Category: CD Reviews


It was a given that my generation of men always embraced the “Playboy” lifestyle out of college in the 1970s and now, amusing as it is that some criticize us for it; it really made us better (and more sexy) men!
You know that my writings are not “politically correct” because I do not believe in that line of thinking,  and you like that! So, here we go again:

I first heard this jam in the background of a Frankie Crocker on WBLS FM radio show, I think; or maybe it was a “High Life” theme on a Miller beer ad or some commercial? Who? What? “This is what you ARE!?

what you listen to is a continental, bon vi vant style, which brings to mind the French Rivera! Don’t you think?
I came upon this “high life” song again by dint of my jukebox musical mind remembering when I reviewed it for http://www.about.com/dancemusic back in the late 2000s, when the legendaray “DJ Ron” was my Editor! Wow! I like the continental style of the lead singer, who brings us into a vacationing state of mind on this compilation of “Dimitri In Paris”,

And now the album my previous EP revu teased has dropped!

Janey Street’s “My Side of Paradise” [BER 1020 Blu Elan Records]

Janey

If you would talk to Janey Street, you would never know that she is a singer because she is just a natural, typically loquacious chick with a regular speaking voice that has a slight New York City treatment. What I think it allows for is a variety of pitch within this collection which ranges from rock to funk along the blues street in paradise. The concept of this album measures today’s  social mores.

The album begins like I thought it would with the first drummer rim shots.

This is a collection of very well written songs.  I emphasize “well-written” lyrics and performed by Janey Street who has apparently paid enough blues dues to earn a shot to fulfill her dreams, proving that we must keep on keeping on (to borrow a title from the late, great Curtis Mayfield) because it is never too late as long as we have breath in our bodies and a strong pulse. Many of these heartfelt songs will end up rambling through your mind as soothing tune wedgies, long after your first listening to the album.

 

What I love about the first two tracks, which are my favorites, is their Motown-esq funky band feel that even features one of my favorite instruments, the baritone saxophone which made so many hits of the 1960s and 1970s so ballsy and timeless! It kicks in about midway into “Among The Missing” and staples it until the end. They keep that horny horn into “Good Side” and even lead with the baritone which becomes integral from the outset and throughout! I can totally relate to the lyric, “I’m a little moody in the morning/I can change my mind without warning…”

The next tune and ballad, “Bring it On”, brings in the orchestral strings and I think I heard a cello at one point!  It is a bit strident at times as occasional vocal overreach stretches Janey’s vocal range. What I found curious is how she pronounced the word, “stubborn” during this song. It sounded more like “stubbren”. No phonics?

“House Of Mirrors” is a storytelling funhouse rocker that is reminiscent of many 1980s Top 40 hits.  The next tune, “Situation” you already know how I feel about its succinct relevance from my prior writings. Events are oft not as hideous as we worry about them being at the end of the day.

I have another line for song number six, “Tears Taste the Same”, ‘they taste like whatever you been drinking, they taste like Beer…’  Nice, cold ending, by the way.

The advanced EP single, “I’m Not The Girl I Used To Know”, cut number seven, has actually grown on me since I reviewed it in June of this year. Maybe it is because of its context position midway through this album and because I can see how it speaks to some inner truth many people might feel even though I am the boy I used to know – and then some!

“Grand Delusion” takes on the perceived illusion that the internet and social media creates in this, the future that is now, if you do not know how to use it correctly. “Rose-colored glasses made for the masses…” Her treatment makes this global technology dysfunction seem almost pleasing – but as good as it is for song, they are off the mark in-reality, which is a debate for another post.

“Radar” mellows it out like a Joni Mitchell song from the seventies.  “Scat Like Ella” is the best possibility for a “tune wedgie” as it is catchy and will linger in your music mind for all times. It is a really good concept song that Ms. Street performs to the max and conveys the message succinctly.  Again, the lyrics carry part of the day as she mentions so many of the giants of legendary Jazz music.  I left it believing that she really does want to “scat like Ella Fitzgerald after hearing her give us a sample! Now I think I want to scat like Cab Calloway!

