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Music Reviews

Want to submit a review of your favorite album, artist or show?

Victory e-Mag

WhileAway

11/7/2013

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Jeannine Hebb
Whileaway

Released: 2011
www.myspace.com/jeanninehebb

Jeannine Hebb began her music career at the age of four when she worked out the tune of Don’t Cry For Me Argentina on the living room piano while listening to it as the only song on her grandmother’s music box.

As an only child, and being shy, she spent much of her childhood writing her own songs while learning piano developing her singing voice, and was touring with a professional musical theater group by the age of thirteen. Stage was the place where she felt comfortable with herself. She went on to Berklee College of Music and graduated in three years at the age of twenty.

Along the way she won several awards, including the recipient of the Frank E. Remick and E. Ione Lockwood awards for excellence in music and vocal performance and the Susan Glover Hitchcock scholarship for outstanding musicianship. She also received the Scott Benson scholarship for songwriters, the highest honor in the Berklee songwriting department, when she graduated. After that, she moved to New York City where she released her first EP, Too Late To Change Me.

She has been compared to singers and songwriters from Laura Nyro to Carole King and her style contains influences from jazz, blues, and rhythm and blues, and she blends them together well. The album contains quite a few other musicians including herself on voice piano, with additional musicians on guitar, pedal steel, bass, drums, violin, viola, and cello, although the piano is the featured instrument which is understandable since she is the piano player, and she does an excellent job at it. But is her singing that really carries the album.

The production and arrangements are excellent as is her performance. She has a beautiful voice that is full and rich and well suited for the style of music on the album. The songs are about heart break but done in a somewhat upbeat manner making the album more light-hearted and very enjoyable to listen to. The song I Believe has this in it with lyrics that might sound rather downbeat but are sung beautifully:
    "If I believe /
     What everybody’s telling me
     Surely you would disagree
     With everything I’ve heard
     Can I take your word."

And the song Back to Me Again is very upbeat and fast paced and really showcases her great voice:
     "Say what you want /
     But leave my heart /
     I need all my precious heart /
     And I know you can’t be trusted /
     With my mind /
     And it’s twisted all the time /
     Wrapped so tightly I might die /
     Any time you so desire."

Her voice and songwriting are impressive, and so is the album.

     - by Greg Bennett



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not at war

11/7/2013

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Marye Lobb
Not At War
Self Produced
Released: March, 2012

Marye Lobb was born in the Midwest and raised in Rochester, New York. She apparently got the urge to travel the globe and after doing so ended up back in New York playing in clubs in New York City. She apparently did a lot of traveling in Ireland, Norway, Brazil, Argentina, and Chile and there are influences from all of those sources but the main style is Bossa Nova. She has a beautiful voice, and the arrangements compliment her voice very well. She has toured extensively throughout the United States, Chile, Brazil, and Greece. Her site also describes her as having Quaker and Buddhist ideals at heart, and putting herself through Berklee College of Music in Boston, MA.

She released this album, Not At War, in March of 2012. The Bossa Nova style is still the main influence in her music as she talks about being at peace with and proud of who you are. As on her first album she wrote all of the songs except one, Blackbird by John Lennon and Paul McCartney, she spent Spring 2012 touring the U.S. and is now back in New York City working on new material.

In her notes on her web site she seems to be reflecting her state of mind in giving out thanks. In her own words,
    "Thank you to my friends and family for being so supportive and encouraging while I worked on this – it means the world to me! A very special thank you Kathleen for providing me with a home and place to focus while I worked on this project.
     Thank you to the LobbMob and my New York City family for being my cheerleaders.
     Thank you to Meditation, Central Park and bike riding for keeping me calm.
     Thank you to New York City for always challenging me, inspiring me and keeping me creative.

