RECENSIONI: PERCHE'

Le recensioni del proprio lavoro fanno parte del bagaglio di ogni musicista che si rispetti: non solo è importante per me conoscere l'opinione altrui - infatti nessun musicista può ignorare la parte costruttiva delle critiche che gli vengono fatte - mi serve anche per vedere come gli altri concepiscano la mia musica: alcuni mi hanno definito un Pop/Jazz/Lounge crooner, e questa definizione dapprima mi ha irritato ("a chi crooner?"), poi però, riascoltando certi miei arrangiamenti, mi ha fatto capire in quale direzione sta andando parte della mia musica...adesso lo ritengo un complimento, in fin dei conti ho passato anni ad ascoltare le compilations Lounge della IRMA Records e gente del calibro di Dimitri From Paris, era impossibile che non saltasse fuori l'influenza di quel tipo di musica...

Anch'io, fra l'altro, mi sono messo a scrivere recensioni, è una pratica molto utile perché ti costringe ad analizzare in profondità quello che ascolti. Ogni tanto sono un po' duro, ma non credo che sia giusto scrivere dei gran complimenti sempre e comunque: il lavoro del musicista è un work-in-progress continuo e la sensata opinione altrui può aiutarlo a migliorare, ecco perché non mi vergogno di avere ricevuto anche recensioni terribili! Da recensore, comunque, se non ho nulla di positivo da scrivere, non scrivo nulla, o al massimo cerco di far capire all'artista cosa non mi è piaciuto.

Va beh, certe volte rendersi conto di come può essere multiforme e variopinta l'opinione altrui può fare sorridere: di "Thirst", per esempio, hanno scritto e detto di tutto:

"Bella voce, ma arrangiamento povero"

"Bell'arrangiamento, ma la voce fa schifo (nell'originale: the voice sucks)"

"La voce si sente troppo, sommerge tutto"

"Non si sente la voce, è sommersa dagli strumenti"

"Bella parte di chitarra acustica, complimenti"

"Lascia stare la chitarra, non la sai suonare"

UEH! DECIDERSI! :)

Ad ogni modo, questa pagina è anche PER VOI, potete improvvisarvi recensori e scrivere sulla mia musica. I vostri articoli verranno TUTTI pubblicati qui.

Grazie in anticipo, Lord B

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ALTRE RECENSIONI:

* (DISEASE OF THE WORLD) "I love just about everything about this song. Love the overall idea, love the piano / violin combination and chord progressions, love the McCartneyesque vocal! The Melody just needs a tiny bit of work to keep it varied and to distinguish the verse from chorus a bit more." Joe Russell, Shepparton, Victoria, Australia

* (DISEASE OF THE WORLD) "Whoa! Very original. Totally didn't see it coming. Haven't heard anybody with your style before, I like it based on pure originality. The production, arrangement and style are also nice. Would love to hear more from you." Ra-Zad, Los Angeles, California

* (DISEASE OF THE WORLD) "This song has a lot of nice changes and i like the instrumentation and arrangement: the singer's voice over the piano creates a nice texture and the strings create a nice amount of motion underneath it all. The lyrics are a little cheesy for me, but the singer sells them and i get it, so i can't really complain. This is a good song put together smartly. Maybe more drums?" Stoley, NY

* (DISEASE OF THE WORLD) "Touches of Seal! Some nice orchestral work here, bass sound too. The lyrics are clearly thought out however for this listener I'd prefer a warmer tome on the vox, it's distant and a top end for me right now. Clearly you know the language of music. All this lacks is a beeefy production ot bring it on home. Top mark for originality." Peter O'Meara, Los Angeles, California

(DISEASE OF THE WORLD)   "Very traditional and folky sounding. This sounds a lot like I would immagine Seal would sound like if he was Irish. I like the use of the violins, it's a nice touch. The pianos and the drums are very nice. The bass sounds a bit synthesized... probably because it is a synthesizer, I'm guessing. The vocals are good and so are the lyrics, it seems maybe just a touch long but not too long to lose interest. Nice work." Mike B, Albany, New York

* (GORGEOUS PASSION) "I liked this song a lot! It reminds me of songs from the 70's! That is a compliment being that the greatest music ever written was in the 70's. The Song itself has nice changes, especially in the chorus, thought it was very catchy! Loved the piano flavor in the song. Nice lyrics as well. Smooth! Nice message, positive!" Michael Waldrip, Glendale, Arizona

* (GORGEOUS PASSION) "Hmm, this sounds vaguely familar, but maybe not, kind of Billy Joel or Elton John perhaps. This sounds cool though the "and I love her" line, though used famously before by the Beatles, here really works and seems so heartfelt, nice chorus, very fun song but sentimental at the same time." A.C. Slater, Chicago, Illinois

* (E CHI SE NO?) "Nice sounding band, WOW! Great voice on top. It is nice to hear great big bands swinging hard to new arrangements. This tune is a great listen. Highly noted is the trumpet solo. Nice to hear a Hammond solo as well. Nice tune." Nate Keezer, Boise, Idaho

* (E CHI SE NO?) "I love this full band sound. The vocals are engaging even though I don't understand the language. The band is using the entire dynamic range, even pausing suspensefully between verses. Horns are in tune, on time and nicely mixed into the groove. Nice modulation --did I miss anything? Nice drumming too. Production is great. Great song." Lenny "The Bass Master" of Max Scene, Cleveland, Ohio

* (E CHI SE NO?) "...I don't have any idea what you're saying, but it sounds good. Music is a universal language, right? :) Very smooth, Rico Suave. Laid back drums, nice horns, and a nice trumpet solo. Very tasteful. Nice jazz guitar textures, dark and mellow tones. The bass guitar is very nice, classy, walkin' the dog. Good production, top notch, a great mix, nice job." Josh Cupp, Lindenwald, Ohio

* (E CHI SE NO?) "I like the chord structure of this song. The choice of instrumentation is nice, and it's also nice to hear REAL instruments for a change! The song itself has sort of a retro latin jazz feel and sound... Not my favourite style of vocal work, but it sounds good for this type of song. The EQ sounds about right and the mix is good, although the vocals sound a bit hot at times. Good songwriting and arrangement, which sets a nice mood. The musicianship is very professional. All in all, well done." Chris Christopherson, Provo, Utah

* (E CHI SE NO?) "Nice Big Band Sound! Very nice horns and piano being played here, I like how the lead singer articulates his voice to the melodies behind him. This has that inner city feel to it and I can see this being played in a Taxi on a rainy day. Very nice imagery being placed here and what not. All the instruments are clean and shine very well, there aren't any critiques I can give here." Jay Ziegler, Tallahassee, Florida

* (E CHI SE NO?) "Good latin jazz! Initially, everything sounds very nice. I wish I knew what the lyrics were about, but there is a little language barrier. The vocals sound good though, the band is very tight and everything is swinging. Lead trumpet player has a very nice sound and good ideas. The arrangement is very nice, and the horn backgrounds are just right. I like the organ as opposed to a traditional piano. Everything sounds good!" Rob Griffith, Hartford, CT

* (E CHI SE NO?) "A Tony Bennett with a european flavoured sauce! The arrangement is really interesting with some great ideas, though the piano seems too chorused to me. A great big band treatment... I like it though didn't expect to! The vox maybe a bit hot in the mix, but really good of its style. Bellissimo!" Steve Urwin, Kelowna, British Columbia, Canada

* (E CHI SE NO?) "Exotic European flavour graces this piece, blessed with a perfect trumpet turn and well-supported by brass section, keyboards and a nice organ solo. Vocal takes a difficult melody and gives it character. Nice job." Jonathon Burket, Los Angeles, California

* (E CHI SE NO?)   "Love these Italian language, overall jazzy feeling, all the instruments, performance, male vocal line, sound of trumpet, moody solos, light jazzy beat, well made arrangement, all the melodies, cool piano/keys... Guys, I love everything here!Superb and glorious!" Martin Halicki, Dowspuda, Poland

* (E CHI SE NO?) "Loving the deep vocals and the solo from the trumpet player, drummer uses varied movement and compliments the great performances from the woodwind and brass section. This is a true jazz track that sounds effortless and good for the listener to appreciate." Dave of Entertainment 2007, London, UK

* (E CHI SE NO?) "Classical Lounge: the Big Band sound compliments the male vocals very well. They track closely but not perfectly, the mark of what sounds to be a professional, live recording. The muted sax is a traditional touch that dates the track in the 50s. This track could fit right into any number of movies where the stars stare at each other over a tiny table in their expensive clothes and fashion jewelry. Nicely done." D. Kirkham, Taylorsville, Utah

* (E CHI SE NO?)   "Very nice piece of jazz. In the beginning I noticed that the piano chords fall kind of together with the words of the music. I don't think I would have done that. But I have nothing to comment on the part with the solo's. Sounds all very well, good build-up, and nice variations in rhythm. There's also a good separation between the different instruments that have a solo." Floris, Amsterdam, The Netherlands

* (E CHI SE NO?) "Makes me wish I remembered more from French class. The piece has a very classic feel, soft and mellow. I love the sound of drums in jazz, and a jazz piano, when properly played, puts me in a very mellow mood. Exactly what I needed after a long day at work." Tannim Hallman, Rawlings, Wyoming

* (E CHI SE NO?)   "Nice vox performance in combination with nice language! well done this song is really good! well done guys!nice orchestra!" Mr.Mohji

* (E CHI SE NO?)   "Shot in the Dark: for some reason I am thinking a bit of Henry Mancini while listening to thios tune. Pretty good track. Vocal could be a little less schmaltzy, but it carries the melody nicely enough. Horns have a hint of Coltrane in there. Production quality is good, and the choice of instruments suits the piece. Organ solo is a nice surprise in the middle. Good job overall." Milan Nikolic, New York

