Candlebox At the Roxy
By Rei Nishimoto

Since the last time Candlebox performed live, the musical climate has taken turns very few predicted. Within all of the pop-oriented heavy metal and the emo-driven punk sounding acts, there is still a healthy demand for song oriented rock music.

For much of the 1990s, Candlebox was recognized as a rock band that rode on the coattails of Pearl Jam, Stone Temple Pilots and Soundgarden. They recorded three albums that drew critical acclaim from the press and fans alike. During the height of their career, they played at the Woodstock '94, as well as making numerous television appearances on Late Show with David Letterman. But they faced shaky times when they went through lineup changes begin in 1997 with the departure of drummer Scott Mercado.

Tonight marked the first LA appearance by Seattle based rockers Candlebox since their untimely split in 1999. This was part of their brief run of club dates they booked as part of a return to the roots style tour. Despite the extended time away, they did not appear to lose a step. They played a strong cross section of songs from their three full length releases, along with new songs from their forthcoming release this summer.

Frontman Kevin Martin shined on stage and showed why Candlebox had such a strong fan base. His soulful yet bluesy vocal style has a quality that grabs listeners, and differs greatly than their then-Seattle scene peers. His interaction with the crowd, whether while talking to the crowd or even stopping to sign autographs for lucky fans that caught him at the right time, made it a magical night for everyone in attendance.

Their set list covered much of their songs they were best remembered for. 'Cover Me' showed Martin's bluesy side of his voice, capturing the passion behind the song that fans once felt a while ago. Guitarist Peter Klett compliments Martin's voice with a laid back, bluesy style that works well and makes their sound become timeless.

'Change' is another hit song from their earlier years that fans still connect with, and Martin's voice plays a huge part of this. The bluesy side of Candlebox became a staple part of what made fans love their music and still stuck by them after all of these years.
Other songs like 'Don't You' brought out the driving rock edge that is often overlooked. Klett got his time in the spotlight by showing off his commanding guitar playing and got the crowd moving through the night.

Throughout their set list, they worked in a few brand new songs from their forthcoming record. 'Underneath It All' is one of their newer songs that have more of a Led Zeppelin flavor to it, and a logical evolution to where Candlebox's sound would be today. 'Surrending' is another newer song that follows the melodic side of Candlebox with catchy melodies and hooky choruses.

The best reactions from the audience came during their biggest hits being playing throughout the evening. 'Far Behind' was their biggest hit single in 1994, but the way the crowd sang along to every word of the choruses, it showed how well their music withstood time. Their other big hit single 'You' got the biggest response of the evening, with its dark, hypnotic intro that leads into a chorus that got the crowd to chant along with Martin. The feedback from the audience made that moment exciting, and fans wanting more with the proceeding second the song progressed.

The time away helped Candlebox become a stronger band and make their music mean much more than the way the band ended. Their return to the live arena gives hope to a much needed boost to rock music in general. With a new record out this summer, audiences will get a chance to reconnect with the band that many may not have experienced the first time around.

Better Than Blood - Megan McCauley
By Nancy Dunham

It's surprising to discover that Megan McCauley started out as a 7-year old country singer performing at county fairs in the Midwest.

To hear her belt out the tracks on her latest release "Better Than Blood," you'd swear she was cut out of the same mold as Martha Davis, leader singer of the New Wave band "The Motels," which hit it big in the early 1980s with "Only the Lonely" and "Suddenly, Last Summer."

There's little doubt that McCauley has the pipes and passion to convey some of the same romantic angst that Davis and The Motels tackled. The difference, of course, is that in the 25 years since The Motels were big, the music industry has significantly changed. What that means, in terms of McCauley, is that the record seems to have been tweaked to within the proverbial inch of its life. Nope, you're not going to find any jagged edges, missed notes, or rough spots here. If you do, chances are good they were added intentionally when SONY BMG bigwigs made final recommendations for the disc's production.

That's a shame because McCauley's songs of love lost would be well served by a bit of vocal warble or other vulnerability to accompany the lyrics. That's not to say the songs' musicianship isn't first rate or the vocals suit the lyrics. Consider Reverie in which McCauley sings: "Left here alone and unsure of what I feel/Unclear, but I see just what I'm afraid of/I can't find my way anymore." But again, a bit less high-end production value would have made these lyrics come alive.

