Delta Music

USA Today - Derek Webb/Rickie Lee Jones

2007-04-02T12:24:00.000-07:00

By Glen Rose
Webb: Took on political issues in Mockingbird because "it's the job of creative people, and especially those who are followers of Jesus, to be radical truth tellers," he says.

Jones: Tells listeners "prayer belongs to you, and you have to take it back."

By Elysa Gardner, USA TODAY

You might not expect to find folk-rock renegade Rickie Lee Jones and Christian singer/songwriter Derek Webb on the same concert bill. But on their latest albums, the troubadours do share a goal: They both want you to get to know Jesus better — and not necessarily through messages provided in mass media or houses of worship.

Jones' "The Sermon on Exposition Boulevard", released in February, was inspired by a different spiritual journey than that informing Webb's Mockingbird, which has been generating praise, and some controversy, since last year.

"I came to religion wanting to take what's beautiful about it,," says Jones, 52. "I think we are spiritual beings, but Christianity's position in the culture can be so aggressive that it makes people defend themselves coming to the table."

So in 2005, when Jones' friend Lee Cantelon asked her to take part in a spoken-word recording of The Words, his book outlining Jesus' teachings — and distinguishing those teachings from what Cantelon views as the dogmatic interpretations that have evolved in organized religion — the project seemed a natural fit. Jones decided that she would rather sing than speak, though.
Jones wouldn't define the lean, starkly atmospheric songs she co-wrote with Cantelon and Peter Atanasoff as Christian music. "I guess I assume that would mean a Christian person trying to convince me of something, to sell an idea."

Webb, 32, began his career in that market, as part of the Christian band Caedmon's Call. "But as I looked around, I thought, 'where are our artists who are talking about politics? About the government?' It's the job of creative people, and especially those who are followers of Jesus, to be radical truth-tellers. That's what the prophets did."

With Mockingbird, his third solo effort, the Nashville-based artist wasn't concerned about ruffling feathers. On one track, A King and a Kingdom, he sings of "two great lies," identifying one as "that Jesus was a white, middle-class Republican, and if you wanna be saved you have to learn to be like Him."

Webb muses that Jesus "wasn't a white middle-class Democrat either, incidentally. The point is that he didn't walk any party line. But I think that the church, especially where I live, makes a terrible habit of co-opting the more conservative political party.

"I'm not saying the church shouldn't be concerned with issues. My problem is that they've grown so predictable, and Jesus was in no way predictable. The people he loved most lavishly were often socially stigmatized, and he reserved some of his harshest language for the law-keeping church leadership. That's the opposite, in a lot of cases, of what the evangelical church puts forth."

Webb espouses the kind of evangelism he associates with Jesus' original followers, "which was telling people about Jesus and what he did. But the church in the West has made some distinction between that and acts of mercy: caring for the poor, clothing the naked, caring for our neighbors."

Jones, who defines her political leanings more firmly to the left, echoes Webb's concerns. "Capitalistic religion inhibits the idea of service. You're supposed to be in the business of serving yourself, and if you don't do that, you must be some sort of tree-hugging idiot."

On Sermon's Where I Like It Best, Jones sings wryly, "See all those people praying on TV and the churches/They like to make a big parade out of what they're doing." Jones explains: "What I'm telling people is that prayer belongs to you, and you have to take it back."

Webb, who has a new album, The Ringing Bell, due in May, admits that he's been getting fewer invitations to play in churches since Mockingbird's release. But he has no regrets about answering to what he considers a higher authority.

"I hope to tell people what I really see when I look at the world," Webb says. "I know the issues can be complicated, and that a 3½-minute pop song isn't the best venue for some of them. But it's the only medium I have, and it's as good a place as any to start."

2007-02-11T11:17:00.000-08:00

Nettwerk America, February 2007
Genre: modern pop
Official Site: www.mattwertz.com
Offensive words: none

There's nothing like the feel of a favorite old t-shirt paired with a worn-in pair of jeans. Some of the best things in life move into their prime as they age, making them more enjoyable, more valuable. And so it is with the music of Matt Wertz, a handsome Missouri-born soulful rocker who has been splitting time between his home in Nashville and hundreds of stages around the world for the past six years. His latest offering, Everything In Between, displays a patina that prompts an even deeper appreciation of his music than initially seemed possible. (bio)

I just finished reviewing two hardcore and metal albums. And then the next album I go to grab is obvious some pop garbage that I am not going to get into and not care anything for. I already know that nothing will be unique about this guy and I know 110% I won't personally like it. Ever eat crow? I'm sitting here finding myself totally getting into this. I find it relaxing from start to finish and then I see the press packet that I got and it ends by saying, 'relax and rock out..' Well, I don't know about the rock out part but it is one of the most relaxing and comforting cd's I have heard in a long time. There is something to say about an artist that can make the cornerstone purely on vocals and an acoustic guitar. "I Will Not Take My Love Away" is a perfect example of everything I just mentioned. The album is pop, but it is pop like Ben Folds or Gavin Degraw. He has even been compared to Jason Mraz and John Mayer. Even though after listening to this album, I find that true but I feel Matt Wertz is a step above even those I mentioned. The music is a soothing and matured brew that would get the stirrers stirring in a coffee shop. I love the folk essence of this album while it is still adding a modern rock overtone in the background. The tone changes for a bluesy style with a mild old school flair. This is an album that could withstand the change of time. This is an album that I will actually be putting in my wife's iPod and also mine, just don't tell anyone about it being in mine.

The vocals of Matt Wertz are also as soothing as the music itself. The lyrics are a great poetic blend of love songs and compassion. By far my favorite track was "I Will Not Take My Love Away". As a Christian reviewing this cd, it seemed more than obvious that this track was referring to the love of God. Maybe I am just reading to much but seeing the compassion of Wertz, I think it seems obvious.

Also I feel like I should mention an amazing ministry of compassion that Wertz is involved with, Mocha Club. The Mocha CLub helps bring relief to those dealing with AIDS, homeless, parentless or genocide victims of those in Africa. For more information visit: MOCHA CLUB.

Review courtesy of www.wisemenpromotions.com

2007-01-04T16:50:00.000-08:00

Sound of Melodies
Artist: Leeland
Label: Essential
Time: 12 Tracks

As the music industry continues to grow larger and larger, the standards by which we determine what is excellent music also continues to rise higher and higher, making it seem, almost that no one can top the latest, greatest hit. It is easy to review a band that has had a previously released album because you can look back and say how the band has changed since their last album, but when a new band releases their debut album, you have nothing to compare them to – except the industry standards of greatness.

The newest band on the Reunion label, Leeland, releases their first album, Sound of Melodies, on August 15, 2006, which will hit the stores with a BANG! Already hitting the airwaves of radio stations with a bang is the band's first single, the title track off the debut album, "Sound of Melodies." This song is not only the first single to be released, but is also the first track you hear when you place the CD into the boom box. Leaving an impression in the mind of everyone who hears it, this song brings together the best of contemporary music and praise songs. Not only does the opening song do this, but the entire album. Songs that all vary in topic, but have one focalized point- to praise God for who He is and what He has done.

Now the hard part – How to rate this CD? Do you base it on industry standards and either state it is good or it is bad, or do you classify it as its own standard?

