(updated 26 October 2008) Balligomingo's 2002 album Beneath The Surface drew significant attention from Musical Discoveries and the publication's readership. In the first feature article of its kind, our album review was accompanied by seven individual interviews with the vocalists that performed on the album. The article included interviews with the album's two producers, Garrett Schwartz and Vic Levak. While the seven women made some individual contributions to the material, none of them were ever actually part of the group. They served as featured vocalists for the project. Although blame for the team's breakup spread throughout industry and the fanbase, their differences scattered the artists to the winds following the very successful album release.

The First Women of Balligomingo. No, they weren't part of the group, but the women's voices were a critical element of Balligomingo's sound and our interviews with the individual singers made interesting reading. Beneath The Surface defined an entirely new genre by carefully blending lush electronic arrangements with the most sensual female voices. Seven Canadian singers were involved with the project, contributing not only vocals but other aspects to recordings. They were: Jennifer Baldwin ("Wild Butterfly"); Colleen Coadic ("Escape," "Being"); Jennifer Hershman ("Sweet Allure"); Camille Miller ("Lost"); Jody Quine ("Purify," "Privilege"); Beverly Staunton ("Falling," "Beyond," "Marooned," "Lust"); and Kristy Thirsk ("Heat"). Interviews with all seven women open individually from our main album page.

We haven't heard new material by Jennifer Baldwin since Beneath The Surface was released. Baldwin's one and only recording appears to be the stunning Balligomingo track "Wild Butterfly." Colleen Coadic released the 2005 solo album You Feel This Good (review). Jennifer Hershman released a solo album entitled The Little Things (review) that included a 2007 version of the Balligomingo tune "Thinking Of You" which she co-wrote. It has resurfaced as a bonus track sung by Rebecca Ramone on Under And Endless Sky.

Camille Miller recorded solo albums Carnarvon Street (2005) (review) and Somewhere Near The Truth (2007) (review). Beverley Staunton moved to Los Angeles and, in addition to recording projects, has an ongoing multilingual live singing engagement with Dancing With The Stars. While she has no new releases, several recent recordings are available for streaming at her website.

Kristy Thirsk recorded a solo album entitled Souvenir (review and interview), touring and recording Chimera and Nuages Du Monde with Delerium (reviews), recording the Sleepthief tracks "Sublunar (Sweet Angel)" for The Dawnseeker and "Send Me An Angel" for "The Chauffeur Remix" EP with Sleepthief. Kristy and her husband wrote and recorded the exclusive track "Out There" for the Musical Discoveries Sirènes compilation. Kristy recently recorded a four track EP entitled "Under Cover" that was sold on the last Delerium tour.

Jody Quine recorded "Eurydice," "Tenuous" and "Kiss To Savor" for Sleepthief's The Dawnseeker (review and interviews), performed in the "Eurydice" video and was featured in every track of the "Eurydice Remix" EP. She also recorded a solo demo entitled Crazy (review). Jody also recorded a number of tracks including "Star" with Vic Levak as Viia (review and interview) that was included the Musical Discoveries Sirènes compilation. She joined Balligomiingo in 2007.

Under An Endless Sky. Balligomingo is now Garrett Schwartz, Vic Levak and Jody Quine. The new album, entitled Under An Endless Sky features the vocal work exclusively of Jody Quine and newcomer Rebecca Ramone. Each of the women sing half of the album's total tracks. While out takes from the first Balligomingo sessions continue to circulate in mp3 sharing communities, Vic Levak and Garrett Schwartz began working on a second album of all new Balligomingo material during 2007. Ten primary tracks that continue to feature sensual female voices grace the album. Our promotional copy also includes four bonus tracks consisting of three remixes from the first ten and an additional new track. Balligomingo are presently exploring alternatives for the release of Under An Endless Sky.

The tracklist for Under An Endless Sky is: "Spinning" (RR), "A Beautiful Day" (JQ), "Letting Go" (JQ), "Under An Endless Sky" (JQ), "Sunshine in Rain" (JQ), "Dream Believer" (RR), "Goodbye" (RR), "Over You" (RR), "Perfect World" (JQ) and "La Bonita" (JQ). Bonus tracks are: "Goodbye (Jeratone Remix)" (RR), "Beautiful Day (Hush Remix) (JQ), "Dream Believer (Jeratone Remix)" (RR) and "Thinking of You" (RR). Recorded at Hush Sound (Vic Levak's studio), all tracks are written and produced by Balligomingo; Rebecca Ramone contributed to the songs she sings. Jerry Sintich adds guitar and piano to "Dream Believer." Additional writing on "Over You" is by Michelle Lewis (courtesy The Dog Music/Razor and Tie Songs/ASCAP).

Listeners will be delighted to hear the new inspirations reflected in Balligomingo's new album. The entrancing opening track "Spinning" is sung by newcomer Rebecca Ramone. Wonderful guitar and percussive accompaniment excite the mood in this ethereal melody. Rebecca's dreamy tone in this song immediately develops a new flavor of Balligomingo's modus operandi. She exudes a delicate, softness in this beautiful opener. Jody Quine's powerful vocals in the album standout "A Beautiful Day" complement the driving beat of the music. Jody's voice is sensual, crystalline and powerful in this edgy tune. The sonic sounding and percussively luxuriant "Letting Go" has a faraway feel to it. There is a sultry texture to Jody's beautiful vocals that maintain a languid quality.

The title track, "Under An Endless Sky," with its staccato-infused melody enjoys the soaring, beautiful vocals that Jody delivers effortlessly. "Sunshine In Rain" delivers the goods one expects from Balligomingo with their unique alt-rock sound and driving energy. Originally written by Jody and Vic, an earlier version of the track was posted briefly on the Balligomingo MySpace page to guage interest and was subsequently taken down when the decision to finish it with Garrett contributing additional arrangements for the album release was made. The upbeat tune has a contagious beat with sweeping vocals. Rebecca's confident voice in "Dream Believer" showcases her extensive range and emotive quality. She continues to share her compelling vocals in "Goodbye." The beguiling tune has an hypnotic quality.

A more folky and mesmerizing percussive tone captures the listener in "Over You." Rebecca's riveting vocals have a breathiness but forceful tone in this compelling song. Jody follows up in the ethereal "Perfect World." Her gorgeous and sensuous voice lends a mysteriousness and esoteric feel to this track. "La Bonita" with its exotic and melodic vocals certainly showcases Jody's effortless, pure voice. The wonderful guitar arrangements are intoxicating in this beautiful piece.

