Peter Link - Goin' Home (On Heaven And Beyond)

To contact us Click HERE

Peter Link – Goin’Home (On Heaven And Beyond)
2011, Watchfire MusicPeter Link’s musical resume reads like he must have made itup.  Starting out as an actor, Peter Linkhas appeared on Broadway (Hair), ontelevision (As The World Turns), andin movies (The Out Of Towners).  While successful on stage and in front of thecamera, it was composing that drove Link, and he soon began focusing all of hisefforts there.  Writing at first forBroadway, Link earned two Tony Award nominations and one Drama Desk Award forhis musical work.  One of his songs hascharted as a Top-Ten hit on Billboard. Link has also composed for a number of children’s programs over theyears, including Vegetable Soup; SesameStreet, The Electric Company and TheBig Blue Marble.

In 2006, Link and James Birch began an on-line inspirationalrecord label called Watchfire Music. Link has since focused much of his energy writing music inspired byfaith.  His most recent effort isentitled “Goin’ Home (On Heaven And Beyond)”.

Goin' Home opens with the title track, an uplifting choral piece that iscontemplative and sweet. This transitions into "To My Father'sHouse", a contemporary soul gospel number that is catchy and inspired. "Heaven"takes on a vision of heaven. The conversational style that is meant to makethis more accessible robs the song of any real sense of flow. Stylisticallythis compares to the opening song of a musical; one used to set the scene notimpart information. These are rarely the ones you walk away humming.

"I Ain't Gonna Grieve My Lord No More / I Got A Robe" details a listof worldly items that won't get you into Heaven. This is an odd to simplicityand spirituality that's entertaining but light on both. "There's AMountain In My Way" takes on faith supported by a funky dance beat. Thesong is catchy and enjoyable from a purely sonic perspective, but is comparableto the lightweight worship music style that pervades Comtemporary ChristianMusic. "I Can't Go Home" is a languorous ballad acknowledging thereis still work to be done before going home to God. The presentation here isover dramatic and weighs heavily in the ears.

"We Fix It" offers up another view of Heaven in a preacher'sauthorial but does so in a fluffy soul/pop arrangement. "What Could HaveBeen" is a solo, melancholy love song that looks forward to looking backfrom beyond the veil and anticipating the sadness that he will have. From asongwriting perspective this is solid work. Thematically the song is whollyinconsistent with the spiritual aims of the album, and the delivery is overlydrawn out and heavy. The tide turns for "In Dat Great Gittin' UpMornin'", where elements of pop, gospel, soul and jazz come together incelebration of the final day when God calls his people home.

"Goin' Home" is a sweet and melodic ode to going to Heaven. The malelead vocal here is exquisite and rich, inspired by his subject. For as good asthis is, "When The Saints Go Marchin' In" is equally as cheesy. Openingwith a faux news report, things go downhill quickly with a rote repetition ofsaints from different cultures walking together. The sentiment is certainlyworthwhile, but here is an example of where inspirational music puts messageahead of composition. The ensemble eventually gets around to the song itselfmany listeners will have already tuned out. Things turn more contemplative forthe closing track "Come To Me As A Bird", which uses repetition asits focal point. The melody is solid, but the AB lyrical structure will wearthin for some listeners.Peter Link has proven time and time again he is a greatcomposer; yet even great composers miss on occasion.  There are a couple of misses on Goin’ Home (On Heaven and Beyond), butLink stays the course and generally delivers superb songwriting in a musicaltableau that is very accessible.

Rating: 3 Stars(Out of 5)Learn more at www.peterlinkcreative.com. 

The 71's - We Are The Seventy Ones

To contact us Click HERE

The 71s – We Are TheSeventy Ones
2012, The 71s MusicAnthem rock is back. So declare The 71’s, a melodic power quartet from Houston Texas that isintent on breaking out or breaking something, and soon. The 71’s, known in andaround Houston as a group of down to earth guys, write and play with apretension to greatness that is reminiscent of the best of the progressive rockera.  This is accomplished with ablending of classic rock, punk, glam and even a bit of grunge.  All of this comes together on The 71’s recentrelease, We Are The Seventy Ones.  The album is not only a declaration ofmusical independence, but also charts out the course for what might be a longand glorious career.

The 71’s came to musical fruition at the inspiration of suchbands as Pearl Jam, Foo Fighers and Oasis, which might explain theirwide-ranging musical palette. Comparisons of late have referenced Band Of Skulls, but honestly this isone case where such pigeonholing tends to sell a band short.  We AreThe Seventy Ones reveals a band that has found their musical footing.  And even if, as I suspect, they haven’t fullysettled on which path they are going to follow yet, they’ve yet to findanything that they can’t play well.  Thealbum kicks off with a noisy, 1980’s hard pop number in the form of “Blue Blood”.  The 71’s add in a bit of punker sensibilityhere and end up with a sound reminiscent of early 90’s rockers The Men.

“Confession” builds on a bluesy guitar lick, driving forth in a wanton andvibrant rocker that you will have a hard time getting out of your head.  Interestingly enough, vocalist Keeton Coffmansounds a bit like a young Corey Hart here (think “Sunglasses At Night”).  The 71’s open the jets for “Waves”, awide-open rocker that seems destined to be played in stadia the worldover.  The 71’s keep the energy high andthe melodic content higher throughout.  “Adeline”is a vibrant rocker with its own inertia. You may find that you simply must dance when this love song for amiddle-aged rocker plays.

The 71’s show they can do balladry as well as arena rock on “10,000”miles.  This is the fairly typical on theroad love song, where the singer pines about getting back home to hisbaby.  In that regard it’s hard to viewthe song as being a bit cliché, but the melody is fine and Coffman sings fromthe heart, and the song is held together by a very solid, memorablechorus.  “Taken” explores theafter-effects of a relationship that’s gone bad.  The song is well-written, and if Coffman’svocal line is a bit overly-dramatic at times it’s just a small slip given thesubject matter.  “Victimology” as a songis more of a vehicle for slinging around a six-string guitar than anythingelse.  The 71’s sound iconoclastic here,reminding listeners that rock and roll is meant to be fun sometimes too.  The pure chutzpah of guitarist Ryan Cecil isentertaining.“Much Too Much” starts from a great premise, and keepsintact the urgent feel that seems to run throughout the album.  Coffman uses a lot of falsetto here, a choicethat appears to not work out quite as well as he might have hoped.  On the plus side, this is the only song on thealbum I’d be tempted to skip if listening just for enjoyment.  “Lucky To Lose” is a solid, working-classrocker that is guitar-driven and full of a vibrant energy that’s impossible toignore.  This would be a great tune tocheck out live onstage.  “Heaven” bringsall of the components together, bringing a sense of compositional organizationand polish that is hinted at throughout the album.  The melody is memorable, driven by anintriguing hook that replays in your head. The coolest thing about the song is it could be a conversation between ason and his father, or it could be a prayer. It’s never entirely clear but works well under either premise.  The polish sticks around for “Monsters”, yetThe 71’s accomplish this sense of polish without letting go of the rock androll edge that has driven them this far. This is an exceedingly ear-pleasing tune that has single written allover it.

