Robert Lawrence

Five of the following artists I am featuring have built a legacy in the music business. For some performers there comes a time when they become an Icon and an inspiration for others. They have made such an impact with their work that it defines a decade and even a genre of music. Some artists of this magnitude survive their entire career changing with the times and some stick with what they do best and still gain the respect well deserved. Wrong choices are sometimes made and they fall out of public favor and sadly have only themselves to blame. With luck “that all revealing comeback” sets the tone for a moment, but doesn’t tarnish their overall contributions.

BRIAN WILSON – NO PIER PRESSURE – CAPITOL MUSIC

The Beach Boys defined the 60’s Surf Music Sound and also made a major impact in Pop Music. Through 1967 they were on top consistently. For me their last great song was Good Vibrations. Due to Brian Wilson’s personal issues, after that their music was sporadic and that special feeling they once carried just wasn’t the same. Sure there were a couple of outstanding Beach Boy tracks that echoed back to the heyday, especially “Kokomo” in 1988 (in which Brian was not involved with).

That same year Brian launched his solo career with his self titled debut. There were a lot of expectations and compared to his success with the Beach Boys and their current formation without him, it didn’t fair well. The album peeked at #54 on the Billboard Albums Chart and the lead single “Love And Mercy” didn’t even make the Hot 100 Singles Chart.
In my opinion the songwriting was there, but vocally alone he sounded strained to me. In the next 20+ years 11 more albums followed (his follow-up, Sweet Insanity from 1990, was shelved by the record company) with less than half of the releases containing new compositions. The Beach Boys were always a favorite of mine, so I stuck with Brian and listened to each disc and I found the same problem, his vocals. I couldn’t figure it out. I thought maybe it’s just me looking for a sound that was no longer possible, but I decided after hearing him live at different points his vocals were still strong, so it just might be the production, arrangements or song choices. This really bothered me because how could such a great American songwriter keep missing the mark continuously.
Then this year, “No Pier Pressure” was released. What a turnaround. This released was planned post to the Love And Mercy film to add interest, but to be honest it stands alone well on its own. Like the Beach Boys Stars & Stripes country project from 1996, it features guest vocalists, but that is the only similarity. No Pier Pressure is filled with new Wilson compositions. The guest artists are like a who’s who is today’s rock pop market. Geared more towards critical acclaim than top charters, the set features She & Him, Nate Ruess of Fun, Sebu Simonian of Capital Cities, and long time Beach Boy alumni Al Jardine.

The harmonies are so strong that this could have been a phenomenal Beach Boy album if record solely by the group. What sets this aside from other Wilson releases is that he sounds comfortable and smooth. No Pier Pressure is the perfect title.
OLIVIA NEWTON JOHN – HOTEL SESSIONS – ONJ PRODUCTIONS MUSIC
Livy’s connection to Dance Music has never been a mainstay in her catalog aside from a handful of 12” remixes from pop singles and the unnoticed soundtrack to 2012’s “A Few Good Men.” The Hotel Sessions is collection of demos recorded a few years back peppered up for official release.

Not a full album, this EP of 5 songs plus two remixes clocks in barely over 30 minutes. Highlights are ‘The Best Of My Love” which has been floating around the internet for years as a bootleg and Newton-John’s cover of Mr. Mister’s Broken Wings, which probably would have been better served as a ballad. Even though Hotel Sessions doesn’t add up to a career highlight, for any Olivia Newton-John die hard fan it’s a must buy.
In addition Olivia has teamed up with daughter Chloe for a rehash of Xanadu’s Magic re-titled “You Have To Believe” with new lyrics featuring producer/mixer Dave Aude, which at this time is unannounced if it will appear on a Dave Aude mix release or solo project from Chloe herself.
KC & THE SUNSHINE BAND – FEELING YOU THE 60S – BFD MUSIC
There was a time when H. W. Casey founder of KC & The Sunshine band could do no wrong. In 1973 while working in a record store and part time at TK records he formed the band originally called KC & The Junkanoo Band. Their sound was similar to Chicago’s Jazz inspired Earth Wind & Fire due to the horns section, but KC’s group always had a “party” feel and developed their own Miami Florida style that would be referred to as the Sunshine Sound.
In 1975 they broke big on the US Charts with the suggestive songs “Get Down Tonight” and “That’s The Way I Like it,” both hitting number one on the singles chart. Then in 1976 another number one, “Shake Your Booty,” which is still played today at practically every party. More hits followed including I’m your Boogie Man (number one in 1977) and Boogie Shoes, which was featured in the film and soundtrack to Saturday Night Fever. KC & The Sunshine Band were established as part of pop history.
Since then the hits have been scattered partly due the ban on disco in the early 80’s and a car accident which left Casey partially paralyzed involving six months of recovery in which he had to relearn how to perform mobile tasks and playing music. This happened at a time when the group should have been experimenting with new sounds and exploring different styles to stay current.
When I first found out there was going to be a “new” KC & The Sunshine Band release I was filled with anticipation. The last full album of new recordings was 2001’s latin-inspired “I’ll Be There For You,” which still held that Sunshine Sound. The new album “Feeling You The 60’s” sounded intriguing because it was to be an album of covers. Imagine the KC Sound with Bob Dylan’s Blowing In The Wind, Judy Collins’s Both Sides Now, The Kinks You Really Got Me, or The Bee Gee’s Words. That is just 4 of the 17 tracks covered and… sadly not well.
I have no idea what they were thinking. The concept seemed probable, but the production sounds like karaoke to me and KC’s vocals are simply not aged to perfection. Where is the Sunshine Band on this record? I found a sliver on Ben E. King’s Stand By Me. Where’s the studio magic? If they can make Paris Hilton sound good, couldn’t the production team have done something to assist H. W. Casey? The whole album plays like an oldies circuit live Las Vegas act.
Only one track seemed to be done right and I’m being generous with that statement. The song “Dreams,” originally titled Dream’s I’ll Never See, by The Allman Brothers and later covered by Molly Hatchet. On this cut there is evidence of studio manipulation (KC’s turn at sounding like Cher’s vocals in Believe) and that is the only thing that saved it. Maybe the audience they are targeting are the 50-60 Summerfest crowd who can’t tell good from bad after many mid-day cocktails. If that’s the case, mission accomplished.