* (FRICTION AND CONTRADICTION) "WILD! How original you have become! This song shows all the styles stuck in your head and well blended together. Very unique taste of Lord Bygon! Well done work." Remo Leomporra

* (ONOMATOPOEICALLY) "I like the way this tune drops in on you like a pop bubble. This is a catchy tune that I can instantly imagine playing on the radio. The melody is well produced, and the chord structure matches to create a happy piano led, dancey, sing along mood. The use of the sound effects half way through the tune helps to stop the tune from becoming boring and lets the listener come back to the happy bubble once more. Great tune." Alex Brooke, Torquay, UK

* (ONOMATOPOEICALLY) "Nice vocal work! Interesting song you've got here, I'm not sure what to compare this one too. I like the vocal work, the weaving of the two parts on the verse is nice. There is something about the sound of the mix that I'm not so into, I think it may be the sound of the keys and the snare. The snare sounds fake on the verse. I really enjoyed the chorus, catchy. Not really my style, but well done for sure." Matt Bruun, Oakland, California

* (TAKE IT OVER)   "I like the Groove of the song: its grows on the listener. Like the 'Ray Charles' style intro. The vocals in the verse are a bit like an upbeat Morrissey, while the vocals for the chorus sound like Maroon Five. I like the funky piano. The lyrics are not amazing for the verse but they have grown on me. I like the melody for the chorus, it stands out well and drives the song." Graeme Genty, Wakefield, UK

* (TAKE IT OVER)   "Jazz/Funk... Donald Fagen style.... Nice keyboard work. Very "Steve Miller Band" sound. The production is pretty slick and the lyrics tell a good story. I'd call this music for "grown folks". Everything works here." Jet Dragon, New York City

* (TAKE IT OVER)   "This is the sound of some musicians who have been doing this for a long time. I can tell this isn't the first time they went to the studio to cut a song. The piano is allright, it's out front, if that's what you wanted to know. The production is good, a little dull, but that's nitpicky. Cause I can hear all the instruments just fine and the vocals are coming thru clearly. The mood is laid back. I could easily see this song being played live and going over just fine." Paul Langlais, San Antonio, Texas

* (TAKE IT OVER)   "This song is great! I love the uplifting mood it generates. The repetetive piano is brilliant and all the instruments blend together perfectly. If you haven't had record interest I'm surprised it sounds straight off the radio. Excellent stuff." Thom Speller, Burnham, UK

* (TAKE IT OVER) "Love the organ. Well, it is definitely original. Not your average beat, it's almost new wave. It's definitely fresh and has character. Man, you've got a good voice when you rolled up an octave, I would never have guessed the singer could sing like that an octave higher. I'm impressed, but something about the vocals during the verses.. could be a little stronger. It's still a neat song: there are parts where the vocals are a little strained, and could use more backing vocals and maybe clean up the lead vocal line and making it more hooky and simple. Good stuff. Unusually fresh." Stephen Skrehot

* (TAKE IT OVER) "Groovy jazzy beat. Vocals could be more rhythmical and have more feeling and energy. They are a little blase until they hit the high notes and then it seems the energy is right. Drums and bass are really tight. Like the piano too. Production is good as is arrangement. Mood is cool, like the musical Chicago/42nd steet or that song about Broadway. Like the break down at 3:30 with that funky piano going on in the background. Has a definitely dancy feel and is swinging towards the end when the band lets loose. Nice work." Makarmusic

* (TAKE IT OVER) "This song was well written, well played, and basically just well done. I really, really enjoyed the vocals nice job, man. Oh, the piano right here around 4:20 is awesome, nice job and good job throughout the song. Everything sounds well balanced throughout the song and its taken at just the perfect speed to set up a great mood. The vocals though, great voice. You have some real talent, keep up the good work." C.P.J., Champaign, Illinois

* (TAKE IT OVER) "Cool intro, great tempo and strong vocals! I like the guitar riffs, heavy stuff! Well produced track that will blow your mind when played live! Rock on!" Jason Krehel

* (TAKE IT OVER) "The piano in this song is nice and keeps a good mood going. Production sounds nice, and nothing seems to be overpowering or drowning anything out. Not sure about the mood of the song... would be good background music at a get together or something of the sort. All in all this is a nicely done song. Keep up the good work." Kip Reese

* (TAKE IT OVER) "I like the intro - great drum/bass/piano work, and it really creates a sense of anticipation for the eventual chorus hook to come. It sounds as if this entire track was created by a syntenic drum/piano instrument, which really takes away from the reality of the track. Yet I still find myself bobbing my head, which tells me that if this track were recorded with real instruments, it really could be a jem. The vocal work is good here, but not perfect. I think this lead vocalist had a lot more in his bag than he's letting on, and I think a re-recording of this track could really bring that to the forefront. The chorus hook really makes the build-up of the verse pay off. Great funk guitar, off time and really spot on. I like the outro of voices on the outro; it really brings the whole track to a proper crescendo. Nice fade-out. Overall, could be a really good track if re-recorded and mixed properly. Good job." Jason Freeman

* (TAKE IT OVER) "Tasty bass, with a dash of awesome keyboard = a happy listener. Very lounge sounding song...I dig it. I especially like the singers lazy laid back sound. Cool song." Steve Uselman

* (TAKE IT OVER) "This is a funk track with syncopation and a good bounce true to the style. No drum machines or sequencers here, it is the real thing. The verse has two vocals in octaves on top of a rhythm section consisting of acoustic piano, bass and drums. The relatively sparse playing in the verse is contrasted by a busier chorus that also includes an electric piano and, of course, the compulsory frantic rythm guitarist doing 16th notes on a Fender Strat. The style reminds me a little of Sister Sledge. Even though the playing is not absolutely world class, and the production is adequate rather than outstanding, the track really swings and the vocals in octaves ensures an original sound. It is a happy, lively track that puts you in a good mood." Ole Kirkeby, Helsinki, Finland

* (TAKE IT OVER) "Everything sounds great. Steely Dan vibe with Warron Zevon vocals. The bassline is nice and fluid. It fills in nicely when the music stops it plays a few perfect notes. All the instruments are mixed well with the vocals sitting right on top. Neo retro at its best. 5 stars." George of FullColorMusic.com

* (TAKE IT OVER) "This piece just jams. Swingin' vocals with a great groove make for an excellent jazz/funk flavor. Piano starts off kickin' and never lays back. Vocals are jammin' and well mixed. This could easily fly R & B, Pop Rock, it is multi- faceted in style. Love the instrumentals - keyboards, percussion, bass - well mixed and never overshadow the vocals. My biggest constructive criticism would be a little cleaner vocal - lyrics are not always determinable for me on Hi bandwidth. Vocalist has a very catching sound - shades of Tom Johnston (Doobie Brothers for all you young whipper snappers). What can I say - GROOVY! Okay - enough - I'm on my 3rd play." Bari Brumfield

* (TAKE IT OVER) "The Production on this song is good, all instruments are present. Nice solid Kick drum and Bass guitar. The mood is of the song is very pleasant and uplifting, the piano work is nice with a lot of soul. During the chorus the vocal has a Steely Dan feel to it and that should be taken as a compliment. At times the vocal could use some improvement but all in all has a nice feel." C.M. Wood

* (TAKE IT OVER) "Relaxed, yet upbeat ...like sipping coffee at a local club; cool electric ...or maybe Rhodes sound. Production wise, especially the vocals... I'd maybe try a different mic to capture a clearer performance from the vocalist. The performance itself is very good though. The mood is upbeat and non-chalant... in a good way ;)" Mark Henning, Stockbridge, Michigan

* (TAKE IT OVER) "This is a catchy song. The lyrics are a bit basic, but meaningfull. Good snare sound and great bass lines. To my taste the Fender Rhodes sound is a little dated, whereas I consider Hammond organ classic and always in style. I would reverse the two and feature the organ. The vocal could use a tad more balls, then it would give you a better position to tell your critics to F#*! off." Joey McCall, Raleigh, North Carolina

* (TAKE IT OVER) "Cool intro! What a nice intro with the Rodhes, and the the very funky bass! I like the grove in this track and the chords, but i sing its a shame that the vocal is dubed from start to end (almost), because it is then hard to judge the lead singers performance, but it sounds like his got a good voice! Very nice when the energy gets another level at 1:33, a bit brand new heavies like! It's a very nice and catchy melody and the bands plays very well! I like this funky stuff!!!!" Raz Hengstenberg, Copenhagen, Denmark

* (TAKE IT OVER) "This is funky and fun to listen to put you in a great mood. The key element of bass is all there I love funk music for bass! This is a tight sound and the piano goes really well here. The vocals are good go well too. Catchy tune." Nathan Stokes, London, Ontario, Canada

* (TAKE IT OVER) "Piano: Very tasty intro! The comping on the verses is in the pocket but I wish that part had a bit more variation. Cool changes in the chorus. Production: A mixed bag for me. I'm diggin on the 'Kamakiriad' feel to the groove but was wishing for a 'real' guitar track to pop up somewhere. The rhythm guitar in the chorus doesn't really work for me but the other sections do groove well, especially for a Triton source? Mood: Somewhere between Steely Dan and Squeeze. Overall: Groovey." Jose O'Cohen, NY

* (TAKE IT OVER) "its a kind of Jazz / Funk Wedding Present hybrid,the clav sounds spiking in there is picking up the "one" and the voice is effected in an interesting way, not the most fantastic singing, but strangely compelling (hence the David Gedge comparison). All the instruments are comfortable in what I consider to be a good mix for a demo. No over the top jazz twiddling, will be listened to again by myself, good work chaps." Graham Allward, Hales, United Kingdom