     I am 'NOT AT WAR' with myself anymore. To all the listeners out there that I have yet to meet and those I already know: I hope this album helps you to find 'home' inside yourself – wherever you may be. xo marye"

Both albums can be found on iTunes. The title song, Not At War, illustrates some of this:
    "3am. There I am, lying there, rememberin’ /
     I was all, that you told me to be. /
     Too many nights. Too many days. Too many hours. /
     Too many ways. To listen to words that were not my own. /
     I’m not at war with myself anymore. /
     I’m not at war with myself anymore. /
     I’m not at war with myself anymore. /
     I’ll let it be what it is. /
     I’ll let be what it is. /
     I’ll let it be what is is. /
     What it has to be. /
     What it wants to be. /
     What it has to be. /
     What it needs to be…"

Let Go shows the difficulty she may have had in finding peace and not being at war with herself any more.
    "I didn’t wanna let go. Didn’t wanna let go. Didn’t wanna let go. Didn’t wanna let go. /
     I didn’t wanna let go. Didn’t wanna let go. Didn’t wanna let go. Didn’t wanna let go. /
     I didn’t wanna let go. Didn’t wanna let go. If this is our last night, then hold me in your arms real tight. /
     Right now I gotta break free. Take a good look at me, look at the shape of the ship that’s pointing out to sea. /
     But I don’t wanna be me. I’m scared of what I might see. I’m too afraid to let go of what I already know. /
     I don’t wanna let go. I don’t wanna let go. /
     Hold me. Hold me. /
     I don’t wanna let go. I don’t wanna let go. /
     Give me some space and time, I promise you that we’ll be fine. /
     I gotta find a way to be myself again. I gotta find my way back home."

As with her first album, the singing and performance are excellent as well as the material, and is very well performed and arranged.


     - by Greg Bennett


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A Killers Dream

11/7/2013

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Rachel Brooke
A Killer's Dream
Mal, 2012 

The project opens with a bit of a nod to Patsy Cline or many of the late 50’s and early 60’s female contry vocalists, heavy reverb pours through the speaker, then goes over board, and Rachel Brooke takes the reigns and a country blues shuffle leaps out of the system. The musicianship is undeniable and though a throwback to another time, it’s also a creation of its own.  The first cut is so cool you have to continue to listen. The second track is a complete departure from the first tune and invokes New Orleans or ragtime on a some sort of steroid. This artist isn’t playing, she’s done her homework and has drank long from many wells, that’s just the writing portion, the production and vocal styling is familiar, but about as far from Nashville as we are from Jupiter. Brooke’s ability to wrap her complex lyrics around the tune and production is like watching a tight rope walker. The use of instrumentation in the second cut is amazing, the mix is perfect. The third cut is so 1950’s that I have to check the PR again to make sure this is a current recording, and it is. A Killer's Dream!

The work is produced by Brooke’s and Andy Van Guilder who also recorded and mixed. The supporting players are plentiful, and each add to rather than take from the work. Van Guilder did a fabulous job of placement in each tune, and the overall vibe is true to certain eras, but between the two have created a new view at the old art form known at Country Music. There are moments that harken back, but always a new twist appears in either lyrical or vocal performance. The arrangements of instrumentation alone are worth the listen.

Brooke’s is a singer’s singer with a wonderful range and ability to rock out or yodel with the best of them. The sixth track is a perfect example of this, and Brooke’s proves herself to be a generous artist sharing the tune with Lonesome Wyatt on this tender ballad.

This is a very strong departure from what we know, expect or recognize from artists considering themselves "Country." Brooke brings it all back to where it started. She is standing alone, probably at the bottom of a very steep hill, but she’s not playing it safe following the herd, she’s blazing her own trail.

If you like the blues, country or straight ahead rock, this is a project that will delight and make you reconsider where the art form has gravitated towards or from in the past twenty years. What we hear out of Nashville is rock, Brooke’s is giving back to the likes of the artists that were at the Ryman [Auditorium] for their turn on the Grand Ole Opry stage. Listening to Brooke’s reveals the genre of the 1930’s with a twist that appears to be new, but comes from a long tradition.

This piece of work is amazing, entertaining and filled with tunes that writers would die for. Rachel Brooke is an individual in an art form that is filled with artists that are indistinguishable from one another. "Country" ain’t that anymore, but Rachel Brooke brings it all back home in a huge mirror called A Killer’s Dream. Do yourself a favor and buy the darn thing.


     - by Christopher Brant Anderson


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