GIORGI MORODER – DEJA VU – RCA MUSIC
We had a little glimpse of Giorgio’s return to music guesting on Daft Punk’s 2013 release “Random Access Memory.” It’s hard to believe that it has been 30 years since a full Giorgio Moroder project has been released. The new album “Deja Vu” reads like a who’s who in pop music with guest vocals from Sia, Charli XCX, Kylie Minogue, Kelis, Britney Spears, and Zedd collaborators Foxes and Mathew Koma.
Moroder has always had a knack for being in-touch with current trends when active. “Deja Vu” is today’s sound at its finest and sadly over exposed. With all the star-power enclosed the only thing that really sounds fresh are ironically the three solo Giorgio songs, “4 U With Love,” “74 Is The New 24,” and “La Disco.” I was hoping for a possible Donna Summer lost gem, but no trace of her is found on this outing.
One trademark that is really missing is that he is well known for having a song stretch way past the 8 minute mark, but everything on Deja Vu is relatively short and very radio friendly. I’m guessing this was thought of as a “pop” project so he stayed in that territory. Most likely remixes will follow that will let him explore his own magic in the studio. If you are a fan of Giorgio’s electronic work stay with his songs, for guilty pleasures you won’t remember next year, then tap into the rest.
VAN MORRISON – DUETS REWORKING THE CATALOGUE – RCA MUSIC
Van Morrison’s latest is very clever and I would even dare to say genius. What’s so special about a Duets album you wonder, there are ton’s of them and many artists that have rehashed their stuff for a buck. What makes Morrison’s latest unique is that you won’t find Gloria, Brown Eyed Girl, Domino, Wild Night, Jackie Wilson Said, Moonlighting or Wavelength here. His song choices hold true to the title, “Reworking The Catalogue.” The hits have been respected and a fresh look has been given to his catalog titles. What a marvelous way to introduce new explorers to his body work which began in 1964 with “Them.”
Also the selection of partners is just as unpredictable. Instead of riding the wave with new folksters or well-established peers. Morrison chose noteworthy artists in various genres, like British Jazz Singer Georgie Flame, Gospel legend Mavis Staples, California’s Grammy winning Jazz singer Gregory Porter, Blues musician Taj Mahal, and the late R&B vocalist Bobby Womack. There are also some heavy hitters included such as Natalie Cole, Mark Knopfler of Dire Straits, George Benson, and blue-eyed-soul meets blue-eyed-soul with Steve Winwood on my favorite selection, Fire In The Belly.
The only collaboration that breaks the flow is Real Real Gone with Michael Buble. It’s just a bit to bubbly (no pun intended) and tears at the smooth bluesy feel of the rest. Luckily it’s number 15 out the 16 cuts, so its disturbance is near the end. This is a landmark effort from Van Morrison and not to be missed.

Now that the last Music Awards Show (Billboard) has past, it’s time to look back at the artists we lost in 2014. I recently went through all the Hot 100 singles and found I could clump them into 4 general categories (Hip/Hop, Country Rock, whiney female singers, and Irish sounding pub rock bands) It also made me wonder does every hit song these days have to be connected to Pitbull or feature him in a rap? I appreciate new music and look forward to each week’s releases but popular music seems a little stagnant these days. So if your just listening to the popular music stations, that’s what you’re in store for. I say branch out and spread your wings, because there is a lot of good new music out there to explore and the old stuff just waiting to be rediscovered.

JOE COCKER – SOMETHING TO SAY – A&M MUSIC
The original gravel voiced blues/rock soul singer, John (Joe) Cocker (12-22-14), was unique with his vocal delivery which set him far apart from others. Few have the ability to consistently reach into their whole being with every performance. This was a man who commanded the stage without special effects. This Woodstock legend himself was the special effect. Though his hits were sporadic throughout his 5 decades of recording, three numbers defined his artistry for all ages; his definitive interpretation of the Beatles “With A Little Help From My Friends,” the number one duet with Jennifer Warnes, “Up Where We Belong” from the film Officer And A Gentleman, and the well covered “You Can Leave Your Hat On,” from the movie 9 1/2 Weeks. Listening to those three songs is just hint of his body of work and well worth seeking out more. His 1972 album “Something To Say” made an impressive Billboard Chart showing and laid the groundwork for his blues/rock style that became his signature.

JIMMY RUFFIN – THE GROOVE GOVERNOR – TAMALA MUSIC
Often mistaken as a member of the Temptations, Jimmy Ruffin (11-17-14), was never a member and lost out on the opportunity to his younger brother David. He recorded solo prior to that and continued to be solo artist in the Motown galaxy of stars through the Mid 70’s. His biggest hit in that period was the R&B/Pop Staple “What Becomes Of The Broken Hearted,” hitting the top ten on both the Hot 100 and R&B single charts in 1966 He recorded a post disco hit “Hold On To My Love,” written with the Bee Gee’s Robin Gibb for RSO records in 1980. Reaching the top ten this would be his last US Chart appearance. Ruffin’s 1970 album The Groove Governor showcase’s his ability to embrace the Motown sound and carry it on to other pop hits of the time like R.B. Greaves “Take A Letter Maria.”

WAYNE STATIC – PIGHAMMER – DIRTHOUSE MUSIC
Wayne (Static) Wells (11-1-14) was the founder and the lead singer of the Industrial Metal based group Static-X. The band formed in California, but Static’s roots were in Michigan and Illinois. In his early years he was bandmates with Billy Corgan in the short lived Deep Blue Dream. Corgan when on to form the Smashing Pumpkins and Static developed his own professional namesake Static-X. The two directions couldn’t be anymore diverse. At the end of the 90’s Grunge Era, Industrial Music embraced properties of Dance and Heavy Metal. Too beat manifested for the typical club floor, but hard enough for Rock fans to take notice, groups like Ministry, KMFDM, Nine Inch Nails, and White Zombie found their niche. Static did released one solo album (Pighammer) and it basically sounded like a Static-X group release. Static-X’s crowning achievement was their debut “Wisconsin Death Trap,” and where you will discover them at their rawest and most experimental. I’ve spotlighted Pighammer as the feature, due to the promise it showed this artist was capable of.