* (TAKE IT OVER) "Great bass work... kinda reminds me of Early Southern Gospel.... there's a little mid missing.... something really not there to keep that middle.... kinda makes the recording flat... even during the chorus it's still missing that middle... I think the piano is a little overpowering.... maybe bring it down a little in the mix...but overall the song is good!" Chris King, Charleston, Virginia

* (TAKE IT OVER) "The piano and the rhodes sound very good. The organ underneath adds even more soul, it might be cool to feature it a little more in the mix. The groove feels good. The tune has a cool relaxed jazzy funky mood with a nice Steely Dan vibe. The vocals are smooth and soulful. I like the positive and upbeat lyrics. The production is excellent: five stars with extra credit. Very nice work!" Skeebo Knight, Macon, Georgia

* (TAKE IT OVER) "Production is great. The drums have a good funk sound, keys are a hair loud in the mix, but I love the chord changes. Vocals are interesting and remind me of Steely Dan for some reason." Eric Lazar, Sacramento, California

* (TAKE IT OVER) "Funky beat dude! Rad bass line! Nailed it to the floor! Awesome! Keys are flying! Keep it up!" Krystian Winn, Truro, UK

* (TAKE IT OVER) "This reminds me a lot of Steely Dan (not a slam, I love them). The vocal harmonies are definetely on. I did think the drums (or loop?) could stand to be a bit more out front and the kick also sounded flat and a bit lifeless to me. There was a little distortion in the vocals at spots.. maybe the whole mix was a bit too loud? I did this this was a little drawn out, maybe a shorten it up a bit or add a jam part. Good song overall." Jake Caskie

* (TAKE IT OVER) "..A smart, catchy piece composed of lush, jazzy chords, neatly arranged vocals and thematic material driving home the importance of being in control of your life, emphazising the need for self-discipline... Tasteful pop with intelligence and style, a hybrid with focus." Patti Sterling

* (TAKE IT OVER) "Demo-quality production asserts istelf immediately... Fagen influence is obvious, but the keyboard and bass kicks are on the front side of all the syncopation, it makes it feel a bit rushed. The vocal arrangement is very good, and bridge section chord progression is very inventive indeed. There is real skill in the songwriting and arranging, and this piece would be very very cool indeed when produced to it's fullest potential." Phil Llarion, Artistlaunch

* (TAKE IT OVER) "I like this tune quite a bit and Lord's vocal is catchy - almost has a Mose Allison feel to it - but it's dry and a bit too up front for my tastes. The drums are a tad smallish and the piano seems to be a hair rushed. The song writing is the strong point here, performance is workmanlike and production could use a few tweaks." Paul Laginess, ArtistLaunch

* (TAKE IT OVER) "...Good vocal arrangement, and the bridge section chord progression is very inventive indeed. There is real skill in the songwriting and arranging, and this piece would be very very cool when produced to its fullest potential..." Phil Traynor

* (TAKE IT OVER) "Great new version...! Love the Rhodes-y keys work. Good mix and solid production. As always, vocal harmonies are creative and excellent. Great jam to take it out at the end. Love it." Anthony Ruocco

* (TAKE IT OVER) "..The guitars are not the only funky thing going on. The keys get pretty funky in the outro. I love that part. I hope you don’t cut too much off the end!" Steve Wood

* (THE SAME OLD THINGS) "This is smooth and silky. I love the quiet intensity of the vocals and the clean, borderline-jazz sound of this song. Very nice work! Lise F.I.

* (THE SAME OLD THINGS) "Smooth music from Lord Bygon: excellent chord progressions slide along like they are really simple - nice guitar and bass work too - all fitting around that unique song-writing style that is Lord Bygon." Susan Raven, Wales, UK

* (THE SAME OLD THINGS) "A great groovy song: vocal melodies are amazing, the bass is very funky and the guitar solos sound great. Lord Bygon is cool rock with a pop feel..." Alejandro Dominguez Sarmiento

* (THE SAME OLD THINGS) "I love the vocal harmonies in this song!!! I can hear the Steely Dan influence (I'm a huge fan as well) The piano is very percussive and syncopated and back the vocals nicely. The lyrics are clever... after years of discovering yourself and new experiences, you expect to be changed but you still like the same old things! Your music is very tasteful and always makes me feel that I am on vacation. I will listen to more..." Dolly Rappaport

* (BYGON FUNK) "Nice, funk/jazzy tune. Neat melody with catchy harmonies, tight work in the rhythm section and a cool vox/clavinet almost unison part. I like it." Paul Laginess, ArtistLaunch

* (BYGON FUNK) "Yeah...very smooth! I love strategic use of harmonies -- it takes a knack to pull it off in the right places and the right amounts. It happens here! An added advantage is that I speak Italian and understand the lyrics. :) Also, the very occasional use of doubling the vocals an octave apart is a really sweet touch. This is a really fun, well-played groove. It's nice to notice right off a clean production and good-sounding mix that doesn't swallow the vocals. I love the 70-ish synth that pops in now and then, giving it an added touch of funk. What can I say? Well-produced, cleanly-done, and enough different things done at different times to keep it interesting throughout. Great job, Bygon!" Loren DiGiorgi, ArtistLaunch

* (BYGON FUNK) "I have to hand it to Lord Bygon - he wears his influences on his sleeve, his chest, his trousers, and his hat! This is Steely Dan in Italian. Almost a bit too Steely Dan for my blood. Precise execution, smooth grooves, with a tongue-in-cheek melody and vocal delivery that would make Frank Zappa smile. Mix is a bit erratic at times, with various instruments battling for supremacy at the expense of the vocal tracks. A solid piece in need of some individual track compression and a little more balance." Scott Griffin, ArtistLaunch

* (JOE THE KILLER) "Donald Fagen and Frank Zappa: yogether at Last! Sort of has that post Steely Dan groove, but with that Zappa lounge lizzard thing happening. Pretty catchy song." Brian Alloran, New York

* (JOE THE KILLER) "That's interesting intro. Good bass and groove. Song is OK and despite modern grove sounds like 60's or 70's. Interesting mood, good sequencing and interesting atmosphere. Good track for a movie. Nice job." Paulina Cane, Perth, Australia

* (JOE THE KILLER) "Big retro intro... Bum's song type. Three's excellent mood of being in oblivion. The vocal backups would be in order. Wonderful work!" Andrei Hauk, Bensalem, Pennsylvania

* (JOE THE KILLER) "This is a jazzy little number and I think it's a breath of fresh air for the Pop genre. Lounge music for the Scotch and water crowd, the singer delivers heartfelt lyrics." Anita P. Daly, Ames, Iowa

* (JOE THE KILLER) "Cool drum machine beat. Grooving and tight bass line with nice keys and sound. I like the vocal melody, but I would put an effect like a megaphone on the vocals. Kind of loungy, but in a cool way." Marc Friekman, Boston, Massachussets

* (JOE THE KILLER) "Life secrets.... a cloud of smoke ...a beautiful woman... a nightman walking and seen the city with hard eyes and cold heart. A really downtown beauty." Laura Garcia, Buenos Aires, Argentina

* (THIRST) "From the beginning, the music and arrangement reminded me of Train... The vocals stand on their own, it's all very distinctive and I can't really say they remind me of any one artist in particular... I thought the chord structure and production were good, overall a nice job!" Tony Portela, New York

* (DISEASE OF THE WORLD) "..Pretty creative tune. I particularly like the string parts - the "fiddle" sound gives a distinct sound to the arrangement." Chris M.

* (ZENITH) "...Lord B thinks so orchestrally... sounds like a piece of The Bygon Rock opera... easy on the ears!" Patti Sterling

* (ZENITH) "Well, here is some stuff better, expanding the consciousness of all that Lord B is, and disregarding matters of time and space. Keep pushing that envelope." Frank Cotolo

* (ZENITH) "EPIC! I'm a long song lover. As I like to say, what's the damn rush? Especially a long song at this level, with the concept album theory working. This is certainly a perfect opening piece for that. Interesting changes throughout, I was hooked the whole time. I love the recurring themes and additions, like the sitar. Very effective. As always, your chord changes are excellent, and your vocal harmonies are a thing of beauty. LOVE the ending. You're quickly becoming my songwriting hero." Anthony Ruocco

* (ZENITH) "I really appreciate the sutle voice effects that happen on occasion... adds that pro-production element to your vocals and helps melt the vocals into the tune and changes. Very well thoughtout tune, congrats mate on your inventiveness!" Remo Leomporra

* (THIRST) "Lovely song. The melody is hauntingly beautiful and melancholy. I would enjoy the song very much if I were into listening to this type of music right now, but I am attempting to avoid somber tunes during this lonely holiday season so that I don't suffer a complete emotional breakdown. (I'm on Smiths, Morrissey, and Joy Division restriction until 2002.) Vocals and lyrics are good and everything seems to work. By the way, I listened to the song about 8 times so suffice it to say, I like it!" Felina 13, Manassas, Virginia

"JOE THE KILLER" recensita / reviewed by Cam Bastedo

@ GodsOfMusic.com

Let bygones be bygones:
Don't call me false, who owed not to be true

Excerpted from No, Thank you, John by Christina Rossetti

I’m no stranger to the work of Lord Bygon, but following Rossetti’s maxim, we'll attend to the piece at hand. As it happens, the song in question is a fairly successful recording. Bygon’s bouncy, slick, technique suits this ditty - entitled "Joe the Killer" - for the song glides along easily and smoothly. Stylistically and thematically the piece is reminiscent of Bobby Darin’s classic, Mack the Knife, which is not to suggest anything remotely like plagiarism ­ it simply has a similar feel. Bygon’s vocal style does, in fact, remind me of a Latinate Bobby Darin. But while the vocals are well delivered, they could be brought up slightly higher in the mix to the song’s general advantage. Nevertheless, the song has a cool, smooth edge, featuring good solid keyboard work; an interesting jazz, bass line and solid percussion.
The lyrics tell the story of an aging, jobless, killer who is determined to follow his course, until he ‘…meet[s] [his] sister, Death.’ The line: ‘I drink my beer for you, dear…’ is a bit sad, in the wrong sense. However, other than that, the lyrics work.
As far as production is concerned, this song is quite good. There are some anomalous, aquatic sounds at the beginning of the track, which seem to serve no purpose. However, these don’t hurt the recording particularly ­ and there are no other obvious flaws in the work. If the recording seems to lack bite or urgency, this is more likely a feature of the musical style than a flaw. On balance, I’d say this piece is worthy of a listen.