Noting the difference in sound from Beneath The Surface we asked Garrett Schwartz about writing and recording the album. "Our goal was to try new things and to redefine our sound on the second album so that it sounds musically different than anything else in our genre," Schwartz replied. "We wanted to avoid electronic sounds as much as possible while creating new and unique sonic soundscapes through the sheer ambience of tweaked acoustic guitar."

Garrett continued, "Though we love electronic soundscapes, it's more and more difficult to sound unique with so many bands producing similar sounds. Our goal was to take the soothing sounds of acoustic guitar and effect them in a way that delivers an entirely new listening experience, minimizing our reliance on synthesized music." Two prime examples are "Letting Go" and the title track. "We hope people like it. I couldn't be more amazed at Vic's ability to weave a sonic vacation through his guitar into these songs." These two songs were written and set aside for months. "It was only then that we realized we had something different and began to appreciate the new sonic experience," Schwartz adds, "Those two songs are my greatest joy."

The prerelese sampler of Under An Endless Sky includes four bonus tracks. The three remixes add a club flavor to "Goodbye," the stunning standout "A Beautiful Day" and "Dream Believer." Rebecca Ramone's version of "Thinking Of You" was also included to showcase the options for bonus tracks to the industry. Says Garrett Schwartz, "This version is a new mix and slightly changed vocal idea. Jennifer Hershmann is a great singer and helped to write some of the vocal melody. However, for keeping the songs souding consistent, Rebecca's voice made the most sense."

Balligomingo are hoping to pen a deal before the end of the year. With the holiday season's releases now set in stone, the album should emerge in 2009. It is likely that only the main ten tracks will be released. With a renewed sound and vocal focus on Jody and Rebecca, Balligomingo are charting the course for another breakthrough success with Under An Endless Sky.

(28 September 2008) It has been a full five years since release of Balligomingo's Beneath The Surface (review), yet the album plays frequently for many listeners if not on their players then firmly in their minds. The timeless album has become a true classic. At the time of the Balligomingo release, Canadian singer songwriter Jennifer Hershman was still promoting her album Knowingly Naive released under the moniker "Chic P." Our Women Of Balligomingo digest captured reviews of recordings by all of the album's vocalists, including Jennifer Hershman's Chic P solo project.

We are now five years on. Jennifer's latest offering is a twelve track collection of tunes spanning a wide range of styles. The album includes four live tracks and also includes at least one Balligomingo out take. We caught up with Jennifer shortly after the release of The Little Things (SOCAN (Canada) MSCHP-0070, 2007) and have listened intently to her newest recording. Jennifer has also updated her official website and has an active presence with her latest candid photos at MySpace. Listen to songs streaming from the new album there.

iTunes wants to categorize The Little Things as a folk album. Indeed the acoustic ballads are folky but this album is clearly planted firmly in accessible singer songwriting territory. The lighly arranged "Embrace" opens the album and serves to re-introduce voice both in lead and harmony parts. As one would expect from an album with various styles, the tracks are anything but all the same. "Wrecking" is a hearfelt and sensually sung ballad underscored crisp percurrsion, electric guitar and further instrumental riffs. Listen for breaks in the arrangement where the powerful voice coming from within Jennifer's petite frame rings through.

Bluesy electric guitar riffs are unable to drown out Jennifer's voice in the most evocative ballad"What Matters" written and performed with Balligomingo's Vic Levak. Self-harmonizing vocal layers add great texture but aren't necessary to add power to compete with the electric guitar-based arrangements. "Sit Back" in contrast is a piano-backed ballad that clearly showcases Jennifer's stunning vocal talent. Sensually delivered, it is clearly one of the album standouts. And with richer guitar and percussion arrangements, "All Or Nothing" builds the album's intensity. Vocals clearly jump out of the mix as they do in the more starkly arranged "Movie," also produced by Vic Levak at Hush Sound. Listen for the string foundation in the track.

Four "live" tracks grace the album. The first one is entitled "Potential." The stunning recording reveals the powerful on-stage personal of Jen Hershman lightly accompanied acoustically on guitar and light percussion. The flavor extends into Jen's cover of the Radiohead favorite "High and Dry." More completely arranged, the track features a combination of crystalline and whispy vocal textures that do the artist very proud. Following a brief "thank you guys" to the audience, an acoustic guitar introduces the lovely Coldplay track "Fix You," passionately delivered to her live audience. Listeners will be treated to the introduction to the acoustic ballad "Sit Back" as the live set comes to a conclusion.

It is great to hear one of the Women Of Balligomingo continuing to spread her wings outside the framework the album set five years ago. Jennifer Hershman has much virtuousity and demonstrates the ease in which she captures an audience on The Little Things. Get a copy today!

(26 October 2008) Alt-pop singer/songwriter Heidi Vincent sings about her life experiences on her second album Happpy Now (Heidi Vincent (Canada), 6 21365 09262, 2006). This talented musician hails from Vancouver, British Columbia where the album was nurtured, developed and recorded. Her band is a conglomeration of varying styles and backgrounds, including new wave, reggae, pop, punk as well as metal. Their diversity has given way to a strong, determined sound that creates a stimulating and vibrant collection of songs. Shawn Cole co-produced and engineered this album. Heidi told us that he was a huge part of the album's success in sound and completion.

Vincent's quartet has Wayne Stadler on drums, Dave Lettinga on bass, Mark Watson on guitars and Vincent performing vocals and guitar. Vic Levak (Balligomingo, Viia) also contributed to the project. According to Vincent, "There was only one way to record this album and that was to just do it. No talking, no second guessing and no re-visiting old material. The goal was to grow, experiment and put it down on tape, well ok, the drums were on tape and the rest was digital. We had already completed the pre-production with a month of jamming out the tunes at the Rockspace and by the time we got to the studio it all fell into place. I love music. I love expressing myself through music. These songs are more sophisticated, they are the dirty-pretty sound that I have searched for, the ones rattling around in my empty head for a couple of years. Girly, defiant, murderous, tongue in cheek, the album articulates every emotion of my love and life."

There is an edginess to her performance, singing with clarity and competence. She sometimes has a brashness to her tone or she can have a silkiness in her vocals as she appeals to the senses. The title track, "Happy Now," showcases Heidi's strong, pure voice. She has a defined approach in this alt-pop song. There is a joyfulness in her lyrics and vocals that come across with great clarity. The percussive "Cool" holds the listener with its strong musical hooks that keeps the toes tapping. There is a forcefulness and assurity in her singing which brings to mind a likeness to Debbie Harry and Blondie.