MARCIA STRASSMAN – THE FLOWER CHILDREN UNI MUSIC
Yes Mrs. Kotter made a record! Marcia Strassman (10-24-14) was a role model as the plain but cute girl next store of the 70’s and perfectly cast as Julie Kotter (Mr. Kotter’s tolerant wife), on TV’s “Welcome Back Kotter,” the launching pad for John Travolta. Strassman’s attempt at a music career was not meant to be. Her three single attempts in the late 60’s failed. Musically they were forgettable, but with the Kotter gig she became the sudo mom of the Sweathogs and found her place in Pop Culture History.

ALVIN STARDUST – THE PLATINUM COLLECTION – WARNER BROTHERS MUSIC
British Glam Rocker Alvin Stardust (Bernard Jewry) actually had two careers. In the 60’s he was known as Shane Fenton and in the 70’s Jewry became Alvin Stardust (10-23-14). The Fenton persona was a Frankie Avalon type of Teen Idol aimed at the Pop Country Markets while the Elvis inspired Stardust was in the vein of Gary Glitter with a falsetto. Neither of Jewry’s incarnations achieved much in the U.S. Markets, but as Alvin Stardust he had seven top ten singles in the U.K. including the #1 ‘My Coo Ca Choo,” from 1973-1984. The Warner Brothers Platinum Collection contains a wealth of selections but I recommend seeking out his individual vinyl releases for some hidden nuggets that you’ll never find on CD or as a Download.

PAUL REVERE & THE RAIDERS – SPECIAL EDITION – RAIDER AMERICA MUSIC
The “Name” and creator behind one of the 60’s most popular mod rock bands, Paul Revere Dick (10-4-14), was often mistaken as the lead singer of Paul Revere And The Raiders, due to his name heading the band. The credited lead singer prior to 1975 was Mark Lindsay. Revere started the band and their first top forty hit single was the instrumental, “Like Long Hair,” in 1961. Sometimes performing in “Early American Colonial Drag” they were thought of as comical and fire was added to that with Revere’s wild persona on stage. They were a serious group and earned respect with the continued hit singles, Just Like Me,” “Kicks,” and one of the 70’s best songs “Indian Reservation.” After their “hit” period, Lindsay left the band because he didn’t want a career on the oldies circuit. Paul Revere continued on but the band never again never came close to their heydays. The album, Special Edition, from 1982 featured mainly bad re-recordings of their hit singles, but the new material showed some promise of a revival with the New Wave sounds of the time. The instrument track of “Magazine” is very similar to the Police.

GEORGE HAMILTON IV – ON CAMPUS – ABC MUSIC
North Carolina’s George Hamilton IV (9-17-14) was another artist who had two success stories to tell. In the latter 50’s he started as a teen idol and scored two top ten ballad singles, “A Rose & A Baby Ruth” followed by “Why Don’t They Understand,” but he also enjoyed the rockabilly groove. Switching to a more country folk type of sound he achieved greater success on the Country Charts landing 36 singles from 1960-1973, which included 1963’s Number One “Abilene.” Hamilton’s voice was very smooth and natural, much like long time label-mate Eddy Arnold. My favorite George Hamilton IV album of his was his first from 1958. “On Campus” is gentle portrait of life in other era, perfect for a time capsule of that day.

JOE SAMPLE – RAINBOW SEEKER – BLUE THUMB MUSIC
Jazz Pianist Joe Sample (9-12-14) could best be described as “Breezy.” He could be touching as well as strong with melodies that gathered the attention of Steely Dan, George Benson, B.B. King, Joni Mitchell, Marvin Gaye, Tina Turner, and Eric Clapton with whom he collaborated with. His most solid performance was the formation of The Jazz Crusaders (later shortened to just The Crusaders) and added an R&B groove which broke through to the Dance & Top 40 Pop Market, adding vocalist Randy Crawford, on “Street Life.” In addition to the large output from the Crusaders, his 23 solo recordings have proven quite a catalog to draw from. His third release “Rainbow Seeker” from 1978 stood out for me because this album recorded right prior to the Crusaders Street Life, shows just how much his influence was part of that moment in their history.

JIMI JAMISON – EMPIRES – TOPNOTCH MUSIC
When you think of the band Survivor, naturally “Eye Of The Tiger” come to mind. Jimi Jamison (8-31-14) was one of the lead singers for that group, however his tenure began after that opus. Initially replacing Dave Bickler due to illness Jamison was caught up in the battle for the lead singer of Survivor, bowed out, and did solo work. His work with Survivor encompassed many Billboard top 20 singles (I Can’t Hold Back/High On You/The Search Is Over/Burning Heart/Is This Love) and his performances stood equal with the original band line up. Jamison a credited musician and vocalist released five solid solo albums and worked with other bands and artists (Cobra/Target/Krokus/Joe Walsh). Before his death he reunited with Survivor and with Bickler. The new band with two lead singers did tour, but plans for a new album were stalled due to Jamison’s passing. Jimi Jamison’s 1999 release Empires, which contains a wicked cover of Gary Wright’s Love Is Alive, is a spot on example of the anthem rock he was capable of as a solo artist.

ROBIN WILLIAMS – LIVE AT THE MET – COLUMBIA MUSIC
What can one possibly say about Robin Williams (8-11-14) that the world doesn’t already know or appreciate. His body of work in film in several genres is simply amazing. He dared to be different early on in his film career and not just repeat his original Mork From Ork popularity. Throughout his career he stayed loyal to stand up comedy and luckily we have been left with several archived performances. My favorite is “Live At The Met” recorded in 1986. I’d say it’s Williams at his “Prime,” but he never faded, so I’ll just say it’s Robin during one of his bests.

MICHAEL JOHNS – HOLD BACK MY HEART – TRP MUSIC
A promising contender on Season Seven of American Idol, Michael (Johns) Lee (8-1-14) had a music career prior to Idol. This is the only problem I have with American Idol. I think the contestants should all be fresh with no formal prior recording history. That being said, Michael Johns performances, though all cover tunes, gave depth and believability. He was one of the few artists on the show that I actually looked forward to hearing their Post-Idol release. The CD Hold Back My Heart gave a sampling of what was to come. Easily delivering his message through emotion and self expression he co-wrote six of the twelve tracks. Including one big cover tune, the Bee Gees “To Love Somebody,” the other songs showcase his natural ability to display his bluesy homegrown style.