"ZENITH / THE DEFINITIVE ANSWER" recensita da Bruce Satinover

That sitar section leading into the instrumental break and more intricate instrumentation works nicely. Prior to that the mix of prog and jazzy chord progressions are effective.
The because of the timbre of his voice, very clear and well articulated, gives an almost show tune kind of quality but before being offended I often feel this way about Roine Stolt's (The Flower Kings) arrangments and I like the Flower Kings a lot.
Since it's more song based and less so on proving instrumental prowess I like the song better although it sounds like you'd be able to hold your own with the hotshot players.
I like the piano work too, lots of mood changes. The end where everything is backwards can sometimes seem hackneyed but it works well in the song.

THE LORD OF THE MELODY

Un articolo sulla musica di Lord Bygon pubblicato su GodsOfMusic.com
An article about Lord Bygon's music published by GodsOfMusic.com

The elements that which continue to compel me to listen to the works of Lord Bygon (Giuseppe Gambino) are all apparent in the track, “Take It Over.” With Bygon, it is all about the music, how it moves and into what grooves his melodies take it.
As is his trademark, to my ears, Lord Bygon weaves melodies into the most striking and pleasing chord changes imaginable. He has absorbed qualities from pop and jazz that guide his creations in a manner that surprises the listener while at the same time makes the listener feel a natural flow.
"'Take It Over" is a simple piece but defines Lord Bygon’s style to the max. It is a fearless approach, filled with confidence and zest, with quite the right dynamic expected from someone whose influences buzz in his head like a swarm of killer bees.
The track is from his best-of collection, “Thirst,” which features the scope and range of his continental vocals and lofty lyrics. You have only to listen to the title tune to be exposed to how he arranges these complex pieces and presents them with just the right instrumentation.
Lord Bygon doesn't over do any piece. He is loyal to the instrument that is his voice and his harmonies are the featured instruments. In “God Bless You” he orchestrates these voices so subtly and elegantly within the type of melody I have mentioned that you understand why he doesn’t venture into extraneous arrangement.
Understanding one's strengths as a performer is a rare quality in the days of digital-recording marvel, and Lord Bygon could teach a few performers out there now just how to focus on what is really important about a song one creates. “Elegantly Wasted” is testimony to this understanding.
Another solid attribute about Lord Bygon is his allegiance to romance. His tunes reveal a strange, yet admirable acceptance of the chaos that is affection. How he presents this, especially in the masculinity of “The Twilight Is Coming,” is unique and glorious in its allegory. Most other performers might take this out of its minstrel atmosphere and ruin the mood. Not Lord Bygon. He allows the melody to stand naked with the lyrics spinning in all of their pain and mourning.
The jazz element is always the most difficult to blend into the pop element. It can shave the edge off of melodies and confuse a piece. It takes a true master of the spirit of jazz to be able to “hear” what could work or what could be damaging to a song. Failure after failure comes from the attempts to mix jazz and pop, but Lord Bygon appears to have an intrinsic talent for such adaptation. In fact, he can add classical influences, as in “Disease Of The World” and pull it all off with the acumen of a gourmet cook.
The best part of it is that the best of Lord Bygon’s work is probably still ahead of him.
Frank Cotolo

"SISTER J" recensita su ARTISTLAUNCH

This artist cites as an influence Steely Dan. I can hear that, and Earth, Wind, and Fire too. But also vocal groups like The Swingle Singers and Manhattan Transfer and some of the backup groups in mid-Sixties jazz. That could make it all pretty conservative to some ears. But then the other elements come in. There's that doo-wop "shoop dada shoop do wop da dada" at about 52 seconds in and "shu dowop shoop shoop do wah" repeated three times following 1:47 and, in between , a stretch of more doo wop sounding scat under a pure jazz bed highlighted by some cool by Bobby Troup "Route 66" piano. The dead simple lyric has a cool jazz feel that complements the music perfectly. This is quirky and eclectic and, well... wonderful
Bob MacKenzie

I'm really digging this swingin' cool jazz piece. The use of chords and changes are inventive and impeccable, both musically and lyrically. The playing is absolutely superb by all involved. My biggest issue with this song, and why I'm marking this down in the production area, is that while the backing is well produced, the processing of the lead vocals leaves a little to be desired. Too much reverb and chorus usage is killing it for me. The backing vocals, while inventively used on many of the verses, start to sound a little muddy toward the middle of the song. It's just a little too obvious that both parties collaborating were not in the same room when recording. Tone down the effects, and match the room. Outside of that, this is one SWEET tune. Kinda Ian Dury-ish, in his more jazzy moments.
Shaky Tee

Recensione di ALEXANDER JOHANNESEN su GodsOfMusic

Want to feel good? Want to tap those feet and whisk yourself away to cheezy soothing jazz, then step right up!
Italian multi-artist Lord Bygon delivers a tune with a lot to it, some good and some really well.
Ok, what is the backdrop to this music? Well, through many many years, before I saw the light of renaissance and baroque sacred music, I spent all my time digging Ritenour, Fourplay, Urban Knights, anything Steve Gadd, and anything else in that genre of music; light jazz, sometimes funked up, sometimes eased for perfection, but always keeping to the spirit of light, cheesy and easy to digest, at least to jazz fans. Even old Quincy Jones and other rythm'n'blues heroes like the Brothers Johnson contribute here, and maybe most importantly, my old hero George Benson, stands as its godfather.
Bring on the soothing jazz chords, the funky drums, the laid-back singing and cheesy synth and bass. Yes, do-be-doo in Italian, done just the way it is supposed to be in most ways. Of course, I wouldn't rush out and praise Bygon as a genius in anything special, but it is done well. Very well.
Step by step: He doesn't sing all that great, with a voice that a lot of the time feels strangled and pushed, as if trying to do something it isn't capable of. You know, when you sing in the back of your throat instead of pushing with the tummy, straining the vocal bands to sound "artificial". However, it doesn't make it sound bad and out of tune, only stressed, which I feel shouldn't be there in a feel-good easy tune like this. His tune is in fact quite good, as especially heard through some cool choruses.
The guitar and bass does what they're supposed to do, without doing anything to try to surprise or wonder me. That's okay; this music doesn't need it for your general pleasures sake, but I still miss a little solo that grasps me, if not only to point back to your heroes saying you can do it to. Oh well.
The synth is also just fiddling along, doing exactly what you expect it to do, with the odd cheesy 70's riff thrown in. Nothing here either that strives for anything. This is music in autopilot. Even those bits that could have done exciting things, basically fiddles around the main theme, repeating already known harmony and patterns. Where is the exciting new ideas gone?
But then, one could say a whole lot about the drumming. Ah yes, that part of most music that is in neglect, under-prioritized, under appreciated and never praised except by other drummers. Well, this is praise; it is good stuff, done just the way it is supposed to be. Here is pretty licks, steady hat's, funky rolling tam's and otherwise intuitive and somewhat cool patterns, variations that suits the tune, and overall a good and modern tuning. Too bad the drummer isn’t part of the group.
What? Yes, the drummer is actually not a part of the group. This is a drum-track mixed in, and it is taken from another MP3.com project called "Real Drummer". And, to be honest, this is a really cool idea, where Bygon has done the absolute correct thing; if you haven’t got a drummer, instead of making cheesy (and almost exclusively crap electronic) drums, you borrow a drummer. A very good initiative, here put to its test, succeeding very well indeed.
Finally, here are some words on the recording and overall sound, which is good in general. There are always something to be said about noise pr. channel, filters used for vocals, dynamic structure for each instrument, how it was (or wasn't) mastered, and so forth. Here we're not met with the highest degree of professionalism, but it isn’t all that bad either. It is, for this music where the nuances aren't as important as the whole, quite good. Especially impressive are the stereo-renderings of the drum tracks. Some vocals should be softened, and my opinion is that the vocal tracks are the recordings weakest link, and most other instruments sound chorused into the demographic picture more than mixed in, but that could well be the MP3 compression. Also, the mastering (or lack thereof) makes the tune sound a bit flat and rumbling, but just a bit.
All in all, this song left me in good spirits. I liked it, and my love for Italian lyrics didn't do anything to degrade it further. (Did I mention that my two biggest heroes of all time is Claudio Monteverdi and Paolo Vinnacia, two Italians living in two very different ages?) The feel and overall music is more important than each part by its own, and hence, as a combined tune, this is really cool stuff.
It isn’t burning whiskey, but then again, a caramel milkshake like this you wouldn't pass by. Smooooth!
Alexander Johannesen

