics and no gimmicks or compromises, for quite some time (29 years and counting). Lemmy Kilmister (the face of Motorhead) knows how to play the game quite well and you would expect no less from a former roadie of the late Jimi Hendrix. The last we heard from the band was the full-length CD, Hammered (2002) and 2003’s Stone Deaf Forever!, the five-disc box set. Inferno is just as tasty as all the other Motorhead releases of the past, as they deliver the one-two punch, as we have come to anticipate. Their punk/metal formula is as potent as ever on Inferno. Keeping up with the times, this is an Enhanced CD featuring a sign-up for fans for the Motorhead Internet Service. I would have never guessed that Steve Vai would have a guest shot on two songs on this 12-track CD. A casual run-in that yields some very complimentary results, indeed. “Terminal Show” is a good choice, to start off the CD, as it slams from the start and any Vai guitar solo is to be highlighted, but nobody can steal Motorhead’s thunder. “Down On Me” is also a strong song with an equally sweet solo. “In the Black” and “In the Year of the Wolf” have some memorable and blistering hooks and are standout cuts. Par for the course, Lemmy always throws in something off the beaten path and “Whorehouse Blues” is it this time out. Acoustic guitar and harmonica, doing it up in a blues format is quite satisfying. I wouldn’t mind an entire blues album from these boys as they do it well here. When the band wears the badge of The Ace Of Spades, how can a metalhead go wrong? – Diane Demeter
VAN MORRISON What’s Wrong With This Picture? (Blues Note)
Most Van Morrison albums in the past 20 years have had some great tunes, some good tunes and a few songs that I am always skipping past. With What’s Wrong With This Picture, it is one solid song after another with no filler. I am of the opinion that no one should review a Van Morrison CD until they have listened to it at least five times. One or two exposures is simply not enough to assimilate what he is trying to accomplish with his recordings these days. Van changes elements of his music from album to album. He is in a constant state of evolution. The challenge for the listener is to get to where Morrison is, rather than stay stuck in what he did in the past –– be that three years or thirty years ago. Despite the evolution/maturation process, the same fundamental styles of Van Morrison music are always there. And he said it best: jazz, blues, funk, and a little bit of folk. Lyrically, this album is typical Van. He fills his songs with clichés that would sound, well, cliché if performed by anyone else. For example, in “Get On With The Show,” he sings –– “Nero fell while Rome was burnt, Napoleon met his Waterloo...” But for Van, it works. I have always felt like Van uses words as much for their sound as for their meaning. These sounds create a feel that is really what his songs are about. So other than the criticism of his harping about the music industry (justified, but the songs are still great) What’s Wrong With This Picture is Van’s submission of where he’s at musically, done is his own inimitable style. May it always be that way.
– Brian Pearson DEATH ANGEL The Art Of Dying (Nuclear Blast)
The Frisco Bay Area, five-piece, thrash band Death Angel has finally put out their first album, after a 14-year hiatus. Maybe you remember, The Ultra Violence, Frolic Through The Park, or Act III, released between 1987-1990. Their demo was produced in 1986 by Kirk Hammett, which helped get them a record deal. The drummer was a mere 14 years old at the time. The Art Of Dying, picks up right where they left off and has 12 cuts that are polished (maybe a tad too much), with each song standing on it’s own. The CD starts with a track simply dubbed as “Intro” that features some a mighty fine acoustic. “Thrown To The Wolves” is powerful with some great hooks, “Thicker Than Blood” is another keeper, as well as “Never Me,” with some fantastic guitar solos. There are plenty of short guitar solos and power chords galore. One ballad compliments this recording, “Word To The Wise,” has a real Stoner Rock attitude and is a good finish to the CD. Vocalist Mark Osegueda has a great set of pipes and his vocal style recalls Iron Maiden and Megadeth. Despite their name and their overall look, the music here is “old school metal” without cussing and brutal negativity. For people who enjoy this kind of vintage metal music, The Art Of Dying, will compliment their CD collection. Though I personally like my metal more aggressive, this is nonetheless a solid CD. – Diane Demeter C.AARME C.AARME (Burning Heart/Epitaph) Wow! Here they come all the way from Sweden, garage punk in its true raw form.