One of the things that make The 71’s so fun to listen to isthat they are constantly skating on the edge of disaster.  There is a point of risk taking in music thatmany artists simply skate around.  The 71’sdon’t skate; they march right up to the line and take chances.  As with all such efforts, sometimes they falland fall hard.  But the pure chutzpah ofthe band, blended with their individual and collective talents, means that moreoften than not something intriguing, inspiring or even beautiful comes out ofthe process.  That’s the story behind thestory of We Are The 71’s.  The 71’s will have you from hello.Rating: 4 Stars(Out of 5)

Learn more at www.the71s.com.   

Derek Nicoletto - Champion

To contact us Click HERE
Derek Nicoletto –Champion
2012, Island Def JamDerek Nicoletto was long lauded as having one of the bestvoices in Indie rock and roll.  Hisprevious band, Telling On Trixie, always seemed on the verge of somethinggreat.  Yet pop stardom is a ficklecreature, and try as they might, Telling On Trixie never quite connected withthe sort of mainstream uprising that brings a band from regional favorite tonational darling.  These days lead singerDerek Nicoletto is out there on his own, supporting his solo album Kind Ghosts, and a recent remix EP forthe song “Champion”.  Here Nicolettocontinues his musical rebirth, which has seen him shifting from rock and rollof Telling On Trixie to a darker, more electronic sound.“Champion” certainly has its pop sensibility intact.  That and some reminiscent keyboard licks makethis song sound as if Survivor had gone Goth/Post-Modern.  There are dark industrial tendencies builtinto the music here.  It’s a very solideffort from a compositional standpoint. The song is quite disjointed lyrically, sounding as if phrases were sewntogether for the purpose of filling out the music rather than out of any realstream of thought.  This works on onelevel, as a rhythmic counterpart to the composition, but falls a bit short ofexpectations based on Nicoletto’s previous work.On the whole, “Champion” is an interesting step forward forDerek Nicoletto.  It appears more effort andthought went into the music than into the lyrics, but it’s still a positiveexperience for the listener.  One hopesthat he can bring the lyrical cogence showed with Telling On Trixie to thetable on future efforts; the result will be a complete songwriting package.Rating: 3 Stars(Out of 5)Learn more at www.dereknicoletto.com. 

It's Raining Free Tickets: Congratulations To Latest SOB Contest Winner!

To contact us Click HERE
It's Raining Free Tickets: Congratulations To Latest SOB Contest Winner!

Remember how much I told you I loved Rain - A Tribute To The Beatles?

Today, I'm thrilled to send a lucky Steve On Broadway reader to see the show. Congratulations to Eleah Burman from New York, New York, who has just won two free tickets to see Rain - A Tribute To The Beatles at Broadway's Neil Simon Theatre!

Eligible entries for this SOB Contest needed to subscribe to this blog, follow me on Twitter (and then retweet one of my contest messages) and follow me on Facebook.

Congratulations again, Eleah!

Thank you to everyone who entered the contest. By subscribing to Steve On Broadway, you'll automatically be entered in all future contests!

This is Steve On Broadway (SOB).


In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. However, in conjunction with SpotCo, two tickets for Rain: A Tribute To The Beatles will be given away to one lucky reader. http://rpc.technorati.com/rpc/ping

Hard To Imagine It's Been Thirty Years

To contact us Click HERE
Hard To Imagine It's Been Thirty Years

It really is incredibly hard to believe it was 30 years ago today that John Lennon was murdered.

Millions of us were shocked to learn the tragic news in this highly surreal fashion. The evening of December 8, 1980, hit virtually everyone around the world so extraordinarily hard. Suddenly that evening, it didn't matter if you were a fan of The Beatles or Lennon. The idea that such a creative genius who espoused peace could be gunned down so violently broke our collective hearts.

Lennon's untimely death marked the end of an era, even as he had just attempted to begin a new one for himself.

The musical icon had just emerged from a self-imposed "exile" to help raise his young son Sean. On November 17, 1980, just three short weeks prior to his murder, he and his wife Yoko Ono released the incredibly hopeful "Double Fantasy," his first studio recording in five long years. 

While the recording would quickly climb to number one on the Billboard charts and go on to earn him a posthumous Grammy for 1981 Album of the Year, for those of us who purchased the recording, we were haunted by the back cover image showing Lennon and Ono outside the Dakota Apartments, just steps from where this man of profound peace met his violent end.

Rest in peace, John Lennon. Thirty years later, we're still trying to imagine the type of world you envisioned.

This is Steve On Broadway (SOB).
 
 
In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. http://rpc.technorati.com/rpc/ping

Jennings - Take It Or Leave It

To contact us Click HERE

Jennings – Take It OrLeave It
2012, Mary JenningsIf you were to meet Mary Jennings on the street, you wouldfind her to be sweet and full of light. Standing just a hair over five feettall, Jennings possesses the charm and grace of the archetypical girl next door.  Stepping on the stage to perform, MaryJennings sheds her first name and transforms into a powerful, emotivesinger/songwriter you might never have imagined from the first meeting.  It’s not so much a contradiction as reminderto not judge a book by its cover. Jennings’ stage metamorphosis is stunning, and surprisingly wellcaptured on her latest effort, the live album entitled Take It Or Leave It.

Jennings kicks off the album with “Doorway”, using her muskyvoice to full effect.  The song is amixture of dark and light, wending its way through decisions while beckoningboth success and tragedy.  The strippeddown arrangement is affecting and pretty, and has a disturbing undercurrentthat keeps listeners on the edge of their seats.  “Kaleidoscope”, written on a dare, exploresthe atomic nature of life, with events and people running together and creatingunintended consequences.  The songreaches deep into the bag of metaphor and comes out a winner.  “Falling Higher” explores the juxtapositionof falling in love and moving higher into the emotional spectrum.  This is an amazing immersion in song, full ofemotion, deep thoughts and amazing musical color.“Move” is an exploration of the emotions surrounding thedeath of Jennings’ mother, and is accompanied here with an explanation of howit came to be.  Jennings is at her mostelemental here, delving deep into the shattered psyche of a heart broken bygrief.  The mix is beautiful and tragicall at once, and Jennings lets the song pour out of her like a torrent.  “Figure Me Out” is deeply personal and raw,skating the juncture where a crush becomes equally a boon and a burden.  Jennings’ explanation gives the song a happytwist as well, but I won’t ruin the surprise here.