Recensione di "Bygon Funk", STEVE WARDALE

I'd seen Lord Bygon circulating on the net for a good year before I decided, after seeing his fabulous promo tips at the Javamusic forums, to take the plunge and have a good listen to some of his works. Being a bit of a funk fiend myself, I gave his latest tune, Bygon Funk, a try...
and what a suprise it was for me. The organ playing was a nice change from the usual electric keyboards on most songs of this style, and the music indeed sounded very 60's/70's lounge jazz style... if it had been more bossa nova, I could easily have heard this in an elevator! But this can only be a good thing, as the smooth vocals blend seamlessly into the music, something alot of artists in this genre have a problem getting right...
Bygon however, has done it well. The lyrics are in Italian, which adds a cetain mystery to the song, and unless you speak Italian, you can relax to the soft crooning and hamonic melodies. The song was well arranged, had some glorious drumming by a mister John Zachary, which is a nice way to incorperate another Javamusic artist into his works. All in all, a very good song, very pop, nice and relaxing.
Steve Wardale

Recensione di JEROEN VAN DEN HEUVEL

Mr Bygon, A nice warm italian voice, a nice warm piano and a beautiful melody. Interesting chord changes. But what sort of music ? I really don't know. I only know there is some real drama and beauty in it. First you think "I know this" , but suddenly the song takes you somewhere else. It's like Lord Bygon wants to make you feel comfortable at one moment and completely alienate you the other moment. It works. The first impression is "I know this , it sounds familiar" then you think "what is this ?!" then you have to listen a few times and then you get familiar with it again. Fascinating.
Jeroen Van Den Heuvel

Recensione di BOBBY BENSLEY, Javamusic A&R

Light, saucy, bouncy and smooth, these are but of a few words that could sum up the traditional jazz piece from the Italian maestro of smooth Lord Bygon.
"Your Groove" is well defined and structured in soul/jazz groove, which was the most popular of the Jazz styles in the 60’s. Unlike bebop from which the sub-genre developed, groove places its emphasis on the rhythm. Every layer every tone exists to support the groove.
From the hooky little piano melody to the ride on the hi-hat "Your Groove" follows the formula of the genre to the letter. Horns, voice, percussion, piano and even a squeezebox combine to build the groove in this toe taper.
Conjuring up visions of smoky clubs and Las Vegas lounges this piece will transport the listener back in time, to a place where the music was eclectic yet cerebral. Scotch and cigars were common and relaxed tempos prevailed.
Of particular note is the use of the multi-layered scat by the vocalist at the 3:15 mark. Exhibiting a broad vocal range, which Lord Bygon moves through in a smooth and relaxed manner to end the song.
An enjoyable and nostalgic listen “Your Groove” is a worthy download, whether a seasoned Jazz aficionado or a neophyte, you are sure to enjoy this one. With a rhythm that is tight and infectious, you are sure to be tapping your toes as you listen.
Bobby Bensley

RECENSIONE di FRANK COTOLO, Novembre 2001

His Munificent-ness, the prolific music-rendering Lord Bygon, does not do himself any justice, even in jest, by calling himself the secret son of Paul McCartney and Donald Fagen.
To listen to Lord Bygon's music with that description in mind paints only a part of the picture that is the product of this thirty-something act.
Lord Bygon has not just been influenced by the best pop tunes of the 60s, 70s and 80s, he has absorbed all of their nuances and put them into some kind of talent-processing machine, the results which are pleasing, reliable and easily underestimated.
Certainly indicative of Lord Bygon's musical campaign is "Joe The Killer". LB corrals jazz, rock and funk as a back drop for his unique voice, which in this tune is like David Bowie's if performing in a surreal nightclub where all standards are tweaked by immeasurable, yet distinct, Warholesque touches. Not to make "Joe"'s sound like it is anything but pure pop, but Bygon's approach, thankfully, teeters on the brink of going into the strange world of pop art with all of its regalia.
It never actually enters the arena, but the feeling that it may leaves the listener in movement. "Thirst" also stands on this stage, and Bygon is unpredictable about its melodic path, which leaves the listener, again, moving. This quality is unusual in an artist who presents his material with such distinct sounds. It's admirable, even though it may not be so conscious, that Bygon has the ability to wander.
He does just that and with a brilliant flair in "God Bless You" and "Coagulation", which are representative of his finest songs. In the former he plays with chord patterns that prove my osmosis theory of influence Bygon can whip up melodies that stand entirely on their own feet from ingredients long gone in commercial pop.
Lyrically, Bygon takes some strange approaches and, always, his jazz phrasing seems to make the lyrics work even when they are rough and uneven. He uses his voice as an instrument and appears quite aware of its limitations (though he has a fine range) and its correct place inside of a song.
In essence, I don't know anyone else who might be able to pull off the line, "love doesnt exist; this is the disease of the world".
Bygon does it with zest and feeling. All in all Lord Bygon delivers love-oriented songs, but there, too, Bygon has transcended his influences and made up for any lack of poetry with tight productions and mastery of his own vocal style. And all of this is, I hope, just the beginning, for Bygon hasn't yet busted out of the format he has created for himself. All great artists bust out and it will be interesting to hear His Munificent-ness when he expands his horizons.
Frank Cotolo

RECENSIONE di C M

Imagine you had the chance to listen to Donald Fagen's secret home recordings... That's what I envision when I listen to Lord Bygon's tunes. They have have the same jazzy imagination and creativity, melded with pop sensibility and structure, that made Fagen's work so great. Like Fagen or perhaps Elvis Costello, Lord B has a distinctive, unmistakeable voice. He has stated elsewhere that he considers himself first and foremost a songwriter, and I think that is really where his strength is. I really admire his keyboard work and songwriting prowess - some big name smooth jazz artist is going to get smart/lucky one of these days and record a Lord B composition and have a hit!
C M

RECENSIONE di JEREMY LEVY

Lord Bygon has written some great catchy pop music. Each song is well thought out and well delivered. I have been aware of his music for several months since meeting at Jeans Radio.
'mp3' was the first song to catch my attention. A clever tribute to the music format that brings us all together as artists on the web, and that allows us as 'independent artists' the world over to share our product without the need for a record deal.. With nice references to Sting, the Beatles and other musical influences. His voice is a warm baritone with a good vocal range. Sometimes singing in his native Italian. The style is cool lounge with many pop sensibilities and an acute understanding of 'songwriting'. He plays numerous instruments and is prolific in his output with several CDs available. We are currently talking about collaborating on a new song which I look forward to with interest.
J.L.

ALTRE RECENSIONI

("Friction And Contradiction")

It strikes me as funny that this song is categorized at ArtistLaunch as "pop", since this is truly not pop at all. Beps, you are writing vocal jazz - no shame in that, just get comfortable with the fact that you long ago crossed the line from pop to jazz. If you'd just accept that you are a jazz artist, then you wouldn't have to make any apologies for "ten-fingered chords", changing time signatures etc. Those 7ths and 9ths and suspensions in the vocal harmonies and chords are no problem for jazz people. Compare your stuff to Manhattan Transfer, Al Jarreau, Swing Out Sister or Basia, maybe even a little Level 42 - those are the kinds of acts that I think of when I hear songs from you like "Friction". Maybe pop-flavored, but you are still squarely on the jazz side of the fence. I enjoyed the tune, listened to it a couple of times, and definitely dug it - the 7/8 and 5/8 parts work fine. The chorus was a little too conventional or safe for me - with the edginess of the verses, I would have looked for you to keep at least some of that edge in the chorus - but that is just a subjective impression. I like it when you make music for yourself instead of for someone else. Your true compositional "voice" comes through much more clearly."
Chris M

"Yes, very Steely Dan-esque, but with a twist. This has got more to it. I love the bass work, very nice. Keyboards are very tasty. The guitar is just as nice. And the vocals are soothing, emotive, and work so well with the music. I like the lyrics most of all. Finding the happiness in being you and knowing you is so important. Who cares if you want the same old things!"
Dene Marie Jomei

"Lord Bygon writes some of the best pop that I have heard in a while. A very embracing style of melodic pop that reminds me in varying degrees of XTC and Joe Jackson.... But more than anything, it reminds me of former JAM founder Peter Weller's pet project, "The Style Council". Great keyboard work abounds here. Give yourself a treat and check it out. You owe it to yourself. ...What, you're still here? Get going and listen!!!"
Bobby Shiflett

"THIRST: I loved and hated it...First off, I listened to the song twice; it does remind me of old Chicago in bits, but that's not a bad thing. I think the musical arrangement is great: I love the chord progression, I wish the lyrics didn't contain so many cliches and that the lead singer was on key more. I also wish the production was a little better: Drums were way in the back as was the bass. Overall, a great effort that needs some polishing."
Marc Friekman - Somerville, Massachusetts

(Mp3!)