"Vietnam" explodes with sharp lyrics and a driving beat. This standout track has wonderful freshness and originality with an irresistable beat. Heidi's vivacity shines through with her wonderful interpretive renditions. "Stay If You" is another rocking tune where she exudes sensitivity intermixed with letting it all out. The lush guitar instrumentals accentuate her yearning vocals in this track. She changes pace with the gentler "Shape I'm In." "Star" is another wonderful track that highlights her soaring and bold vocals, heightened by the great assertive guitar rhythms.

Heidi has no problem letting it all out in "Let It All Out." Her dynamic approach to her music is refreshing and intense. "Guitars, overdubs, keys, vocals, harmonies, all the extras, tweaking everything along the way and even adding crazy things like horn section in few songs. You just find what it needs as you go along," according to Heidi. She continues with singing about her life experiences in "The Only One." Her positive vibe is evident throughout this rockin' tune. Her sensitive and gentler side is exposed in "All The Same" and "To God." There is great warmth and compassion in these songs as her passions are revealed. She closes with the pure and vibrant "Lullabye."

In between the marvelous and substantial guitar arrangements and driven vocals, there is a determination and enthusiasm that clearly comes across throughout this album. Heidi's magnificent voice ranges from the gentle compassionate to the highly fervent, and she hits the mark each and every time. There is no doubt that she gives the listener a positive, energetic result and she certainly makes each and everyone of us Happy Now.

(03 October 2008) Four years following the release of her stunning debut crossover album The Myth of Red (review), Sasha Lazard expanded her repertoire with the release of a five track EP entitled Miles Away (The Myth Of Red (USA) SL001, 2006) on her own independent label. An accomplished soprano, Sasha received her vocal training at the San Francisco Conservatory of Music. With an edgy sophistication and an artist's desire for freedom, Sasha eventually rebelled against the constraints of the tight-laced opera scene, and left behind her established career as a classical performer.

Sasha began collaborating with pop producer Frank Fitzpatrick and redefined her performance. She unveiled her new sound at top venues in New York and Los Angeles, and performed for over 8,000 people in Europe's largest nightclub, Club Privilege in Ibiza, Spain. Sasha received overwhelming acclaim from American and European club audiences and was soon asked to record the theme song to the film Princess Mononoke; the critically acclaimed, Holy Smoke, starring Kate Winslet; Modigliani, starring Andy Garcia; and most recently, the end credit song to Kettle of Fish starring Mathew Modine and Gina Gerson. Her alluring rendition of "Angeli" was featured in Victoria Secret's "Angel" campaign.

In 2006, Sasha recorded a duet album with soprano Shawna Stone entitled Siren for Manhattan Records/EMI. The album was produced by Peter Asher and Frank Fitzpatrick and was released on March 5, 2007. Sasha and Shawna appeared in March in a PBS special entitled Heavenly Voices.

Sasha is now at work on a follow up album to The Myth of Red, working with producers BLISS and collaborating again with Frank Fitzpatrick and David Tobocman. The Miles Away EP is a preliminary installment from this forthcoming album. The title track of Sasha's 2006 EP, "Miles Away," was chosen as the theme song for the Toronto Film Festival. Listeners will be entralled in the way classical voice and violin have been perfectly blended with world textures. Mixed by Bliss, the sound in the memorable tune is just tremendous.

Listen for Sasha's soaring crystalline lead and many multi-layered harmonies in her own rendition of the contemporary "All Through The Night" produced by Lazard's working team of David Schommer and Frank Fitzpatrick. Readers should note that this song was also recorded by Annie Haslam on her self-titled album released on Epic in 1989. Effectively processed vocal textures and instrumental arrangements contribute to this exclusive mix.

The crisp flute parts perfectly complements Sasha's crystalline voice in "Carnival," produced atop gentle percussion and the tender keyboard washes. Lovely vocal harmonies complete the arrangement of this evocative piece. The short "Marigold" aria clearly demonstrates that Sasha Lazard's classical roots in the club environments of Europe and America. The lead vocal part is perfectly supported by piano (Emily Olin) and cello (Dave Eggar) alone. Sasha's soaring vocalise in the bridge sounds instrumental!

The EP closes with a highly accessible crossover entitled "L'Amore," which serves as a perfect operatic world crossover to the album's opening title track. Sasha's lead vocal is sung in Italian, perfectly suiting the operatic feel that her producers desired. Additional vocal layers create depth and contrast.

Sasha Lazard continues to develop her talent while demonstrating the results of her craft in this stunning EP release. Her contributions to the Siren album with Shauna Stone is equally superb. Follow the link above to the review. Stand by for Sasha's next solo installment. Bravo!

(03 October 2007) Sasha Lazard and Shawna Stone are the stunning sopranos that are the lead vocalists of the rapidly emerging classical crossover duo Sasha and Shawna. Their premiere CD Siren (Manhattan/Blue Note/EMI (USA) 0946 3 56416 2 2, 2007) was produced by Grammy Award winning producer Peter Asher. The twelve track album is an excellent crossover collection with covers of popular tunes and accessible reworkings of longstanding classical favorities. Accompanied by an extremely well produced and full color booklet, Siren is the third album release by Lazard, yet it is Stone's premiere.

Sasha Lazard. A well accomplished soprano, Sasha received her vocal training at the San Francisco Conservatory of Music. With an edgy sophistication and an artist's desire for freedom, Sasha eventually rebelled against the constraints of the tight-laced opera scene, and left behind her established career as a classical performer.

Sasha began collaborating with pop producer Frank Fitzpatrick and redefined her performance. She unveiled her new sound at top venues in New York and Los Angeles, and performed for over 8,000 people in Europe's largest nightclub, Club Privilege in Ibiza, Spain. Sasha received overwhelming acclaim from American and European club audiences and was soon asked to record the theme song to the film Princess Mononoke; the critically acclaimed, Holy Smoke, starring Kate Winslet; Modigliani, starring Andy Garcia; and most recently, the end credit song to Kettle of Fish starring Mathew Modine and Gina Gerson.

Sasha's alluring rendition of "Angeli" was featured in Victoria Secret's "Angel" campaign. Check out additional sounds and photos at Sasha's official website and further alluring photographs at her MySpace site.

Shawna Stone. Shawna is the critically acclaimed and award winning operatic soprano and former resident of Opera New York and a distinguished graduate of the University of Southern Carlifornia's School of Music. She has recorded with the London Symphony Orchestra, performed at New York's Lincoln Center, Rome's Basilica di San Clemente, and in leading operatic roles throughout North America and Europe. Her performances include: Adele in Strauss' Die Fledermaus; Alice in Verdi's Falstaff and Cleopatra in Handel's Julius Ceasar. They have been especially notable. To illlustrate that the term crossover has a variety of meanings, she also posed for provocative and revealing spread in FHM magazine.