“Cling To Me” is another deep emotional dive; an offer ofsuccor and love in a friend’s darkest hours. Jennings croons from her heart here, showing all the colors and shadingsof her emotive voice.  “Surrender” digsat the motives of a friend who just never gives in, fighting to be right evenwhen all the evidence is against them. Jennings punctuates her frustration with the piano, redressing the illswith a voice that bleeds psyche, love and regret.  Jennings says goodnight with “Take It OrLeave It”, a pop singer/songwriter turn that thrives in the arpeggio-ladenpiano that drives it.  Even in the livesetting, this song is radio-ready; highly emotive yet compact and well-written.Mary Jennings knows how to deliver a song.  Her highly personal and emotional singingstyle is raw and captivating.  It’s thesort of performance that keeps audiences rapt with attention; leaning in towardthe stage do they don’t miss a thing.  Take It Or Leave It captures the energyand power of a Jennings performance for those who haven’t been lucky enough tosee her live, or for those who have and want to recapture the moment.  Don’t miss this album.
Rating: 4.5 Stars(Out of 5)

Learn more about Jennings at www.jennings-music.com or on Facebook or Twitter.

The Midtown Men - Sixties Hits

To contact us Click HERE
The Midtown Men –Sixties Hits
2011, The Midtown MenBroadway musical casts are forever changing.  Principal actors move on to other projects,or come to disagreements with the powers that be over the value of theirperformances to the show.  Whatever thereason, the Great White Way is a revolving door.  The Jersey Boys was one of the most wildlysuccessful rock and roll inspired shows of the last decade.  The original cast of that show has moved on,but they haven’t stopped performing together. Working now under the name The Midtown Men,  Christian Hoff, Michael Longoria, DanielReichard and J. Robert Spencer continue to deliver their brilliant early rockand roll sound as they tour the U.S.  TheMidtown Men’s debut album, Sixties Hits, finds The Midtown Men picking right up where they left off atthe final curtain call of The Jersey Boys. Kicking things off with a medley of “Let’s Hang On/WorkingMy Way Back To You/Breaking Up Is Hard To Do”, The Midtown Men sound like theyhave been transported forward forty years without missing a beat.  The sound is wonderfully clean andprofessional, and the vocal harmonies are as right as a wire.  There is a hint of Broadway/Vegas flair tothe entire affair, but the sound is very faithful to the early 1960’s soundthey are trying to capture.  “Can’t BuyMe Love” brings a bit of surf influence into the classic Beatles tune, subtlychanging the character of the song without breaking its musical heritage.  This is one of the sharpest interpretationsof the album, one you will likely have on repeat.The Midtown Men then launch into “Happy Together” as if theywrote it themselves.  This time out thesound, perhaps, a bit too polished, but it’s a minor complaint.  They sound absolutely brilliant.  “Ain’t That Peculiar” is solid space filler,but leads into the aural gold of “Dawn”. The vocal harmonies here are beyond sublime, tightly wound and perfectlyexecuted.  “Dawn” is truly a thing ofbeauty.  “Candy Girl” plays in a similarsonic playground, although the Midtown Men are a bit looser with their sonicaffections this time around.  This onewill have you wanting to dance a bit.“Up On The Roof” gets a modernized, slick treatment thatsounds likely to get the Midtown Men some airplay, but doesn’t necessarily goas well on the song.    It’s the sonicequivalent of trying to paint antique furniture with modern acrylic paint.  It might look nice but it just doesn’tfit.  The Midtown Men hit a homerun on“California Dreamin’” however finding the perfect mix of rough and smooth inthe sound.  The lead vocalist is on the edgeof nirvana throughout this performance, nailing not only every note but thefeel of the song as well.  “Time Of The Season” underlines the group’s vocal prowess asthey work their way through some interesting modal harmonies in thearrangement.  The performance isabsolutely gorgeous and worth waiting for. “Big Girls Don’t Cry” is an almost perfectly bubblegum replica of theoriginal, and promises to be a great deal of fun live.  The Midtown Men wind things up with awonderfully buoyant take on “Bye Bye Baby”, the perfect curtain call for the album.The Midtown Men might not be able to trade under the nameThe Jersey Boys anymore, but if you loved the original Broadway production thenyou won’t be able to resist Sixties Hits.  In spite of a couple of mall side trips, thealbum flows brilliantly from song to song, with a level of sonic perfectionthat’s difficult to attain with even the most stringent electronic reworking ofvocals.  There’s none of that here.  The Midtown Men are just solid gold.Rating: 4.5 Stars(Out of 5)Learn more at www.themidtownmen.comor www.facebook.com/themidtownmen.

The Venetian - I Wanna Tell You A Story

To contact us Click HERE
The Venetian – IWanna Tell You A Story
2011, The VenetianThe Venetian isn’t so much a band as a force majeure.  Digging into the band’s past leads to morequestions than answers.  Somewhere outthere is a singer/songwriter who delights in blending the early roots of musicand opera with the raw blend of rock and roll. He is The Venetian, and his album is called I Wanna Tell You A Story.I Wanna Tell You AStory is one of the more unusual rock operas you’ll come across.    Songs alternative between traditionalItalian croon-tunes sung in Italian to forthright rock and roll sung inEnglish.  The Italian tracks are titledas consecutively numbers Acts (“Act I”, “Act II”, etc.), while the rock androll tracks are more descriptively named.  The tracks in Italian are well-crafted and well-sung, but I can’tcomment on the lyrical content.  The rockand roll tracks represent a baroque-rock tragedy that follows the relationshipof a boy with his father throughout the years of his life.Dad is a musician, the son doesn’t understand at first whyhis father is gone all the time.  TheVenetian takes us through the gamut of complicated emotions throughout I Wanna Tell You A Story, from theloneliness of a child who needs his dad, to the impact it has on lifedecisions, and to ultimate understanding as he, himself, becomes amusician.  In the end, the special bondthat father and son share is through music. They are forever connected in melody and rhyme, even if they are(meta)-physically distant in the end.The primary rock and roll influence on the album appears tobe Queen.  Particularly on tracks such as“Goodbye” and “I Wanna Tell You The Story”. The latter even references the classic Queen track “The Seven Seas ofRhye”, in case you didn’t get the sonic similarities.  As a vocalist, the closest match you’ll findfor The Venetian’s distinctive sound is Lawrence Gowan (Gowan, Styx).  From a songwriting experience, I Wanna Tell You A Story is very much up and down.  “Goodbye” and “Dancing Angel” aretremendously vibrant rock and roll numbers while exploring disparate timbresand sounds.  The mischievous rock waltz instrumental“Soft Snow” is brilliant, sounding as if it were inspired by the Gypsy violinstyle of Stephane Grappelli.  “Lullaby”is the closer; where all of the son’s struggles for understanding finallyresolve in a song in which he reaches out and touches the soul of his father.  It’s a wonderfully uplifting moment both inpoetry and song, and draws the entire experience e together.  “My Black Cat” is also a treat, bringing aslinky, cool jazz feel to the proceedings.I Wanna Tell You AStory has its less than exciting moments as well, particularly the middleof the road material such as “My Good Friend” and “Sometimes”, and the cheesycliché of “My Sweet Italian Pie”.  I Wanna Tell You AStory works very well as an early concept album for a one day rock and rollmusical.  The songs are generallywell-written and there is a narrative flow here that is impressive.  A true work up of this production wouldlikely result in a couple of the songs currently here being either dropped orseriously re-worked, but as a whole the work has great potential.  The Venetian is a strong vocalist who doesvery well within his comfortable range. The songs that require falsetto don’t always go as well, but he makes afair effort.Rating: 3.5 Stars(Out of 5)Learn more at www.thevenetianband.comor www.facebook.com/thevenetianbandpage.