At the “End of the Day” is a finale, mostly acapella and well-positioned wrap song for the album, which, maybe, with the exception of “I’m Not The Girl…”, tells a kind of revolutionary story about the times within we reside in toto.  I like Blue`lan’s packaging of the CD, which includes a lyric booklet. My final question is how to get  a ticket onto that train to Janey’s Side of Paradise – or is it an island?  As a songstress/storyteller, Janey Streets consistently paints a beautiful word-picture throughout the effort that defies any one music genre catagorie, in my opinion.  I bless it with Four out of a possible Five Guitars.

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Please add your comment and impression of this music after you add it to your music library.  Another version of this revu can be read at https://achilliadsmyvinylrecordshoppe.wordpress.com/

Now, just to reaffirm to you, I only qualify as a Country music critic by dint of my living in good ole Nashville, Tennessee for twelve years through the 2000s until 2012 and because I covered three CRS conventions for Michelle Jasko’s, Nashville Radio Syndication which required me to hang out with copious Country music artists front as well as back stage and reacquaint myself with similar Music Industry types who I knew from my Top 40 radio DJ days, circa, 1979, et al, thereby gleaning that “Country Music peeps are just like everybody else in “the biz” – often quite nicer to interact with. Our country, America the Beautiful, needs more of that kind of cross-cultural interaction!
I preface this thusly because of the incredible man and protector of our American way of life this recording artist, Pete Scobell, is!! How does a Navy Seal become a Country music performer? Well, one reason is because it was always in his nature! Music is not just a hobby nor something else he wants to try to conquer.
Even though the folks who wanted me to review Pete advanced the first single, “Walkin’ A Wire”, which is a catchy song, I quickly passed on that to dig into the whole CD album which they also sent. My ears quickly latched upon cut two, “Guns & Roses”. This is a hit music song with many attributes around relatable lyrics in the “now” plus an equivalence to another world-famous band. In fact, my missing Inna from Ukraine, just LOVES Guns & Roses and Axl Rose. Maybe they ran off together – Pete has a song for that.

In this great album are many songs with relatable and vivid lyrics borne of struggles all of us have experienced. Take, for example, the very tame “WILD”, which is about when your best friend is buried in the ground before your eyes. On the other hand, a few tunes sound like just another country song like “The Fight”. My other favorites are the Country-funky “Dive Bar” (“…where they still play Hank and crank that ole Country with a steel guitar…”) and the very relatable, introspective “Disappear” which caused me to become sad the first time I listened to it when I heard him sing “seems like everything I love slips through my hands….” I took some weeks away – maybe it was the juxtaposition of my personal struggles and Martha sending me this music? So I eventually dove back into the album and found a kind of musical salvation. “Feels Like You Know Me” rocks out with great drum work and a stand-out hook, “…Jesus on Sunday!” For those of us who question whether our prayers are ever heard, let alone answered there is “There’s Gotta Be A God” ~ Amen. I cried real tears at the end of the first time I listened to it. You will want to hear it and again I emphasize the relatable lyrics on this incredible album!
The next-to-last track, “Hearts I Leave Behind”, first struck me due to the military-style drum marching band ending-to-fade which caused me to revisit the song, re-read the liner notes and learn that this was originally a song he recorded with Wynonna Judd! “I Live in the hearts of those I leave behind” is strong stuff with the classic Country American instrumentation. As a drummer, I love the rolling drums to fade!! It is my second-place favorite!
“What ever happened to just seeing what happens” got me off my lazy bed to write more about this music!
Last, but surely not least is “Friends With Money” with a very different, conversational on-location intro. Again, more very clever lyrics that denote how Pete is helping us process our lives today. “I got God and I got church/I got a gun if that don’t work…” lol Love it.
Thanks to a team of songwriters and Pete’s personality, we get to listen to a production of today’s life and frustrations which just might, with appropriate airplay, help cure many of the negative afflictions we hear about here in today – the future which is now.
Hey I am about a rare thing here! Five Gold Guitars!!! I never DO this. I felt this whole album. Maybe it was the South Carolina trip, lol !!

