| | Gospel Gold: All Time Classics CD
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The second Glee soundtrack throws a bone to the show's supporting characters, with Jenna Ushkowitz (the faux-stuttering Tina) singing her first solo and Amber Riley (Mercedes) receiving a larger chunk of airtime. Lea Michele and Matthew Morrison continue to steal the show, though; Morrison delivers one of the album's most inventive songs with a mash-up of "Don't Stand So Close to Me" and "Young Girl," while Michele sings the absolute pants off of everything the producers give her. The album sometimes strays away from choral arrangements and focuses on individual actors, but it's hard not to sing along with a song like "Jump," where the cast replaces Eddie Van ...
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Born and raised in the Deep South, Diva Marguerite Piazza learned early on to appreciate the beauty and majesty of Gospel music. Her own deep-rooted faith has supported her through many crises--two bouts with cancer, the death of a child, the deaths of two successive loving husbands--yet nothing could shake her faith and belief in God, His ...
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THIS is only part of the whole picture. ...
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LOOKATCHURSELF REGGIE MEASURESWORTHWritten by Kevin FannA rock band out of Brooklyn, Sothen is all about frontman Jonathan Townes, who, not only produced, engineered, mixed and mastered the album, but wrote all fifteen tracks, as well.That’s not to say bassist Chris Higgins and drummer Andy Sanesi don’t offer tremendous talent to the project; they do. This is, after all, a power trio band. What makes this album shine, though, is the mixing and post-production skill that Townes brings to the table.Several tracks on “Lookat..” often begin with scene-setting intro material: a ringing telephone that gets answered or marching boots. Sometimes, more straightforward rock tracks bookend a one-minute instrumental track consisting mainly of pattern-forming feedback. It’s a story and mood setting. Although these conventions can seem gimmicky, Sothen manages to swim expertly between sonic emboss and no-frills rock, putting the band’s sound above so many acts who simply can’t brave these kinds of waters. Crafty, they are; damn seaworthy, even. Sothen aims to move you.This album even dares to sail into balladry. Again, very impressive: a kind of balladry you can feel proud to hear, bold in its complexity without maudlin oversimplifications or goofy lyrics.“End of the Summer”, for example, covers familiar territory for American songwriting. Ever since the Beach Boys first served up “Little Surfer Girl” on a hot dog bun, we’ve heard the obligatory lovesick anthem to August: usually, some kind of stale sugar snack. Not in this case, however:Gone are the last daysCool as the heat fadesEnd of the summer coming fast.Sing a new songNo more days longEnd of the summer comes so fast.Who can’t relate to this? Everyone. But, lucky for your self-respect, it’s wistfulness with power. The verse languishes like Morphine, the solo sounds almost like something out of a Neil Young and Crazy Horse album: a swirl of dark bass, booming drums, and high-octave guitar solo.“theRed” is a tune between Pearl Jam and Kravitz, a driving rocker with a falsetto flourish and a grungy undertone. “Surprise” jumps and pops, incorporating some bar-pickup banter in the break. “I Can See” ...
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