The Radiators
The Lost Southlake Sessions
RADZ RECORDS

The new Radiators album, The Lost Southlake Sessions sounds like a time warp back to the early-90s when the Rads were at a crossroads in their career. It was a period when their sound was being honed for a big music label, Epic Records. I can see the studio execs, coming off two somewhat disappointing albums (Ziggzagging Through Ghostland reached #122 on the Billboard Charts), trying to teach the band how to make a great studio album. When the band presented this collection, the execs probably gave up and decided to break their contract. That’s disappointing because, although this album may not have done any better with the MTV generation, it is actually one of their best, if not their best studio album. Released nearly two decades later as The Lost Southlake Sessions, it opens with a rollicking, guitar-heavy “Have a Little Mercy” and sends us through 14-tracks that make you feel like you’re at a Rads show during one of their best musical periods. Standout tracks include “Everything Gets in the Way,” “Honey From the Bee,” and “Soul Deep” as well as their popular “Devil’s Dream” and “River Run.” While eight of these tracks can be found on other releases, the sound quality of the recordings at Southlake Studios is exceptional. This album could have been their defining moment when the jam band movement was wide spreading across the country. Instead, it comes a dollar late when the band has carved its niche with pockets of fans who might overlook the album, choosing to download live MP3s. That would be a shame because this collection would make a great introduction for newcomers as well as a timeless classic for Fishheads. –Shane Finkelstein

My Name is John Michael
The People That Come and Go
Indie

John Michael seems to be a songwriting machine. In the beginning of this year he proclaimed he would write, and then post on myspace, a new song each week. I’m certain he has accomplished this goal thus far, and his band’s new record is a collection of some of the music he’s created throughout the year. Joe Bourgeois, Leo DeJesus, Michael Girardot, Eric Rogers, and Cory Schultz are the backing band for John Michael Rouchell. Some members of the band switch instruments during live sets where you may find one player alternating between guitar and trumpet, and another from keyboard to guitar. This is a good band. I realized this watching some of their sets and seeing them execute good control of instrument volume. John Michael’s voice is always on top and the horns don’t cover him up. I note their live sets because they play smart on stage, and a band needs to be smart to accomplish a good recording. The People That Come and Go is a thirteen-track album with plenty of melody and feeling. Each song seems to be a radio hit, with a hook on every chorus and classic heartfelt lyrics to ice the cake. John Michael’s vocals made me review the album a bit more than I normally would have (honestly this isn’t nearly cracked enough for me to enjoy). At first listen the vocal tone seems to be flat, but he does harmonize well with the secondary instruments, overall constituting rich melody. And the guy knows his way around a fret board. Who the hell writes a new song every week? TJ Lipples’ mix along with the production of Woods Drinkwater and John Michael Rouchell make this recording fit for a massive audience. So kids, buckle your boots and lotion your tattoos, The People That Come and Go is waiting to inspire your night out in the scene, so add it to your collection. –Brian Serpas

Lillian Axe
Sad Day on Planet Earth
Blistering Records

New Orleans-based Lillian Axe is still around? Damn straight they are. Founding member/ producer/guitarist Steve Blaze reformed the band in 2007 with new members Derrick LeFevre, Sam Poitevent, Eric Morris, and Ken Koudelka; releasing an eighth album that same year. For this ninth release, the guys spent a great deal of their own time locked away in studios in Covington and Mandeville veritably sequestered from loved ones. The music created from this consolidated effort does not disappoint. Polished, soothing ballads and a maturity of frenetic 90s hard rock make these 15 songs a great listen from the first run through. Lead vocalist Derrick LeFevre shines on his second Lillian Axe album, which says a lot as the skill of musicianship overall is as marked and noteworthy as the songwriting. There’s a different vibe since 1992’s No Matter What, which makes sense as the band has experienced turnover of all but Blaze since then. Nonetheless, LeFevre and the others do not disappoint. In fact, LeFevre is a talented choice and it is an understatement to say that the skill of seasoned artists Poitevent, Morris, and Koudelka is more than sufficient enough to showcase Blaze’s lyrics and melody. Nothing less than superb guitar playing – kudos to Blaze – furied with purpose, fuels this entire album. The work as a whole could be considered a study in melodic contrast. Title track “Sad Day on Planet Earth” washes over the listener in a wave of crescendo, compounded by a repetition overlay of patterned harmonic technique beautifully executed in several tracks, including “Hibernate” and “Within Your Reach.” on Her Wings” begins as a ballad possessed of classically cryptic Lillian-style lyrics perpetuating an urgency of quick changes to ultimately end as a contagious sing-along anthem. Hair band days have evolved to true musicianship and a dedication to excellence that prevails in this fusion of hard and soft rock. Skynyrd-like yet rockin’ all the same, this work is art worried into being and well worth the suggested purchase price.
–Dionne Charlet