Here is the ACOUSTIC version of “Guns & Roses” for your mind…

Pickhitt: Major Props to Ms. Martha Moore for staying on me to listen and review this album.

**SureShott: check out a more generic version of this review at my new, music-only review site,
https://achilliadsmyvinylrecordshoppe.wordpress.com/ where I am still working-out some of the kinks. Please add your comments to the community!

This is the last music review here at this vaired and long-standing blog since 2009. From now on, you are invited to check out my musical musings at my new, long-thought-about and sometimes discussed, via my initial blogging motivator (my amigo and Alum, Grady from Adelphi University), offshoot and narrowly focused effort in the blogosphere which will only present via on one of my strengths: writing reviews that comment and critique music, past, present and future! My main obsticale was creating a name for the new one, oddly-enough, which last week finally came to me and allowed me to move forward with it so I hope that you will want go on over to https://achilliadsmyvinylrecordshoppe.wordpress.com/  for my music musings henceforth.

My first review for that new blog station is for an EP I received from a beautiful soul and LinkedIn connection named Irenka.

Iren

It is against the backdrop of the cowardly and horrific Islamist bombing of the Brussels airport that I pen this review of music by a native daughter of that country which bothers no other and I cannot understand why those scum continue to main innocents instead of fighting a nation’s armed forces face-to-face; sissies!
Well, on to her important music EP, “Wait 4 It”. I must have met Belgium’s hot foxy female vocalist, Irenka, during my twelve years living in Nashville, Tennessee, right? Or Nyet. I would have remembered such a creative presence, energy and figure as hers! The first sound that I hear on track one “Comme Si” is Irenka clearing her throat. I said, “What??” Listened again; however, quickly those sounds turn into her spittin’ like a Euro human beat-box meeting Soft Cell’s 1981 “Tainted Love” – at least in musical key – as she then croons in French, the lingo most speak in Belgium. The last time I listened to this much lyrical love language was on Dimitri From Paris’ 1998 “Sacre` Francaise” or when I reviewed the various artist Playboy Club remix back in 2009. Scare Bleu!
“Dreamland”, track two, is an introspective, somnambulistic ballad where she displays her vocal range for the first time. This and the next selection where she lets her fingers do the singing on track three are perfect for a cloudy day. Irenka is really playing a beautiful classic-style piano solo instrumental! I know because I asked her. Next up and showing an inner versatile similarity to the late Amy Winehouse but with a better voice, or Billy Holiday, she styles on, “I don’t Need No Lover (except to hold me through the night from time-to-time)”. I think that this arrangement reminds me of New Orleans blues-jazz in a street march parade; especially because of the brass accents. At one point I was unsure whether Irenka would hit the climbing high-note – but she did. You will know it when you listen. It is a song that harkens me back to the days of, “Hubba-hubba!”

Finally, she rocks out with the fourth and last track, “A Reason To Hate Me”.
The video, “Comme Si”, takes us on a musical personal journey and is full of familiar scenes from my twelve years living there in Nashville/

Athletic, isn’t she?

Upon learning of the repulsive, pusillanimous Brussels airport attack, act we communicated and her reply, in great musician style was, “Luckily all family is safe, but it is nonetheless terrible, and it is our duty, we the artists, to bring peace and love to this crazy world!”
The world is not as crazy as some of these recent lunatics who inhabit it and I might have been at first on the fence in limbo about Irenka, but now that I have listened copiously and seen her video, there is no “reason to hate” on Irenka with three-and-a-half hopefully motivating musical stars. 3-and-one-half-star-rating

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Just when I had donned my grumpy Scrooge cap and given-up on the increasingly commercial “Christmas spirit”, Martha of So Much Moore Media back in good ole Nashville, Tennessee, sent me this little ditty for my opinion. When I read the title and saw “Santa Baby (You’ll Be Mine)”, I thought it would be another lame take-off on the original Eartha Kitt holiday hit. Boy was I in for a surprise with this mischievously playful, sexy down-home take on Christmas time by Leslie Cours Mather entitled, “Santa Baby (You’ll Be Mine)”.
So, with a “Ho, Ho, Ho and a “jingle, jingle, Jing”, a fresh, funky drum, catchy, surprisingly sassy new holiday song is launched. Leslie’s “Santa Baby” has already caught my attention as the latest, new holiday anthem and is a tune wedgie that I can’t get out of my head, snow or not. I also really dig the organ accompaniment and background singer shout-outs!

