This cute single is the prelude to a full-length release…

Johnny Searfoss is a very promising guitar player. Only his singing abilities is a bit his downside.

The album 'Emergence' is an album that sounds quite dark, yet it still remains light digestible.

This double album, parts two and three of Consider The Source's 'World War Trio', is a special creature (take a moment to read the track titles, it's worth it) (seriously, do it). Most impressive is the care spent on the composition of the twenty tracks. You can find intelligently structured songs in the vein of Tool, and at other times we find ourselves almost entirely in jazz territory, with solos and themes and melodic deviations that sound like improvisations. The key words here are 'constant variation'. The average song length is about six to seven minutes, and in those time periods a lot (a lot!) happens. It's refreshing to listen to a band that spends so much time and effort on composing such often complex song structures, without sounding incoherent or even abstract.
It's a shame, though, that the impressive compositions miss some impact here and there. Is it the somewhat flat production, or were the tracks played too 'nicely' during the recording sessions? Whatever the case: the music tends to disappear from time to time, and rarely do the tracks reach your bones; far too often the music clings to your skin, but doesn't go deeper. This 'World War Trio' never becomes a full-on musical world war.
Still, if there's one thing this reviewer is convinced of, it's that it must be fantastic to hear these songs live. In all probability, this is where the band's biggest strengths will lie. If they ever play in a venue near you, go watch them. Without a doubt. It will surely be worth it.

A must for disco & soul fans, this double re-issue of the most important album by The Pointer Sisters. They were at the height of their career and released this dance oriented album.

This re-release of Forrest’s debut album is a must for fans of soul, disco and funk! This singer and this album both deserve more attention!

A fantastic cd/dvd with the biggest hits of Chic. Timeless world renown dance tracks.

Betty Fox is an enrichment for the blues and soul world. The album ‘Slow Burn’ is a highly recommended!

Who is Gary Gilmore? Beats me, no idea, not the slightest. I know 'Happy Gilmore', and I wish I didn't know 'Gary Glitter'. The intro to the first track has a man declare the following 'We were all lined up in a half circle, and the warden went over to Gary, says 'Do you have anything else you wanna say?' and he says 'Yeah, let's do it' ..." Sounds like a man on death row, doesn't it? Almighty Google, help a journalist in need! Ah. Okay. Forgive my scandalous ignorance. Gilmore happens to have defied the American justice
system when he didn't oppose or fight his death sentence. Should have known that. A nice trivia nugget to show off during a dinner party with friends. This extended play (four tracks on one vinyl, with a free cd copy included) is a Starman Records production, in a joint venture with Tracks&Traces. Four tracks, and four times the same song. At first, I thought my hearing was damaged or impaired, or I dared to think the first song took a while to reach the finish line. But no, it's really 4 times 'Gary Gilmore's Eyes', each in a different mix. Too bad the 70's original isn't included, to compare for laymen like yours truly. For what it's worth: track 1 (the 'KGB "Half Circle" mix') is the best, if only because the electronic intro reminds me of Jan Hammer or Harold Faltermeyer. Or Kavinsky on speed. Or the soundtrack to 'Far Cry 3: Blood Dragon' or 'Tron Legacy'. TV Smith is the song's author, and the frontman of the former British punk band 'The Adverts' who released the track way back when. Fans will welcome this extended play without a doubt. Unfortunately, I had never heard of this band, so I do miss a little reference or history. The song, however, is fine and dandy. And, eh, given the subject matter, deeply disturbing. That's punk for you, I guess.

Smooth jazz guitar with Latin and soul influences.

A nice rediscovery of this sax player. Kenyon persists and wants to break through. I wish him all the best.

Personal confession: yours truly used to have an enormous crush on Hilary Duff in the year 2003, when I was a wee lad of 17 and she was a 15-year old starlet. I found her to be charming, dainty, and beautiful. I caught 'Agent Cody Bank' on the silver screen, and I even liked the film! I could try and come up with an excellent excuse ("I was young and I lacked good taste"), but why bother? Granted, Hilary Duff was a prefab Disney product, but she could really sing and act. There are far worse examples of puppy love to harbour. I'll always defend her. Today, miss Duff - a married, and subsequently divorced mother - is an attractive woman still (just look at this new record's cover art for proof). She did avoid the pitfalls of burnt-out child stars. And thus we have album the fifth, called 'Breathe In. Breathe Out'. Okay then.
The album starts with a cheerful Bobbejaan Schoepen (the  late Belgian Johnny Cash and theme park phenomenon)-esque whistle. Whistling? Original, and bold. 'Sparks' further evolves into an uptempo ballad, and the continued whistling would not be out of place on a Flo Rida single. 'Picture This' contains happy whistling too. Is it the influence of her child? Who knows? Hilary Duff herself, probably, and I'll be sure to ask her once Keys and Chords secures an interview. Some day. One can dream. There are no textual surprises, and phrases like 'You're taking me high', 'I'm done with your lies', 'You're every missing piece' (etc.) could even be considered stale and clichéd. 'Beaches where the sand has turned to glass', however, is one charming lyric. The title track begins with Jan Hammer influences, and contains a nice undercurrent beat. Beyond that, it sadly slides off into generic ballad territory. The text does contain 'X marks the spot', which is a welcome and thumbs up-worthy 'Indiana Jones' or 'Goonies' reference. More iconic film nods in 'Brave Heart', which starts with ticking 'Back to the Future' clocks. 'One In A Million' is a very, very good song, one of the album's highlights. The final track, a duet between Duff and Kendall Schmidt, is gorgeous too. Schmidt's voice is ever so lovely. Saved the best for last, as it were.
Generally speaking, too many songs bathe in a 'dance light' sauce, which is unfortunate. I understand that miss Duff has reached the ripe age of 28, and she can't sing 'So Yesterday' or 'Why Not?!' forever, but I do miss the happy-go-lucky Disney teenager of yesteryear. Could be nostalgia speaking, for yes, I too have become an old jaded fart. Do give the album a chance, because there are diamonds, pearls and nuggets of brilliance amongst the crappier offerings. And her voice is as strong as ever.

A mixture of lounge, chill-out, house and jazzy tracks.