Shawna's repertoire consists of works by French, German, Italian, English, American, Brazilian, Spanish, Russian, Czeckoslovakian and Finnish composers. She is the two-time winner of the Leni Fe Bland Music Grant and was the recent first place winner of the I Malatesta Singing Competition which took place in Cessena, Italy. Shawna lives in New York City and has an array of alluring photos available for viewing at her own website as well as her personal MySpace site.

Review. This album perfectly blends the hypnotic voices of Sasha Lazard, whose exquisite voice is rooted in the classical-electronica scene, and Shawna Stone, whose luscious voice has graced international opera houses. Executive produced by Grammy® Award-winner Peter Asher, this duo have found a fresh, original approach to interpreting contemporary songs ranging from James Taylor ("Close Your Eyes") to Radiohead ("Fade out") to John Denver ("Per Te"/ "For You") to Kansas ("Dust in the Wind"). These memorable pieces are delivered with superb artistry and delightful production.

There are also such gorgeous operatic arias as Donizetti's "Una Furtiva Lagrima," an adaptation of Bach's "Air on the G String" and "Stabat Mater [XX]," a revisitation of the 18th century Italian composer Pergolesi. The mix of contemporary pieces and classical arias works well on this tremendous album. The individual interpretations by each of Shawna and Sasha reflect the phases of life that they are both in and has worked extremely well. The music is as beautiful as the women are gorgeous.

Classical crossover music adds contemporary treatments to enduring classical material. Sirens combines crossover material with the crystalline voices of Sasha Lazard and Shawna Stone. This classical crossover album has been carefully prepared, produced and recorded. Clearly an album for female vocalist enthusiasts, it must be noticed and consumed slowly like a bottle of the finest wine.

(10 October 2008) The Lost Patrol are back, now fronted by their new singer Mollie Israel. Steven Masucci (all guitars, snyths, lap steel, bass, programming, Michael Williams (12-string acoustics, keyboards, vocals) and Seth Clifford (drums, keyboards, acoustic guitar) complete the lineup. The downstate New York band's former vocalist Danielle Kimak Strauss left for personal reasons shortly after the band's 2007 release of Launch and Landing. After a six month hiatus and diligent search by the remaining band members, Mollie Israel was selected to be the new lead vocalist. The first serving from the new lineup is the ten-track independently released album entitled Midnight Matinée (The Lost Patrol (USA), 2008).

The Lost Patrol's original sound evolved from their primarily instrumental (and very rare) debut EP entitled Return of the Reverb-O-Rangers (1999). The group's guitar work is reminscent of The Shadows. With one track by vocalist Gail Buchanan who also toured with the band during that era, the debut EP clearly set the reverb-centric electric guitar texture for the band's full length offerings.

The Lost Patrol began to emphasize female vocal-fronted tracks when Danielle Strauss joined in 2000. About the band's longtime vocalist, one critic wrote, "Danielle's voice summons the coolness of Siouxie roaming through a little long lost Grace Slick spaciness and brought back down to earth with a touch of Ronnie Spector's splendor." Today, Mollie Israel's voice, different but no less powerful than Danielle's, works well with the guitars. Her sound, power and range can be favorably compared to the stunning Canadian singer Jody Quine (Balligomingo, Sleepthief, Viia).

While the loss of a longtime lead singer might devastate some bands, the addition of Mollie Israel appears to have given creative inspiration to The Lost Patrol. Guitars still shimmer with almost endless reverb, but the individual songs clearly demonstrate more variety in construction, both instrumentally and vocally.

All but the debut EP and second album Creepy Cool (2000) remain available both in digital and physical formats. The band's other great titles include: Scattered, Smothered & Covered (2002), Off Like A Prom Dress (2003), High Noon (2004), Lonesome Sky (2005) and Launch and Landing (2007).

A powerful rock ballad entitled "On The Run" opens The Lost Patrol's new album. The new singer's power is immediately evident but further enhanced with reverb to soar above the electric guitars. Additional keyboard parts enhance the sound on "Silver City Sunset." Album standout "Homecoming," prepared in the upbeat and rocking style similar to the band's earlier work continues to showcase Mollie's vocal range and energy with an everlasting melody. "Serenade" is similarly constructed, with only the raunchiness of the guitars keeping the track out of pop territory. In contrast to the upbeat numbers, the album also offers delightful and softly delivered electric guitar-backed ballads "Blue Lullabies," "Fades From View" and the stunning track "Distance." Keyboard washes effectively highlight the upper end of Mollie's range.

In addition to the reverb rich electric guitar textures, the artists draw on further effects and keyboards across several intros and outros. We also appreciated the production of vocal harmonies on tracks "Fades From View" and "Colours Turn Grey." Mollie's voice has the power not to 'require' the layering, but it adds texture and additional strength to the sound of these tracks. Almost gothic textured solo and harmony vocal parts soars above instrumentals in the greatly appreciated stadium rocker "The Fallen." The album concludes with standout "Jukebox On The Moon." An upbeat and 60s generation rocker, the memorable and well arranged pop-style track also showcases Mollie's stunning vocal talent.

With Midnight Matinée, The Lost Patrol continue to stretch and grow. They love reverb. In addition to their electric guitar power and strong rhythm section, the band demonstrate virtuousity in style and sound. Mollie Israel's power and range provide an excellent addition to the ensemble. While we would have appreciated a longer album, it is an excellent effort for the half year taken to produce it. The album is available from the band's webstore and at live performances. The new lineup are already gaining a strong following in their supporting tour. The Lost Patrol's future is brightening every day.

(12 October 2008) Melody Klyman is a Canadian born UK based artist. Trained as a classical pianist from the age of six, she wrote her first songs while still in school. At 18, she formed an indie band while still living in Canada and toured a series of clubs. After being approached by labels as a solo artist, still looking for her own artistic direction, she moved to the UK and then performed in a series of raves and clubs while shuttling back and forth between the UK and Canada. She also sang with dance producers globally securing a gold disc along the way to add to her credits.

Melody is influenced by Kate Bush, This Mortal Coil and the Cocteau Twins. When finally settling in the UK she signed to the new British independent label Blackwing Records. The well-produced ten track collection Sovereign (Blackwing Records (UK) BWINGCD002, 2008) is her first full length release. A single bearing the same name was released digitally in mid-2008.

Sovereign is a richly produced collection including a couple of electric guitar- and percussion-laced gothic-like metal edged numbers. From the opening title track, Melody's vocal prowess and the thick arrangements appear perfectly matched. Harmony vocals add strength to Melody's already strong voice. The upper end of the singer's range is highlighted against piano and keyboard while her power pierces through the pulsing rhythm section. The hook of the title track clearly puts it in pop territory.