Kati Mac - Save Me From Myself

To contact us Click HERE

Kati Mac – Save Me From Myself
2012, Kati MacWith five EMMY nominations, and stints as a backup vocalistfor performers such as Meatloaf, Nona Hendryx, Sting and Michael Bolton, youwould think that Kati Mac would be a household name.   If you’re a fan of daytime soap operas you’vecertainly heard some of Kati Mac’s original music.  In fact, her song “Only Love” was the finaltheme for long-time CBS soap The Guiding Light.  Kati Mac continues to produce her ownoriginal music from her home base in New York City.  Her most recent effort, Save Me From Myself, is a wondrous mix of folk, rock, Americana andblues, and features a guest appearance from the one and only Jeff Golub. 

Save Me From Myselfopens with the title track, a sleep bit of bluesy folk/rock that established arich feel for the album.  Kati Mac is notoverpowering vocally, but she has a pleasant voice and a sense of presence thatis commanding.  She owns this song,imbuing it with a sense of urgency that is palpable.  “Bullet Hole Road” is the catchy and darktale of a desperate life laced with impressive guitar work.  The subject of the song is an outlaw, thoughnot a bad person.  The moral here is thata person’s story is often more than just the sum of their actions.  It’s a great story song, and Kati Mac wraps arich and fluid arrangement around it all. “He’s Memory To Me Now” is a quiet ballad looking back at a relationshipfrom the past.  There’s a sense of hopethat pervades the song, but that hope is mixed with a deep sense of resolutionthat things simply are what they are.“Been There Done That” is a catchy blues rock kiss-off songwith style and a bit of cheek.   This highly entertaining turn shows off KatiMac’s sense of humor in the context of finely crafted lyrics and a brilliantarrangement that wraps around it all like a shawl.  “The Wheels Go Round” is a solid country/bluesnumber with a healthy jaunt to it.   This leads into “Times Like These”, a down-tempo ballad that featuressome of the best guitar work on the album. Kati Mac is a bit exposed vocally on this tune, but manages a solidvocal regardless. 

Kati Mac trots out Blind Faith’s “Can’t Find My Way Home”for a run around the block, building wonderful tension into the song whileoffering up a knockout vocal performance. She then launches into another kiss-off song in the form of “Cold Day InHell”, this time chiding  former love thatis looking to get back into her life. Listeners will hear shades of Bonnie Raitt here; it’s a fun tune thatyou’ll revisit again and again.  Kati Macstruggles a bit with pitch on “I Won’t Get Back Up”.  The vague malaise carries through to “Highway100”, this time not in pitch but in the form of a middle of the road ballad repletewith melancholy.  Kati Mac lights up the room with “Lord Have Mercy On Me”, abluesy folk/rocker about being unable to help herself in the presence of aheartbreaker of a man.  The song itentertaining and raw, and she does lose a bit of vocal composure on the highnotes.  It’s unclear whether this is bydesign or simply caused from Kati reaching beyond her comfortable range.  “If I Knew Then What I Know Now” is a solidlament on the past and things that might have been different.  Kati Mac sings from the heart here; theresult is a compact tune with a fine arrangement and a powerful sense ofemotional momentum that is hard to ignore. Kati Mac winds things down with an acoustic take on her cover of “Can’tFind My Way Home”, this time with Jeff Golub putting in a stellar guestappearance. 

Kati Mac is in the zone on Save Me From Myself, blending stellar songwriting, adept vocals anda wonderful compositional sense that draws the listener in and holds you inplace.  There a couple of songs herewhere she pushes her own vocal range with mixed results, but one the whole Save Me From Myself is a splendideffort.Rating: 4 Stars(Out of 5)

Learn more at www.katimac.com, www.facebook.com/kati.mac1 orwww.youtube.com/katimac7. 

Shark Week

To contact us Click HERE
For devotees of Shark Week on The Discovery Channel, Marian Call co-penned a little ditty with Paul Race of AlaskaRobotics.com that you simply must here.  The song is just under a minute long and is entitled "Shark Week", and right now it's available for download on Bandcamp at any price you name.  Check it out here for free!


Learn more about fabulous Miss Marian Call at www.mariancall.com.

Nunscrackers: The Nunsense Christmas Musical - 2001

To contact us Click HERE
Video From Adelphiaboy
Nunscrackers: The Nunsense Christmas Musical - 2001

Cast: Jackson Donalds, Sarah Donalds, Terri Gibson, Bambi Jones, Carrie Keskinen,
Semina De Laurentis, Richard Long, Deborah Del Mastro, Rue McClanahan, John Ritter -- Narrator, P. J. Terranova, Yolanda Vega

http://www.mediafire.com/?s32y855472j3808
http://www.mediafire.com/?22obka6bowxe5ep
http://www.mediafire.com/?muzk7v84vrif8nx
http://www.mediafire.com/?0fv6cdxrj94u07w
http://www.mediafire.com/?399w4piofmzourh
http://www.mediafire.com/?92rcrdg2m6tns6h
http://www.mediafire.com/?nft5f86iilchm8o
http://www.mediafire.com/?56g8pdo5ajun87m
Password: angel1

Nunsensations! (The Nunsense Vegas Revue) - 2006

To contact us Click HERE
Video From Adelphiaboy
Nunsensations! (The Nunsense Vegas Revue) - 2006