C.AARME, with its self-titled debut C.AARME, proves that punk is alive in Sweden. Both musically as well as lyrically, they remind me of The Minutemen, short aggressively played songs with a lot of political overtures as heard in “Gasmask” and “What’s The Problem Mussolini”. Another comparison that comes to my mind is the DC punk/hardcore band Bad Brains, which you really can get a feel for in Jessie Garon’s vocal style, as demonstrated on tracks such as “O’Neill, Oh No,” “Tu Puta Mi Casa,” and “Total Trash.” Jessie is backed buy a high powered Johnny Ola on ripping guitar, Captain on a hard driving bass and lastly Boatman on drums, keeping time with machine gun-like snare blast, hard hitting syncopations and perfectly executed pauses. Examples of this can be heard on tracks such as “Aimless,” “Worst Part” and “I Am A Princess”. Fifteen tracks reach out and slap you senseless as they tear through this excellent 25-minute debut CD. With some help in the studio from Per Stalberg (Division Of Laura Lee), these boys produced a raw, raging sound that comes through the speakers at a furious pace. Acquaint yourselves with this band because they will likely be around for awhile. For more info go to: http://c.aarme.lofi.org or www.epitaph.com
– Mr. Sid BEN FOLDS Super D EP (Sony)
While we’re all eagerly awaiting the next full-length release from Ben Folds, one of the best songwriters and live acts I’ve ever had the pleasure of shaking hands with, best dip into his latest EP for a tasty sample of what’s to come. Please note that this EP is currently available online at Itunes or www.BenFolds.com Not only is it his best offering thus far after two EPs released over the past sixteen months, it also contains one of his vigorous, hyperactive songs to date. Of course the original composition actually belongs to the successful helium-metal freaks, The Darkness, but Ben makes it totally his own. “Get Your Hands Off My Woman” is representative of his impeccable skills as a fearless pianist, along with coated harmonies that leave your jaw on the floor by the final seconds. “Kalamazoo” begins with Joni Mitchell-chords and his trademark soft-spoken melody until it erupts with a disco beat and gut-punching violin auxiliary. Chock full of surprises and concluding with a tip of the hat to Mr. Ray Charles in such a short running time, Super D is an exemplary example of what makes Ben Folds one of the most upbeat, unconventional, and quirky musicians this side of jazz fiends and Yellow Brick Road-era Elton John. Now if we can only convince Tori Amos, Fiona Apple, and Folds to perform a show together, then we’d really have a must-see tour for autumn. – James Laczkowski
DILLINGER ESCAPE PLAN Miss Machine (Relapse)
Dillinger Escape Plan scares the living crap out of me and God bless them for it. Instead of banging my head against the wall when I get pissed off, I turn on their records more than I would most Slayer records (although I am a fan of them as well). For a guy who enjoys Avril Lavigne on occasion, and zones out to both Norah Jones records, you can’t say that I have predictable taste. There’s nothing wrong with a healthy dose of dynamic death metal which is fashioned by a flawless rhythm section, much like The Icarus Line before they went a bit soft this past year. As fast and furious as Dillinger Escape Plan sound with their visceral deliverance of throat-thrashing, skull-pounding, blood-stained guitar battering, it’s the rigidity of their execution. These guys don’t follow any sort of conventional songwriting structure, nor should they even attempt to do so. The only time they come remotely close is during “Phone Home,” which continues the electronica trend they’ve dipped in on previous efforts. Although probably the most “comprehensible” song on the record, it sounds way too much like a B-side off of NIN’s Downward Spiral. “Unretrofied” is quite possibly the best track here, because it has perceptible chord structuring and muffled vocals with a beautified, harmonious chorus that is reminiscent of Faith No More (fittingly since Mike Patton has contributed his talents to this band as a side project). Their potency for brutal dynamics is showcased throughout, with each track pulsating into the next without respite. But you definitely need a break from the breakdown and it’s certainly not a record you’d listen to on a daily basis. However, the band is a step above the commercially viable System of a Down in terms of how tight and tense their style is accomplished. The only thing is, you can never understand a word the guy’s saying, much like a Slipnot-wail. Shredding vocal chords and indiscernible lyrics may easily irk those looking for any sliver of melody infused into the proceedings but for those looking for energy and controlled, temperamental frenzy at its most intense, it doesn’t get much more concentrated or certainly more extreme than Dillinger Escape Plan.
– James E. Laczkowski
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