JOHNNY WINTER – STILL ALIVE AND WELL – COLUMBIA MUSIC
Johnny Winter (7-16-14) and his brother Edgar were unmistakable due to their albinism, but both are legends when it comes to the blues guitar. Johnny the oldest was the first to form a band and Edgar joined in before embarking on a solo career in 1970. Johnny’s history includes playing Woodstock and with legends including Roy Head, Janis Joplin and Muddy Waters. Winter was a musician’s musician. Never racing up the charts or selling records in the multi-millions Johnny Winter gained a strong following that lasted decades. One of my favorite of his albums is 1973’s Still Alive And Well, which is basically a down and dirty, kick ass Guitar Blues Rock album, in it’s finest form. Listen to the opener Rock Me Baby, then then closer From A Buick Six, then savor everything in between.

BOBBY WOMACK – FACTS OF LIFE – UNITED ARTISTS MUSIC
Guitarist and R&B Singer Bobby Womack (6-27-14) had many ups and downs in his career, but when you have natural talent an artist keeps coming back for decades. Beginning in the 50’s as part of the Gospel Group The Womack Brothers, Sam Cooke nurtured their sound to a more pop audience and changed the groups name to The Valentinos. They scored with “It’s All Over Now,” which was co-written by Bobby, but that track saw a much wider audience when covered by The Rolling Stones. Womack while building his own Solo career in the 70’s worked with Ray Charles, Janis Joplin, Sly & The Family Stone and Aretha Franklin just to name a few. His biggest Solo recording was in 1974 with a re-recording of “Looking For A Love,” which originally made the Hot 100 Chart in 1962 when he was with The Valentinos. His solo version was his first and only Top Ten Single. Thereafter he still frequented and was successful on the R&B Charts with a duet with Patti Labelle in 1984, “Love has Finally Come At Last,” reaching #3 and overseas with Lulu on “I’m Back For More,” a Top 30 hit in 1993. Womack’s Facts Of Life release from 1973, demonstrates how he was able to personalize a song of his own making and covering in a unique way, Burt Bacharach’s Look of Love, Carole King’s Natural Woman (Man) and Jimi Hendrix’s All Along The Watchtower.

JERRY VALE – BE MY LOVE – COLUMBIA MUSIC
Aside from Tony Bennett they aren’t many old school crooners left from a decade that still has affection in many musical hearts, which was proven by Bennett’s release with Lady Gaga late last year. Genaro (Jerry Vale) Vitaliano (5-18-14) was one of the great Italian songsters in the US, right behind the legendary Dean Martin. One of my first music memories was hearing his version of the Star Spangled Banner at a baseball game as a child. Later in life I learned that his version was “the standard” decades before Whitney Houston’s well received recording. His most noteworthy Chart moment was reaching #14 on the Hot 100 Singles Chart with “You Don’t Know Me.” Originally first recorded by Eddy Arnold, Vale’s version was released as a single first. Arnold’s release failed to make the Pop Chart. “You Don’t Know Me” is now considered a standard and the phrase “they don’t write ’em like that anymore” certainly applies. Jerry Vale’s recording success paled in comparison to Frank Sinatra or Perry Como. I assure you that spending years in the used record business, a Jerry Vale album turns up in almost every box of anyone’s collection over the age of 60. Be My Love is the most common that I see, and it is a wonderful example of Vale’s catalog.

ROB BASE & DJ EZ ROCK (RODNEY BRYCE) – IT TAKES TWO – PROFILE MUSIC
Known on Vinyl as DJ E-Z Rock, Rodney Bryce (4-27-14) was half of the short lived Hip-Hop duo Rob Base & DJ E-Z Rock. Though they only made two albums together (the later being a reunion project), the two singles they released in 1988 made quite an impact. “It Takes Two” is a staple in the Hip-Hop community and influenced a load of other copy songs and artists. The second “Joy And Pain,” plagued with rumors of copywrite infringements, brought a new younger audience to the works of Frankie Beverly & Maze. Both tracks are very responsible for the blending of Rap & House Music and taking that format to the mainstream. In a 1990 interview Bryce stated that he left the duo due to personal reasons, Bryce had also been plagued with Diabetes throughout his adult life and unfortunately didn’t appear to curve his lifestyle to accommodate those medical issues.

SHIRLEY TEMPLE – LOLLY POP – MCPS MUSIC
I’ve included Shirley Temple (2-10-14) in this list because of two recordings which hold historical content. “On The Good Ship Lollipop” from 1934’s Bright Eyes and “Animal Crackers In My Soup” from 1935’s Curly Top will forever be cherished by children as long as they are exposed to that audience. Better known as the child actress who has been captured forever as America’s Little Darling in film has had a cult following of collectables with her likeness that still thrives today. I have yet to see a child that has not been fascinated with her image and since adding color to the old black & white reels, it makes the connection even more relatable.

PETE SEEGER – I CAN SEE A NEW DAY – COLUMBIA MUSIC
When one thinks of Folk Music, Pete Seeger (1-27-14) and Woody Guthrie come to mind as the earliest solo performers that influenced any creditable songwriter from the 60s and forward. Seeger goes hand in hand with the idea of protest and song. Performing until months prior to his passing, this artist’s passion can hardly be compared. From the beginning of Music History, the genre of folk has been the base of everything and something that is hard to define. Basically to me it is the telling of a simple story or idea with the smallest amount of music accompaniment. Now that style has morphed into numerous directions which leads to the diversity in that category. One of Pete Seeger’s early employment ventures was working at the Washington DC Archive of American Folk Song of the Library of Congress where he would assist in the sorting and selection of recordings for national file. In the 50’s he helped form and was part of The Weavers which became one the nation’s most popular Folk Groups. Seeger then was drawn to political issues and ventured out solo beginning a life long journey of bringing attention to social events through song. Pete Seeger is responsible for many iconic songs such as Where Have All The Flowers Gone, If I Had A Hammer, and Turn Turn Turn. 1964’s “I Can See A New Day” album, recorded live, is how to best enjoy the intimate setting that emerged from his concerts.