"Another song about MP3, written (according to Lord Bygon) as a tribute to the people who invented the MP3 file format. The lead vocals are hard to make out (it would have been better if the "fuzz effect" had been dropped after the first verse), but it's a good song nonetheless."
Bob Greenwade

"(The Same Old Things:) Another great composition from singer songwriter Lord Bygon. Love the groove and lyrics this song delivers, it's always a blessing to see all these artists utilize their God given talent. That's what it's all about sharing the gift. Beautiful work!!! Thank you Lord for the journey..........."
Keahi

"Lord Bygon's piece "The Same Old Things" has a nice samba/basa feel, I am a big fan of Brazilian music and he has captured the feel I have heard in many songs from that region. Good lyrics, solid melody, instrumentation and vocal are well mixed. Good one Lord Bygon."
Johnny Gnote

"I thoroughly enjoyed listening to the gem of talent contained within Lord Bygons' work today. His singing and writing is extremely passionate, his voice and the chord progressions and orchestrations within his music remind me of Spandau Ballet, Frankie Goes to Hollywood, and Tears from Fears (I love their music). Lord Bygon is a strong, distinctive vocalist, and his work carries an individualistic stamp of style that places him in an elite category.... I'd love to see him perform live, I bet he is also a great frontman, because his individual strength is really evident from listening to the music, I'll BET he is also a great performer."
Sally Cooper

(su THIRST): "Unique Sound"
"I liked the guitar, the voice sounded a little too distant or soft, though, until the rest of the instruments kicked it. The full instrumentation sound was nice. The bass was nice and strong, and supported the song nicely; the backing vocals were extremely good. The Melody was nice, though seemed a little slow or flat. The quick ending as opposed to a fade-out was a good touch."
Peter Gagne - Fairfield, Connecticut

(TAKE IT OVER)

"The production is generally pretty tight although the vocals dip in and out of the mix a little, perhaps a little more compression could help. I like the style, kind of Ian Dury meets incognito. The piano is really good and that crunchy chord is a real feature of the verse. Perhaps a little too much jamming at the end; maybe the fade-out could start 8 or 16 bars earlier. The mood is very laid back and everyone plays to this effect perfectly. Perhaps playing really softly in the verse would help the overall dynamics and make the choruses leap out a little more. Pascal of 8 Fold, Guildford, Surrey, UK

(TAKE IT OVER)  
Lounge funk with great technicians!!! This is a really handmade groovin' little thang with a fantastic melody and a perfectly fitting instrumentation. A great sounding piano added with discreet funky drums and a solid bassline are building the ground for a kind of white oldschool funk. Little e-piano vibes are liven up the athmosphere of the staccatos from the piano and the bass. The singing theme is a little bluesy, and is getting better and better while the song is playing. A very good performing choir in a harmonious arrangement and a melody which is not surprising with unknown elements but very solid composed and charming with the groove! It is not really funk for me even if it´s funky. Maybe a little too european and straight on its way where the funk could have a little more playful intensity. Even if the bass part is very groovy I would liked to here a little slap here or there and also the guitar could have brought a little more to the front but that's a 0,01% criticism for this really round thang! My extra award for the the real good piano and the catchy mood. Christian Sandkuehler, Ahaus, Germany

(TAKE IT OVER)  
The keyboard chords really make this song-- they definitely are what I'm following throughout the song. This reminds me of Steely Dan. The singer is loungy and contemporary in the most professional way-- really, really good mic-work. You never get lost in the mix, and every one of the many notes you're singing is understood and nicely performed. The harmonies are good too-- they sound perfectly in sync with the lead part, and even the unique style of the vocalist stays in tact with each vocal dub. This song has a great feel to it. It's tender and soft, but has a good amount of "meat" to it. I love the "Steely Dan-ish" dry mix too. Professional work. Jamie Pohl, Daytona Beach, Florida

(TAKE IT OVER)
I love live studio band recordings.... this track comes off more pop than R&B, from the Steely Dan school of the genre, actually....great keys & drums, the band is tight but the vocals need work not just in the mix but in the performance as well...the right singer/ front person would take this band up the charts.... Dee M, College Hill, Ohio

(TAKE IT OVER)
"Love the Rhodes! Production Quality is very good on this. It's a little repetitive though. The vocals in the first half of the chorus are too low in the mix. Great harmonies at about 2:45 into the song. Drums sound awesome on this cut. Everything sounds totally pro, very well recorded and mixed. This is in the funk category which I think is the wrong category for this. This is more of an adult contemporary song with a groove, a little bit funky but it's not a funk song. Over all this is a very well put together song. Well produced and recorded with very good musicianship." Ken DeRouchie, Portland, Oregon

(TAKE IT OVER)
Great funk organ sound. Love it! Tight drums, very jazzy in feel, basically because of the organ patterns and steady drum rhythm ...simple drums really groove. The vocalist seems a little sleepy, definitely coming across as being "mature" in age, for better or worse. "[You] know you're getting older." Production... The vocals are also a bit too high in the mix for my standards. I would have liked to hear the rhythm come through more. Also, how about a nice, steady conga track in this one? Just a brainstorm. Wish the vocals came through just a little more crisp, more high end. Maybe that would help??? The backup vocals are meaty and textured and really come through well, giving this a very professional edge. There are some areas where the drums tend to slip, but it goes unnoticed for the most part. Piano keeps a nice staccato beat and adds to the groove. The solos are perfection. The guitar is rhythmic, as it backs up the drums with a steady high strumming string/chord. The end of the song is a fantastic grand finale of sorts. I think it takes the gold. Actually the vocals become rhythmic and actually sound decent here. Everything is played to full force... a climax that is built throughout the composition. Fade-out in the end is perfect... the full force jam still plays in my head... never is ended abruptly because of the fade-out. Good work, although I still might play around with the mix and the addition of congas or some sort of aux. percussion... especially towards the song's end. Ernie Richmann, Bowling Green, Ohio

(TAKE IT OVER)
The last track I reviewed had the worlds worst opening bar. You prove that the first bar COUNTS: it grabbed me hook line and singer. There are a couple of little timing issues throughout. I'm not a fan of the programmed bass and drums. Get it done live if possible. The chords are really nice. The vocals have some really awesome moments and some pretty dismal moments too. I would suggest rerecording them with a really honest and experienced producer to maximise the even greatness of the performance. The songwriting reminds a little bit of Robert Palmer's "I Didn't Mean To Turn You On" and some of Steely Dan's stuff. Huge compliments there, 'cos I love both of those artists. That "oh yeah" note at the end of the pre-chorus is really smooth. Great chorus, really hooky. Catchy song. Top marks for songwriting, and I like the break down a lot. The guitar is cool as well. I would sincerely suggest you do the recording again from scratch. Save your pennies and get a sweet arse studio, awesome producer and pay some delicious session musos to fill in your progammed elements. Great melodic, harmonic and rhtyhmic ideas throughout. 100% for songwriting. You're almost there with the production - just don't be afraid to outsource for talented experts in their respective fields. Music is about community and having talented friends and colleagues makes EVERY difference in producing top shelf profesional work. Good job. Top shelf song! Hang in there and you guys will create some very tasty recordings in the near future - I can feel it! Love and Peace, James Higgins, Gold Coast, Queensland, Australia

(TAKE IT OVER)
"Piano) - I love a bit of piano with some muscle to it. That throbbing chord underneath the into verses is really smart, sharp, dissonant and beautiful. The pianist is definately accomplished and knows his jazz.
Production) - there's a little bit lacking in this compartment. Perhaps this is more of a recording/engineering issue here but the elements of the song kind of rests on the surface of the song and scarely fit into a "sonic pocket" in which divides the line between professional/ameteur. In my opinion, this track would serve as a great demo to give others a hint of your sound but as far as a sellable product, I'd recommend a rerecording with a more professional sheen. As far as Production goes, I find it's biggest value comes in at the end of the song. The song largely grabs me only at the end of the tune. The wurlitzer/rhodes in the beginning was a nice touch but I was let down until the breakdown that happens around 3:30 in the song.
Mood) - This is not my genre of choice but I'm not going to behave like many reviewers on here: "It doesn't sound like Korn - I hate this". It's well done in the genre and it emminates fun and I could imagine this song is an ass mover at live shows. It's gotta be a fun one. Very much a live song, I assume. The lyrics of the song though are a mismatch with the mood but that a moot point really as Morrissey has made a career of doing just that.
Overall - A descent song that could use a little more elbow grease and muscle to turn it from decent into great. My suggestion is to cultive the unique aspects of the band - something to set it apart from the massive amounts of stuff that it out there already. This song unfortunately could blend into the crowd and be unnoticeable. Work out a few kinks here and there and this song will shine like a badge." Daniel Horine

(TAKE IT OVER)
Good toe-tappin' rhythm, and nice use of the keyboard to establish rhythm and melody. I can imagine this being very popular with live audiences. Very good drum punctuation. The vocalist does not have the type of voice I would usually associate with funk music, but does a creditable job, in key and on pitch, with a good sense of how to break up the beat. In my opinion, the vocal could use just a little bit of effect to "thicken up" the sound. There are a few spots where the backup vocals get a little pitchy, but most people won't notice that, I would think. Good punch in the hook line really carries the refrain. All in all, a very danceable tune. Mr.Troll

(TAKE IT OVER)
Cool piano open and groove. The bass and drum parts are great!, they have created a fantastic pocket. The little keyboard tinkering is great. The song has a very vintage funk feel. The musicians in this band are pros at their genre. This bassist is one of the best funk bassists I have ever heard on Garage band. Great set up into the chorus. The chorus is very upbeat and is a strong hook out of these verses. I feel like dancing now. This would be a great song for a large party or corporate event. The lead singer is really good but I don't know that this is the style of music best suited to his voice. I think he is trying to sing a bit out of his range. When he singes lower notes it is a weird contrast to the music behind him. But that is just my opinion. Love the vibe of the song. The production is first class, the mix is perfect. A real professional job. I imagine this band will be very successful. I look forward to hearing more of this artist's songs. Brian Bair

(TAKE IT OVER)
Pretty Original Stuff. The Stevie Wonder-ish intro really lets you jump right into the song, and I really dug that. The piano is playing one particular chord during the beginning of the verse that kinda strikes me as odd. It sounds like a cool chord to use for flavor, but like salt, should probably be used sparingly. The only other odd thing I noticed was that in the chorus the guitar tries to play in syncopation to the rhythym but actually distracts from the awesome groove. The production was great, except the vocals might need to be turned up a little more in the mix. Other than that, I really dug this song; there was great vocals, great production, great keyboard/piano. Good job, I really enjoyed it. Mario Salazar, San Antonio, Texas

(TAKE IT OVER)
This is one of those songs that make you think you've heard it before when it's the first time you've heard it. This style song kind of makes me think of Steely Dan's early Jazz Rock influenced Top 40 that hit the charts in the late 70's. Not that I was around at that time but I've listened to my Dad's old albums and tapes and even sampled a few for my hip hop beats. So what I'm trying to say is that this song makes me think that style music. The Piano work is clean with a great tone that fits the funky jazz rock mood of this song. The Production is tight and shows a professional effort from all involved. Jacob Bragg, Columbus, Ohio