For this CD the best way to rate is it to say this, it is fantastic!

Maybe Michael W. Smith says it best, " Leeland is the best thing I have heard in a long, long time. I can't stop singing the songs in my head. Great melodies, Great band. Great voice."

Timothy Gerst
Review from Phantom Tollbooth

One Night with The King

2006-11-29T12:24:00.000-08:00

Luke Goss as the king crowns Tiffany Dupont the new Queen Esther in 'One Night With the King,' a Gener8Xion Entertainment release.

"One Night With the King" is a surprisingly satisfying attempt to revive the Old Hollywood tradition of lavishly appointed Biblical epics aimed at mainstream auds. Pic has a much broader appeal than earlier product produced by Gener8Xion Entertainment ("The Omega Code," "Carman: The Champion"), and conceivably could attract ticketbuyers who have ignored other recent pics aimed primarily at devout churchgoers. Indeed, even a few diehard non-believers may be won over by the considerable charisma of top-billed newcomer Tiffany Dupont.
Strictly speaking, pic's source material isn't Holy Scripture, but rather a historical novel -- "Hadassah" by Tommy Tenney and Mark Andrew Olsen -- based on the Book of Esther. Even so, scripter Stephan Blinn sticks fairly close to the original, divinely inspired scenario while tracing the rise of an orphaned Jewish peasant girl who becomes the wife of King Xerxes of Persia.

Hadassah (Dupont), an appealingly spirited gamine, was adopted by her uncle, Mordecai (John Rhys-Davies), a dutiful scribe to King Xerxes (Luke Goss) in the capital city of Susa. Fortuitously -- or, perhaps more accurately, miraculously -- Hadassah is in the right place at the right time when an angry Xerxes banishes his prideful wife, and sends his minions throughout the land to abduct worthy candidates to be the new queen.
Mordecai suggests his niece keep her Jewish heritage a secret if she is seized -- which, of course, she is -- and enhances the imposture by re-naming her Esther. All in all, a good career move.
Esther immediately stands out in the eyes Hagai (Tommy "Tiny" Lister), the king's chief eunuch. Hagai befriends the young woman and takes steps to ensure Xerxes will be equally impressed. He is.

Esther becomes queen just in time to impede the progress of two conspirators -- Prince Admantha (John Noble), a sly fox with designs on the throne, and Hamen (James Callis), a dark schemer with a long-standing grievance against Jews.

Prince Memucan (Omar Sharif), a loyal member of the court, plays a major role in undermining Admantha. But Hamen very nearly launches a program to exterminate all Jews in the kingdom before Esther is able to open Xerxes' eyes to his treachery.

Helmer Michael O. Sajbel occasionally pushes too hard, especially when he bedecks Hamen with a swastika-like herald to underscore the plotter's anti-Semitism. (Fortunately, the obviousness of the symbolism doesn't mar Callis' effective performance.) And as often happens in this sort of epic, characters are given to flowery flights of speechifying.

However, the well-cast players infuse even borderline-campy dialogue with persuasive conviction. Sharif, in a small but key role, sounds aptly impassioned when he asks: "Is the past so mighty that we must destroy of brethren to escape its grasp?" And the mountainous Lister conveys a ineffably teddy-bearish likeability as he rumbles lines -- "You think a eunuch cannot know love?" -- that would choke most other actors.

Despite his prominent billing, Peter O'Toole appears in only one scene -- with a nicely explosive flash of righteous fury -- as the prophet Samuel.

As Esther/Hadassah, Dupont exudes charm, grace and (when necessary) gravitas, along with a hint of incipient star power. Goss is appropriately regal, Rhys-Davies is heartily formidable. Noble slices the ham generously as the hiss-worthy is Admantha.

Filmed on location in India, "One Night With the King" maintains a steady but never stodgy pace while flaunting an opulence that belies its reported $20 million budget. Credit cinematographer Steven Bernstein ("Like Water for Chocolate"), costumer Neeta Lulla and production designer Aradhana Seth for providing sufficient movie magic to help revive a genre that, in recent years, has been relegated to broadcast and cable TV.

Review by JOE LEYDON, Variety Magazine

The Nativity Story - In Theaters Dec. 1

2006-11-29T12:09:00.000-08:00

As one of their blogger-reviewers, I received an invitation from Grace Hill Media to attend a private screening of New Line Cinema's new movie, The Nativity Story. Two thumbs way, way up. I'll never look at a nativity set the same way again.Over the years Hollywood has tried many times to make movies of Biblical stories, though there hasn't been a serious attempt for a long time. Most previous Hollywoodized versions of the Bible (for instance The Greatest Story Ever Told, The Robe, or King of Kings) tended to take the humanity out of Jesus or other Biblical characters. They always seemed to have this weird far-away look in their eyes and a funny glow around their head.

The Nativity Story does a wonderful job of reminding the viewers that the people we read about in the Biblical story were real people living real lives who found themselves in extraordinary circumstances. The movie explores the dilemma they were in and how they likely had to deal with it.The story begins with Mary's life as a young girl living and working in her family's home. In many Hollywood productions, Mary is played by a much older actress than the real Mary, who was probably only 15 or so years old. The Mary of this movie is a young girl, and Joseph a little older man. The casting seems right for the story. In fact, the casting throughout the movie is done well. The movie is not just a dry retelling, but includes a lot of scenes of the day-to-day life in Israel at that point in history, and some humor as well.

The Magi sort of become the comic foils of the movie, though their role is very serious as well. There is a lot of interesting information about their place in the nativity story, and the convergence of planets which gave rise to the Christmas star which the wise men followed.We know that Joseph and Mary came up from Nazareth to Bethlehem, but I think we forget that it was a journey of nearly 100 miles, all of it on foot. The film gives a good representation of what that trip would have been like and the sights they might have seen along the way.

The movie takes an interesting approach in dealing with angels. The same angel appears to Mary, Joseph and the shepherds, though I couldn't get away from the fact that he looked just like country singer Eddie Rabbit from the 70's. In addition, only one angel appears to the shepherds even though the scripture describes a "heavenly host" (not "the" heavenly host).The only time the picture takes on a bit of an old time Hollywood mystical appearance is when the baby Jesus is born and the star(s) cast a beam of light directly into the stable. But even in that scene, I was struck by the sight of Mary giving birth with only Joseph and some animals in attendance. We forget what it must have been like for people in that day.

There are some moments which could have involved graphic violence, but thankfully the filmmakers chose to use implied violence and no blood rather than graphic scenes that would be much more difficult to watch. It's not Passion of the Christ, that's for sure.Bottom line - go see it, and if possible go see it this opening weekend. Opening weekends are very important in the Hollywood world in helping convince them that this kind of film is worth making. A slow open could make movie companies hesitant to try something of this quality again.Take your unchurched friends as well. I think this film could make a significant impact on the lives of nonbelievers. It's that well done.
Source: Holycoast.com:TheNativityStory

Jars of Clay---New Release!!!!!!!

2006-10-03T16:11:00.000-07:00

After 13 years of astounding success, Jars of Clay’s new release Good Monsters quite possibly surpasses all of their previous projects. The album offers a rock ‘n roll based sound, somewhat deviating from the Jars’ typically folk-rock styling. Jars also tried something new by utilizing preproduction time and then embracing the throwback style and unique experience of recording song by song with a full band.