PHIL EVERLY – STAR SPANGLED SPRINGER – RCA MUSIC
The Everly Brothers were the group that bridged the gap between Pop and Country music in the late 1950’s and early 1960’s. Discovered by Chet Atkins in the mid 50’s Don & Phil Everly (1-3-14) had previously performed with their parents as a family group on their father’s radio show. As a Duo, they achieved 27 (including B-Sides) Top 40 singles on the Billboard Hot 100 Chart from 1956-1967. With the British Invasion they fell out of popularity and split due to personal differences and alcohol/drug related addictions, but continued to record with unsuccessful Solo careers throughout the 1970’s. Phil Everly did achieve some notoriety in 1983, with a self titled solo release that had moderate success in England. At this time, the brothers began talking again through their long time bass player and collaborator Terry Slater, and possibly due to Phil’s oversees comeback. The result was a mutual reunion concert at the Royal Albert Hall in London and Live Album release. They decided to record a new album, produced by Dave Edmunds (a long time fan), titled EB84. It was an Adult Contemporary Hit, and made it to #44 on the Billboard Albums Chart. Two more albums emerged over the next four years, but the long overdue comeback was quickly forgotten. Their last recording as a Duo was in 1998 for the song “Cold” as part of Andrew Lloyd Webber’s Musical Whistle Down The Wind. Star Spangled Springer was Phil Everly’s first solo album released in 1973. With production from the great Duane Eddy and arrangements from Warren Zevon, it still had the feel of an Everly Brothers record and their sound was a decade behind the times, therefore it was unfortunately unnoticed.

C.J. SMYTH – COMMON SHAMAN – DANCING DRAGON MUSIC

I love finding new artists that remind me of other artists, but have their own distinct sound which sets them apart. Georgia native C.J. Smyth’s voice reminds me of the laidback caress of Aimee Mann, her tone takes me to the dark approaches of Mazzy Starr’s Hope Sandoval, and her songwriting echoes the honesty of Joni Mitchell. Not quite Folk, Country or Rock, Smyth falls into the category of Homespun Rock Angels like Sheryl Crow or Alana Davis.

My favorite song on “Common Shaman” is “Open Hand.” It’s complicated lyric can have several interpretations. The chorus says it all for me; “Love me with an open hand it’s all you need to do/ove me with an open hand and I’ll come home to you.” I took this as someone in an abusive relationship who has settled for the circumstances regardless of how destructive, due to drowning in love. Others may see the phrase “open hand” as meaning something inviting or offering. Other lyrics in the song lead to me believe the open hand was of a violent nature; “I know you worry cause I’ve been known to run from pleasure and pain, When it feels like a loaded gun with a shot that bears my name.”

The twelve tracks on C.J. Smyth’s Common Shaman cover a lot of emotion and many points of sadness, however it’s not grim. The relationship songs are complicated as most relationships are and the songs of inspiration are within realistic expectations. Well rounding out the experience are a few upbeat numbers that add richness to the project. Of these, “Sweet Mercy” stands out for me and is geared at being the most commercial. Miranda Lambert would be smart to cover this seductive number with it’s religious undercurrent.

C.J. is a noteworthy up and comer. I’d like our readers to be able to get some insight into someone whom in my opinion knows how to “do it right” when it comes to putting your dreams on the map and letting the cosmos take over from there.

Gaysonama: C.J., I wanted to tell you that I really enjoyed your Common Shaman project. I can tell a lot of time, love and emotion went into it. I’d like our readers to get to know you better, so tell me a little about yourself. How did you start out to be a singer-songwiter, what made you select such a sometimes non-rewarding profession, and what were some of the hurdles along the way to this point, your first solo effort?

C.J. Smyth: Bob, thank you for this opportunity to talk with you about “Common Shaman!” I am very happy that you enjoyed the album, and you are right, its creation was an important chapter in my life

To answer your questions, I came to professional songwriting a bit later in life. I played guitar and wrote prose from a young age, and in college decided to try combining the two and loved it. I wrote mostly for my own enjoyment or for friends and family celebrations until I was about 30. At that time I developed Rheumatoid Arthritis and my hands were really being affected, I decided that if I was going to give myself a shot with my music I needed to do it or I might not get the chance. Luckily some new treatments came along a few years later and my hands are still doing well.

My first professional venture was a trio, Cynova, and I wrote all of our original music. We were just starting to talk about cutting a record when one of our group, Valerie Van Zyl, was diagnosed with Ovarian cancer. She died 15 months later just a few weeks before we were to go into the studio. We did go ahead and cut that record “Miracle Alley” with the remaining member Nora-Ellen Long and my partner Kit Thompson filling in for Valerie’s part. We were excited to have it nominated for Pride in the Arts (PITA) Favorite album of 2007.

Afterwards, I wanted to be more intentional about what I created with my life and put out in the world. I worked to get clear on what was important to me and how my music was an expression of that. The songs on “Common Shaman” are a result of that reflection. I also knew from my previous experience that I wanted to have more creative input on the production of this album and it soon became clear it would be a solo project.

Gaysonoma: Starting out later in life reminds me of one of my favorite Country Singers, K.T. Oslin from the later 80s, do you remember her? Seasoned performers even “new to the game” have that built in confidence which is very apparent. You surely have that in common. I noticed your partner Kit is not a performer on Common Shaman. Is Cynova on hiatus for now?

C.J. Smyth: I do remember her, I especially like the tune “Hold Me” such richness and texture in her vocal!

Cynova decided to disband in 2013, after a wonderful 12 year run we all were interested in other directions creatively, luckily it was on good terms, and we support each other 100%. Kit was just helping out with the third harmony part as the songs had been arranged (for which I am grateful!). She did the photography on both albums.

I really wanted “Common Shaman” to develop more organically in terms of supporting vocals and instrumentation and found the perfect producer in John McVey. Rather than take a set arrangement into the studio, John and I worked hard to find the right backing musicians and vocals lines for each tune.

Gaysonoma: Your planning C.J.  paid off well. I have listened to thousands of debuts over the years. Many seem to have something a bit off about them. The vocal drowns in parts or some backing tracks seem off. “Common Shaman” was put together very well, so hats off to you and your team! My favorite track is “Open Hand.” Now that I’m speaking to you directly you can uncover the mystery for me. I took it as a tale related to domestic abuse. I am I right? What is the actual meaning behind that song?

C.J. Smyth: Thank you so much, I really appreciate hearing that from you. I could not have been happier with how “Open Hand” came out! The arrangement we came up with really serves the song well.