In the ballad, "Cold as December," sung against a quietly pulsing percussive beat, Melody can equally spin emotion into her evocatively delivered lyrics. We admire the producers' vocal layering that serves well to highlight rather than detract from the singer's virtousity. Rich gothic-textured organ style keyboards exclusively provide the backdrop for "Sparkle," a heartfelt almost-droning ballad with gorgeously layered vocals.

The track "Fool For Me" is an upbeat song with a grooving electronic arrangement, Melody's soaring solo lead breaks through in the verse and works well against multi-layered harmonies in the memorable choruses. The album finds its stride in the memorable"Never Stay Away," its powerful percussive energy evenly supported by rhythmic keyboard again underscoring Melody's solo lead, self-harmonies adding texture and power to the track.

The evocatively delivered and powerfully sung ballads "Hunt Of The Innocent," written in protest of the horrific Canadian Seal Hunt that Melody is adamantly against, and the stunning standout "Trigger Me" are clearly the most illustrative of Melody's vocal power, range and energy. Sung atop lush arrangements, her sensually performed lead is especially notable. The layered vocals, dance-oriented electronic percussion and light keyboard washes in "Magic" are tremendous wandering for this reviewer into Madonna territory. Thick guitar-laced arrangements contribute power to the song as it develops. Similarly constructed but with the addition of a raunchy guitar part is the rhythmic number entitled "Caught."

The album concludes with the very brief but deliciously arranged ballad entitled "The Eleventh Hour." We especially enjoyed the simple song strucdture and the lovely contrast between Melody's solo lead and the harmony vocals. Melody Klyman has found her stride in this album of well arranged ballads and occasional upbeat number. Listen to audio streams at Melody's MySpace. Her material and live performances are certain to draw attention as her career continues to develop.

(26 October 2008) Aussie-born and NYC-based singer/songwriter Karen Jacobsen excels in her album Kissing Someone Else (Kurly Queen Records (2007) 6 70213 28682 1, 2007). This ten track CD boasts rich melodies, upbeat pop songs and passionate vocals. She has performed with the likes of Norah Jones, Three Dog Night, Deborah Cox, Christopher Cross and Cyndi Lauper, and her music was featured on the television show Dawson's Creek.

She is originally from Mackay near Australia's Great Barrier Reef. She wrote her first song at age seven called "Kurly Queen" which is the name of her record label. She studied piano in her youth and in high school she played Dorothy in The Wiz and idolized Olivia Newton-John. She studied music in Brisbane and then established her career in Sydney as a regular performer on national television shows. She left Australia and arrived in Manhattan where she released two acoustic piano/vocal records. One of her songs was picked up by Dawson's Creek which helped jumpstart her American musical career.

The pop title track, "Kissing Someone Else," showcases Karen's lovely and pure vocals. She combines a delicate vocal delivery with an inspirational edge. There is wonderful and wholesome sound to "So Fast" where she speaks of life and love. She has an endearing approach with her dynamic singing and lovely clarity. A standout track, "Melting Moments," is full of passionate harmonies and absolutely engaging. This song's music video was inspired by Karen’s recent experience in Africa performing for 250 children living in extreme poverty, and includes footage of that performance.

Her amazing vocals erupt in the dynamic "I Believe In This Man." While this song begins with subdued simplicity, she segues into a strong, resolute crescendo. This standout track exemplifies the vibrancy and delightful talent of this artist. She continues in this same vein of determination and strength in "Amazing." She sings with pure abandon and passion that captivates the listener.

"The River Of My Life" is a lovely, melodic piece that has thoughtful lyrics. Her pensive statement that "I want to be somewhere else doing something else with somebody else, I see the river of my life, I see the river passing by" is certainly a statement to which we can all relate from some segment of our lives. She changes pace with the upbeat "Merry Go Round." She adds a toy piano into the mix which gives a whimsical quality to this fast-paced track.

Clear and simplistic vocals highlight "Leave You Love Behind." Gentle strings accentuate the beauty of Karen's pure lyrics. The result is an airy and luxuriant feel to this song. She continues with a contemplative dialogue in "Afterthought" where she says, "I don't wanna be your afterthought, irrelevant, so insignificant like you don't even know my name." She closes out this exciting album with the touching and poignant "It's Time To Say Goodbye."

Kissing Someone Else is a wonderful collection of inspirational, heartfelt and dynamic tunes that captivate the listener. Karen Jacobsen possesses a wonderful talent of being a terrific storyteller along with pure, unadulterated beauty of voice. She has brought her intimate thoughts and musings into a lovely conglomeration of wonderful harmonies and melodies that heighten the spirit.

(22 October 2008) Russian-born New Zealand classical crossover singer Yulia released her second album in 2006 entitled Montage (Sony BMG Music Entertainment (New Zealand) 200482876823752, 2006). Her debut album released in 2004 is called Into The West (Columbia (New Zealand) 5187582000, 2004 ). This gifted twenty-two year old has a lovely contralto voice that has wonderful maturity and dulcit tones. She has only learned the English language in 2002 so there is a distinct Russian accent in the delivery of her lyrics although unobtrusive. Yulia sings fluently in six languages; English, Russian, French, Italian, Spanish and Maori. Sadly both of Yulia's albums were deleted by Sony BMG New Zealand, however, the artist's management is seeking to reissue them as soon as a deal with their former label can be established.

Born in Volgograd, Russia in 1986, Yulia moved to New Zealand in 2002 and quickly adapted to life in her new country. She graduated from high school and immediately signed a recording deal with Sony Music New Zealand. Gray Bartlett, co-director and owner of the Auckland-based promotion company Pacific Entertainment Limited, signed her to a six year worldwide sole agency deal but was ended early by Yulia and she was managed temporarily by Michael Glading, the previous head of Sony NZ. In 2007 Yulia met Glyn MacLean, 17 years her senior, director and owner of Oikos Music Group and signed to a management and music publishing deal. In February 2008, Yulia married Glyn. She was the lead singer in a pop duo, the MacLeaNZ, with her husband.

Into The West. Her first album, Into The West, was released in 2004 to much acclaim. She was awarded New Zealand’s "Best Female Vocalist" at the 2005 New Zealand Music Awards (Pop, Folk, Classical). Montage displays her wonderful versatility in the various music genres. She easily flows from classical to pop to folk music without a hitch. Yulia is currently writing songs for her third album and an inspirational book. She aims to follow up on the commercial success of her first two albums with the release of her third album and her first book for either Christmas 2008 or Mothers Day 2009.