Opening with radio-released track “Work,” the album launches into an energetic yet deeply articulate journey. The listener is taken from foot-tapping tunes like “Dead Man” and title cut “Good Monsters” to pensive ballads like “All My Tears” and “Even Angels Cry.”

Half way through the 12-track project is the haunting “Oh My God,” consisting of three parts that build into each other. Through paradox and harsh portrayal of reality, the song captures the human condition. The ending is entirely anti-climactic, which adds forcefully to the effect of this hard-hitting piece. Haseltine’s always-artful way of presenting words once again shines in this song.

Guest vocalists were also woven into the project. Leigh Nash sings a duet with Haseltine in “Mirrors and Smoke.” The effect is that of a conversation between two lovers, frustrated with the life and love. In one of the verses, the duo sings, Love’s a strange condition / With all the doubts it can invoke / Your love keeps me wishing / My heart keeps me broke.

The track “Light Gives Heat” features the voice of a young girl from the African Children’s Choir who had originally sung out on accident ahead of cue. The decision was quickly made that the young girl should purposefully sing solo to begin the track, setting the stage for the rest of the choir to join later in the song.

This song was born from the Jars’ experiences in Africa with Blood:Water Mission, an organization they founded to dig wells and reach out to African communities. Jars used this song as a platform to address the sometimes-skewed mentality of Western culture toward Africa. For example, Haseltine sings these words in the first verse: Catch the rain, empty hands / Save the children from their lands / Wash the darkness from their skin / We don’t know you, but we know best.

The overarching theme of the album is the capability of humanity to create incredible evil and incredible good, playing into the concept of humans being good monsters. This theme is woven into each track beautifully, producing a project that will surely bring Jars of Clay continued success.

-Rachel Wegner (Relevant Magazine)

2006-09-14T08:19:00.000-07:00

S/R/E Recordings, October 2005
Genre: Hard rock
Official Artist Site: www.flyleafmusic.com
Rating: 5 out of 5

Five years ago, Mosley started playing music with drummer James Culpepper. The two joined up with Bhattacharya and Hartmann, who were in a local band that had just split up. "Our first practice together was awesome," Mosley says. "We all had different influences that were all blending together with the same passionate heart, and that brought out this beautiful feeling. It was magical.” Bassist Pat Seals joined in 2002. Come early 2005 the band's self-titled debut EP - produced by Rick Parasher (Pearl Jam, Blind Melon) and Brad Cook (Foo Fighters) - was released and was supported on tour with Saliva, Breaking Benjamin, 3 Doors Down, STAIND and Trust Company. To launch the LP, Flyleaf is touring with Cold, STAIND, POD and Taproot. In spring 2005, Flyleaf recorded their full-length debut with acclaimed producer Howard Benson, who has previously worked with My Chemical Romance, POD and All American Rejects. "A flyleaf is the blank page at the front of a book," explains Mosley of their moniker. "It's the dedication page, the place you write a message to someone you're giving a book to. And, that's kind of what our songs are- personal messages that provide a few moments of clarity before the story begins. If people can know that they’re not alone and recognize the hurt, they can hear our music as a means of hope and eventually taste real love. We want Flyleaf to be a relevant, spiritual quest to seeking truth and finding God.”

Musically: Every once in awhile I get a cd or a request for a review of a band that I am not very familiar with. I started getting requests for Flyleaf and I made the contact to get a cd sent and an interview set up. I get the cd and didn't know what to expect. This is an album that is actually paving the way for originality and a band that is willing to take chances! The very first song, "I'm So Sick," is full of guts with hard driving guitar riffs and pounding bass lines that make the content just hard enough to bridge the gap between the hardcore fans and even the radio rock fans. HM Magazine said it best, "think the Cranberries on acid meets a velociraptor..." The album has an amazing blend of melodic tones and rhythms mixed with hard edges and roughness. We haven't even go to the incredible vocals yet! "perfect" for example, slows the pace down with a great melodic melody and quickly speeds the track up during the chorus. "Cassie" jumps as back into a harder intro that gave me a flash back of The Benjamin Gate. Most of these songs are radio friendly and even set at a modest 3 minutes each. Most of the time if I mention the radio stations in a review that is negative. Flyleaf, on the other hand, will hold you if you hear them on the stations. Many of the tracks have an amazing blend of old school punk rhythms with a great deal of grit that was reminiscent of grunge. Songs like "All Around Me" quickly take those emotions and encapsulate them in a melodic rhythm that yes, at times, will remind you of Evanescence.

Lyrically/Vocally: Lyrically is another area that sets this band ahead of the pack. Their bio says this, "I used to be in a really negative band, and that seemed to almost fuel my emptiness because that's what the songs were about," says charismatic singer Lacey Mosley. "That's why I think what we're doing is important because there needs to be something heavy out there that has a positive message so people see that it's possible to get through the worst situations." Flyleaf's self-titled debut album echoes with songs about abuse, neglect, addiction, dysfunction and messages about overcoming adversity. (bio) That positive stance and a willingness to take difficult subjects head on is what makes this band so truthful. The band tells you the problems but they also tell you how to fix theme and that is with themes of hope. A great quality is the ability to be real and share a message of true salvation. Vocally, wow, this is the heart of this band. Take the vocals of Lacey Mosely away and you have taken the Arch out of St. Louis. She has an insane intensity during the harder edged songs mixed with deepened roughness and backing screams. She also has amazing pitch and direction which take her all over the board when diving into melodic overtones. Her voice is captivating and relaxing.
Flyleaf will do one thing for you, stir emotion. From the music to the lyrics to the vocals, this album is absolutely amazing!

I don't typically do this but I felt this would be a rip off if I didn't include the story about Lacey in the bio:“One of the record’s theme is about God saving me,” Mosley reveals. “If that hadn’t happened, I wouldn’t be here. The struggles that I went through are what the Bible says produces perseverance, strength and character. I wouldn’t take back any of my past because it’s exactly what brought me to this point.”Yet Flyleaf's infectiously heavy emotional and spiritual surrender is all the more surprising considering Mosley's struggles while growing up. "My mom was a young single mother of six," she continues. "We didn't have money and things were hard for all of us. We moved whenever we couldn't make ends meet in one place, and that happened pretty often so there was a lot of struggling, suffering and character building. There was nothing constant in my life, and nothing to believe in. I got into some really bad stuff that I thought would make me feel more loved, or maybe just numb, but it cost me everything that was important to me, and literally almost took my life." After turning to a life of drug use and rebellion, Mosley found continued frustration with her relationships at home and school. She decided suicide was the only option and had actually staged a method to take her life. However, one particular moment of meltdown became the very catalyst for which she’d turn her life around. “I had a nervous breakdown at 16, planned to kill myself the next day and cut all my hair off,” she remembers. “My grandma took one look at me, got very angry and we had a big fight. She was telling me I needed to go to church, and I agreed just so she would stop yelling. I still planned on killing myself the next day.” Sunday just so happened to be the next day, and as promised, church was on the agenda. It was in that setting where Mosley felt the glow of God for the first time, but felt as though the preacher was speaking directly to her, despite the two never having met. “The preacher came on and started talking about experiences he’d come across in ministering, and it kind of described my whole life,” she admits. “I was shocked, but then he started talking about how Jesus died so he could take our pain away, forgive us from our sins and set us free. He started crying at one point and said he felt a suicidal spirit in the room, I felt like he was talking to me again. It made me want to turn away, but he said “God wants to take your pain away.’”Mosely’s resistance walls began to melt. When church was dismissed, a fellow prisoner pulled her aside and told Mosley that she could find comfort in her heavenly father despite her earthy father never being around. “I never knew my dad, but this really did catch my attention because this man at the church didn’t know me!,” she says with shock. “And the more he kept saying about pain, the more my heart broke into a million pieces. Finally when I was more desperate than I’d ever been, he asked if I wanted to pray, and I said ‘yes.’ I had my head in my hands, and he prayed for God’s peace to come over me. Jesus saved me, and it was the most awesome freedom I’ve ever known.” When you take a dive, sometimes you have to hit the bottom before you can swim your way back to the top. For Mosley, writing songs about survival helped her reach the surface and breathe again. "I had to lose everything to look up and see that there is a truly constant hope of a happy,” she says. "If my music helps one person, than it's worth having been through what I've experienced."