(TAKE IT OVER)
The mood is very easy-going. I'm reminded of Steely Dan. The piano sound sounds a bit generic, I would have liked to hear more piano riffs or even a full out piano solo to break up the chords, but the organ does a bit of each and the piano does change up at the end, which was refreshing. I like the guitar riffs as well, the music as a whole is very tight. I wasn't really feeling the vocals all that much but that is more a question of taste. All in alln it's a smooth song with a bit of soul. Good work. LegionTheShiva, Philadelphia, Pennsylvania

(TAKE IT OVER)
Need a bass player? ...or maybe a whole band?
That's the problem of home made recordings: they keep you out of the song itself, avoiding you to summerge in the real groove of the track. Well, the composing concept is very from the very little good part of the eighties, like Quincy Jones or Manhattan Transfer records, a funk-rock-jazz track with nice warm and powerful vocals, some cool stratocasters and some midi instruments that make you moan for a good band to appear. Anyways, to be a demo, this is a nice song. Please, develop a better recording, the song deserves it. Javier Albarran, Madrid, Spain

(TAKE IT OVER)
I like the piano/organ intro, very Jamiroquai. I'm not too into the vocal I'm afraid. More of a personal preference I think, but I'd like to hear a stronger more melodic vocal here. This impacts the mood of the song. With a stronger more forceful vocal I think the songs mood would be completely different. The drums to me sound a bit strange in the mix. I think it might be the snare sound that's a bit off. Could be a bit punchier I think, but the overall sound of the kit is good. Productions wise, the guitar and bass could be brought up a bit as well. It would give it a funkier edge. Still a nice sound overall, but it didn't blow me away. Would definitely listen to more though. Keep it up! "Fink" of Apollo Creed, Dublin, Ireland

(TAKE IT OVER)  
Let's Dance!!! This song brought a smile to face in about the first 3 seconds. Its a song that can easily be played anywhere to create a happy atmosphere and make you wanna dance. The kind of song that you don't notice is on, but makes you feel good anyway. I was most impressed by the way the piano and bass worked together to create the groove. The bass line featured short grooves, combined with pauses in exactly the right places. By the way, I'm a metal fan, which makes these comments even more flattering! Well done! Tim Weston, Orange, New South Wales, Australia

(TAKE IT OVER)  
Funky 70s jazz fusiony tune. The GRUV is hard. The keyboard punches on 1 & 3 are classic Jeff Lorber cliches. Bout time for a retro fit. The tune has a catchy beat and vibe. The vocals need something. The high end on the highs are not coming through. When the band steps up the tempo, the wah rhythm guitar comes in. The vocals delivery improves 1000%. Gals you need to keep that attitude and intensity. not volume. The whole time. The vocals don't seem emotionally committed. It needs conviction in what you are singing about always. It tends to lack that if you ask me. Except on the chorus. That's my only negative point. The vibe is nice. The drums shakin' up the GRUV. Get it right. You got something really happening! Peace! Gary Gray, Raleigh, North Carolina

(TAKE IT OVER)
Very cool groove... you grabbed me right away. Piano: Nice chord progressions. Played well with professionalism: I think the sound could be improved by using a higher quality mic, or by using a different mic placement/technique. Production: Overall, it is pretty good. However, I am not too crazy about the bass sound and the drums sound artificial. Vocals might be slightly over compressed in the recording process. Nice application of effects. Mood: Funky Michael McDonald / Doobie Brothers / Steely Dan - Many 'west coast' elements. Nice tune! Cheers and jeers, Greg Ceci, Guelph, Kitchener, Waterloo, Canada

(TAKE IT OVER)  
Musically, this track is very simple, but it's simplicity is also what make it appealing! The piano is nice, especially just after the chorus, there is a little part which adds a little colour, to take you into the 2nd verse. In terms of production, I believe that it is produced to a reasonable standard. the vocals are very prominant in the mix, which is good, however, the bv's in the outro could be a tad louder. Further - I believe that the choruus could come a little bit sooner. On the whole, this is an uplifting, nice, easy listening kind of track. Justin Osuji, London, UK

(TAKE IT OVER)
Well I think it's fairly obvious that there is a fair amount of Midi goin on in this song. But hey, that's cool, not everyone can afford to record everything live. I think the important thing here is that this is a good song, the chorus is well crafted and the vocals re really nice and tight. I would probably like to hear the chorus come in a bit sooner because I felt like the song only really got going once the first chorus hit. I'd like to hear the song with a bit more aggresive mix, but I guess there are always limitations with synthesis. Overall a good song, with a lot of soul. Matt Larner, Brisbane, Australia

(ONOMATOPOEICALLY)

This was extremely different. Not sure it belongs in the 'pop' genre, but regardless... there was something very enjoyable about it in spite of the negative things I will be mentioning here in this review.
1. Melody - this was one of the 'negative' comments I was referring to previously. The same melody over and over became monotonous, but was salvaged when background vocals came in with a totally unexpected uplifting sound.
2. Chord Structure - repetitive pretty much along with melody, especially the piano, but when instruments were allowed some freedom, the chord structure became interesting... also when the song transitioned at around 2:15 or so and seemed to 'take off'. Loved the stringed instruments and how they played a part in making this a neat sound.
3. Mood - Can't put my finger on the actual mood ...seemed to be reminiscent of a broadway or off-broadway show tune, but due to the inability to understand all the lyrics, the actual mood of the lyrics/singer got lost. Dying to find out what the word/phrase is that kept being repeated and I honestly tried my best to understand that, but just couldn't...it sounded like "onamatapeakally". Also, did I hear "I see flies on her".
With that being said, I don't want to give the wrong impression here. I absolutely loved the originality of this tune and how it was done. The instrumental lead-in grabbed me right away and I knew I was going to be hearing something special. The vocalist was good and has a very interesting style and tone, but darn I wish I could understand that word or phrase that is probably the name of the song so I'd know what we were talking about! Quite a surprise around 2:50 ...liked it ...showed personality...(was that breaking glass?). It ended kind of strangely ...would have liked to have heard that done differently. Another one I'll be adding to my listening list ...lots of talent here and would like to hear more by you. Made me kind of want to hear him live. Maureen, Detroit, Michigan

(ONOMATOPOEICALLY)
Quite a jazzy feel from the piano, and an original vocal feel. The backing is very good, the song has a strong sense of melody and this sits well with the mood. Music doesn't detract from the feel of the song. Not my choice in music personally, but I think you've done a good job. "Check me out and i'll check you in" ...nice. Kent O'Shea, Cape Town, South Africa

(ONOMATOPOEICALLY)
Nice intro with cellos and violins but it could be a bit shorter, it's too long for a pop song. Production is good, but the mix could use some work: maybe this is just a personal preference, but I think that lead vox shouldn't be so upfront. Backing vocals sound a bit odd in some places. I'm not too crazy about your singing style, I don't like the tone, but the singing is perfectly in tune and melodies are quite catchy too. Backing band is obviously talented, nice piano, cool drumming and bass is awesome. Chord progresssions are original and not cliched: I love the mood of this song, cool chill out tune. Keep it up and good luck! Weez13, unknown location

(E CHI SE NO?)

"Graceful dive into the empty swimming pool of sex"
This is a very accomplished performance of a very well-written, playful yet (musically speaking) serious swing song. The song reminds me in style of Paolo Conte. The lyrics are imaginative and the delivery is understated, which is a key characteristic of all great performers. The arrangement is meticulous and works a treat. The horn section is (firstly, and most importantly LIVE but also) very tight, whilst still managing to inject some characterful, laid-back soul into the song. The bass walks around the joint restlessly and invites the rest of the band to settle down, take a sip and do their thing. I love the organ. A bygone sound perhaps, but one that needs to be kept alive. Great drumming - just doing the swing thing without trying to steal the show. Possibly they should be given more of the limelight, especially around 4:45. One small doubt I have concerns the underdubbed backing vocals. They are barely audible, and it seems that a decision needs to be taken as to whether they are invited to the party or not. But overall, this is a bloody spiffing song. Keep up the good work! Joel Reeves, London, UK

(E CHI SE NO?)
Free jazz trumpet solo in a melodic song. The main thing to say about this song is that there is a very easy melody during the sung part and good free solo playing during the breaks. The contrast is nice. It is sung in Italian, which gives the song the air of something exotic and fresh as English is known by everyone. The best and most jazzlike is the trumpet solo. I did not really like the jump to the keyboard, though the keyboard solo is fine too. But the fast change between the too instruments sounds somehow strange to me. But the general impression is good. Filip Pycha, Prague, Czech Republic

(E CHI SE NO?)
I like the very nice jazzy introduction. The piano player plays backup to the singer very well and the singer has a good voice and the melody is soothing. Good change going to the trumpet solo. Nicely articulated solo. The oganist does a nice sounding solo also. This is good dinner crowd music or wine sipping music. Nice ending with the double time on the highhat. John Eurell, Ossining, NY

(E CHI SE NO?)
Reminds me of Bob Currow Big Band. Great arrangement, very professional arrangement treatment. Old, old School quality: a nice ensemble work thru out the piece. Sounds like a large cast of characters (10+). Really nice treatment of harmonies done thru the use of I would have to believe "Written Charts". Someone was very very busy. Band Performance is excellent, really nice tight performance. Obviously extensive rehearsals were the key for pulling off such a great performance. They just don't do it like this anymore. And that's a bad thing, not for this orchestra, but for the listening public. If more "musicians" took their craft as seriously as these folks, there would be so much more great music in the world. Really fine job, guys, extra extra credit for the "behind the scenes" work you obviously put in to make our craft something to be proud of. Sounds like perfection is the only result your looking for, take no substitutes. There should be a "special award" for Hardest Working Band in Show Biz... I would nominate you in a sec. William Roark, Detroit, Michigan