Cast: Carolyn Droscoski, Georgia Engel, Dan Foss, Bambi Jones, Carrie Keskinen, Bonnie Lee, Deborah Del Mastro, Tom Mustachio, Jeanne Tinker, Lin Tucci

http://www.mediafire.com/?d0ag745b5d5iyg2
http://www.mediafire.com/?o3dfy6givxvtce3
http://www.mediafire.com/?k0kroiftevn38we
http://www.mediafire.com/?ino46adho933kdm
http://www.mediafire.com/?g616agjv5n6ss6t
http://www.mediafire.com/?n7p46utpsfr762m
http://www.mediafire.com/?eobia11yjt3fbbp
http://www.mediafire.com/?h5jd141bqja917t
Password: angel1

Sweeney Todd: The Demon Barber of Fleet Street - Broadway - 1982

To contact us Click HERE
Video From Smudge37
Sweeney Todd: The Demon Barber of Fleet Street - Broadway - 1982

Angela Lansbury ..... Nellie Lovett
George Hearn ..... Sweeney Todd
Cris Groenendaal ..... Anthony Hope
Sara Woods ..... Beggar Woman
Edmund Lyndeck ..... Judge Turpin
Calvin Remsberg ..... The Beadle
Betsy Joslyn ..... Johanna
Sal Mistretta ..... Pirelli
Spain Logue ..... Birdseller
Walter Charles ..... Passerby
Michael Kalinyen ..... Jonas Fogg
Roy Gioconda ..... Company
Skip Harris ..... Company
Duane Morris ..... Company
Patricia Parker ..... Company
Meredith Rawlins ..... Company
Stuart Redfield ..... Company
Candace Rogers ..... Company
Dee Etta Rowe ..... Company
Carrie Solomon ..... Company
Melanie Vaughan ..... Company
Joseph Warner ..... Company
Kenneth Jennings ..... Tobias Ragg (as Ken Jennings)
Joe Boots ..... Pie (uncredited)

Description: Benjamin Barker alias Sweeney Todd, returns to London after being deported to find out what happened to his wife and child at the hands of Judge Turpin. When he learns of their terrible fate he joins fortunes with Mrs. Nellie Lovett, the baker downstairs from his barbershop, and sets out to seek revenge.


http://rapidshare.com/files/269797162/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part01.rar
http://rapidshare.com/files/269799028/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part02.rar
http://rapidshare.com/files/269801126/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part03.rar
http://rapidshare.com/files/269803206/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part04.rar
http://rapidshare.com/files/269805435/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part05.rar
http://rapidshare.com/files/269807577/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part06.rar
http://rapidshare.com/files/269810256/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part07.rar
http://rapidshare.com/files/269812522/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part08.rar
http://rapidshare.com/files/269814702/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part09.rar
http://rapidshare.com/files/269816902/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part10.rar
http://rapidshare.com/files/269819225/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part11.rar
http://rapidshare.com/files/269821499/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part12.rar
http://rapidshare.com/files/269823832/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part13.rar
http://rapidshare.com/files/269825462/Nopass-Sweeney.Todd.Sondheim-The.Demon.Barber.of.Fleet.Street.1982.part14.rar

Broadway's Lost Treasures 1

To contact us Click HERE
Video From Smudge37
Broadway's Lost Treasures 1

Culled from the archives of the first 20 years of Tony Award broadcasts, this DVD includes Joel Grey's opening "Wilkommen" number from "Cabaret" to Gwen Verdon and Chita Rivera's dazzling "All That Jazz" from "Chicago" in 1984. 17 performances in all.

BROADWAY'S LOST TREASURES is an unparalleled compilation of rare original cast performances from the televised versions of some of the biggest and most beloved Broadway musicals of the 20th century. These performances--which were seen only once in their original telecasts--have been rescued from the archives and compiled with introductions by featured stars Angela Lansbury, Jerry Orbach, Tommy Tune, and others. See Broadway's legends sing and dance their way through 17 signature showstoppers, including Joel Grey's "Wilkommen" from CABARET and Gwen Verdon and Chita Rivera's "All That Jazz" from CHICAGO. Both the VHS and DVD editions contain 5 bonus performances.

http://rapidshare.com/files/141459313/BLT.part1.rar
http://rapidshare.com/files/141459402/BLT.part2.rar
http://rapidshare.com/files/141459405/BLT.part3.rar
http://rapidshare.com/files/141459403/BLT.part4.rar
http://rapidshare.com/files/141459404/BLT.part5.rar
http://rapidshare.com/files/141467033/BLT.part6.rar
http://rapidshare.com/files/141467068/BLT.part7.rar
http://rapidshare.com/files/141467071/BLT.part8.rar
Password: UpByJoeParis

Broadway's Lost Treasures II - 2004

To contact us Click HERE
Broadway's Lost Treasures II (2004)

Broadway's Lost Treasures II contains 90 minutes of memorable moments and performances from the various Tony-award telecasts throughout the years. Included on this edition are performances from such famous productions as Man of La Mancha, Chicago, Guys and Dolls, and Anything Goes. Such notables as Gregory Hines, Patti LuPone, Michael Jeter, Nathan Lane, and Jerry Orbach take part in the proceedings.

http://rapidshare.com/files/157568349/LBTII.part1.rar
http://rapidshare.com/files/157568346/LBTII.part2.rar
http://rapidshare.com/files/157568352/LBTII.part3.rar
http://rapidshare.com/files/157568348/LBTII.part4.rar
http://rapidshare.com/files/157568350/LBTII.part5.rar
http://rapidshare.com/files/157579785/LBTII.part6.rar
http://rapidshare.com/files/157579779/LBTII.part7.rar
http://rapidshare.com/files/157579780/LBTII.part8.rar

Password: UpByJoeParis

Dan Silljer - Foolish Heart

To contact us Click HERE
 
Dan Silljer – FoolishHeart
2012, Soccer Mom RecordsDan Silljer gets funky on his debut solo album Foolish Heart, blending 1970’s soul,R&B and funk with a distinctive ear for melody.  In the process the member of Jason Plumb’sband The Willing creates a collection of highly listenable original tunes.  Silljer’s voice is smooth and soulful throughout,transitioning adeptly back and forth between soul /funk influenced rock androll and his singer/songwriter roots. 