I love hearing about how people relate to lyrics, I hear many different things that get touched in people, it’s like all the facets of our humanity comes out. My usual answer is, if that is what you are hearing then yes, that is what the song is about! But I will answer you more directly, the song is an explanation from one partner who needs more independence and space in relationship to the other who worries this means they are not committed and maybe a little self destructive at times. It is a way of saying, I am here and when I go away it’s to gather myself in order to come back more fully present. My partner Kit calls it one of her instruction songs.

GAYSONOMA: When there are many interpretations, that is the sign of a really good song. The title track and title of your CD “Common Shaman” seemed to have a mystical connection. What was the inspiration behind that and why did you select it as the CD’s title?

C.J. Smyth: I was studying Peruvian shamanism at the time. The philosophy is with the right tools the gifts of the shaman are available to everyone. I just hit on the “Common Shaman” as word play one day and really liked it. I planned to title the CD that before the song ever came into being. It circles back to what I was saying earlier about wanting to be more intentional with what I was putting out in the world, focusing more on positivity.

The song posed a challenge musically as it one of several that I alter the tuning on by adding multiple capos to the fret board, so it’s not as straight forward for the musicians to play. John had to do a big of arranging to accommodate that.

Gaysonoma: C.J., if I was to pull a single from the album, my choice would be “Sweet Mercy.” It has playful and lightly seductive lyrics, and a slight blues feel while bordering on country-soft rock. I could see Linda Ronstadt, Bonnie Raitt or Miranda Lambert scoring well with that track. What was your direction with that number?

C.J. Smyth: That one is super fun to perform live too! You are right on with that one. I had been out with some friends the night before I wrote this and we were watching these two women do this kind of fun, flirty dance back and forth all night, taking bets on whether they would hook up or not.

I sat down to write the next day. It had been a while since I had written anything and I was having a little writer’s block. I sometimes try to write something like someone else might to get things flowing when I feel a little stuck, so i asked myself, “What would Melissa Etheridge say about last night” and this was the result. Sometimes I get keepers out of that and sometimes not, but it’s fun.

Gaysonoma: Well that makes me really happy C.J.. I can tell you really enjoyed creating it as much I enjoyed discovering it. On the subject of inspiration, in closing, what single artist has influenced you and your creativity the most throughout your career and how? Also, what one song do you wish you had written and why?

C.J. Smyth: Wow, that is such a difficult question, there are so many inspirations out there Melissa E, Aimee Mann, the Indigo Girls all come to mind. I had to really think about this for a bit as you said “the most” over my career. I think I would have to say it’s a toss up between Ferron and Dan Fogelberg for many of the same reasons. They both cut across the folk, rock and country genres adeptly, they both write stellar lyrics, though I might give that one to Ferron. The prosody they both utilize in their music can create some exceptional emotional moments. I’d have to give Dan the upper hand in musical composition though. He used so many different chords to create a song. If I need some restoration these are the two I come back to over and over after many years. Okay that was a really long answer!

I’ll give you a favorite from each of them that I wish I had written “Ain’t Life a Brook.” by Ferron because the lyrics paint such a great picture of what it’s like healing from a break up over time and the vocal delivery is awesome. Then Fogelberg’s “Dancing Shoes” because the musical arrangement is so sparse and delicate and supports the feeling of the lyric perfectly, wonderfully crafted.

Thank you so much for this opportunity I have really enjoyed it!

Our thanks to C.J. for her time and personal exposure into the realm of media. You can find C.J. Smyth’s music at several venues including Amazon, CD Baby, CD Universe, and at www.cjsmyth.com.

Debuting soon with its Seventh Season is the Ultra-Fabulous RuPaul’s “Drag Race.” Undoubtedly, the new season will be way over the top and filled with cheesy drama, deliberate conflicts, and shameless product placement.  However, I find it very entertaining as it seems to make fun of itself and still comes across as genuine. Aside from all the glitz and glamor, many of these “ladyboys” are singing their little hearts out on Internet Downloads, CDs, and YouTube. None have broken through to mainstream on the scales of MamaRu, but it’s just a matter of time. Here is sample of some noteworthy “dragalicious” sounds that are awaiting discovery. Also for the first time I’m giving each artist a rating in the scale of one to five in Cha Cha Heels. If you are a connoisseur of “Drag” history then you’ll know where the Cha Cha Heels connection comes from.

JINKX MONSOON – THE INEVITABLE ALBUM – SIDECAR MUSIC
Now this collection is a cute little tribute to the days of Vaudeville with most of the background music fittingly provided by an old time piano. Somehow Jinkxy (Jerick Hoffer) managed to get a endearing guest appearance by Fred Schneider of the B-52’s on the opening act and the uproarious song Bacon Shake. Aside from the celebrity draw, Monsoon is right on the mark vocally and you can sense the mischievousness on all the tracks. The only song that is out of place in the line up is a remake of Radiohead’s “Creep.” The interpretation itself isn’t horrible, actually in contrast it’s delightful. The song just doesn’t flow with the rest of the numbers and breaks the flow of the time warp the set places you in. It would have been better included at the end as a bonus track or transformed into the same style as the other tracks. If you’re a fan of ballsy Broadway tunes with so much tongue in cheek that leaves no room for a face, snatch this all out bash from the “Drag Race” season five winner right up. Rating: 5 Cha Cha Heels.

WILLAM – THE WRECKONING – WILLAM MUSIC
From “Drag Race’s” fourth season, Willam (Willam Belli) has been the only contestant eliminated from the contest and gained shameful popularity for that event. Willam is my least favorite in this list because as a drag queen I feel he is weak. A good drag queen gives the illusion of a female, sometimes with exaggerations. Sadly, in Willam’s case his facial structure is just too manly, even though from the neck down he nails it. This is probably why he has landed acting roles where gender is in question as the mainstream can only handle so much of the illusion. “The Wreckoning” features many of his download singles with his partners in crime Detox and Vicky Vox (the now disbanded DWV) and other drag guests. I’ve included Willam here because musically he is the Weird “Alice” Yankovic of the bunch.  His songs are extremely nasty and devilishly clever. The bulk of his songs are parodies and the accompanying videos are quite amusing. “The Wrecking” is available on his website, but I recommend watching the videos rather than only listening . Rating: 2 Cha Cha Heels.