Leslie Cours Mather is the daughter of a Lt. Colonel in the U.S. Army. Born in Singapore, she has lived all over the world and even attended Vanderbilt University in Music City (Nashville) Tennessee. A chance business meeting introduced her to legendary producer / record executive Denny Diante, who put her back in Nashville with the “Wrecking Crew” at Blackbird Studios which is less than a mile from where I used to live there! The result of that meeting is the album, “COUNTRIFIED”, which is due to drop in 2016.

With influences ranging from Linda Ronstadt to Martina McBride and Trisha Yearwood, Mather presents a powerful vocal style that is uniquely her own and from which she sends us this musical Christmas present. Her eyes mesmerize on this ode to Mrs. Claus.
Check it out:

Leslie supports Therapeutic Advances in Childhood Leukemia and Lymphoma (TACL) and Children’s Hospital Los Angeles among other philanthropic endeavors. Season’s Greetings!

http://www.lesliecoursmather.com/

I kiss this tune with five mistletoes because I believe it will become the needed, new timeless classic Country music addition to our Christmas music fare.

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BL9228_6_ArtworkMadisonPark+BeechkraftAlbum_500xSmall

Just in-time for 2015 spring (beat) breaks, here is a cool cabin fever buster! Whether you are a DJ seeking spice for your sets or a “civilian” music lover, these fifty-four minutes of sound has something to give your Mr. Spockish quizzical eyebrow pause to do its thing.
From the first cookin’ bounce of “MIX” [BasicLUX BL9228-6; release date, March 31, 2015 ], I was reuniting with some old friends. I thought to myself, “The Cools have done it again!” James and DeAnna Cool, better known as Madison Park, are now collaborating with a Dutch dance music producer known as Beechcraft for this “MIX”, a well-conceived fourth full-length album CD since I first heard about and reviewed them for www.about.com back in the mid-2000s. It is very difficult to find out any bio on Beechkraft, who is also a Netherlands composer for television and film. Apparently he prefers to remain a bit of an anomaly – I cannot pinpoint exactly what he added to their sound, but suspect it is the upbeat, spirited-cadence of several of these tracks that he is responsible for. If I am incorrect, please educate me in the comments section below. At times, this album has a Pet Shop Boys feel to it – not a bad thing in my musical universe!
Madison Park, as always, features a very clean, sophisticated club music sound stapled by impeccable electronic editing and, of course, DeAnna’s hypnotically soothing lyrics via enchanting, wispy- velvet vocals. Having gone thru the disc multiple times, the first track, “Tonight” is the one I sweat the most. “Warm When I’m Alone” is next on my hot parade – I dig the uptempo groove – as future floor fillers!
In total, “MIX” grooves like a theatrical play or movie soundtrack with various moods and tempo. The cover art features DeAnna as the “I” in Mix, by the way, while the inner seat for the disc has three philosophical sayings for us to ponder.
Since 2002, downtempo duo, Madison Park has continued to produce brilliant music through a turbulent music industry era and are best known to me for their Billboard Dance remake of Roxy Music and in-particular, my favorite song, “More Than This”. Of-note here is their downtempo version of the David Bowie classic, “Let’s Dance”, which I envision as mixable within pancake turner late night chill sets. I think that it, like several other tracks should fade instead of ending cold. A chop ending works well on the acoustic selection, “Words”, track eight, naturally; fades are more disc-jockey-friendly.
From the dream-scape of “Parts of Me” to the bongos heard on “I Am Your Beachbreeze” or a cathedral-house anthem on “Sunrise (Next Level MIX)” and the lite drum & bass treatment of “Every Single Day”, this “MIX” garners a listenable, danceable rating four-of-five up/downtempo rated touch of house married with Portishead stars, which will cure whatever malaise the winter of 2015 touched you with. Remember…”Itz IN da MIX”.