“All But Over You” is AM pop radio gold, circa 1981, andshows a distinct talent for lyrics in addition to composition.  Silljer displays a classic pop touch on “FoolishHeart”, swinging the beat in a gentle ballad that maintains high energy whilekeeping its cool.  Tower of Power stylehorns come to life on the guitar-driven “Unfaithful You”, accented by someStanley Jordan-esque guitar work. Silljer slows things down for the soulful and swanky “One More Dawn”before launching into the elemental funk and roll of “Them Changes”.  This is easily the most danceable track onthe album – you simply won’t be able to sit still.“Sanctuary” settles into a solid groove, while “StrangeRelationship” marks a funky, classic-rock sound circa 1975.  The blues roots of this number show through,and Silljer digs into the vocal line with gusto – laying everything on theline.  Things get smooth on “Cradle ToThe Grave” a solid old school pop number that’s pure Billboard material.  Silljer then takes on Marvin Gaye’s “How Long”.  It’s always a risk when an artist takes on aniconic song from an iconic artist, but Silljer succeeds with a funky/smoothsound that’s classic and fresh at the same time.  “’Til I’m Gone” mixes soul and Americana (orCanadiana, if you will) in a down-tempo number that’s melodically pure andsteeped in the blues.  This is a greatpiece of songwriting and is delivered with a quiet sense of urgency that ispleasantly surprising.  Foolish Heart bows on a quiet note: justSilljer and guitar on “Fall Apart”. While the album is high quality throughout this is Silljer’s finestmoment: showing he has the musicianship, voice and charisma to hold a listener’sattention without any frills added.

Dan Silljer may spend a lot of time in the background as amember of Jason Plumb And The Willing, but he is a first class front man in hisown right.  This fact becomes more andmore apparent he wends his way through FoolishHeart.  Dan Silljer shows off hismany musical facets with quiet confidence and just a touch of flair.  FoolishHeart is an album you simply don’t want to miss.Rating: 4 Stars (Out of 5)

Learn more about Dan Silljer at Soccer Mom Recordsor on Facebook.

Anna Coogan - The Wasted Ocean

To contact us Click HERE
Anna Coogan – TheWasted Ocean
2011, Anna CooganIthaca, NY based singer/songwriter Anna Coogan is workingfeverishly on the final release details of her album The Nowhere, Rome Sessions, recorded with Daniele Fiaschi.  While we await the new album, we thought we’dtake a look back at Coogan’s previous album, The Wasted Ocean.  Coogan hasbecome one of the most sought after artists in Americana, with a rabidfollowing in Europe and growing name recognition across the United States.  She’s shared the stage with the likes ofAlejandro Escovedo, Lambchop, Chumbawumba and Carrie Newcomer, and seems to getbetter and better with each album.The Wasted Oceanopens with “The Sons Will Join Their Fathers”, a dark yet lush arrangement thatholds elements of Sarah McLachlan and Shawn Colvin.  The futility of the life cycle thrives at theheart of this song, and Coogan paints the hope and hopelessness of the cycle inbroad melodic strokes that are stunning to hear.  Thus starts a song cycle based on the sea;those who make their lives upon it and those who wait for them back onshore.  “Streamers” comes from theperspective of the latter, exploring the emotions of the one who is leftbehind.  Gorgeous is the only word todescribe what Coogan has created here. The song is full of a dark, almost hopeless beauty that is compellingand stirring.“Blood On The Sails” pastes stark lyric imagery against alush arrangement laced with theatrical flair. The dividing line of this song sees SoulCages era Sting on one side and McLachlan at her most personal on theother.  Coogan drives the wedge betweenthese two iconic sounds with her own distinctive voice as a writer andsinger.  “Love Without Strings” isintriguing; a bit more raw than the other work presented here.  There is an unfinished feel here, as if thesong is a living, breathing being that continues to develop over time.  “Life In A Peaceful New World” strays more into the countryrealm and depicts a Judeo-Christian Utopia. The song contains an invitation to all of those who search and apromise.  Coogan is more traditional on“Comes The Wind, Comes The Rain”, getting back to the Celtic/Folk roots of theAmericana sound she espouses.  Patienceand fortitude are the rock-like themes of “Hold Steady, Hold Tight”, whichdisplays some of the most stunning vocal harmonies on the album.  Coogan raises the bar with “Come Ashore, Love”, a loveletter from a sailor’s wife to her love. The song is an entreaty that anyone who has ever loved a sailor, amusician or anyone else who makes their life on the road will understand.  Poetically, musically and aesthetically,“Come Ashore, Love” is as close to perfection as a song can come.  “The Crucifixion” is a painfully adroitreflection on confrontation and sacrifice. This powerful song will haunt you long after the last notes have fadedfrom your ears.  Coogan winds things downwith “A Little Less Each Day”, exploring the slow fade of love over time,imagined as the vast ocean that lay between them.  It’s a beautiful, sad and moving close thatwill leave listeners yearning for more.Anna Coogan doesn’t merely tell stories in song on The Wasted Ocean, she creates moments ofwords and notes that are so true to life you can practically reach out andtouch them.  Coogan is a modern day DylanThomas, writing from a perspective that is distinctly female and at the sametime universal.  It is impossible toexperience The Wasted Ocean and notbe touched.  The Wasted Ocean will soon not be Coogan’s latest release, but it’sa tough act to follow: A Wildy’s World Certified Desert Island Disc.Rating:  5 Stars (Out of 5)Learn more about Anna Coogan at www.annacoogan.com or on Facebook.

Cody Gamracy - Where Is The Ground?

To contact us Click HERE
Cody Gamracy – WhereIs The Ground?
2012, Soccer Mom RecordsCody Gamracy makes the most of his talents on his debutalbum Where Is The Ground?  Staying within his vocal limits, Gamracyworks out eight original tunes in solid workman-like style.  “All The Wrong Reasons” builds on arelentless folk-rock groove, resolving into a melodically sweet chorus that isably delivered.  Gamracy shows some realtalent as a songwriter on “Sock Puppets”, pairing an imaginative and energeticarrangement with a memorable melody. Gamracy isn’t afraid to take chances, stretching his voice to itslimits.Settling into singer/songwriter mode, Gamracy launches intothe quietly impressive “Giving Yourself Away”. His voice struggles with the slow delivery, but the effect is moreemotive than anything else.  Gamracyapproaches brilliance on “Two Kinds”, with gorgeous vocal harmonies wrappedaround a melody that simply won’t leave you alone.  The rock-a-bye feel makes this a comfortablenumber to slip into; a great listen. “Whatever It Was” maintains Gamracy’s adept vocal harmony constructions,but is a bit disjointed compositionally. The experimental approach is a bit shaky at times, but does achieve somenice moments in the process.  Where Is The Ground? wraps with “Out OnRing Road”, a messy bit of ethereal rock. Gamracy’s exploration might lose you as he floats off into the air, butshows an interesting range and willingness to explore that will keep listenerscurious enough to stay with him.Cody Gamracy perhaps leaves more questions than answers on Where Is The Ground?  Stylistically diffuse, the album findsGamracy searching his muse for a sound that he loves.  There really aren’t any conclusions here, butthe avenues he follows are intriguing, as Gamracy covers an expanse not oftenfound outside the circle of Pink Floyd-influences bands.  WhereIs The Ground? is an intriguing start, and makes it likely that listenerswill keep following Cody Gamracy to see what he might dream up next.Rating: 3 Stars(Out of 5)Learn more about Cody Gamracy from Soccer Mom Recordsor on Facebook.