ADORE DELANO – TILL DEATH DO US PARTY – SIDECAR MUSIC
Adore’s debut is a probing mix of Electro-Punkish-Dance-Rock and astonishingly very well-polished. Welcome to the arena a new Glam Goddess. Delano (Danny Noriega) was first on our TV screens as a contestant on the seventh season of “American Idol” minus his drag collective and made it to the top 13, one year before Adam Lambert sissy’d his walk to success on that venue. “Drag Race” allowed Delano to further explore his creativity and more than Idol could tolerate. “Till Death Do Us Party” is the perfect title for this project as it was one of his catch phrases and describes the bulk of the tracks. I was immediately fan struck with the magnetic opener “Speak My Sex” and have grown utterly addicted to the “Party” song. If this was a standard release by an unknown “safe” artist and marketed to pop outlets it would soar to the top of the charts as it really is that good. Actually if some of these songs were put out by the likes of Katy Perry or Ke$ha they would be instant hits. The release did gather attention as it quietly debuted at #59 on the Billboard Album Chart. This is a grand showing and proves that the music buying public want more than what they will find on the Walmart or Best Buy corporate controlled racks. My only dislike is that his drag persona is virtually lost in the effort and the use of profanity seems placed. Sadly in Adores’ case, it comes off as plainly immature. On “Drag Race” season six, Adore seemed very bratty by dropping the “F” Bomb, which seemed like almost every time he was on camera. With all his flaws compared to the other more seasoned queens, he came across as a hot mess with potential and early on he was a judges favorite. He is as captivating as a perky young Molly Ringwald. The “Party” song is a winner in my book and you can check out the amusing accompanying video on YouTube. Rating: 4 Cha Cha Heels.

COURTNEY ACT – WELCOME TO DISGRACELAND – COURTNEY ACT MUSIC
All I have to say is that this glittering star is waiting to explode all over the nation and I wish someone in the business would snatch Courtney up and market the crap out of him. Courtney Act (Shane Jenek) is like a dose of Britney Spears with a splash of Madonna, topped with coating of Olivia Newton John circa 1985.  In my opinion, this is the only contestant that has appeared on Drag Race that could reach cross-appeal on the level of RuPaul. Courtney also was a contestant on “Australian Idol” way back in 2003, made it to the semi-finals performing  in drag and in 2004 released a single “Rub Me Down,” which did not make the US Charts. There is no album yet from Courtney, but there is web product if you search well enough. I have found a YouTube video for the song “To Russia With Love.” that I just can’t get enough of. I think I’m respoinsible for at least 300 of the mentioned views. The video alone prompted me to spend hours looking for more Courtney Act music. There are downloads available for “Mean Gays,” a fun-little romp and three collaborations with other contestants; “Downton Abby Snore,” “American Apparel Ad Girls,” and “Dear Santa Bring Me A Man,” a remake of the Weather Girls holiday hit from 1983. There also is a remix CD single for the track “Welcome To Disgraceland,” from 2010, which is not easily found. I can barely wait for a full album from this artist. Rating: 5 Cha Cha Heels

MANILA LUZON – ETERNAL QUEEN – LOMLPLEX MUSIC
Runner up from “Drag Race’s” third season Manila Luzon (Karl Westerberg) is a flawless fishy queen whose confidence and talent grew during the show achieving many positive comments from judges and earned a place on RuPaul’s spin off show Drag U. “The Eternal Queen” album is very much like the later RuPaul CDs with an ample supply of short and sweet dance tracks but nothing really stands out for me. Unfortunately nothing on it compares with several of the web singles that appeared prior to its release and left off of the debut. I found this odd and assume there must have been a legal reason behind it. The best of the early tracks was his first, the catchy and hook filled “Hot Couture” from 2011. Rating: 2 Cha Cha Heels.

SHARON NEEDLES – PG 13 – SHARON NEEDLES MUSIC
On “Drag Race’s” fourth season, Sharon Needles (Aaron Coady) was the ghastly spooky queen who could only be rivaled by Marilyn Manson for theater effects. It seemed odd at first, but in each episode you were drawn in to see what he would wear next and be amazed at the level of his creativity. Because of this dynamic, I was a little let down by his debut “PG-13.” Filled to the rim with Club Music it is a great addition to any “Halloween Party,” but outside of October it’s just out of place. Creepy and Scary certainly fit the bill with Needles’ image and lead him to grasp the “Drag Race” crown, but it should have been used “in addition to” rather than encompass the whole project to achieve longevity. Rating: 3 Cha Cha Heels.

VARIOUS ARTISTS – RUPAUL PRESENTS THE COVERGURLS – WORLD OF WONDER MUSIC
This is the companion album to season six of “Drag Race” and it’s filled with reinventions of RuPaul songs featuring all of the contestants from that season whether they have pipes or not. It’s a playful example of how far we’ve come with “in the studio” magic. It’s a cute novelty and if you’re a die hard fan it’s a must have, but of course the O”ru”ginals are the better of the bunch. Rating: 2 Cha Cha Heels.

RUPAUL – BORN NAKED – RUCO MUSIC
Yes I do proudly own the RuPaul music collection and I have to say “Born Naked,” is his most diverse collection thus far and is responsible for Ru’s first time busting into the Billboard Hot 100 Albums Chart. Ru hasn’t cracked the Billboard Hot Album Chart since 1993 when “Supermodel of the World” made it to #109. It was a breakthrough at that time on so many levels. It will never be duplicated or surpassed and it’s become a standard piece of pop culture “herstory.” So what’s a gurl to do? Just what RuPaul is doing. He is the finest at his craft and releasing new music with a touch of exploration. On “Born Naked” you will find carefree dance numbers, Rhythm & Blues, Electro Funk, and for the first time a sound close to new wave rock with “Geronimo” and “Born Naked.” As an added treat Club Icon Martha Wash is featured on “Can I Get An Amen” and gal-pal Michelle Visage on the anthem “Let The Music Play.” Rating: 4 Cha Cha Heels.

Recently I was watching an episode of “The Goldbergs” entitled Mixtape. It made me think back to a time before the term “Mixtape.” I remember copying my mother’s records on to 8-Track Tapes for her to listen to her favorite songs in her car. I was a young teen then and luckily my mother appreciated new music as well as old stuff which only enhanced my music appreciation. Every once in a while I’d make her a tape of her old stuff and throw in something new of mine every third song. She is now passed but I kept that tradition going through the next format Cassettes and then CDs. I still do it today, mixing the old with the new. I’m the type that gets bored easily so I require variety to keep my interest flowing. I recently made myself a Mixtape from some new and well seasoned artists that I thought that our readers may delight in.