Review by www.wisemenpromotions.com

2006-08-30T12:40:00.000-07:00

Cash V: A Hundred Highways
Artist: Johnny Cash
Producer: Rick Rubin American Recordings

Johnny Cash has traveled many miles, and has traversed some mighty rugged roads since his first hit, Cry, Cry, Cry. On American V: A Hundred Highways Cash, proves that, dead or alive, Cash is the quintessential artist of our time. As I listened to the songs, one by one, I discovered that every single highway takes me home. Every song takes me to that place tucked away deep in my soul that is the very essence of who I am as a human being.

His decidedly effete, often strained vocal productions are outshined by his timeless “voice.” He is the definitive voice of reason, the definitive voice of suffering, the definitive voice of country, the definitive voice of rock and the definitive voice of soul. Don’t be fooled by vocal chords seemingly exhausted of vitality. If his vocal chords were a lemon, Cash V would be the ensuing bittersweet lemonade.

When Cash and Rubin joined forces in putting these final songs together, both sensed that death was lurking around the corner, though they couldn’t have known it would be a matter of mere months. The deathbed that awaits Cash is overshadowed by his sheer determination to conquer what existential philosophers and psychologists have identified as humankind’s greatest obstacle, our fear of death. In this CD, Johnny Cash is like the month of March that wants to skip April and May just to meet up, once again with “June.” It is a March that comes in like a lamb, roars like a lion somewhere around the middle, and then surrenders at the end, like a lamb before the slaughter.

He is both meek, and bold---both tender and tough. He is a lamb in "Help Me," the humble, poignant prayer of a dying man penned by Larry Gatlin, and he is a lion in God’s "Gonna Cut You Down," a traditional song that clearly rocks.

Cash is tender, and treads lightly on Gordon Lightfoot’s golden classic, "If You Could Read My Mind." Cash’s rendition is more than Lightfoot “Lite.” Yes, as the song goes, “…heroes often fail…,” but not Johnny, even though at this point, the hero is often frail. The song is so sparse in its production and presence that it feels like a ghost town, inhabited only by the ghost of Johnny Cash.

The "309," an original Cash number (pun intended), is the train that Cash has been waiting for. It will take him to join June. The "309" is said to be the last song Johnny Cash ever wrote and recorded. The anticipation of meeting up with his then dearly departed wife is portrayed once again in "Further Up the Road," a Bruce Springsteen gem that Johnny polished up for June.
"A Hundred Highways" demonstrates the combined force of great songs, a great artist, and a great producer, namely, Rick Rubin. As swans songs go, these ones soar to new heights.
When "Four Strong Winds" blow on the eleventh track you know that Johnny’s season is about to end. It’s still March, but it’s beginning to feel like September. The “strong winds” feels like one gentle breeze whispering “This legend’s time is about to expire.” It was penned by another Canadian artist, Ian Tyson.

March finally goes out like a lamb on the final song, as Johnny declares, “I Am Free From the Chain Gang Now.” Then he takes a bow and we probably won’t hear from him again. Or will we? Rubin has all but promised an American VI, expected to be released in 2007. Just because the Man in Black is gone doesn’t mean he won’t be back. I’ll be there When the Man Comes Around.
Here’s to 100 highways Here’s to all the song You’ve made well known Here’s to your last journey And the legacy you own Every single highway Takes me home…

By psychologist, Dr. Bruce L. Thiessen, aka Dr. BLT
Published in Phantom Tollbooth

The Elms - Chess Hotel

2006-08-14T16:43:00.000-07:00

The Chess Hotel
Artist: The Elms
Label: Universal South Records
Time: 13 tracks / 39:58 min.

With their new CD, The Chess Hotel, The Elms reach their roots deep into the rich soil of American rock, pop and blues to create a defining musical statement. This is back-to-the-basics, no-holds-barred, joyous, painful, in-your-face American music. This is where rock and roll should logically be: infused with the joy and pain of everyday life, fired by the energy of youth, and aching with the raw energy of the blues. Into this mix goes an uncanny ability to create hooks and surprising chord changes that bring the music somehow into the pop category in a way that will conjure up echoes of such classic rock/pop acts as The Rolling Stones, The Who, The Beatles, The Hollies ….and, yet without ever being imitative or overly derivative. This, ladies and gentlemen, is rock and roll in grand, classic form.

The Elms have always put out excellent work, and The Chess Hotel continues that tradition. The music and the message, this time, show a darker side of life and, certainly, a rougher-hewn musical edge that was always there but had been blunted a bit by the production. This time around, producers Owen Thomas and David Bianco (who has worked with Tom Petty, The Posies, Bruce Springsteen, Rage Against The Machine and others…) have produced an album that, essentially, sounds just like The Elms do onstage, unadorned and raw. What you hear, is what you get—and it’s powerful. Here’s the line-up, for the uninitiated:

The Elms are: Owen Thomas: vocals, guitar, & percussion.
Christopher Thomas (Owen’s brother): drums, percussion, & vocals.
Thomas Dougherty: lead guitar & vocals.
Nathan W. Bennett: bass guitar & vocals.

With the exception of a bit of tasteful Hammond organ on “I Left My Body and Never Came Back,” and the simple but profound, “I’ve Been Wrong,” this basic rock band is what you’ll hear blasting through all 13 tracks.

When you start the CD, hang on to your socks, because “I Am The World” just might rock them right off. This song starts the proceedings with an explosive snare attack that seems to be saying, ’make no mistake—we’re here to play hard.’ This riff-driven ’list song’ has somewhat ambitious designs, taking on the roll of a personified ‘world’ letting us know what we’re in for by being part of the human race. “I am the King, the Czar and The Pope… I’m your finest good deed and your worst dirty jokes ….I’m the now and the never when you’ve got no more time / I’m the dream that is rising in the back of your mind / I’m the sickness and cure—the polluted and pure / Baby, I am the world, and I’m yours,” Owen half shouts / half sings. And then, near the end: “I am the sun and the darkest of nights / I am choice to the left, I am death to the right / I’m the dull of the blues, the sting of the bruise / I am with you for good. I’m the world. I’m the rules.” Yeah, I guess so! Clever word-play, poetic devices and all-around ‘meaty’ lyrics run through all of the songs, which were written by Owen Thomas, with the exception of “She’s Cold,” which was co-written by Thomas and Dougherty.