Delta Rae - Carry The Fire

To contact us Click HERE
Delta Rae – Carry TheFire
2012, Sire RecordsAfter five years of writing and nearly 2,700 reviews, it isincreasingly difficult to be absolutely bowled over by a new band.  While no one who writes like this wants toadmit it, there is a certain cynicism that sets in after a while.  A reviewer may check out as many as 20releases in a week with a goal of perhaps covering 4-5, and there is a definiteamount of musical homogeneity that occurs in the various branches of popularmusic.  It is the reason that radioprogrammers often claim they can tell a hit in the first 10-15 seconds of asong.  If there is no hook in that amountof time that catches the ear, the listener either tunes out or changes thechannel. Similarly, if an album is too like other acts, or justdoesn’t have something special to it, it’s easy to write it off.  It’s the thing that we reviewers must guardagainst.  Luckily, none of these concernscome into play with Delta Rae’s Carry TheFire, which is by far the most wonderfully vibrant and compelling releaseof 2012 to date.  The Durham, NorthCarolina sextet is comprised of siblings Ian (vocals/guitar); Eric(vocals/guitar/piano/keys); and Brittany Hölljes (vocals), along with ElizabethHopkins (vocals); Mike McKee (percussion) and Grant Emerson (bass guitar).  Discovered by legendary record exec SeymourStein, Delta Rae is living proof that once in a while, the music industryactually gets it right.Carry The Fire launcheswith “Holding On To The Good”, a wonderfully buoyant piece of orchestratedfolk/pop.  The complex vocal andinstrumental infrastructure of the song is challenging, laced with gorgeousharmonies and a dynamic, supple lead vocal by Brittany Hölljes.  “Is There Anyone Out There” is full of acontemplative melancholy and a Springsteen-esque observance of a world that isworse off than when Bruce wrote Born ToRun.  Delta Rae paints the picture ofa world that has lost its identity, from the perspective on of the lastbastions to carry on the old ways.  Theprovocative chorus is all about not giving up, but displays a waning hope thatthings can actually turn around.  “MorningComes” explores the feelings about seeing your home town fall into darker times.  Hope abounds here in more plentiful portionshere, and there’s a certain bleak beauty in this unresolved resolution.“If I Loved You” is a magical moment in songwriting; awell-written heartbreaker.  Brittany Hölljeschannels a bit of Sheryl Crow here, as our protagonist waxes poetic on what shewould do if she loved a suitor in the same way he loves her.  The song is wistful; she wishes she couldreturn what he feels.  It’s a wow momentfree of the cliché and entendres that so often accompany such ideas in popularmusic forms.  “Bottom Of The River” is abluesy gospel-inspired number that builds wonderfully dark bits of tension intobeautiful resolutions.  Brittany Hölljesshines in what most be the most dynamic and powerful vocal performance on thealbum. “Country House” is a lovely, contemplative exploration ofthe pure emotions of missing someone. There’s an almost academic approach to the song at first, but this slowburn fires into full inferno in the emotionally charged chorus.  The vocal and instrumental tableau here isnothing short of gorgeous.  “Surrounded”is adult orchestral pop that is wonderfully layered and complex.  There is a dynamic and tension-filled beautyhere that is impossible to ignore. “Dance In The Graveyards” is another moment of magic, as Delta Raeimplores listeners to make the most of every moment, both here and in thehereafter.  It’s a wonderfully vibrantpop tune brocaded with orchestra and amazingly resilient vocal triads.  This is an absolute WOW moment.But Delta Rae is not done. Just when you think they’ve hit their heights they push beyond with“Fire”.  This intense and driven numberis absolutely elemental in emotion and feel. Think Sometymes Why meets Nine Inch Nails (for intensity) and you’ll bein the ballpark.  Brittany Hölljes doesthings with her voice here that don’t seem humanly possible as she conveysanger and hurt in pure aesthetic forms. The moment where she breaks is chilling and drives through you like aspike.Delta Rae tones it down a bit with a mea culpa for humanimperfection entitled “Forgive The Children We Once Were”.  The song is beautiful, heartfelt and sweet inits honesty as it tries to move on the imperfections and thoughtlessness ofyouth.  “Unlike Any Other” is a strippeddown and heartfelt and emotionally raw. Subtle vocal harmonies set the tableau, but Brittany Hölljes’ voice and the pianoare used to maximum effect to convey musical secrets in a beautiful andpowerful performance.  And on the other side of darkness there is alwayslight.  That seems to be the deep seatedmessage behind closing out the album with “Hey, Hey, Hey”, a sweet andlight-hearted love song.  The lead vocaland harmonies mix in gorgeous measure, and the song has a nice, light touch.  This is a feel good time that lets you walkaway even after story filled with real life pain with a bounce in your step andhope in your heart.That’s the magic of Delta Rae.  There is a deep understanding of real worldpain and suffering in their music, and yet there is always hope and always justa bit of magic around the corner waiting to happen.  The musical intensity of the group is spinetingling at times; they can rock you sleep or blast you through the wallwithout ever losing a sense of who they are musically.  CarryThe Fire they do.  It won’t besurprising to see Delta Rae and Carry TheFire regularly mentioned as contenders for next year’s GRAMMY Awards.  In any case, Carry The Fire is certainly a Wildy’sWorld Certified Desert Island Disc. This one is a classic.Rating: 5 Stars (Outof 5)Learn more about Delta Rae at www.deltarae.com, www.facebook.com/deltarae, or www.myspace.com/deltaraemusic. 

Opium Symphony - Blame It On The Radio

To contact us Click HERE

Opium Symphony –Blame It On The Radio
2012, Man Or Machine RecordsDallas – Fort Worth rockers Opium Symphony may be one of themost frenetically non-compliant bands you’ll come across in 2012.  Covering a sonic gamut between The GinBlossoms and a combination of Rush and The Ramones, Opium Symphony is capableof melting your face with their high energy guitars and frenetic drum work, butcan also inspire you to dance with their hook-filled pop songs.  Opium Symphony’s latest album is entitled Blame It On The Radio, a mea culpa ofsorts for Opium Symphony’s unabashed rock style.