Pickhitt: James Cool tells me that “Parts of Me” was the first single released in-advance of “MIX” and is in it’s 13th week charting on the World Chill-Lounge Charts at the time of this revu publishing. The video for “MIX” is being shot and edited at the time of this writing and will be available by the end of March, 2015. Then…y’all will see it here (hopefully FIRST!).

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Nashville, Tennessee
A beautiful, free-spirited twenty-four-year-old budding Country music star is by another name, Montana’s “big sky” farm girl- deluxe, Kayla Adams!
This is the latest spin on the “Get drunk and act the fool with your boys if you want to, but when you return to reality, your stuff will be packed-up and out on the street” theme – “Even your records and your ole guitar!”

“Sober & Sorry”, Kayla’s catchy debut single [SSM Entertainment] for one thing, is a hybrid of classic Country music ( I call it a funky “square dance”) rhythm of “one-two…three-four…one-two-three…three-three-four and the rockin’ country trend which emerged circa 2007 and was co-penned by her along with Pete Nanney and Billy Atherholt.

Born of a past personal relationship experience, Kayla employs what Authors often do when life hurts, “writer therapy”.
Don’t let “a shot o’ Jack” make you do something stupid that you will be sorry for when the drunk (alcohol) wears off! This could be the first of a stream of hits by this fine, young blond and blue-eyed starlet.
Kayla is an aspiring navigator of the winding-musical artist road and is straight-with-no-chaser on this one!

Her cover art shot for the single!

Her cover art shot for the single!

Her first album is in the works for late Summer/early autumn 2014 release. Kayla identifies LeAnn Rimes as one of her musical role-models and you can hear it!
Check-out her website, http://kaylaadamsmusic.com/

Mean relationship revenge aside (don’t try this at home girls), I can happily bless “Sober & Sorry” with four out of a possible five Country guitars, with a bullet!
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At the time of me penning this review, the music world lost a veteran of rhythm and blues, Bobby Womack, one of my all-time favorites who had recently appeared at Bonnaroo in Tennessee. He, like Kayla, was a musical free spirit; maybe an indicator of God’s heavenly balance – as one leaves another arrives.

If I was still a DJ on the radio, I would back-announce it by saying, in my deepest, sexy man-voice, “Oooh, Yeaah!… Don’t mess with Kayla…” lol

Please add your comments. Thank you.

From The Pajama Bar’s vintage vino cellar of classic hit music, I offer this review of a not-so-oldie-but-goodie of the dance floor that I wrote-up in the late 2000s for about.com and my friend, DJ Ron. Major Props to James and DeAnna Cool.

As soon as my editor put this CD in my hot little hands, somehow I knew I had a smash. I couldn’t wait to get to the studio and press “play”. On a recent road trip, I listened as the miles flew by. Sure enough, from the first beat of track one, “Roxy Re-Modeled” [basiclux 9205-2] did not disappoint me. This is a wonderful collection of re-done Roxy tunes that you will love to play over and over.

The personalities that have created this revival are as interesting as the music is. Simply put, I must gush because I love the weave-through journey of this album! “Roxy Re-Modeled” is not just a face-lift, it is careful to maintain the class of the original as a renovation of a classic museum would.

The Roxy concept is the musical brainchild of visionary Bryan Ferry who busted it upon our ears for it to be known as much for the lavish theatrical stage presentation as for the music, and became the stuff of legends thirty years ago. I taste a touch of salsa behind the wisdom on the opening lyric “nothing lasts forever” on track one, “Same Old Scene,” and Cool’s vocals are Lisa Lisa-like. This first came out back in ’80, on the album “Flesh and Blood.”

 

The re-deux of Ferry’s classic “Love Is The Drug,” this time by J.A.C.E. featuring Chris Hays, has the feel of the Bee Gees’ “You Should Be Dancin’.” I also must bigg-upp (la) Grace Jones’s classic 1980 treatment of it. This version maintains the frenzy; the energy that keeps on building and the pounding, driving beat.