Into The West is a stunning debut album which combines her favorite genres of pop, classical and folk music. The opening track "Into the West" features Yulia's gorgeous, soaring vocals that elate the senses. She has a soulful depth to her music that is spectacular. A standout track is the delightly "Scarborough Fair" which brings to mind a sense of the renaissance era. She exudes clarity of sound in this inspiring track. "Angel," a cover from Sarah McLachlan, is performed simply and beautifully, putting Yulia's own touch on this lovely song. "The Prayer" opens with wonderful orchestration and segues into the tender and striking operatic aria that she performs so stunningly.

"L'Hymne A L'Amour" is a lovely track that could be part of a Broadway production. She flip-flops back and forth between languages with wonderful ease. She follows up with a traditional New Zealand lamentation in the Maori language called "Hoki Hoki Tonu Mai." She sings this powerful tune with grace and dignity in describing the lament of young Maori women whose husbands and lovers were lost in battle during World War I.

Yulia can be likened to Hayley Westenra especially in "Softly Whispering I Love You." These two young singers have a wonderful grace and exquisite tone which must be a special import from New Zealand these days. Yulia has a more pop sound in "I Go To Sleep" and the musical accompaniment appeals in a whimsical way. The famed Jacques Brel tune, "If You Go Away," is performed with a breathy and whispered tenderness. There is an almost yearning to the beginning of this song, and then Yulia breaks out with gorgeous, simple vocals that are quite poignant.

Another lovely tune is "One Day I'll Fly Away." Yulia creates a dreamy atmosphere with her precise and delightful melody. The song ascends to the clouds and then to the heavens with her beautiful sound. Handel's more popularly known "Largo" is performed here as "Ombra Mai Fu." Her rendition of this famous aria is quite majestic and the tempo is more upbeat than Handel's original. She certainly does this song justice in her version.

Of course Yulia goes back to her roots with her native tongue in "Russia." Her rich contralto makes this track a highlight of the album. She sings with passion and conviction. Yulia follows this song with "Bailero" which Sarah Brightman has performed on Eden and Classics. Yulia puts her own spin on this traditional piece from the Songs of the Auvergne. She sings with beautiful simplicity. She closes out this marvelous CD with the traditional Russian song "Otchi Tchornia (Black Eyes)" that Liberace was well known for performing. The lyrics mean "Eyes of ecstacy, Always haunting me, Always taunting me, With your mystery, Tell me tenderly, You belong to me, For eternity, Dark eyes, talk to me." One certainly gets the impression of haunting and taunting in this final track, and Yulia executes this song with great aplomb. The music enraptures the listener into imagining they are on the banks of the Volga being serenaded by their Russian comrades.

Yulia does not fail to please with Into The West. Hints of Hayley Westenra and Sarah Brightman come into play, but Yulia has a terrific contralto voice that is exquisite. In 2005, Yulia was awarded "Best Female Vocalist" and "Highest Selling Album of the Year" for Into The West in New Zealand. Those accolades are well deserved.

Montage. Yulia's second album Montage is an appropriate description of this diverse fourteen track album. She opens with the lush "We're All Alone." Her lilting, rich tones in conjunction with the lovely orchestral accompaniment highlights the special draw of this musical artist. She exhibits a compassionate quality in her vocals. "No One Like You," reminiscent of Sarah Brightman's version, has a majestic air to it, with Yulia's gorgeous, soaring vocals. There is a gentleness to her singing, but then again, she can belt out her tunes with the best of them. Pop tune "Maybe" showcases her more contemporary side.

"You Are Here" opens with a soothing piano intro, and Yulia takes over with her luxuriant voice. The end result is a song filled with passion and power driven vocals. She continues with this passionate ardor in "Everything You Touched." Yulia whisks the listener away to Spain with the famed aria "Habanera" from Bizet's opera Carmen. Her exquisite operatic version is filled with fiery abandon. Another classic,, "Che Faro," is beautifully orchestrated and sung with perfection by Yulia. She sings with striking authority and warmth throughout this melodic piece. She continues in the same vein with "To Ni Veter."

Her versatility is evident as she lures the listener in "With You I'm Born Again." Through her gentleness of tone and lush passages, she engages the passionate side of emotion. This passion continues with another classic, "Pavane," by Faure. She follows this song with the wonderful James Bond theme "Nobody Does It Better." She sings the Marvin Hamlisch tune with sultry seduction and abandon.

The classical french love song "Plaisir d'Amour" is beautifully sung by this divine chanteuse. Charlotte Church, sang this song with a very different flair from the splendid Yulia, whose tones have a depth and richness that only her stunning contralto voice can execute so well. In "The Actress" there are exciting and powerful vocal crescendos. She concludes this fantastic album with the Freddie Mercury cover "The Show Must Go On." She sings this famed song with an emotive and powerful tribute to the meaningful depth of Mercury's epitaph.

In addition to the CD, the special edition includes a stunning DVD of her Montage live showcase from April 2006. The DVD allows the viewer a wonderful opportunity to watch the amazing Yulia in action. She owns the stage and her performance is quite enrapturing. She possesses great showmanship and definitely puts on a great show.

Montage is a complex and enlightening mosaic of songs that showcase Yulia's amazing talent. She shows great versatility in her style and does not fail to please. She can be likened to Sarah Brightman in her operatic and contempory stylings, but Yulia stands out with her incredible rich, contralto vocals as well as her fervent and heartfelt approach to her music.

(18 October 2008) Riverside, California-based Marianne Keith, 22 years of age at this writing, released her first album Make No Mistake (Marianne Keith (USA) 641444944521, 2004 four years ago at age 18 to critical acclaim, characterized then as a soulful singer, talented songwriter, and instrumentalist. The pretty young woman has a diverse background in music ranging from gospel to country, and 70s rock to jazz, Marianne integrates many of these elements into her sound. Described as pop/rock-singer/songwriter, her blending of styles is reminiscent of Sarah McLachlan, Sheryl Crow, Susan Tedeschi and yet her vocal style and power makes her entirely unique.

Marianne Keith has been singing in church from the age of six, and decided to play guitar and write her own music when she was 16. To get her hands on her first guitar she literally pawned her clarinet. "And I got completely ripped off," she laughs. "I got a guitar that wasn't that great. It was a classical guitar and I didn't know the difference between that and an acoustic guitar." But by the age of 18, Marianne was off and running. She started performing at open mic nights, like at the Coffee Depot in Riverside.

