This rather short six-track 25-minute-long jazz album features Johnson performing in a mix of instrumentals and vocal numbers, two of which feature an actual group. For the rest of the time, it is just Johnson and either a singer or one more musician, so he plays the part of a jazz multi-instrumentalist, something I have previously not come across. Probably for very good reason, as it is the interaction between the musicians which makes jazz what it is, what gives it its very soul, whereas what we have here is something which is pleasant, sanitized, and perfect 70’s background music. I can’t really imagine anyone sitting down and just listening to this, as it is way too clean and safe. He has a pleasant guitar sound, but although he may style himself on George Benson, sadly there is a great deal of difference between the two of them. Not one I can ever imagine playing again.
This band originally started life as a duo back in 1995 when bassist/ songwriter/ producer Bob Madsen met guitarist/songwriter/singer Brian Cline in the North Bay Area of California. Brian and Bob began working together on a few tunes written by Bob and began a lifelong “bromance.” Interestingly to progheads, Brian was the original singer with Enchant and Bob has guested with them multiple times. The band is now completed by Kenny Steel (guitars, keyboards, string arrangements) and then guests are brought in on drums and additional instrumentation. There are a few things which make this band stand out for me, and the first is the bass. Here it is not being used as an instrument to sit alongside the drums but is often the lead melody. We are treated to a masterclass in how to use the instrument, both fretted and fretless, and it took me a long time to work out who Bob reminds me of, and in the end, I finally realised it was the mighty Ox, John Entwistle. Like Entwistle, Madsen can provide nuances, work the complete length of neck, and also put in blisteringly quick bursts when the music demands in. There are also times when we get slap and pop, which provides a totally different feel to the songs.
But, one of the reasons the bass is such a success is due to the strength of the songs and also to the wonderful vocals of Brian Cline. He can put a rough edge on his voice, or sing melodic straight down the line, which gives a totally different feel in many ways. This is music which refuses to be pigeonholed – I know there are some which are calling it progressive, even heavy, but to be perfectly honest it is neither of those things, both these things, and much more. Think of it is as songs-based rock which contains elements and influences from everywhere while still staying pretty middle of the road in terms of overall sound. It is a clever trick designed to lull in the listener as the songs are full of hooks, well sung, but with far more going on than may immediately be apparent. I gave up trying to think who these guys really remind me of, and in the end will just say Eighties melodic rock with pop and prog tendencies, which at times may or may not include funk. There is a confidence in both the performance and material that they will have complete sections where it may be just drums, vocals, and/or bass. It is an incredibly laid-back album in that it never feels rushed and the listener relaxes into it like a favourite armchair.
Elements of Level 42, Tears For Fears and Be Sharp? Yes, I guess, maybe. Oh, I don’t know, just go out and grab this album as it is a damn fine listen and I smile each and every time I play it as I enjoy it that much.
One day I had an envelope arrive from Nick Katona, and I duly copied all the CDs and put them on my playlist and didn’t really think any more of it. I had the made the assumption (yes, we all know what that means) that they were recent releases, so was somewhat amazed when I did some research on this album and discovered not only was it released back in 2012, but as far as I can tell it is still the only album they have ever put out! It took a little more digging to find out why that was the case, and apparently guitarist/producer Gregg Olson suffered a massive stroke the same year the album was released, which obviously had a major impact on him personally and on band itself. The good news is I have been looking at their Facebook page and it appears that not only has he recovered much better than anyone expected, but they are just putting finishing touches on the next album, which is something I am definitely looking forward to.
Scarlet Hollow are American, and with a sound like this they really could be nothing else. This is what Heart would sound like if they were into strong and heavy progressive rock, and if I was to liken singer/keyboard player Allison VonBuelow to anyone else in the scene then it would be to Lana Lane. The rhythm section is Jeff Mack (bass guitars and bass pedals) with Diego ‘GROM’ Meraviglia on drums, and together they make a mighty sound indeed. This is heavy prog with symphonic overtones, with superb songs and great performances from all involved. I had heard the name some years back but hadn’t previously come across the album and am stunned that I have been missing out for so long. There is a confidence throughout, and it certainly never comes across as a debut album, but instead of a band who know exactly what they are out to achieve, and the ability to get there.
Allison can sing delicately and gently when the needs arises, and there is a strong use of acoustic guitars throughout the album to provide different layers and textures, while there is a powerful use of different drum patterns. One is never sure where each song is going to lead, as they mix and meld heavy rock with prog to create something which is more than the sum of its parts. It may have taken me seven years to get to grips with the debut album from Scarlet Hollow, but hopefully the new album isn’t far away at all, and if you enjoy heavy progressive rock, with loads of shade and textures, combined with great songs and a powerful female singer then look no further.
Lee Martin is a New Zealand based singer/songwriter who has been impacting the music scene with her thought-provoking lyrics and storytelling writing style. She is South African born and has previously recorded two original albums which received ample radio play and enjoyed great success with her fans from all the corners of the world. A childhood spent listening to greats such as Van Morrison, Dire Straits, Pink Floyd, Leonard Cohen, etc. has greatly influenced her music. Lee started her training in classical guitar at the age of 9 and has been singing and performing professionally for the past 15 years. Lee Martin is an old soul with a versatile writing style which allows her to cross genres as she glides easily between folk, rock, blues, and country, all the while maintaining her unique sound.