I mixed the Manhattans’ old classic “Shining Star” seamlessly into “Angel Eyes” (track 3), which registers as a better-than-the-early nineties-group-Soul II Soul-groove by Perfect Project. It is jazzily hypnotic; a great listen on a hazy Sunday afternoon. Sunday People’s “Avalon” (track four) features the euro-whispery vocals of Hassan Nasser (not the boxer is it?) It is mysterious and the musical interludes aid the international flair of the disc as a whole.

 

Now with “Don’t Stop the Dance” (cut five), BiTeR mc and Elena DeLucca’s tempo keeps it rocking steadily. Now I know what happened to good electronic pop-style music. It is on this album! I would add “More Than This” (track five) from Madison Park in heavy rotation on my fantasy dance music radio station (whose ratings, of course, would, be number one)! ’nuff respect to Lenny B on the remix which has the big Webster Hall ballsy bass house feel. Don’t waste time, cut to the musical chase when you re-compose a piece and give it the opportunity to cross to the CHR/Rhythmic Top 40 formats for those programmers left who are bold enough to go out on a gut-level limb. This one is my personal favorite.

“Kiss and Tell” (track eight) by J.A.C.E featuring Chris Hays on vocals is bold and brawny dance (of the cloth of Theo Vaness’ 1979 “No Romance/Keep on Dancin'”). I just can’t get enough of this kind of sound, and I love when stuff makes me get down on my knees and dig into the crates! “An Angel’s Eyes” (lots of angels guard this effort) by Stormchild is an insty with a familiar funky hard beat and a nice airy, progressive change mid-song. A little “traveling music, please”- that’s what it iz.

 

The next two tracks, “Beauty Queen” from Goldlust featuring Sarah J., and the downtempo “Slave To Love” by Abstract Foundation offer a timely change-of-pace like jerk chicken and a Caribbean rum beverage.

For a nice Adult Contemporary format feel, choose “You Do Something To Me”, another Madison Park tune, this time with The GrooveOholics (track twelve). DeAnna shines once again in her starring role with dreamy vocals that began before she even uttered a word. As her Mom tells it, one day when bathing and singing to the few months old DeAnna, she was surprised when her daughter looked up and matched her pitch, holding the same note! Mother DeAnna was so shocked, she almost fumbled the little darling.

Track thirteen, “Ten Cents A Dance,” by Wilson is Yar Wilson’s upbeat and positive curtain call with the same feel of “Kiss and Tell.” Personally, there is so much compelling stuff yet to tell about this, dear reader. In any event, this compilation makes you feel a strobe light rainbow of danceable sound.

Five stars – hands-down!

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The latest volley to flash across my musical bow comes from Blossom, Texas-born Jeremy Pheifer, who, with that non-Country music-sounding name, brings us “Take the L Out Of Lover”. Not only is his name non-traditional Country, but so is his look. To me, he appears to be enforcing the guitar into the song, rather than playing it. Hunched-over his axe on the dropbox video (which I can only link here as wordpress does not support a viewable upload apparently), I can see why he used to be a bouncer and American football defensive/wide receiver! Sports and music are this hunk’s two major personal passions and his touch on guitar is surprisingly tender at times. https://www.dropbox.com/s/am9toib48bsqcd8/TakeTheLOuttaLoverc.mov

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Physical presence notwithstanding, the hook lyric, “If you take the ‘L’ out of lover and its over…” is clever and true. I can think of a couple similes like, “take the ‘M’ out of mother and its “other”, or “take the “N” out of never and its ever…” But I guess I digress as only a wordsmith would. None in love want to remove the “L”! Indeed, it might be over. Can you relate? Tell your story in our comments section, ok?