Dem Boys
Roll with the Black & Gold
Drake Records

Dem Boys, a collaborative of locals including drummer/producer Eric Heigle, MC Matt Peoples of The M@ Peoples Collective, vocalist Sherman “Strawdaddy” Johnson of Tipitinas Uptown, and pianist Andrew Meehan of Gravity A, brings a festive second lining flavor to original music inspired by our very own New Orleans Saints. Grammy-winning engineer Chris Finney puts some of his magical touches on this golden CD that includes tunes like “Roll with the Black and Gold” and “NOLA.” Other special artists include bassist Jon Solomon of Gravity A, vocalist Robin Kinchen of The Voodoo Revue, vocalist Sasha Masakowski of NovaNola, saxophonist James Martin of Happy Jack Frequency, tuba player John Gross of The Panorama Jazz Band, banjo player Chris Edmunds of The New Orleans Moonshiners, trumpet player Josh Leblanc of Givers, and guitarist Korey Richey of Dockside Studios. Roll with the Black and Gold is now available for digital download at www.amazon.com and can be previewed at www.demboysmusic.com. Dem Boys and independent label Drake Records are also contributing 20% of all music sales to the New Orleans Musicians’ Clinic, which makes it all worth the listen to this special three-song release. Start your Saints party off right and download these guys today!
–Kevin McKee

Shannon McNally and Hot Sauce
Coldwater
Independent

Shannon McNally’s songwriting prowess has garnered the attention of a who’s who of recording artists with whom she’s toured or performed, as well as national television appearances and extensive airplay crossing into the folk, country, and adult album alternative (AAA) genres. Her latest effort, Coldwater, comes following her post-Katrina exodus to Northern Mississippi, and the tunes have nomadic undertones reflective of that and other journeys (both emotional and physical) of the singer/songwriter. Take the greatest stylistic and vocal attributes of the softer side of Janis Joplin, Van Morrison, and Loretta Lynn, with the storytelling sensitivities of Tracy Chapman, and that will give you some sense of the musical gumbo that comprises Shannon McNally and Hot Sauce. The collection showcases three covers and five McNally penned tunes and “Lovely” is a highlight of the latter variety, an introspective, reflective rolling ballad of voyages of life and love, those of past experiences and future aspirations. This work is a clear and thoughtful demonstration of the complete artistry that inspires the admiration of McNally’s peers and the loyalty of her fans. –Craig M. Cortello

Joe McBride
Lookin’ for a Change
Heads Up International

Like other great blind keyboardists (whose names are Ray Charles, Stevie Wonder, and George Shearing), Joe McBride makes his way up and down the 88s better than most others who can see what they’re doing. On this, his eighth recording for Dave Love’s Heads Up International Records since his career took off in the early 90s, McBride focuses as much on vocal performance as he does on his piano work. With only three original compositions on this 12-track CD, McBride sings mostly covers of other peoples’ recent hits in a fluttery George Benson-like scat style, backed by a bass and drums with an occasional guitar and harmonica. Normally CDs featuring all or mostly covers are met with skepticism, but McBride’s musical stylings successfully reinvent these already-great songs. His opening rendition of Gnarls Barkley’s “Crazy” is both musically and vocally sublime. And I honestly believed that only Seal could sing “Kiss for a Rose” until I heard this version in which McBride’s clear, crisp vocals blew me out of the water. I think Seal would be honored and flattered by this cover version. The other tracks were vocally and musically smooth and mellow as well, with the exception of his interpretation of Cameo’s “Word Up.” This was the only song that should have been left off. It was disjointed and the vocals seemed forced, and it seemed to drag on forever. Otherwise it was another great effort by one of the great jazz artists of our generation. –Heather Shapiro