Opium Symphony kicks things over to the red right out of thegate with the dervish-like guitar work and frenetic drumming of “DeadRadio”.  These tendencies are presentthroughout Blame It On The Radio inthe heavier material.  “Pretty RichBeautiful” shows off an over-worked drummer and an interesting punk/prog mixthat’s equal parts Rush and The Ramones. The sound and energy here are huge as Opium Symphony opens up a can of sonicassault without losing sight of melody or composition.   “They’ve Got Guns” offers an interestingfaint toward lyric, singer/songwriter chanting before bringing in guitars andclearing the air a bit.  Thisblues-inspired prog rocker is an intriguing listen in spite of the overgrownsound links.  “Down The Rabbit Hole” ismore of a sonic roller coaster ride than anything else, with Opium Symphonysounding more than a bit like 1990’s alternative rockers The Men.“Unknown” is an interesting step both musically andtechnically.  Opium Symphony stripsthings down in pursuit of a more polished sound alongside greater compositionalleg room.  The result is musicallyinteresting, invoking both prog and pop tendencies.  “Jukebox Junkie” keeps the stripped down stylewithout sacrificing an ounce of rocker intensity.  This is a great listen that will have yourfeet moving.  “Soul For Sale” tries tocreate a disturbed ambience through the use of heavy tremolo on the guitarparts.  The result is messy and warped,and ventures into the territory of an almost self-referential cliché. 

“Like Pennies You Had Me Wishing In The End” finds OpiumSymphony venturing into ethereal, atmospheric rock.  This is yet another stylistic branch on thetree that is Opium Symphony, and it becomes increasingly apparent that there islittle that the band cannot do well when it ventures the effort.  “Blame It On The Radio” has the potential tobe an incredibly catchy pop/rock number. The presentation here doesn’t entirely jell, but all the seeds of a bighit are here.  A little advancedproduction on this number is all the polish this needs.   “In This Together” has the seeds and thepolish.  This is by far the catchiest,most exciting track on the album.  Goodluck getting it out of your head.  OpiumSymphony comes in for a soft landing with “Gospel” and “Return Of The Ghost”,solid tracks both seeming anti-climactic in the wake of “In ThisTogether”.  Opium Symphony delivers the goods on Blame It On The Radio, one of the more adventurous and wide-rangingrock albums to cross my desk this year. This creative spread does create some issues for the band at times, andnot every vision comes off clearly, but Opium Symphony shows great potential tobring new meaning to the phrase “post-genre”.

Rating:  4 Stars (Out of 5)Learn more at www.opiumsymphony.com. 

 

Hannah & Maggie - Muscle and Bone

To contact us Click HERE
Hannah & Maggie –Muscle and Bone
2012, Hannah & MaggieIf you were to picture Hannah & Maggie as a sort ofmusical Thelma and Louise, barnstorming across the U.S. in an over-stuffedstation wagon, you wouldn’t be too far from part of the truth.  The truth, that is, if Thelma and Louiseharmonized liked Simon and Garfunkel, and wrote with the poignant flair of TheIndigo Girls.  These words are, perhaps,big shoes to fill, but Hannah & Maggie fill them nicely.  Their recently released second album, Muscle And Bone, offers wonderfullyimage-filled songwriting, angelic harmonies and musical warmth that isdifficult to describe but wonderful to experience.Hannah &Maggie kick things off with “As You Wake”, awonderfully vibrant still life in song about love worn angst.  In spite of the emotional cloudy skiesportrayed here the song is catchy, and Hannah & Maggie's voices mix likemagic.  “Keeping Calm The Lives We Know”is urgent and faced-paced, and sounds very much like a theoretical Paula Simonand Amy Garfunkel.  Musical aestheticsseems to be the purpose in “Burlington, Vermont”.  The attention to capture a place/moment is abid muddled lyrically, but is a thing of pure beauty musically.  “Muscle and Bone” captures the musicianyearning; the desire to capture moments, people and places in song for the sakeof doing so.  The sense of transcendencehere is amazing.  It’s like hearing themagic of nature unfurl before your very ears.“City In Between” is a catchy folk number about coming toterms with the terminal dysfunction in a relationship.  This time the lyrical constructs are spot on,and the performance is as sharp as anything Hannah & Maggie have done.  Fans of Nerissa and Katryna Nields will findmuch to like here.  One of the most interestingsongs on the album is “Ghost”, an ode to an emotional transient that is craftedin warm musical hues and stark imagery.  Hannah& Maggie create a sort of musical alchemy with their voices here in perhapsthe most moving performance on the album.Hannah & Maggie do a wonderful job of capturing afeeling of melancholy and emotional desolation on “Little Wind”.  The musical imagery matches the lyrics, andmakes for a listen that’s aesthetically uncomfortably but artisticallymasterful.   The melancholy bleeds overinto “Curfew”, breakout out into full hysterics that we never quite see buthave described for us.  The song is athing of utter beauty, a ‘Wow’ moment, with Hannah Hickock showing a tremendoussense of vulnerability and awareness in the process of coming to terms withthings she knew about a relationship but didn’t recognize at the time.“Brighton Beach” is a surprisingly literate take on someonecircling their own psyche for understanding. The lyrics here roll off the tongue like pure magic, with turns ofphrase that make you stop in wonder.  Thevoices here are sublime.  “The RoomFiddler” is an interesting blend of melancholy and hope that is quietlycatchy.  The sadness in this song ispalpable, but there is also a sense that the singer is searching for redemptionin loneliness, and intriguing conceptualization.  “The Quieting Down” maintains the desolatequality that pops up throughout Muscleand Bone, ensconced in a wonderful cadence. Hannah & Maggie wind things down with “Four Post Bed”, a somewhatconfusing take on the baser tendencies of human relationships.  It’s not entirely clear whether the singer isindicting someone else or herself for perceived imperfections.  Nevertheless, it’s a sonically beautifulcloser you won’t want to miss.Hannah & Maggie grab you right from the opening momentsof Muscle and Bone with starkimagery, gorgeous arrangements and voices that wrap around you like a warmblanket on a cold winter’s night. Comparisons to Simon & Garfunkel, TheIndigo Girls and The Nields are all very valid, but the overarching qualitythat runs through Muscle and Bone isan aching desolation like that which informed Roger Waters’ best work with PinkFloyd.  This desolation elocuted in suchangelic voices sparks images that drive themselves into your mind and refuse toleave.  Muscle and Bone may have a couple of weak moments, but the magicthat pervades here is too strong to ignore.Rating: 4.5 Stars(Out of 5)Learn more about Hannah & Maggie at www.hannahandmaggie.com.