There’s no let-up in the energy with the second track, which asks the musical question: “Who Puts Rock & Roll in Your Blood?” This funky, rolling blues-rocker features tasty up-front slide guitar work from the amazing Thomas Dougherty, certainly one of the best rock guitarists around today. Throughout the album Dougherty tosses off blistering guitar work that harkens back to the likes of guitar-legend Robin Trower. With a strong understanding of blues, Dougherty’s guitar work swirls in, around, and under these songs—the solos are fiery, tight and inventive, often bringing to mind the best of the guitar players of the classic rock period that started with the British Invasion.: even the tone settings will bring to mind a Beatles or Stones guitar sound. This should be the album that will make people not only take notice of Thom Dougherty, but go back and re-listen to what he played on the previous projects.

The album continues to rock through the energetic, “Nothing to do With Love,” a song about disillusionment and other subjects that plague the discouraged—hiding in the lyric is a message of hope that does have something to do with love ….but, remember, we started with a song about a pretty hard world of rules that would have us think otherwise. This is followed by “Makes Good Sense,” which could’ve been a major pop hit by Badfinger or any number of other bands in the late 60s / early 70s that would’ve had the chops to record it—young love strikes again, Elms style. Continuing in more of a pop vein is “I Left My Body and Never Came Back,” which has trace elements of Dylan and early Larry Norman (for some reason I can hear Norman singing harmony on this). Listen for terrific bass lines by Nathan (really great throughout the album) and the tasteful Hammond organ on the fade.

The next two tracks, “She’s Cold,” and “The Chess Hotel,” begin to reveal the emerging theme of this collection of songs: we’re taking a look at the life of an American town, with its various characters—some noble, some not-so noble, but all very human. “She’s Cold,” is the story of a predator who ‘moves like water ...she bends and she flows, and you’ll drown if you go in too deep,’ but manages to have such a mesmerizing hold that ‘I have a feeling that I will be next in her line to fail.’ This is followed by the title track, “The Chess Hotel,” that offers this tantalizing come-on: ‘In my town there's a piece of Hell… a little dig called The Chess Hotel…’ Owen’s vocal is as appropriately manic as the inhabitants of the hotel, and the fierce guitar break sounds almost scary. The song climaxes with a storm of drums, guitar and bass that must be played LOUD.

“Bring Me Your Tea” is presented in a very spare, old-school acoustic blues format—two guitars, a great vocal, and the hint of bass and other guitar sounds way in the background. At just over a minute-and-a-half, it’s a brief blues interlude, and then back to the rock & roll…..

What do you get when you mix rock, blues, country, pop, and a ‘back-off-boogaloo’ drum intro? You get “The Way I Will,” a song that could probably get The Elms some serious country-rock crossover action. This is your basic, ‘hey—that guy won’t give you what I can give you’ song, done to perfection—very infectious, with a chorus that will pop into your head and camp there most of the day. This song boasts one of the most inventive, celebratory guitar breaks I’ve ever heard—good going, Thom! Next track—meet “The Downtown King,” a self-absorbed bore that just might be ….you or me. Then there’s “Black Peach,” the girl who’s just a bit too fast, who always wanted more, who always needed more, but maybe didn’t get it from home, so….. Looked elsewhere. Almost sweet…. almost.

“The Towers and the Trains,” perhaps the album’s show-piece, is a testament to the people in this ‘anytown, USA’ ..the people who are becoming much like the towers and the trains that they built, work on, and work for: ‘Scars so deep, they’re taught to children / That live with people ‘till the grave …’ Owen sings, and tells us that even the rain sounds like it’s laughing at this town, ‘as it rolls and it slides off the ceilings and the sides / of the towers and the trains….’ This is a haunting song, where each member of the band shines. Nathan’s bass lines are articulate and precise, coming through the mix and grabbing your attention, sounding like living things, slithering through the streets of a city in the rain. Thom’s guitar work is plaintive and passionate, especially on the outro, which might put you in mind of The Beatles’ “While My Guitar Gently Weeps.” Chris is powerful on the drums and percussion through the whole album, but really comes through here, left to finish out the song alone, in a cathartic attack of rhythm that would probably be good therapy for some of the gang over at The Chess Hotel. Chris Thomas once again turns in a fine job on the drums—not only is he a rock-solid player, but his fills are deft, economically played, and a pleasure to listen to, as always. The vocals on this track are haunting, and a perfect combination of power and vulnerability, with Owen’s fantastic falsetto near the end, providing just the right touch to give this song a tragic quality. Obviously, Owen, as singer/front man of The Elms, bears a heavy load of responsibility for the successful delivery of these songs, and he’s well up to the task. Owen’s singing is passionate without sounding maudlin or bombastic (a trap many rock singers fall prey to) - he’s got a great rock voice, with range and elasticity. Most of all, Owen is a pleasure to listen to because of the unpretentiousness and sincerity of his delivery.

The CD closes with, “I’ve Been Wrong,” a simple, yet beautiful song about responsibility and compassion.. It’s also about the sudden realization of being wrong, ‘from the beginning.’ The singer sings, ‘I feel about a dollar, like I feel about a daughter ….I’ve been wrong, from the beginning.’ The album begins with a blast of warning about the world, and ends in a confessional moment of realization.

….and this is rock & roll.

By Bert Saraco 5/1/2006

X-Men!

2006-06-21T11:46:00.000-07:00

X-Men: The Last Stand

X-Men: The Last Stand is the third and supposedly final episode in the mutant trilogy. All the familiar faces are back along with some new and varied characters. In this episode a cure for mutants has been discovered. As Dr. McCoy puts it, “A major pharmaceutical company has developed a way to suppress the mutant X-Gene, permanently. They're calling it a cure.” This of course draws an immediate line in the sand and divides the altered community. When Magneto (Ian McKellen) decides to put together an army to try and destroy the source of the cure, it is up to Storm (Halle Berry), and Wolverine (Hugh Jackman) to try and defend the freedoms of all. They are joined by a very blue and hairy Dr. Hank McCoy (Kelsey Grammer) as well some of the more advanced students of Professor Charles Xavier (Patrick Stewart).
Though it is obviously better to have seen the first two X-Men films it is not necessary. Having personally never seen the prior two installments I was worried I would be lost. Luckily they took very little time in setting things up and I found myself familiar with the characters and into the story line immediately. For fun I suggest you take some time to visit the main X-Men website first and read the back-story of all the characters. Again this is not needed to like the movie, as most will find it enjoyable, exciting and highly entertaining regardless of any prior knowledge.