Lee’s storytelling writing style is what intrigues her fans and keeps them captivated. With a new EP being released through AAA Records at the beginning of May, it seemed like a great time to have a catch-up.
Who first influenced you to start performing music?
My dad has always been an incredible music lover with an extensive library of records, and later CD’s. I remember just absorbing album after album when we visited him fortnightly and studying the lyrics. If lyrics weren’t included, I would write them out by hand (not always getting it right ha ha). I used to buy a pack of blank tapes before every visit and I would fill them with all my favourite songs by the end of the weekend, and then continue to listen to it for the next couple of weeks leading up to my next visit. Favourites were Van Morrison, Dire Straits, Leonard Cohen, the list goes on…
When I was five years old, I decided I wanted to learn to play guitar and desperately wanted to be a singer/songwriter. I told my mother of this plan and she was told nine is a good age to learn how to play guitar. This is where the longest wait of my life started! Finally, when I turned nine, my single mother, (on a teaching salary supporting two kids) took me to a pawn shop and we managed to get a $10 guitar that to our incredibly untrained ears sounded semi decent. It had the highest action and just about killed me to play. To my dismay at the time, the guitar lessons she enrolled me in was for classical guitar but after my mother took on an extra job after hours to be able to support this dream, I just sucked it up and gave it my all. My guitar teacher soon realized that I had to endure a lot of pain on the guitar I was playing, and he was quite confident about my ability and passion, so he convinced my mother to upgrade my guitar to a Yamaha after which I just took off.
Because of the classical training, I found it very easy to play chords and pretty much immediately started writing songs about love and other things I had no idea about. My mother was my biggest fan and loved listening to my new compositions (no matter how bad I’m sure they must have been, she loved it). In primary-school I forced family, friends, and neighbors to pay an entrance fee to attend my house concert and in high school Favorites, I had the odd music concert. When I went to University, we started a Uni band and traveled the country with our music. My band was called Southern Soul and we quickly recorded an album and fully immersed ourselves into this music world. The favorite broke up after a few years with life leading us in different directions, but I went solo and kept going at it.
What material have you released?
My first album was with my band Southern Soul in 2006 and was called “Package,” while my solo album as Lee Martin in 2008 was “I Know You’re Sleeping”. I guess it is similar in a sense to what I am writing now, but I feel like my music has definitely evolved and matured. I then got married and we moved to NZ in 2010. Soon after that I had a baby, followed by another, so had a bit of a break. I slowly got back into gigging and starting over in NZ where I was a complete unknown but managed to become active on the scene and I re-released some of my solo music together with some live recordings in 2016 on an album called “Late Night Sessions.”
How would you describe your style to someone who has never heard you before?
I feel like Norah Jones and Eva Cassidy are two of the artists I have been compared to. I like writing about life, and I am a big storyteller in the way I write my songs. I love observing people and making real connections in order to tell a relatable story not only about my own life but about others as well. I cross the boundaries of genres and would say all these are applicable at some point; folk, country, blues.
Who inspires you now, both locally and globally?
Van Morrison is my ultimate inspiration as he kind of breaks all the rules. He keeps bringing out new music, performing and doing what he loves. He never stops. It’s just is who he is. Also, I love the way he crosses the boundaries of genres. He’s not worried about having massive hits or impressing anyone (I know he can be a grumpy bugger), he is just doing his thing and I love it! I also love Norah jones and the fact that she just released another album.
Locally, I adore Jamie McDell, Matty Von Voin, Marlon Williams (the list goes on). NZ has so much amazing talent.
When you perform live is it just by yourself or do you have a regular band?
I like the simplicity of performing by myself and this is what I do most of the time. For bigger shows and launches I’ll perform with a band.
What are your plans for the next six months?
Promoting this EP as much as possible and touring around NZ, Australia and back in South Africa in September.
It has been eight years since the last album from Seventh Wonder, but they are finally back with their fifth studio album with just one line-up change from ‘The Great Escape’. I am not really sure why it has taken so long for them to release this, but I presume the blame should be placed squarely on the shoulders of singer Tommy Karevik who also joined Kamelot with whom he has released three albums. But they are back, and in many ways it is almost as if they have never been away. This is very polished melodic rock with symphonic overtones and great vocals (yes, I know they are often classed as prog metal, but while this is a great album, prog metal it isn’t).
Tommy Karevik is recognised as being one of the best frontmen around, and here he is being given the perfect playground. Given that bass player Andreas Blomqvist, guitarist Johan Liefvendahl and drummer keyboard player Andreas “Kyrt” Söderin have all been in the band since 2000 it should be no surprise they lock in well, while drummer Stefan Norgren (ex: Lion´s Share) drives the music along with a much more powerful and dynamic approach to many in this field. This is melodic and powerful, and far heavier than would often be expected from bands on the Frontiers label. Let’s hope it isn’t quite so long until the next one. 8/10
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