(E CHI SE NO?)
Big Band Sound... The brass did an exceptional job throughout this song in performance, harmonies, and execution. The trumpet solo was as smooth as milk and technically made his solo very interesting. I like the organ solo in the song, I thought that it was an interesting & good choice of instruments to take a solo. The background vocals were perfect in harmony and recorded great. The drummer playing was great here. Smooth and calculated. His little solo at the end was technically executed and sounded great. The bass player had a laid back jazz walk that was really cool and moved this song that way. good chops and sound... Performance, Recording, & Song were great. Four Stars. Andre Jones, Detroit, Michigan

(E CHI SE NO?)
Very nice intro with horns! I really enjoyed the voicings as well. Interesting voice in Portuguese (!! NdLB) over jazz form. Really nice nice horns in the background. Nice arrangement! The melody sounds very well thought through and connects very well to other sections. Develops very very nice and into a trumpet solo that plays with a lot of soul. Great comping on the piano, great walking bass line, and fine drumming. Pro's at hand with out a doubt. Organ cought me by surprise! Sounds great! I really enjoyed this tune, thank you! Darwin Noguera, Chicago, Illinois

(E CHI SE NO?)
Musically this tune has a great arrangement, great music voicings, great progressions, nice breaks and tags. Very mellow mood. The singer has a voice that reminds me of the great Lou Rawls. Deep in the tenor range, with the exception of dynamics, I believe this singer on this cut can use their voice dynamics a bit more to make it more personal and the standard average friday night lounge singer type. Great overall band playing, very tight horns, moving bass, surging trumpet solo and fills, volume wise I think the drums should come up in the mix, because they are beating some great fills as well. Nice tune, take care, Jo. J Oliviet, Seattle, Washington

(E CHI SE NO?)
Nice horn arrangements. Almost big band sounding, reminiscent of some "Birth of the Cool"/ Gil Evans arrangements. Props to the arranger! I feel like the piano was mixed a little hot, especially during the organ solo, it takes away from what the organ is trying to accomplish. Cool groove at the very end by the drummer - really is making something happen with the what the horns line is doing. I am never a fan of vocalists, but you were not obnoxious, and that is enough for me. The crooner stuff always goes over well if you showcase the band a little and you did more of your share of that on pretty much every instrument but the bass. Good Luck. Drew Smith, Austin, Texas

(E CHI SE NO?)
A Gentle Breeze Swings Over The Atlantic: the group does a fine job dancing through rhythmic permutations of 8/4 while smoothly gliding between swing and latin feels. The singer has a warm and inviting voice, well suited for jazz, even if just a tad nasal... a nice minor tune that goes to a major, almost pop bridge [interlude]. I'll venture a guess that the singer also plays the piano and recorded the 2 together. The piano track is terribly mono dynamic and heavy handed as well as being mixed too hot. The piano should lay out more often. [Especially behind the well played organ solo!! Never have a keyboard comping behind another keyboard, unless, perhaps, it's just laying down pads.] This player should also practice utilizing the full range of the piano-don't get stuck in the middle of the keyboard. Good use of the horn ensemble, although they were buried by the piano comping. The trumpet solo reveals a weak embouchure. I reccomend practicing more long tones, as well as studying more jazz patterns-Clark Terry and Lee Morgan make for splendid transcriptions. The drummer has great ideas and smooth execution. Too bad he wasn't left any room to shine during the latin outro. Again, if the piano were simplified or left out of the outro, the drummer could weave in and out of the ensemble figures in the horns. The singer's approach, and use of harmonizing, reminded me a little of John Hendricks and Manhattan Transfer. Good job! Ben Makinen, Denver, Colorado

(E CHI SE NO?)
Shimmering!
A slow-paced upbeat tempo moves this sweet swing number along like a breeze along the beach! Smooth vocal melodies add a rich dimension to the feel, riding the groove like moonlight on the water. Very tasty! A slight latin feel spices up this comfortable arrangement, giving it somewhat of a Steely Dan feel, an intelligent, classy sense of mood, a touch of sophistication with soft, easy appeal. The singer's voice is deep and rich, like dark folds of velvet, softly, warmly wrapping a melody around the smooth swing rhtyhm. Nice coloration in his tone adds a soft flair to his accentuations of the verse. Very pleasant, very classy. The band performs with a tight, smooth live feel, sensitive to the dynamics, really feeling the piece. A trumpet solo comes in with such smoothness, it sounds like warm brass signing from the heart. Followed by a sweet organ solo, the tune takes flight in its melodious lightness. Such a solid bass groove, such smooth, steady drums, all under the balance of sleek and subtle keyboard work, and this tune floats on its own soul. Very sweet! The production managed to capture the whole feel of this performance, a warm tone and a nice balance on the mix, the life of the tune comes through nicely! Nothing here I could think of to add or to change -- it's a totally sweet, subtle swing serenade. Very nicely done, man! Great feel! Bravo! Ken Hart, Syracuse, NY

(E CHI SE NO?)
Italian vocal jazz! The good news is that you got a voice of your own ; I'm glad you don't sound like other Italian singers such as Paolo Conte, Zucchero or even Eros Ramazzotti (I'm talking about that particularly annoying crackeled voice they have in common - they think it's really sexy but in fact it's so 5 minutes ago!). In a word, I like your voice as it perfectly sits in the song ; I don't have a clue of what you're singing about though :-) Also, the arrangements and the melody are well defined and harmoniously blend into each other along with that manly voice of yours. This song has a nice feel and conveys lazy sunny afternoons - somewhere in Tuscany maybe. Good work! Bravo! Caesar Guerguess, Paris, France

(E CHI SE NO?)
I am struck by the lush harmony in so many different places. Starting with the dense chord voicings of the piano throughout, then the sparingly used voices of the horns stacked behind the solo trumpet (flugelhorn?), a touch of woodwind and sax ensemble and finished off with the vocal harmonies near the end. The latin flavored swing moves this song along nicely to a relaxed and logical ending. Nice work. Ron Caird, Atlanta, Georgia

(DISEASE OF THE WORLD)
Interesting intro. Not sure how to piece this together just yet. Some crazy & aggressive rhythms from the start, I like a duel between the simple (almost power chord) piano and the jumpy violin. I assumed the song would settle down before the vocals came in, but that is not the case, so then I assumed the song would calm down when the melody was introduced. Still not the case. This is a very interesting melody over a very interesting chord progression. I have no choice but to respect it, because I have absolutely NO idea how you go about writing a song that sounds like this. Your influences must be crazy. Show tunes? Elvis? Christmas songs? Video game music? I don't know. Interesting. The vocals are a bit shaky: there are moments of brilliance, but then moments of not-so-brilliant. I think the problem lies in the production. I think with a big compressor, it'd help get the vocals sitting down in the mix. Then the flaws wouldn't jump out so much. Otherwise the mix was fine. The instruments were far from real-sounding, obviously. You've done well to get away with a song worth sharing using nothing but digitally modeled instruments, but it still has a tough time standing up to songs with, you know, real drums. Eclectic to say the least. I applaud you on your unique approach to songwriting. Firm things up a bit, maybe get a band, and record some acoustic instruments. Please let me know if you do, I'd be curious to hear it. Craig Lyons, Cincinnati, Ohio

(DISEASE OF THE WORLD)
The melody has great ups and downs, good dynamics. Very classy-medieval sound. The vocalist has an awesome range, you might want to pitch-correct the first verse though... After that it seems fine and I like his voice more and more. The lyrics are sweet... You do a wonderful chord change, which I guess is one of your hooks (ie at 2:33). Cool. Dorothy Godlinski, Vancouver, British Columbia, Canada

(DISEASE OF THE WORLD)
This was one well thought out arrangement of music. I wouldn't be surprised to hear this on a soundtrack of some kind. The vocals and piano blended well together. I'm not sure what genre of music I would classify this as, but its definately well done. I'm sure this artist has many good things ahead of him. Good luck! Daniel Sexton, St Louis, Missouri

(GORGEOUS PASSION)
Well Sung song. I like the energy used in this song. The keys on this song where well played sounds very jazzy. Well written as well I like the hook, it spices up the music at that point. I also like the way the music and vocals where mixed. Couldn't be better... Good Job. I love Music As Well, Rahim Handy, Dallas, Texas

(GORGEOUS PASSION)
The production is clean on this song but almost too clean. I feel very sanatized and powder fresh while listening to this song. I suppose that may just be my opinion, but I do believe you can over produce music. I can't tell if it's a real guitar or just a keyboard, but if you used a real guitar and kept it a touch dirty you might take some of the "freshness" out of the song and bring it back to a level that might appeal to more people. That said, I have no complaints for the instrumentation. Sounds like every instrument is very well timed, in key, and dynamic. The bass line is solid and holds much of this song together. The keys and drums flow nicely. The vocals are a bit cheesy for me but they are in tune and carried very well. I can hear well blended background vocals dancing in and out of the song and they sound very appropriate. The structure of the song is very good. Although it's not my style of music it did keep my attention the whole way through. The dynamics you bring with the vocals also did a nice job of keeping my attention. A very well put together song. Bryan Lee, Columbia, Missouri

(BYGON FUNK)
"Bygon Funk" has many elements that make it a great listen. There's the cool latin vibe with vocals that blend very well with the other instruments. Next is the instumentation - piano, organ, clavinet, drums, bass. Follow with a jazzy chord progression that adds great harmonic interest and you have a great formula. Add the panning of the instruments across the stereo image and sparse use of effects and you have an outstanding tune!! Robert Johnson