I do however recommend that you go into the movie with an understanding of the sci-fi/fantasy theme. If watching individuals who can control the weather, walk through walls or manipulate their surroundings with a simple thought makes you roll your eyes in frustration this is not the gig for you. There are many moments of cheesiness and poor plot development. The writers take full advantage of penning in characters that can do just what they need them to, only when they need them to. But hey, this is a film about mutants not a biopic of human existence.
But there is an interesting avenue of thought if you allow yourself to travel it. An idea of us as human beings trying to come to terms with our differences; differences in ourselves and those around us. The deep desire to fit in while at the same time keeping our independence. To accept our own shortcomings while tolerating those different than we are. And ultimately who decides what is normal? Who mandates who changes and to what extreme? I know, I know I am getting way too deep for a movie that has guys named Iceman and Pyro who shoot natural elements from the palms of their hands.

All that said I totally enjoyed this movie. It moves along at a decent pace and keeps you entertained with action and excitement. Fans of the prior two films should find this just to their liking. As we left the screening I heard nothing but raves from what obviously where X-Men fanatics. This film is rated Pg13 for action violence and language plus a brief scene of sexuality. I give it 3.5 out of 5 metal thumbs up. With a look at X-Men: The Last Stand, I’m Matt Mungle
The Mungle (5/24/06)

Matt is a member of the North Texas Film Critics Association (NTFCA) and hosts the weekly syndicated Indie Rock Radio Show Spin 180. Plus with his wife Cindy they do a weekly radio feature, The Mungles on Movies. For additional reviews and interview clips visit the website www.mungleshow.com

The Violet Burning

2006-06-21T11:44:00.000-07:00

Drop-Dead Band: The Violet Burning Label: Northern Records Length: 12 Tracks / 52:06

I was hooked on the first few bars of The Violet Burning's opening track from their CD Drop-Dead. Even though our boys in the band are American "Humm" has that mix of continental European and British sound to it. Lead vocalist Michael J. Pritzl's deep gritty voice grabs you by the ears.

Each band or artist is unique but if you are looking for a reference point The Violet Burning musically is a hybrid of sounds. At times the trio reflects shades of The Smiths, Hundred Reasons, Mute Math, and Franz Ferdinand.

With deep bass chords resonating throughout "Do You Love Me" and Pritzl transitioning between crisp vocals and screams there is no danger of the listener mistaking this for anything other than a rock record.

Whether Pritzl the primary songwriter is using allegory as he does with "Humm" or utilizing liberal doses of metaphor as in "Swan Sea" he proves he is a superb modern day poet. "Swan Sea" is a gentle rock tune that begs for relief from emotional pain.

Josiah Sherman shines on moog bass especially on the quirky "Eleanor." There are plenty of special effects and distortion but it is applied with good taste and not 'just because'.
As much as The Violet Burning is a trio of rockers they create some breathless emotive tracks. "Blown Away" and "The Ends Begin" are two of the more beautiful songs that you will hear in 2006. The aforementioned two tunes combined with "More" and "Eleanor" take us on a journey through the many moods of love and longing for love.

Northern Records is carving out a name for itself as a label that attracts artists who color outside the lines. The label has assembled a stable of artists which includes Luxury and Kevin Max.

Despite the fact these guys hail from Southern California if you enjoy a moodier British or European flavor to your music then you might want to add Drop-Dead to your CD collection. You won't be disappointed.

The Violet Burning have toured North America and Europe extensively. Since 1990's album Chosen they have created eight additional full length CDs and two EPs. If Drop-Dead is any indication just like a fine wine they are getting better with age.

By Joe Montague, exclusive rights reserved
Joe Montague is an internationally published journalist / photographer. His ministry is dedicated to the memory of his late son Kent David Montague who went to heaven at the age of 18. All copyright and distribution rights remain the property of Joe Montague.

We’re all drowning…in sin, in despair, in stress, in doubt. The Violet Burning’s Michael Pritzl has always acknowledged this through honest songwriting, and with his latest release, drop-dead, he offers a lush, lifesaving album to rescue weary souls in search of Spiritual dry land.

The disc begins in a semi-sonic underwater setting. Waves of distorted guitar and whitecaps of deep-toned, tribal drums undulate at the start of the disc’s opener, “Humm.” “Turn out all the lights and let’s begin / Switch on all the dark and let the music spin…” Pritzl pleads before diving into the deep to throw resuscitative arms around the listless listener. He grasps on tight and smoothly guides plugged ears and hushed hearts upward toward the surface where more healing words and melodies await.

drop-dead is a return to roots of sorts for The Violet Burning. After the “kinder, gentler,” white-themed Northern Records release This is the Moment (2003)—with its near radio-friendly hooks and brighter production—Pritzl has again embraced the delicious darkness that has made The Violet Burning longtime indie rock heroes of alternative Christian rock. Within those shadows of human nature, Pritzl reaches heavenward to seek and find solace in the One who knows the challenges of earthly existence: Jesus, the central saving figure most often referred to in the psalm-like lyrics Pritzl pens: “Yeah, you’re my heart, you’re my home” (“One Thousand Years”); “Will you carry me? You’re all I want” (“All I Want”); “All my life, I’m looking for light I cannot find within me / Hold me now, I think I’m breaking” (“Humm”).

The glorious, “my-speakers-can’t-handle-this-intensity” glam of “Do You Love Me,” the mesmerizing key-drone and swelling build of “More,” and the underground New Wave pulse of “Rewind” prove that The Violet Burning’s best work is decidedly ahead, not behind. Pritzl’s choice of studio musicians who share his vision for authentic art and audio transcendence (VB live drummer Jason lord Mize, The Listening’s keysman Josiah Sherman, and tracking gurus The Glitter Twins [a.k.a. Gabriel Wilson and Chris Greely of The Listening]) propels drop-dead into the stratosphere, orbiting in the company of previous brilliant VB efforts, including Strength and The Violet Burning.

Surrender to this album; surrender to the Spirit that inspired it.

Recommended if you like The Cure, T. Rex, U2, The Listening, Cush.
Greg Adams, 5/24/06

Over The Hedge

2006-05-22T16:11:00.000-07:00

"Take the family over the hedge where you will love what you find"

_Over the Hedge_
Title:Over the Hedge

Finally! A decent animated film that is perfect for the entire family. It
seems like a very long dry spell where animated movies where either totally
kid friendly but offering nothing for adults, (Curious George) or they where
just terrible movies all around. (Chicken Little). Thanks be to Tim Johnson
(director) and the gang at DreamWorks for delivering us a hilarious film for
the summer in Over the Hedge. I know many adults have written off all
animated films as boring kids stuff. I was just as guilty. But OTH has made
redemption for its predecessors.

The story is about a Raccoon named RJ (Bruce Willis) who is in deep trouble
with a bear (Nick Nolte) after destroying his entire food stash. When the
bear gives RJ two weeks to replace it the risky raccoon enlists a group of
naïve forest dwellers to get the task done. Lucky for them they live right
over the hedge from sprawling suburbia where food is plenty. The toughest
part for RJ is convincing the play it safe turtle with a tingling tail
(Garry Shandling), to embrace this new way of food gathering. Based on
characters created by Michael Fry and T Lewis in the popular comic strip of
the same name, OTH takes a nice poke at suburban life and humans as a whole.
As the movie points out, “animals eat to live and humans live to eat”. From
SUV’s to the girl scouts, all is fair game in the humor department.