Marianne said, "That was the first time I attempted to play my guitar and sing. It was scary. "I was willing to be nervous because of how much I wanted to do it. If I was going to be a musician I just had to get over it." Marianne has accomplished more than simply overcoming her nerves. Audiences throughout the Riverside, San Bernardino, Los Angeles and Orange County areas grew quickly. She was voted one of the top five artists in Orange County for Best Live Acoustic Female and won the Orange County Music Award in the Best Country category for the charming and up-tempo "Make You Mine." The award-winning song, along with "Kiss Me in the Rain," became fan favorites and top iTunes sellers.

About her still available and independently release debut, the album was recorded and engineered at Midnight Hour Productions with producer Kelly McGuire. Kelly describes her as, "a talented, distinctive vocalist with a keen sense of melody and composition. Marianne's songs say something. Add in an attractive look and stage presence just as strong as her music and you have a winning combination." In preparation for recording and live shows, Marianne's voice has been refined by her natural abilities enhanced by the renowned vocal instructor Billy Purnell, a Seth Riggs associate. Billy says about her, "Marianne has the kind of package the industry is looking for--vocal talent, inspired songwriting, and a great look, and I believe she has the drive and the stamina to make it in this business."

Her bright purple guitar personifies Marianne's bubbly spirit both on and off stage. She has been featured in various types of performances including regional competitions, charity benefit concerts, and dozens of solo gigs. Not only are crowds captivated by her catchy songs and profound lyrics, but also by her warm and inviting smile. Easily approachable, this magnetic performer draws you in and keeps you there. One listen and you'll agree, there's something special about Marianne. Her dazzling, doe eyed beauty, her cascading curls of chocolate brown hair, unmistakable voice and soulful songs total in only one person: Marianne Keith.

Marianne is back with a twelve track collection entitled Beautiful Distraction (Unison Music (USA) 897834000425, 2008). Combine a magnetic stage presence with prolific songwriting, the album covers all the bases, from unforgettably catchy uptempos, to introspective ballads and an occasional dash of country. Beautiful Distraction includes "The Angry Song", voted Orange County Folk Artist of 2007 and "Make You Mine", voted Orange County's Country Artist / Song Of The Year, 2006.

Marianne Keith's Beautiful Distraction is an engaging work of introspective sentiments, pop sensibilities, Marianne's expressive emotions, and keen sense of melody. Lively songs such as "Kiss Me in the Rain," give way to the composed passion found on "That's Just the Way Love Goes." Sultry numbers like "The Angry Song" easily connect with the open emotions and raw musical talent found in the piano ballad, "Sideways Rain."

Says Marianne, "I tend to write a lot of poppy songs, but I also balance them with quirkier, more unique songs." She has the knack for adding a familiar pop element to her tunes--but not in a Britney Spears or Hilary Duff kind of way. "Some of my songs are kind of feel-good in a way, but they're not bubblegum. Being a singer-songwriter and also embracing pop is kind of a lost art," she adds.

Integrating pop, folk, country and more into her musical mix, Marianne crosses musical boundaries much like the diverse female musicians who continue to inspire her: Sarah McLachlan, Tori Amos, and KT Tunstall. Keith’s many fans have learned not to be fooled by her small frame and young age, her vocals command the room as if she were an old pro. After all, she has been preparing for this moment for years. On Beautiful Distraction, Marianne started playing the piano, allowing her to expand her musical repertoire. The lush piano ballad "Sideways Rain," was recorded in one live take. "Any time there's a grand piano anywhere, I'm in heaven. I love playing it," she says. "Also, I really wanted to add something like that to the record so people knew I was legit."

One listen, one show and you'll know Keith is legit, even though she has also found herself sometimes defending her positive outlook on life. Raised in a middle-class family that has always supported her career goals, Keith's music focuses on the ups and downs of life, as opposed to the more melodramatic hardship within her genre. "People think that in order to be some great songwriter, you have to have gone through some sort of tragedy. And I don't have a tragic life at all," she says. "But as I see more and more of the world, I think I have something to say and share about it. I think a lot of people have had lives similar to mine." And if those emotions come out as a simple, ol' love song, so what? "What do people care more about in life than relationships? People spend their whole lives looking for a good one," says Marianne. "I think love songs are important, as long as they're a relatively interesting take on love. I feel that's real music forever."

Happy or sad, sentimental or sweet, Marianne has plenty to say and with her sweet, stylish delivery, people are listening. "I love Beautiful Distraction, and I'm focused on the records I'm making now, but I want to be remembered as someone who made an impact on the record industry," she says. "I'm also thinking about the music I'll be making 30 years from now."

Marianne has the talent and drive to make it in the business. With two albums currently available, a resume with increasing awards and critical acclaim for her debut and latest album, this young lady has a long way to go. Her album, albeit somewhat formulaic, is available digitally via iTunes and physically via many online outlets including amazon.com. Visit her MySpace to hear streaming audio.

(01 October 2008) Aussie-born pop singer/songwriter Sandrine Daniels has released her second album Dark Fades Into The Light (Nettwerk (USA) 06700 307812 2, 2008). She is likened to Dusty Springfield in sound, and she sings with a rich tonal and sensual quality. Sandrine incorporates elements of classic sixties pop into her memorable melodies that have a more contemporary edge. Her first album, Trigger, was released in 2004 in Australia which had darker sounds than her current album. In comparison, Dark Fades Into The Light is a collection of more poignant, emotive and heartfelt tunes. All these light-hearted and upbeat set of pop songs were written by Sandrine and produced by Grammy winner and husband Malcolm Burn. The album was recorded at his studio, Maison Bleue Studios, in Kingston, New York.

"I came up there with a pile of songs," according to Sandrine. "Wurlitzers and vintage keyboards were what I was into playing at home. When I got there, I started playing Malcolm’s pianos – real pianos – and found them so great to play and write on. Every day I would get up and play the piano and write a song and Malcolm would be like, "That’s pretty good; we should record that." In the end, he really believed in what I was doing, so we did the whole album. Half of the songs were ones that I'd come over with; others were ones I came up with on the spot."

The opening track is "Let The Love" which is a lilting and upbeat tune. She employs hooks in the melody to make this catchy song memorable. There is an ease to the music that sets a soothing level of comfort to the listener. The simplistic style continues with "Love and Pain." The gentle pop sound, backed by guitar and piano, lends a snug and cozy feeling. "Immortal" is a more reflective and meditative song, with a slower paced beat. Sandrine uses her lovely and subtle tones to set the mood for this introspective piece.

She changes pace with "Inertia." This percussive song has a more contagious and repetitive beat which carries off the idea of "freeze frame" and a state of lethargy perfectly. The mellow "Red Shoes" resonates with a tender and heartrending sound. Her vocals have a raspiness and jagged edginess at times that enhance her emotive sound. She segues into the more upbeat and pop sounding "Don't Forget About Me."