MELISSA ETHERIDGE – THIS IS M.E. – 10 SPOT MUSIC
I found it unbelievable that on her thirteenth release Melissa Etheridge sounds as crisp as her first release back in 1988. Even more surprising was the arena-rock content found throughout the set. Imagine numerous “I’m the Only One” inspired songs rolled into one package and that’s what you will enjoy in “This Is M.E.” Even though it’s a rocking piece her touch for the emotional ballad is not forgotten as the closing track “Who Are You Waiting For” revisits the tender side she captures equally as well.

BROKEN BELLS – AFTER THE DISCO – COLUMBIA MUSIC
The Broken Bells are pure ‘Electro-Heaven.’ After teasing the public with the single “Holding On For Life,” their second Album “After The Disco” contains many well crafted tracks which prevent repeating the same sound and expanding on that original idea. A morphed group with The Shins (James Mercer) and Danger Mouse Producer (Brian Burton) they remind me very much of the Finn Brothers old Split Enz group. Their first self titled outing from 2010 was strong on emotion and lyric, but After The Disco brings a slice of happy into the fold and the result is overwhelming satisfaction.

CHICAGO – NOW XXXVII – FRONTIERS MUSIC
Thinking about long forgotten sounds, the legendary band Chicago definitely comes to mind. Very few bands consistently carry the feel of “summer” in their catalog throughout the decades. “Now” is a return to the Chicago sound of the 70’s with brassy arrangements and their brand of jazz fused pop like only they can deliver. Gone are those high fructose Peter Cetera love crafted ballads of Lite FM Land. Yes, they had their place but that direction certainly stalled the groups’ output creatively. This new release has the remaining original members back on track showcasing what they originally planned; bringing horns into the rock showcase with complex melodies that give a new light to the average top 40 sound.

SAM SMITH – IN THE LONELY HOUR – CAPITOL MUSIC
Each year an artist emerges that simply takes your breath away. Some fade away to obscurity and some continue to amaze the public with each release. Sam Smith is one of those artists that will be heading into that playground in the coming years. White Boy soul singers are a dime a dozen but certain ones you just can’t shake. Classic contenders like Van Morrison, Steve Winwood, or Daryl Hall certainly fit the bill. Sam Smith has a very good start with his Gospel-influenced track “Stay With Me.” Even though it’s just a little under 3 minutes, it undoubtedly packs a punch that is unforgettable. “In The Lonely Hour,” as a whole, is nothing less than outstanding with many moods, but oddly the weakest moments are the upbeat tracks as they tend to come off sounding like predictable filler with each listen. Mr. Smith’s voice is his true instrument as he unswervingly drips with unbridled passion in a ballad. I hope he finds a way to carry that essence into a buoyant format as with conquering both formats the possibilities for him are endless.

TOM PETTY & THE HEARTBREAKERS – HYPNOTIC EYE – WARNER BROTHERS MUSIC
There was a time when Tom Petty was considered underground. Looking back I can’t understand that classic rock singles like “Breakdown” and “American Girl” didn’t even make it on to Billboard Hot 100 Chart when released. Petty was unique in the beginning riding the fine line of Southern Rock and Alternative Rock in the later 70’s. His carefree vocal delivery and the slight blues feel of his guitar set him apart from others at the time. In the 80’s Music Videos shot him through the roof. Slick and clever production combined with his rawness became the ticket to making his mark in the industry. Future collaborations only strengthened that hold. Hypnotic Eye is return to that basic gruff he started with and has unpredicted results. His tone is a little lower but the strength in his delivery is ever present.

THE BLEACHERS – STRANGE DESIRE – RCA MUSIC
Jack Antonoff (Steel Train & Fun) has learned a lot of what works today with this new band. Shades of the 80’s Big Country, The Alarm, A-Ha and even U2 are layered throughout this synth-pop adventure and it sure helps to have Depeche Mode’s Vince Clark on board for credibility. The alternative landscape these days is all about energy. Aside from remixes the natural version of the song needs to be powerful for it to really work and The Bleachers have harnessed that moment here

TONY BENNETT & LADY GAGA – CHEEK TO CHEEK – STREAMLINE MUSIC
First I thought, such an odd paring, but it works in a sentimental way. Bennett is timeless and GaGa is surprisingly slick in this trip through torch and swing standards. The key to a project like this is having strong vocals and emotion that bursts uncontrollably with excitement. Tony Bennett is remarkable in this recording. Especially on the track “Firefly,” Bennett belts his lines like it was 1954. Compared to his smooth duets album with KD Lang, “Cheek To Cheek” let’s the man out of the box and shines a new light on Lady GaGa’s capabilities.

HOZIER – SELF TITLED – COLUMBIA MUSIC
Sometimes you stumble across a new artist that has a sound that can only be described as “epic.” When I say “epic” I mean Cecil B DeMille Technicolor Cinema-Scope Epic. Hozier is Andrew Hozier-Byrne, from Ireland, and he breaks into each track like a Twister with no place to land. Like Sam Smith, reviewed prior, the artist reaches into his soul with each chord, but what differs between the two is Hozier‘s music equals his powerful voice. Such intensity is forced to be shown, which is well displayed with the video against gay discrimination in Russia, for the song “Take Me To Church.“ You can view this on YouTube with the following link; http://youtu.be/MYSVMgRr6pw

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BLONDIE – GHOSTS OF DOWNLOAD – NOBLE ID MUSIC
It’s hard to distinguish a Blondie record from a Debbie Harry record, but in my book any new recording from this legend is a gift. The poster girl for early new wave is back with her band to celebrate their 40 years together even though they were mostly apart. In a special package you can get the new album  ‘Ghosts Of Download ‘ along with a Greatest Hits collection and an early DVD performance. Beware however the “Hits Package” are new re-recordings and the nicest thing I can say about that is some things are better left alone. As for the new songs there are 16 to choose from and with any Blondie album they are a mix of styles and some collaborations and generally good, but nothing landmark this time around. The one thing that differs is an odd remake of Frankie Goes To Hollywood’s “Relax.” Most of the song is done in a ballad/harmony form, then morphs into a dance track. This really caught my attention and left me wanting more. It’s surely time for a Blondie/Debbie Harry album of covers.