Everything about this film works. The humorous look at humans and their love
for food and comfort. The issue of sprawling suburbia on wildlife and how
both sides look at the other. And most importantly for the movie, the
characters are brilliantly scripted and voiced. They come to life mainly due
to the recognizable voices attached to them. This helps adults get as much
or more from this film as any kid will. Steve Carell (Squirrel), Wanda Sykes
(skunk), William Shatner (Possum), the duo of Catherine O’Hara and Eugene
Levy (Porcupines) are voices that bring so much depth and humor to their
animal counterpart.

The writing is fun, energetic and witty. They didn't dumb it down for a kid’
s movie and it was a brilliant decision. There are lines in here that you
find yourself quoting days later. I am laughing right now as I write this
thinking about some of the antics of Hammy the squirrel. This movie clicks
in all the right places and connects to the laugh part of the brain. Plus
there is a fantastic message about family and community. How honesty,
forgiveness, and working together are all part of what makes a family work.

Over the Hedge is rated PG for some rude humor and mild comic action. There
are a couple of scenes where the bear might be a little scary for tiny tots
but no scarier than Nick Nolte is in real life. Beyond that this movie is
safe for the entire family. I give it 4.75 blue coolers out of 5. I have not
laughed this unashamedly in a long time. With a peak Over the Hedge, I’m
Matt Mungle.

The Mungle (matt@spin180.net)(5/16/06)

"Matt is a member of the North Texas Film Critics Association (NTFCA) and
hosts the weekly syndicated Indie Rock Radio Show Spin 180. Plus with his
wife Cindy they do a weekly radio feature, The Mungles on Movies. For
additional reviews and interview clips visit the website www.mungleshow.com"

The DaVinci Code---Big Enough To Really Worry About?

2006-05-22T16:09:00.000-07:00

The Da Vinci Code

In theaters May 19th 2006
Rated PG-13 for disturbing images, violence, some nudity, thematic material, brief drug references and sexual content
RunTime: 149 Min
Matt's rating - 2 out of 5
Cindy's rating - 2 out of 5

The Da Vinci Code. Have you heard of this movie? It has been flying under the radar and many may have missed its release. A simple tale based on a book and starring people like Tom Hanks, Audrey Tautou, and Ian McKellen. Yes, I am yanking your chain. You would have to have been living in the Congo for a year to not know about this hyped up, controversial film directed by Ron Howard and based on the best selling novel by Dan Brown.

I will tell you straight up, I bought into the hype. I was hoping for a thrilling mystery that would cause me to stay awake long hours pouring over its detailing and intrigue. I wanted to wrestle with issues of faith and grapple with my own beliefs. Instead I walked out going, “Was that it?” Sort of like standing in line for 2 hours for the new roller coaster and 40 seconds later walking off shrugging your shoulders; ready to move on to the next ride with no second thought about the prior.

The story is about a Harvard symbologist, Robert Langdon (Tom Hanks) who gets involved with a young French cryptologist (Audrey Tautou) whose grandfather has been murdered in the Louvre. They discover clues and symbols hidden in the work of Da Vinci that lead to the greatest historical cover up known to man. Facts that would destroy Christianity (supposedly) and change the face of religion forever. Along this journey they have to battle secret sects and elude a monk assassin who could have been Darth Maul’s (Star Wars I) albino twin brother.

Intriguing right? Yeah, could have been. But the writing and story just never took off. What you have is well shot scenes through London and Paris as Hanks and Tautou race to save their own lives and find the actual killers. There are decent characters in the film. Characters that should have been developed more and given a chance to really shine. But often they come off cheesy and campy. I feel as if they hyped up the controversy so much hoping we would miss the mediocrity of the actual movie. But that would be like missing the Grand Canyon because some guy is waiving an orange flag.

And let’s talk about this controversy. It was there. But not to the extent that many would have us believe. I suppose they played on the fact that the Christian community is very quick to react and respond to issues without knowing what is going on. And many played right into their hands. The masses bought the knee jerk response of all the religious talking heads without stopping and thinking for themselves. Which is a problem as old as Christianity itself. Personally, as a Christian, I found nothing in this film to shake or alter my belief in who I know The Christ to be. Plus it is only fiction and not fact. If anything, I thought it an interesting topic of discussion and hope that it leads those who have no prior knowledge of the story to seek out the truth in their own lives.

If I am upset about anything it is the fact that this could have been a blockbuster movie. But failed. It goes to show that not even hype and controversy can save a poor written story. The Code is rated PG- 13 for disturbing images, violence, some nudity, thematic material, brief drug references and sexual content. It is well over 2 hours long. Luckily it doesn’t feel that long and moves with a steady, be it droning pace. I can only give it 2 out of 5. It was simply ruined by the hype. With a look at The Da Vinci Code, I’m Matt Mungle

The Mungles are Podcasting's original husband and wife film critics. Tune in each week as they fill you in on what's new in the movie world with reviews and commentaries you can relate to. It's totally live and unscripted and many times quite opinionated. Remember, they watch crap so you don't have to!
Visit online http://www.mungleshow.com

Annie Moses

2006-03-16T14:00:00.000-08:00

The Annie Moses Band

Over the decades we have witnessed numerous musically gifted family acts. Long before my time there were the Carter and King families along with the Lennon Sisters. Country music introduced us to the Mandrell sisters, Southern Gospel, the Gaithers and more recently the Crabb Family. Pop music in the sixties and seventies brought with it a bevy of family acts including the Osmonds, Partridge Family, Jackson Five and Cowsills. The Annie Moses Band is the newest entry on the family music scene and they are about to carve their names in the annals of music history. The band, comprised of Robin and Bill Wolaver, five of their six children and two friends may be the most gifted group of musicians that exists on any music scene today regardless of the genre.

The Annie Moses Band is an eclectic ensemble combining the best aspects of father Bill's (B3) jazz roots, siblings' Annie (lead vocals / violin), Alex (viola) and Benjamin's (cello) classical Juilliard training. They create a breathtaking strings tapestry and weave it with guitar grooves (Peter Bales) and percussion beats (Javier Santiago). Add for good measure the two youngest Wolaver girls, Camille who doubles on harp and keys, and Gretchen on mandolin. Robin, the mother, is an award-winning lyricist who contributes on vocals. The youngest member of the family Jeremiah seems destined to eventually join the band.

I first caught up with Annie a few weeks before Christmas and then visited with other members of the family following their television appearance on Canada's 100 Huntley Street in early January. We discussed the ancestral influences that led to the formation of the band and their album Eden. Annie talked warmly about co-writing with her mother the swinging blues track "Keep The Change." "My mother had an idea for a song called "Keep The Change." I loved the hook." She started to laugh as she said, "Right about the time we started writing it we bought Aretha Franklin's best hits of the 1960's. I have to confess it was the inspiration behind the song because we were listening to her big hits like "Respect." We loved every minute of it. My voice is very lick friendly. I wanted to explore that side of it. My dad had all these cool ideas of what we were going to do with the B3 solos and the viola solos. We started with that and it kind of grew from there. We love doing that song ("Keep the Change") and it is so much fun to perform. In some ways it may seem a little out of place but it is perfect for us."