A beautiful guitar intro and sensually sung lyrics are the highlight of "Prove Me Wrong." Sandrine's luxuriating sound is touching and very engaging in this track. She changes tempo with the gentler "Save Your Kisses." Her storytelling has a whimsical feel with the lilting inflections and modulations in the song. "Where Do We Go" takes the listener back to an almost 60's sound with its beat and tempo. This toe-tapping melody is certainly catchy. This song received important coverage in France in a television advertisement by the French retailer FNAC.

The soothing tones continue in "It's OK" and the slow-paced, sometimes whispered "Eleven." Sandrine's delicate approach to her vocals comes across with emotional tenderness that the listener can relate to quite easily. She continues with the soulful "Deep Freeze" and expressive, lyrical and somewhat folksy "Julietta." Lush tones abound in "Sea of Love." This sensitive and romantic melody swirls, ebbs and flows like the soothing sounds of the sea lapping up on the shore. There is a complete relaxation felt through the sound which is mesmerizing. She closes out this album with the laid back "Late Night Insomnia."

Sandrine does not fail to please with her North American debut album, Dark Fades Into The Light. Each song leaves an impression on the listener, weaving her warm and natural sensuality into her music. Her vocals reach out with an emotive touch bringing a genuine feel to her recordings. Her soulful sound combined with her sixties pop components give Sandrine an inspiring and insightful contemporary musical style.

(29 September 2008) Classical crossover acts Bond, Trans-Siberian Orchestra and Mannheim Steamroller to name just a few have taken renowned classical musical works and infuse their own styles. However, no one comes close to the rock stylings and interpretative genius of the East Village Opera Company (EVOC) in their newest album, Olde School (Decca Records (USA) B001525-02, 2008). This astounding rock group was co-founded by vocalist Tyley Ross and arranger/multi-instrumentalist Peter Kiesewalter. AnnMarie Milazzo joined the ensemble as the female vocalist which also includes eight other members: two guitarists, a bassist, a percussionist, and a string quartet.

EVOC has successfully reimagined and created masterful contemporary versions of the classics. How would Bach, Puccini, Mozart, Handel and Verdi react to the explosive fusion of their celebrated arias with the forthright, bold and hard hitting rock edge that EVOC has expertly created? They would give a standing ovation to the innovative brilliance of this talented ensemble. The album took twelve months and fourteen engineers to record and involved 65 musicians in ten different studios around the world. EVOC has again in their third album taken a selection of opera arias and re-imagined them as popular songs, using full symphony orchestra, R&B horns, and choir alongside the group's guitars, drums, keyboards, string quartet, and singers. Arias by Verdi, Puccini, Bach, Mozart, and Wagner collide with Rock and Roll, R&B, 60s and 70s Pop, Surf, and Soul in an explosive mosaic of sound that is deliciously eclectic and singularly cohesive at the same time.

"We started with records from thrift shops and opera scores I found in the delete bins at the Strand Bookstore for selecting the material," says producer/arranger Peter Kiesewalter. "Then we gathered round the piano, stumbling our way through these gems and trying to figure out ways to make them our own. I put pencil to staff paper in writing initial arrangements out for the band and orchestra, just like I did in the old days. There's a spirit and sense of unfettered experimentation that artists like the Beatles, Marvin Gaye, Brian Wilson, and Led Zeppelin had on those great records of the mid to late 60s," Kiesewalter continues. "We unshackled the restraints on our imaginations in coming up with treatments, convincing ourselves to play and sing what we would never do with any other artist for reasons of, let's just say, good taste."

Singer and EVOC co-founder Tyley Ross said, "We took more liberties with the original arias on this record than we did on the last one. This time around we challenged ourselves to do more English songs which are pretty scarce in opera save for baroque and 20th century works. We played around with some Italian and French arias translated to English but they didn't jive with us stylistically, so on this record we've written some new lyrics and music, integrating them into the arias we selected."

From the opening track, EVOC takes classical music to a new level. "The Ride" from Richard Wagner's opera Die Walküre highlights the exciting vocals by Kieswalter, Milazzo and Ross. Their progressive rock style comes through loud and clear with marvelous Pink Floyd-like guitar solos and striking vocals. "King of the Night" from Mozart's Die Zauberflöte brings to mind a certain Freddie Mercury type energy that Queen fans will adore. AnnMarie Milazzo continues to bring her gorgeous fluidity to "Help Me," adapted from Handel's opera Semele. Her gentle and stunning soprano vocals are delivered with an emotive quality. She brings poignancy and tenderness to this lilting piece.

Everyone is familiar with Verdi's famed La Traviata and EVOC's "Brindisi Libera (Pop the Cork)" is outstanding with its disco beat interspersed with English and Italian lyrics. One can't help but move to the beat, and the solo Italian aria almost enters into the mix as a surprise to remind the listener that this is based on a classical work. The ending is jazz infused with its trumpet solo. Bononcini's opera Griselda is the framework for "Gloria." This flowing and lyrical arrangement has an exquisite air to it, boasting beautiful vocals. "Walk" is another track that is derived from Handel's Semele. Classic rock fans will enjoy the characteristic beat and timeless appeal of this song.

"As You Were Then" from Bellini's opera Norma transforms this music created in 1831 into a masterful contemporary work. Milazzo's beautiful, soothing voice almost whispers serenity. Her gentle tones crescendo into a delightful climax. A children's choir introduces "Soldiers" from Gounod's opera Faust. This rhythmic piece has a contagious percussive beat that infuses spoken word within this ambitious interpretation. "You're Not Alone" is another outstanding track adapted from the aria "Schafe Können Sicher Weiden" from Cantata BWV 208 Was Mir Behagt, Ist Nur Die Muntre Jagd by Johann Sebastian Bach. EVOC has certainly taken some creative liberties with this piece, but accomplished their effort in outstanding style.

Who hasn't heard music from "Tosca" by Puccini? "Va Tosca" has great depth and a haunting and deliberate determination in the soaring vocals. The album closes with the poignant "Butterfly Duet" from Puccini's Madame Butterfly. This fusion of classic opera and contemporary flair creates a genuine and dynamic vitality that EVOC specializes in to the nth degree.

One would imagine that the true essence of these classics would be lost with what some opera afficiandos would call a bastardization of the original work. This couldn't be further from the truth! Not only was the original integrity of each piece maintained, but the music absolutely electrified the listener. EVOC's musical interpretation is infectious and scintillating. A new generation of classical music lovers will be introduced to this marvelous reinterpretation of the world's beloved works. The East Village Opera Company can only be described as visionaries, and their innovative and inspired style is brilliant!