This latest single is the culmination of Jeremy’s life hurdles and struggles which include losing his baby sister as a child and special educational challenges with reading. Music runs in his blood as his dad, Jerry is a legend in the state of Texas, who has is own studio and is the backbone of his band on pedal steel.
Jeremy Phifer and the Texas Bad Water Band, with a sound he describes as “Lynyrd Skynyrd on cornbread meets Alabama”, has toured all over the Texas/Oklahoma casino circuit and from Paris to Dallas in The Lone Star State itself. Apparently however, it was not until they “put together a team of pros from the New York/Los Angeles music city of the south, Nashville, that the lyrical aspirations began to move forward for this young entertainer.

I give “Take the L out Of Lover” three (3) bold Pajama Bar stars *** out of a possible five, mainly for the creativity of the title and conceptual play on words. What do I know, it’ll probably be a smash!

If I were him, I would just use “Jeremy” as my stage name and polish-up my act not to look so ordinarily “just off of the truck”. Yet again, having spent many-a-day in Nashville, I understand that J.P. surely sounds different when said by a southerner, and his father and nine-year-old son who is pickin’-up in his footsteps would give him grief if he did that, lol. As Jeremy put it after a recent gig where all three shared the Elks Loge stage in Paris, Texas, “To have three generations of Phifers playing together is a memory I’ll cherish forever”. Just remember, if you take the ‘for’ out of forever it is “ever”.

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I have known about Mark Tara since 2006, when I was first assigned his single, “Different Love” to review by my then Editor at www.about.com/dancemusic, Nashville’s “DJ Ron” (Slomowicz).

Since then I learned much more about Toronto’s Mark Tara and his varied talents which include being very astute as a creative website developer.

 

“Creative” is the adjective I can use multiple times to describe Mark’s latest musical release, “Number One”, which is now available for your ears.  The proof is in the first sentence of his press release, which describes the single as “the perfect blend of talent and technology”.  This alludes to the virtual collaboration with co-producers, The Netherlands’ Matt Pop, who commented, “It’s always a pleasure working on a strong tune with great vocals – that was very much the case with Number One.” and the Klubjumpers of the USA, whose Dan Matthews added, “It was great working with Mark Tara on Number One. Very appealing lyrics to the song with Mark’s great voice just adds life to [The KlubJumpers] remix. ‘Sure to be a Hit on many DJ’s Radio Mix shows Play List.”

 

Number One” is sparkling and brilliantly fierce as dance tracks go these days! I am so happy that Mark thinks enough of me to have sent me the advance video and colorful follow-up finished track.  I like the way the video opens with a curtain going up on a stage and then the multi-boxes of Tara performing marquee-style – it ends with the curtain going down on the show. Great stuff!  

 

“We live in days of making dreams come true,” says Mark Tara. With the advent of WE TRANSFER, a website allowing users to email files as large as 2 gigs, (Wow!) digital distribution sites and DSLR camera technology, which means that the future is indeed here, allowing musicians like Mark to present his unique talents to a global market – or even the musical gift anthem to the US President and Supreme Court in the aftermath of their recent apparent affirmation of “gay marriage’- strange bedfellows, indeed!  Mark is a kinder, gentler and prettier ‘RuePaul’, if you will allow the analogy. Sometimes it seems that Mark’s moves in the video are a parody of female singers, but as with many things these days her in ‘the future which is now’, it IS what it IS.

 

I could loop this song and listen to it or play it in my club over-and-over again, ad infinitum! As Toronto-Trinidadian Mark revealed in one of my prior music critic interactions with him, “”You Rock!” I give this song four lucky stars out of five, remembering that this is just one song of an anticipated forthcoming album (I hope).  And I will say this, without the video, like back in my younger days of just having a 45rpm vinyl or a 12” vinyl or single CD first, this might just be “another dance cut” vying for attention.

I just “liked” it on my You Tube channel, https://www.youtube.com/user/mooseydeucytarget=”_blank”> and you should too!  Большое спасибо, Марк!

 

Check out Mark Tara’s Official Website: http://marktara.com for more VIP treatment.

 

 

 

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Creative Non-Fiction Short Stories. :) Travel, Oldsters, Love, and Compassion.

the drunken cyclist

I have three passions: wine, cycling, travel, family, and math.

cancer killing recipe

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