Annie, who possesses the charm and pretty girl next door looks that capture young men's hearts, is bubbly and often acts as the spokesperson for the group. She said about the track "Smoky Mountain Blue," "That was a chance for me to let loose." While listening to one of today's top vocalists her voice will make you swoon, your heart beat faster and your toes curl. The Annie Moses Band is not just about bending strings however as they have created some awe inspiring worship psalms such as beautiful number one and two tracks "Lover of My Soul" and the title track "Eden". I asked Annie about the musical metaphor "Tough As Nails". She said, "That song came out of the whole Passion of Christ movement. It was written before that film but I think once we released Eden it really connected with people and the vision of that movie. We wanted to express what we talk so much about in the church God's love for mankind. I don't think people have a very clear concept of that kind of love because it is often confused or seen through the lens of our experiences of love on earth. We wanted to sing a song that depicts the way that Jesus felt and his suffering was something that we wanted to express. It was a good chance for us to do that." Yet for all their well intentioned excellence Christian radio stations in North America for the most part have not embraced the band's music. As the downward spiral of commercialism continues in Christian network broadcasting the Annie Moses Band has turned to alternative audiences.

Alex talks about the way radio has received them, "When a station does bite so to speak they either love it or people say they don't know what to do with it." Annie jumps in with, "Independent radio has received us with open arms. It is so much harder with the network broadcasters. That is a lot harder to break into. It is very label lobbied. I think it is so unfair within Christian music because it is defined by content. We find the stations confine themselves to a particular style. It doesn't really make it (that easy) for groups that are outside of that stylistic box even though the content of their material may fit beautifully into the programming. The Christian radio market is so small. It doesn't really mean a whole lot. I know that. It is a very small market so we don't really worry about it."

Benjamin says that for the most part the demand for the band's music "is definitely driven from the concerts. Our core is our fan base and the people that love our music. The Annie Moses Band wouldn't exist if people early on hadn't come out and said this is incredible, this is wonderful. Everywhere we went we got the same response. (People would say)'This is fresh, this is new.' People back that up because we sell a lot of product (CDs). Alex tells me that the band is in the developmental stage in terms of exploring some more mainstream markets for their music. "We are trying to open up doors in more pop classical markets and performing arts venues to give us a broader range of concert venues to play. We really are in both worlds with our classical studies and our history and belief in the church. I think that might open up some doors."

Benjamin feels the Annie Moses Band's success comes from something beyond their music. "We feel we have hit a nerve that is much bigger than our music. We think people are longing for individuals who are not only Christians but are incredibly excellent at what they do. People are looking for family centered things to focus on. People are looking for ways that they can inspire their children to play music. We really want to inspire the church to take on the musical education of their young people. The government is being relied upon to give what should be the Church's responsibility. The church needs to have an interest in their children's spiritual lives and in their educational lives." With his tongue partially planted in his cheek he says, "We are hoping to be not only a band but a movement." At this point everyone else breaks into laughter.
The Annie Moses Band is the legacy of the family grand matriarch Annie Moses who lived in the small rural community of McKinney north of Dallas Texas. Red haired Annie led an impoverished life and died at an early age but not before she instilled in her daughter Jane the love for music. It was Jane, Annie Wolaver's grandmother who drove her children 1 ½ hrs in each direction down a dirt road each Saturday morning for piano lessons. Robin was one of those children. She eventually grew up and enrolled as a performance vocal major at Oklahoma City University where she met husband Bill. Prior to the Annie Moses Band Bill worked as a music editor with Word Music and is considered one of the industry's top arrangers. Robin was nominated for a Dove Award as a songwriter.

Fast forward a few years and Robin while attending a concert witnesses a young girl playing a violin. The experience leaves a firm impression on her heart and she promises if she ever has a little girl she will enroll her in violin lessons. Annie, Bill and Robin's first child is born and enrolled in violin lessons at age four. As the family grows so does the amount of children taking music lessons. Long story short many years later Annie, Alex and Benjamin with the assistance of scholarships attend New York's famed Juilliard School. Annie however makes the decision to leave school early and is soon followed by Alex and Benjamin. She discusses her decision with me. "I wanted to sing while I was living in Nashville and put it on the backburner to concentrate on violin when I moved to New York.

Our initial interest in the Annie Moses Band began when we put together some songs and arrangements that we decided to perform at venues (such as) coffee houses, dinner theaters and things of that sort. So initially the Annie Moses Band was something where we said, 'We are going to make a great show," she says. Annie continues and I am not sure she has taken a breath yet, "A great show meant diversity. We were going to explore all the different sounds and styles that people loved. That was the first thread that led to that diversity." One would think that with so many gifted members of the family egos would get in the way especially when you are living and working with the same people. However one senses very early in the conversation that there is both mutual respect and warm love flowing in all directions. Whether it is Annie good naturedly teasing Alex about being a "techie" as a compliment to his skills as a sound engineer or she quickly gives credit to her father's compositions with the classical piece "Sole de Gloria" (To God Alone Be Glory).

Bill who gives off that easy going persona that director Ron Howard is so well known for talks about his children, "My children are all very outward and they are all very good speakers. Alex and Ben are very intuitive and have a real hunger for knowledge. They are very well read historically. They spur me on in that way. They are starting to go places musically that I am not well versed in. "God Rest You Merry Gentlemen", the cadenza of that is something that Alex and Annie did by themselves. Annie says, "We write songs that we love and do whatever is necessary to make the songs the very best that they can be. So many artists will forgo choosing the very best songs for choosing the songs that fit a little box that they are trying to aim for. I think that love for a song has been the reason for the diversity and diversity is what makes people love your music in a show." The Annie Moses Band is rooted in family tradition, family values and most importantly Christ. It reflects in their music and perhaps no more beautifully than in their song "Dogwood's a'Bloomin'". The lyrics recall the peace and joy Robin felt as a child during the spring when the Dogwood would bloom. The white flowers she observed while riding in the school bus in the Kiamichi Mountains of Oklahoma became a metaphor for Christ's redemptive love.

You can check out the Annie Moses Band's tour schedule at their site www.anniemosesband.com You may also want to check out www.baylortv.com The later is the site for Baylor University. If you go to the chapel schedule you can type in Annie Moses Band and it will generate a twenty minute concert the group performed in November of 2004.

By Joe Montague, exclusive rights reserved

Joe Montague is an internationally published journalist / photographer. His ministry is dedicated to the memory of his late son Kent David Montague who went to heaven at the age of 18. All copyright and distribution rights remain the property of Joe Montague.

Christian Music WILL NOT Melt Your Brain

2006-02-02T14:43:00.000-08:00

Contrary to popular teenage opinion, there is more to christian music than southern gospel and hymns... Check out the bands below, and also the links to the right. I promise you'll find something you like!

If you like...

Linkin Park: Try Seventh Day Slumber

3 Doors Down: Try Building 429

Ashlee Simpson: Try ZOEgirl

John Mayer: Try Bebo Norman

Kelly Clarkson: Try BarlowGirl

Matchbox Twenty: Try By the Tree

Avril Lavigne: Try Krystal Meyers

Also, check out www.sound-and-spirit.com for nearly 200,000 christian music clips.

Hey, and let us know if you have any bands you want to reccomend, or albums you want to review.

- Honor Thy Music -