Alexis Marceaux
Dandelion
Indie

Local singer-songwriter Alexis Marceaux has blown onto the local music scene just like her debut CD entitled Dandelion. Marceaux’s powerful voice and lyrics are very reminiscent of great female vocalists in the early 90s like Alanis Morissette, Tori Amos, and Sarah McLachlan. Pure raw emotion, talent, and feelings flow throughout the tracks with professional clarity, as if a background song to a movie. The first track “Cytokinin” will capture you immediately as Marceaux’s vocal range is incredible. Think a really cool coffee shop scene with an awesome guitarist who hasn’t been discovered as the next big thing just yet. On the third track of the CD, “Elevator Ride,” Marceaux shows a more harmonious pop sound while reflecting on love’s ups and downs. “Puppet Show” has more of a Dave Matthews Band “Ants Marching” feel to it while “One Fish” is very reminiscent of Alanis Morissette down to the harmonica. A playful tune, “Mister Hurricane,” reflects the survival instincts from Katrina in a light-hearted melody. One of the most powerful compositions Marceaux delivers is on “Kind” where she reflects on a relationship that’s gone wrong. Dandelion is a very real and true heart-felt CD full of incredible original music and artwork by Marceaux. This CD is a delightful treasure to find amongst our vast sea of young locals, and I highly recommend it. Be sure to catch Alexis Marceaux with another amazing young group, Glasgow, at this year’s Voodoo Music Experience on October 30. –Sheri McKee

Various Artists
Jazz Around the World
Putamayo World Music

Jazz is widely considered the only purely American art form, though born of African rhythms and European harmonies. If jazz is an invention of American ingenuity and inspiration, then the music export business is alive and well. Jazz Around the World provides auditory testimony of the influence of jazz as a universal element of cultural development. While other selections and artists could have exemplified a grander display of virtuosity, this collection achieves a pristine balance of instrumental and stylistic diversity and mainstream appeal. Canada’s Chantal Chamberland gives a breathy French version of what was a precursor to Bobby Darin’s “Beyond the Sea” with “La Mer.” Heather Rigdon lets the world know that jazz is alive and well in its country of origin, with a sound that is equal parts Diana Krall and Melody Gardot in “Young and Naïve.” Hugh Masekela and songstress Malaika fittingly close out the album with “Open the Door,” a joyous anthem celebrating the power of artistic expression. –Craig M. Cortello

Garage A Trois
Power Patriot
The Royal Potato Family

First and foremost, this music is really cool. At times it sounds like electronic weirdo music, and at others like a progressive industrial film score. The composition is chromatic and drives like an electric bulldozer, and then slows down with futuristic sweeps that may make you think of Christmas in the year 3009. There is even some decent elevator music going on, meaning you’re looking forward to getting to the top floor opposed to feeling like you’ve entered music purgatory. Besides any studio tricks you and I are not aware of, the tools used to create the tones are as follows: vibraphone played by Mike Dillon, drums from Stanton Moore, saxophone from Skerik, and keyboards played by Marc Benevento. You have some classy and sophisticated musicians here, all of whom have different musical backgrounds. Stanton Moore who was once a child of heavy metal and still maintains a relationship with Corrosion of Conformity, plays drums so freaking tight that he could match a drum machine. Thing is, he still remains human. Then there’s Mike Dillon, who may plug the microphone used to amplify his vibraphone into a distortion pedal. Skerik, who has jammed with anyone from Les Claypool to Roger Waters of Pink Floyd fame, lets loose on his sax. Marc Benevento plays keyboard and is adding some cool tones, sweet and layered noise. The music is mostly improvised and is a lot of fun. I would recommend it to existing fans of this band and to people who want to expand their musical horizon. –Brian Serpas

Prytania
Self-titled
Indie

Let’s just say, with a name like Prytania, it was hard for me not to take a gander at this self-titled rock album. Fascinated, to say the least; this six track album is impressive from beginning to end. This four member group consists of a drummer, bass player, vocalist, and acoustic guitarist; all coming together to create a thrilling and roaring sound that is sure to take them places. This album’s sound and style has influences that range from classic rock groups such as Led Zeppelin and Pink Floyd to today’s modern pop/rock, and while other groups may influence them, Prytania has a unique quality about them that stands out from the rest. This album may only have six tracks, but that says nothing for its quality. Each track is packed with an intense collaboration of great and electric sound. Now, if that isn’t enough reason for you to purchase this album, the name alone should grab you for sure. With a name like Prytania, this group will always stay loyal to their hometown, New Orleans. –Kimberly Tubré