In other parts of the CD, such as the uptempo "Tap That," which is clearly a funky/pop club tune, the strong production hand works well, melding the blistering drums and electro beat with McCauley's voice.

Overall, the disc is a lot of fun and a great listen. But like a dessert at a five-star restaurant, all the perfect ingredients can sometimes make music a bit too smooth to satisfy the palate.

Hear a sample of this CD at
www.meganmccauley.com
Artist: Megan McCauley
Title: Better Than Blood
Label: Wind Up
$11.99 at Amazon.com

Valeria: Girl I Told Ya
By Nancy Dunham

Anyone who's spend even a smidgen of time on My Space will understand what Valerie means when she says that comments on her page prompted her to write her new song "Girl I Told Ya" with Fernando Garibay and Kasia Livingston

Yes, the song - with vocal duties shared by Valeria and Aria - is an ode to lesbian lust as made clear by the lyrics:

"Girl I told ya/You don't have to sneak out/You don't have to fight/I could creep up inside/(Valeria) And hold ya/Anything you want done/da da done/You can creep up inside"

But what makes the song stand out from the novelty tunes that pop up on a regular basis is the infectious techno beat mixed with a dose of R&B and Valeria's soft whispery voice. Talk about a perfect tune for the clubs. Yes, the lyrics make the song naughty but they are blended enough so that they don't overwhelm the music.

In a musical world where Janet, Beyonce, Christina, and countless other talented women are grasping for the grand prize -- the next big pop/R&B/techno beat hit -- Valeria is a stand out. Seriously, even the pop divas must take note of this artist.

The recently released EP from Interscope Records offers five versions of this tune: the original, a remix by Trent Cantrelle; a Dave Aude Mix; an a capella version; and an instrumental. All have their strong points, but don't really add so much that one is more of a stand out than another.

It's a shame that it's not possible to review Valeria's other new tunes (apparently her new album, which was rumored to be stalled do to record company politics, is slated for release next month).
If Valeria's next songs are half as bouncy and fun at this one, her album will likely become a guilty pleasure on many an I-Pod.

Not bad for a woman who's best known as the actress who kissed Ashton Kutcher in the film "Just Married."

Hear a sample of this music at www.valeriamusic.com/
Artist: Valeria featuring Aria
CD: Girl I Told Ya
Label: Interscope Records
$5.98 at Amazon.com

Into White - Carly Simon
By Nancy Dunham

Not to sound like a starry-eyed teenager, but it seems almost impossible to review a Carly Simon disc.

What is there really left to be said about a musical icon whose Grammy Awards are but a sidenote to a full musical career that not only significantly impacted popular music but became part of the culture?

Obviously, Simon's latest release "Into White" is phenomenal. How could it not be? (That's like someone who met a late-in-life Albert Einstein saying `He's a brilliant man.' Well….Yes.)
The bottom line is that Simon's voice still seems as rich and full as it did in her heyday when 1970s No Secrets caught fire. Of course, the reason it sounds so clear is not only that she's cared for her voice, but she knows how to control it so nothing sounds sour (Albert knows math, too!).

So what's left to really discuss are the 14 selections on the CD. Some are classics, such as Simon & Garfunkel's "Scarborough Faire" and "You can Close Your Eyes," a 1970s tune by James Taylor (as most people in the world know, he's Simon's ex husband and father of her two children Ben and Sally). There are also a smattering of songs by Simon's children and others plus two original Simon songs.

At first listen, some of the songs chosen seem a bit out of place. The classic tunes "Oh! Susanna," "You Are My Sunshine" and even "Blackbird" arguably haven't been heard by a wide audience since "The Andy Griffith Show" left the TV airwaves.

But listening to the songs again and reading the notes Simon made about why she recorded each of the selections allows the listener to understand the beauty of each song. Reading further and understanding the album was made by Simon and many of her good friends in sort of a jam session on Martha's Vineyard adds even more context.

"As I listen to this record, I like to think this is the kind of music grown ups like me can definitely get a little bit weepy over," Simon writes. "But probably by the first two or three tracks it will lull you to sleep as it is meant to do. Therefore, you won't notice if you have tears on your pillow."
Something tells us, listeners will notice.

Hear a sample of this CD at www.carlysimon.com/music/classics/IntoWhite.shtml

Artist: Carly Simon
Album: Into White
Label: SONY BMG Music
Price: $14.99 at Amazon.com