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Jesse Terry – Empty Seat On A Plane
2012, Jesse TerryJesse Terry is an award-winning singer/songwriter based inNew York City, but you won’t often find him there. Terry is an old-school road warrior, spending much of his time in clubsacross the U.S. or at festivals where he can share his music with more fans,potential or otherwise. Along the way,Terry has won Grand Prize in the John Lennon Songwriting Contest and theCMT/NSAI Songwriting Competition, among others. Terry has shared the stage with the likes of Darrell Scott (RobertPlant), Shawn Mullins, Dar Williams, David Wilcox, Lori McKenna and Rachel Platten. Jesse Terry released his newest album, Empty Seat on A Plane, in July of2012. Produced by Neilson Hubbard (KimRichey, Glen Phillips, Matthew Perryman Jones), the album moves with deep emotionalwaves and sparkling storytelling.Terry kicks things off with “Empty Seats On A Plane”, asolid piece of folk pop that is deep in imagery. As the title track and opener, it’s actuallyone of the more mundane tracks Terry wrote for the album, but a solid, ifquiet, start. “Let The Blues Skies Go ToYour Head” is surprisingly introspective given the title. Terry’s voice is distinctive, buzz worth withhints of a whine at times. “WishfulThinking” is a gentle piece of Americana that’s aesthetically pretty andpoetically refined. Terry continues tocatalog his deepest thoughts and fears.“Grace On A Train” is a standout track, with Terry seeminglytelling two stories at once, one real and one in allegory. This is as fine a piece of songwriting as you’llfind, and sounds like a hybrid cross of Paul Simon and John Mayer (at hisbest). Terry shows off his ability atsubtle word play in “Tightrope”. There’sdefinitely more of a Paul Simon feel to this tune, and Terry’s literate lyricsand sprightly, rhythm-driven guitar arrangement are real charmers. Jesse Terry goes for a gospel/Americana feelon “Bitterroot Valley”, the result is a pleasant listen, although it’s notclear from the listener’s perspective whether Terry really got to where heintended on this one. A funky backbeatdrives “Blue Touches Blue”, which plays as an almost perfect counterpoint to “BitterrootValley”.“Coyotes” is a heartfelt ballad about being an outsiderlooking in. Jesse Terry develops thesong perfectly, with tremendous slow build in energy and intensity that sucksthe listener in. The spacey guitar workthat dots the edges of the song is unusual and cool, a fine artist’stouch. Terry strips things down to thebase for “Barefoot Child”, a straight-forward reflection on the world that isfull of a quiet beauty and grace. “SacredOr Nothing” ironically turns on itself perhaps, turning out to be one of thetwo weakest tracks on the disc, but Terry recovers well with the awkwardlysentimental but comely “Scenic Route”. Jesse Terry says goodnight in perfect fashion with the swaying rhythmsof “Pearl Diver”. Terry paints entirescenes in words here against a clear, clean melody that is built of a simplebeauty.Jesse Terry is an amazing talented singer/songwriter. His ability to sculpt powerful images with wordsimpresses from the outset of Empty SeatOn A Plane. His tendency to getwrapped up in his own inner emotional dogma can be kind of a drag for thelistener as well. At his best, Terry islike the second coming of Paul Simon as a songwriter, with a voice that’ssomewhere in the range of John Mayer. Athis worst moments, Terry’s voice and inward focus can make him sound whiny or self-pitying. On balance, Empty Seat On A Plane is a powerful experience for the listener –one bound to make a lasting impression. There’s little doubt that Jesse Terry is going to have a big followingone day.Rating: 3.5 Stars (Out of 5)Learn more about Jesse Terry at www.jesseterrymusic.com.
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Nick Carter Green – ADD (single)
2012, Zuma RecordsNick Carter Green is an R&B/hip-hop artist from Chicagowhose first release, XIX, receivedsolid feedback locally and regionally. Nickis currently working on a new album to be entitled X: The Breaking. The firstsingle from this new project is “ADD” a highly rhythmic and repetitive trackthat seeks to capture the frenetic mindset of the condition. The song is built on a pervasive dance beatand a repetitive chorus that is almost anathema to the idea that drives thesong. There’s an irresistible catchinessto the exercise however, and you can feel your toes and hips wanting to movearound like a physical draw. Nick CarterGreen raps and rhymes his way through the verses, and shows a splendidly sharplyrical sense and even hints of a mischievous humor. This is a likely hit in the dance clubs, andmight even well-crafted for a situational song placement in a movie. “ADD” holds great promise for the rest ofwhat X: The Breaking might bring.Rating: 4 Stars (Outof 5)Learn more about Nick Carter Green at www.nickcartergreen.com or www.facebook.com/nickcartergreen.
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Jason Sinay – Ape& The Wall Of Questions
2011, Apus MaximusJason Sinay is a musician’s musician; a top-of-the linesession player who has worked with the likes of Jerry Lee Lewis, Neil Diamond,Dr. John, Neil Young, Keith Richards, Tift Merrit, Billy Preston and IvanNeville (among others). The seeminglynatural born guitarist can play literally anything and play it well. While Sinay has spent much of his career inthe background supporting musical luminaries, he is also quite capable as afront man. The point is proved on hissecond solo album, Ape & The Wall Of Questions.Sinay opens up with a bluesy-folk take on the classic“Jack-A-Roe”. Sinay’s voice is competentand clear, but it’s his subtly impressive guitar work that takes center stagehere, evoking thoughts of such masters as Clapton and Knopfler. “The Carney” commits to a relentless ennui,brought to life in a repetitive verse structure that is artistic and quietlyalive. The story/portrait here isintriguing, exploring the life of a carnival man. Sinay paints in broad musical strokes,highlighting it all with country accents on guitar. This is an outstanding piece ofsongwriting. “Next Revolution” takes yetanother turn, with Sinay offering up an Eagles-esque California Country styleballad.“Santa Rosa” invokes thoughts of Tom Petty, both in it’srelentlessly Americana sound and even in the tones of Sinay’s voice. This road song is all about getting back tothe one he loves. In spite of treading amusical trail that’s been covered thousands of times, Sinay manages to make itfresh and personal. “I’ll Bring YouDiamonds” finds Sinay throwing off melodic and understated licks that are rightout of the Jimi Hendrix songbook. All ofthis is done to the accompaniment of a sweet groove and a melody you’ll behumming/whistling for days. On “GimmeThe Time”, Sinay works out the kinks and wrinkles of a working class love songin no uncertain terms. Sinay’sdistinctive pop sensibility is dressed in Americana leanings, and the chorus isthe sort that gets crowds on their feet.“Love Minus Zero (No Limit)” is a deeply symbolic song abouta love whose depths simply won’t be qualified in mere words. This plays like an instant classic, as Sinaybrings together all of the elements of a great song for five minutes. “Hey Mama” is a solid R&B roots numberthat hearkens back to the early days of rock and roll. This entertaining and danceable number setsup the closer, a rock and roll kiss-off called “Bertha”. Sinay settles into a classic rock sound forhis goodnight, perhaps coming full circle from his musical roots.Some might listen to Jason Sinay’s Ape & The Wall Of Questions and assume that he’s just showingoff. Well why not? Sinay is obviously a prodigious talent with asix string in his hand, and shows himself here to be more than a capablesongwriter and vocalist. Ape & The Wall Of Questions is abreath of fresh air, showing off a talent that is still growing andbuilding. Jason Sinay is an artistyou’ll want to catch on to early and follow throughout what promises to be anexciting career.Rating: 4.5 Stars (Out of 5)Learn more at www.jasonsinay.com.
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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.
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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.
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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.
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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.
